Tuesday, February 14, 2017

How the City of Chicago Dealt with all the Horse Manure.

Manure vaults were underground covered holes in alleys all over Chicago that "Manure Mongers" (street sweepers) would swept-up horse manure from the local area and empty it into the vault closing the lid. Later, the vault would be shoveled out, and the manure carted off.
A typical "Manure Vault" in a Chicago alley in 1918.
Workhorses were used for personal transportation, pulling streetcars for public transportation, and delivering materials and products to commercial and residences. These vaults were one way of keeping the streets clean of horse manure. 

In the late 1890s, Chicago had about 83,000 horses living and working in the city. On average, one horse creates between 40 to 50 pounds of manure daily at 40 pounds per day, or 3,320,000 pounds, or 1,660 tons of horse manure to dispose of daily. Furthermore, each horse produced around 2 pints of urine per day. The sheer volume made what was a nuisance in small towns and a crisis in large metropolitan areas.
The manure was smelly, dirty, and attracted flies, spreading diseases to humans. When it dried up and became dust, the breeze would spread the manure for miles, polluting the air and sickening Chicagoans. Some of it was shipped to area farms for agricultural use, and some were mixed in with cement as a binder and used to pave streets. Still, there was too much manure to efficiently dispose of.

With the upcoming World's Columbian Exposition scheduled to open in 1893, Chicago made the cleanup of manure a critical priority in 1892. It would be embarrassing for the city to have filthy streets when Chicago would be under worldwide scrutiny.

One strategy to deal with all the manure was the underground manure vault to diminish the problem. Manure was bailed and transported out of the city, along with manure being incinerated. The ultimate solution to the manure problem was just beginning in the U.S.

In 1893 Frank Duryea was reported to have made the first horseless carriage trip on U.S. roads in Springfield, Massachusetts. He traveled approximately 600 yards before engine problems forced him to stop and make repairs. 
America's First Automobile Race took place in Chicago, Illinois, in 1895. Winner, Frank Duryea, traveled 54 miles at an average of 7.5 mph in 10 hours and 23 minutes, including repair time, marking the first U.S. automobile race in which any entrants finished. 

By 1900 there were only 377 automobiles registered with the Board of Examiners of Operators of Automobiles. The Comparative Wheel Tax Statement shows that in 1916 there were 46,662 horse-drawn vehicles and 65,651 automobiles. By 1940 there were fewer than 2,000 horse-drawn vehicles and over 600,000 cars. The fastest changes happened in the 1920s.
Today, horses are equipped with bags to collect their manure before it hits the Chicago streets.
Compiled by Dr. Neil Gale, Ph.D.

The History of the Telenews Theater at State and Randolph Streets, Chicago, Illinois.

Advertised as “the magazine of the screen," the Telenews Theater at 165 North State Street, Chicago, opened on December 23, 1939, as part of a chain that originated in San Francisco, California.
This small 606 seat theater was once the place where moviegoers could see a couple of cartoons, a newsreel, a comical short, and the famous “March of Time” news reports, all in a single hour. Newsreels featured world, national and local news, as well as weekly sports shorts. The Telenews Theater had seating provided in orchestra and balcony levels.
Keeping with its newsy theme, a United Press teletype machine clacked away in the lobby where an usher would continually spike the fresh news copy on the wall behind the machine.
The Telenews Theater opened showing World War II frontline footage and WWII news stories from 1939 through the end of the war in the mid 40s. With televisions in more homes, news broadcasts became a mainstay of viewers, and theaters like Telenews around the country closed or changed format. 
Telenews Theater was renamed the Loop Theater on April 8, 1950 and began to show first-run feature films. In July of 1950, the newsreel policy was restored, as was the Telenews name. Then in August of 1953, the theater again switched to first-run films, and the name was changed, this time for good, back to the Loop Theater.
In the mid-to-late-1960’s, the theater began to show a lot of B-grade films as well as Russ Meyer-type adult films, in addition to continuing to screen first-run features. The theater thrived during this mixed-format programming. Other downtown movie houses closed in the 70s with dwindeling attendance, along with the Loop Theater which closed on April 2, 1978.

For years, the former Loop Theater had housed retail stores, but had been vacant for some time. The building was demolished in November and December 2005 to make way for a mixed-use 31-story high rise originally called MoMo (for Modern Momentum), but now called the Joffrey Tower, for the Joffrey Ballet, which is now housed in the building. The tower also is home to the Residences at the Joffrey Tower condominiums and two floors of retail space. 



FROM THE JAN. 5, 1940 ISSUE OF THE FILM DAILY:

LATEST IN EQUIPMENT IN CHICAGO’S TELENEWS THEATER
Chicago — Latest advances in motion picture theater equipment are incorporated in the new Telenews Theater recently opened here by its owners and operators, Midwest News Reel Theaters, of which Herbert Scheftel of New York City is president.

House has RCA sound, Simplex projectors, and American Seating Co.’s Bodiform chairs. Approximately 400 of the latter are installed on the main floor of the auditorium, and 200 in the balcony.

A Westinghouse air conditioning system is used, Perey turnstiles, and Stanley Bigelow carpets supplied by Marshall Field Co.

The theater has a unique front and marquee, White Way Co. lighting, plus clear cut screen effect and excellent acoustics.

Marshall Field supplied the furnishings for the rest rooms. Equipment contract was executed by National theater Supply.

Shaw, Naess, and Murphy were architects.




Movies played from 1964 until its closing in 1978.

01/03/1964 – WHO’S BEEN SLEEPING IN MY BED?
01/24/1964 – FANTASIA
03/06/1964 – TWO WOMEN plus THE SKY ABOVE, THE MUD BELOW
03/20/1964 – THE SILENCE
05/01/1964 – THE EMPTY CANVAS
05/15/1964 – WEEKEND
06/05/1964 – THE CHRISTINE KEELER STORY
06/19/1964 – HORRORS OF THE BLACK MUSEUM plus HOUSE OF FRIGHT
06/26/1964 – ZULU
07/24/1964 – YESTERDAY, TODAY AND TOMORROW
09/25/1964 – ONE POTATO, TWO POTATO
10/16/1964 - SHOCK TREATMENT
10/23/1964 - MASQUE OF THE RED DEATH plus BLACK SABBATH
10/30/1964 - LOS TARANTOS
11/06/1964 – LILI
11/27/1964 - DIARY OF A BACHELOR
12/18/1964 - SANTA CLAUS CONQUERS THE MARTIANS plus SANTA’S MAGIC
             KINGDOM 
12/25/1964 - GOODBYE CHARLIE
01/22/1965 – MARRIAGE – ITALIAN STYLE
03/19/1965 – ZORBA THE GREEK
07/02/1965 – THE PAWNBROKER
08/06/1965 – CASANOVA 70
10/08/1965 – DARLING
11/17/1965 - UNDER AGE? – THE VERDICT IS YOURS
11/26/1965 - PARIS SECRET
12/22/1965 - THE 1OTH VICTIM
02/11/1966 – THE SLENDER THREAD
03/10/1966 – DARLING
04/22/1966 – THE SHOP ON MAIN STREET
06/03/1966 – MALE COMPANION
06/24/1966 – AROUND THE WORLD, UNDER THE SEA
07/27/1966 – DEAR JOHN
08/17/1966 – THE WILD ANGELS
10/21/1966 - GIGI
11/18/1966 - HOTEL PARADISO
11/30/1966 - MATA HARI plus THE THIN MAN
12/07/1966 – NINOTCHKA plus MIN AND BILL
12/14/1966 - ANNA KARENINA plus GO WEST
12/21/1966 - CAMILLE plus THE BIG STORE
12/28/1966 - THE SOUND OF MUSIC
04/21/1967 – THE TAMING OF THE SHREW
09/27/1967 – ENTER LAUGHING
10/13/1967 - BLACKBOARD JUNGLE plus A PATCH OF BLUE
10/27/1967 - THE FLIM FLAM MAN
11/10/1967 - OUR MOTHER’S HOUSE
12/01/1967 – HOUSE OF 1000 DOLLS
12/22/1967 - THE GRADUATE
01/18/1968 – FAR FROM THE MADDENING CROWD
02/23/1968 – THE GRADUATE
06/14/1968 – BLUE
07/03/1968 – THE PRODUCERS
08/14/1968 – TARGETS
08/28/1968 – ANYONE CAN PLAY
09/18/1968 – THE PRODUCERS
10/04/1968 – THE YOUNG RUNAWAYS
10/25/1968 - THERESE AND ISABELLE
12/27/1968 - SKIDOO
01/10/1969 – LES BICHES
02/21/1969 – VIXEN
12/19/1969 - JOHN AND MARY
03/13/1970 – CHERRY, HARRY AND RAQUEL
08/26/1970 – WITHOUT A STITCH
12/16/1970 - EQUINOX
02/10/1971 – UNCLE TOM’S CABIN
03/19/1971 – THE STEWARDESSES
06/30/1971 – EVIL KNIEVEL
07/28/1971 – BILLY JACK
09/24/1971 – HONKY
11/05/1971 – THE ANIMALS
11/12/1971 - THE BUS IS COMING
11/19/1971 - HOUSE OF WAX (IN 3-D)
12/17/1971 - THE STEWARDESSES
12/25/1971 - DIRTY HARRY
04/21/1972 – BUCK AND THE PREACHER
07/28/1972 – FRITZ THE CAT
09/22/1972 – A GROUP MARRIAGE
10/13/1972 - IS THE FATHER BLACK ENOUGH?
10/27/1972 - PRIVATE PARTY
11/03/1972 – BUCK AND THE PREACHER plus COOL BREEZE
11/17/1972 - RAGE
12/01/1972 – SUPERFLY plus MELINDA
12/20/1972 - TRICK BABY
02/02/1973 – BLACK GIRL
02/23/1973 – SHAMUS
03/14/1973 – DELIVERANCE
03/23/1973 – WATTSTAX
04/13/1973 – SCHLOCK
04/22/1973 – DUEL OF THE IRON FIST
05/11/1973 – THE MACK
06/01/1973 – THE MAN FROM DEEP RIVER
06/15/1973 – KUNG FU: THE INVISIBLE FIST
06/29/1973 – EMPEROR OF THE NORTH
07/06/1973 – DUEL OF THE IRON FIST plus KUNG FU: THE INVISIBLE FIST
07/27/1973 – CAHILL – U.S. MARSHALL
08/10/1973 – THEY CALL ME TRINITY plus TRINITY IS STILL MY NAME
08/24/1973 – HEAVY TRAFFIC
10/05/1973 – LAST TANGO IN PARIS
11/16/1973 - DAY OF THE JACKAL plus PETE N TILLIE
11/22/1973 - BLACKBELT
11/30/1973 - BLACK GIRL plus ACROSS 110TH STREET
12/20/1973 - TROUBLE MAN plus HAMMER
12/25/1973 - THE STING
07/19/1974 – THE LORDS OF FLATBUSH
08/02/1974 – BUSTER AND BILLIE
08/16/1974 – THE CHINESE GODFATHER
09/04/1974 – BLAZING SADDLES plus BLUME IN LOVE
09/13/1974 – EXORCISM’S DAUGHTER
09/20/1974 – VIXEN/CHERRY, HARRY, RAQUEL/BEYOND VALLEY OF THE DOLLS
10/18/1974 - UPTOWN SATURDAY NIGHT plus THE LEGEND OF HELL HOUSE
10/25/1974 - LAW AND DISORDER
11/08/1974 – THE SPOOK WHO SAT BY THE DOOR/5 ON THE BLACK HAND SIDE
11/15/1974 - THE MANDARIN MAGICIAN
11/22/1974 - GOLD
12/06/1974 – LOVE UNDER 18 plus SENSUOUS YOUTH
12/20/1974 - THE FRONT PAGE
01/15/1975 – VOODOO BLACK EXORCIST
01/31/1975 – YOUNG FRANKENSTEIN
03/14/1975 – A WOMAN UNDER THE INFLUENCE
04/25/1975 – SUPERVIXENS
06/20/1975 – DOLEMITE
06/27/1975 – SHAMPOO
07/04/1975 – THE GROOVE TUBE plus FLESH GORDON
07/11/1975 – LOVE (IN 3-D)
08/08/1975 – ILSA – SHE WOLF OF THE SS
08/29/1975 – SUPERVIXENS/CHERRY,HARRY,RAQUEL/VIXEN/FINDERS KEEPERS
             LOVERS WEEPERS
10/03/1975 – THE MASTER GUNFIGHTER
10/31/1975 - LENNY plus LAST TANGO IN PARIS
11/21/1975 - BLACK ALLEYCATS plus THE BLACK BUNCH
12/19/1975 - VIXEN/CHERRY,HARRY,RAQUEL/FINDERS KEEPERS LOVERS
             WEEPERS
12/26/1975 - SNOW WHITE AND THE SEVEN DWARFS
01/16/1976 – THE NAUGHTIEST SHOW IN TOWN plus HOT TIMES
01/23/1976 – THREE DAYS OF THE CONDOR
01/30/1976 – THE ADVENTURES OF FRONTIER FREEMONT
02/11/1976 – NO DEPOSIT, NO RETURN
02/27/1976 – BLACK HOOKER plus COME BACK, CHARLESTON BLUE
03/12/1976 – MAN FRIDAY
03/19/1976 – BRUCE LEE – ALIVE OR DEAD?
04/16/1976 – DEEP JAWS
05/07/1976 – TAXI DRIVER
05/28/1976 – JACKSON COUNTY JAIL plus MEAN FRANK AND CRAZY TONY
06/18/1976 – VIGILANTE FORCE
06/15/1976 – PETER PAN
07/09/1976 – A SMALL TOWN IN TEXAS
07/16/1976 – THE OUTLAW JOSEY WALES
08/06/1976 – INFRA-MAN plus WONDER WOMEN
08/27/1976 – THE SPOOK WHO SAT BY THE DOOR
10/01/1976 – APE (IN 3-D)
10/15/1976 - ADIOS AMIGO plus THE KILLER ELITE
10/20/1976 - THE POM POM GIRLS plus SWINGING STEWARDESSES
10/29/1976 - WOODSTOCK
11/05/1975 – RUSS MEYER’S UP
12/24/1976 - MARATHON MAN
01/14/1977 – TRICK BABY plus BLACKBELT JONES
01/28/1977 – IN SEARCH OF NOAH’S ARK
02/18/1977 – THE ENFORCER
03/04/1977 – MANDINGO plus DRUM
03/11/1977 – ANDY WARHOL’S FRANKENSTEIN
04/22/1977 – FANTASTIC INVASION OF PLANET EARTH (IN 3-D)
05/06/1977 – THE STEWARDESSES (IN 3-D)
05/20/1977 – FRITZ THE CAT plus HEAVY TRAFFIC
06/03/1977 – CINDERELLA (X-rated)
10/14/1977 - SHORT EYES
12/21/1977 - OH, GOD! plus AMAZING GRACE
12/30/1977 - CINDERELLA plus ALICE IN WONDERLAND (X-rated)
01/27/1978 – THE ADVENTURES OF THE WILDERNESS FAMILY
02/03/1978 – LOOKING FOR MR. GOODBAR plus LIPSTICK
02/10/1978 – EMMANUELLE IN BANGKOCK
02/24/1978 – WHICH WAY IS UP? plus THE BLACK BIRD
03/17/1978 – STRAIGHT TIME

CLOSED AFTER PERFORMANCES SUNDAY APRIL 2, 1978

Edited by Dr. Neil Galer Ph.D.

Monday, February 13, 2017

Everthing you wanted to know about the "Zoot Suit" created in Chicago by Harold C. Fox, and the National Zoot suit riots.


In historical writing and analysis, PRESENTISM introduces present-day ideas and perspectives into depictions or interpretations of the past. Presentism is a form of cultural bias that creates a distorted understanding of the subject matter. Reading modern notions of morality into the past is committing the error of presentism. Historical accounts are written by people and can be slanted, so I try my hardest to present fact-based and well-researched articles.

Facts don't require one's approval or acceptance.

I present [PG-13] articles without regard to race, color, political party, or religious beliefs, including Atheism, national origin, citizenship status, gender, LGBTQ+ status, disability, military status, or educational level. What I present are facts — NOT Alternative Facts — about the subject. You won't find articles or readers' comments that spread rumors, lies, hateful statements, and people instigating arguments or fights.

FOR HISTORICAL CLARITY
When I write about the INDIGENOUS PEOPLE, I follow this historical terminology:
  • The use of old commonly used terms, disrespectful today, i.e., REDMAN or REDMEN, SAVAGES, and HALF-BREED are explained in this article.
Writing about AFRICAN-AMERICAN history, I follow these race terms:
  • "NEGRO" was the term used until the mid-1960s.
  • "BLACK" started being used in the mid-1960s.
  • "AFRICAN-AMERICAN" [Afro-American] began usage in the late 1980s.

— PLEASE PRACTICE HISTORICISM 
THE INTERPRETATION OF THE PAST IN ITS OWN CONTEXT.
 


As a child, Harold C. Fox had studied to be a violinist. He got a job with a string group in a Chicago restaurant. When the Century of Progress World's Fair opened in 1933, the restaurant manager decided to change the sweet sound of Fox's combo to something brasher and brassier. Violins were out; trumpets were in.

Fox had never played the trumpet before, but this was the Depression, and one could not afford to let a good job slip away.

"Somehow, I learned enough to fake my way through the season," Fox said. "I could only play in one key, A-flat, because that was the key that required the least amount of fingering. I could play loud, and I could play hot, but I never was a great musician."

When the fair closed, Fox got an offer to play with another combo in New York. But by the time he arrived with his wife, Marie, and daughter, the deal had fallen through. Eventually, Fox managed to hitch up with a group called the Chick Winters Band. That opened some more doors, and Fox was invited to play his trumpet over New York`s WNEW radio station.

All the while, Fox was staying in touch with his father, who owned a woolen wholesaling house back in Chicago. His father would send him sample bolts of cloth, and Fox would design wild suits and band uniforms for his musician friends. Fox got the idea for the Zoot suit in New York but didn't put it into production until 1939, when he moved back to Chicago to take over the family business with his brother, Aaron.

The Zoot suit is the most innovative men’s garment of the twentieth century. Its knee-length jacket featured exaggerated padded shoulders, and the voluminous, high-waisted pants narrowed to a pegged ankle.

Harold C. Fox



When the Zoot suit emerged, it was a radical departure from typical men’s suits which had changed little in nearly a century. Fox sold the first Zoot suit in Chicago in 1939. 
Fox came up with the name "Zoot Suit" by borrowing from the distinctive street jargon of the day.

"It was cool in those days to talk in rhymes," Fox said. "In those days, the highest compliment you could pay someone or something was to say it was 'the end to end all ends.' I needed a word to rhyme with the word 'Suit,' so I used the letter of the alphabet that is the end to end all ends - 'Z' - and came up with ZOOT."

Fox even invented the most distinctive accessory to the Zoot suit, the long, looping watch chain worn dangled from a trouser pocket.

"Our clothing store, Fox Brothers, had a commode you flushed by pulling on a chain," Fox recalled. "One day, I flushed the toilet, and the chain came off in my hand. For some reason, I took the chain with me when I went out into the showroom to phone a plumber." A commodious chain.

"Some cat was getting fitted for a Zoot suit, and he asked me if I had any accessories to go with the suit. Just on impulse, I hooked one end of the chain to his pants and put the other in his pocket. Bingo! He thought it was terrific, and pretty soon, everybody who came in for a Zoot suit had to have a chain."The Zoot suit was one of the Fox Brothers' first designs, and almost instantly the clothing house found itself among the avant-garde of American fashion.
Fox came up with endless variations to the Zoot suit, then branched out. He takes credit for popularizing padded shoulders, polka-dot shirts, be-bop berets (adorned with an upright toothpick), the cape-back Casablanca-style trench coat, and something he calls the double-single-breasted jacket.

Word spread and Harold Fox was soon the clothier of the stars. Dizzy Gillespie shopped there, and so did Charlie "Bird" Parker. Woody Herman and Stan Kenton were regulars. So were Sarah Vaughan, Lionel Hampton, Louis Armstrong, Duke Ellington, Count Basie, Nat "King" Cole, Miles Davis, Billie Holiday, Earl Hines, and Scatman Crothers.
Fox was the leader of the Jimmy Dale Orchestra when he took over his family’s tailoring business in 1941. He reputedly traded suits for musical arrangements made by the popular jazz musicians who frequently played in Chicago and sported the extreme style. In addition to jazz musicians, urban blacks and Latinos were the primary wearers of the style.
Fox Brothers were also the clothier of choice for Chicago's leading mobsters and panderers.
Joel Daley, Bill Frink, and John Coleman at the Balaban and Katz "B&K" Uptown Theater, Chicago.





A Zoot Suit with a Reet Pleat [1942]
Dorothy Dandridge & Paul White

The Zoot suit was regarded as fashionable by some and as rebellious and unpatriotic by others. Its popularity coincided with World War II. Rationing during the war led to clothing restrictions for U.S. citizens. To some people, the copious amounts of fabric required to construct a Zoot suit constituted open defiance of the American war effort.


THE STORY OF THE ZOOT SUIT RIOTS
The Zoot Suit Riots were a series of violent clashes during which mobs of U.S. servicemen, off-duty police officers and civilians brawled with young Latinos and other minorities in Los Angeles. The June 1943 riots took their name from the baggy suits worn by many minority youths during that era, but the violence was more about racial tension than fashion. The Zoot suit garnered a racist reputation. In California, Latino, known as “pachucos” (male members of a counterculture associated with Zoot suit fashion, jazz and swing music), often wore flashy, brightly colored Zoot suits, porkpie hats and long dangling watch chains, were increasingly viewed by affluent whites as menacing street thugs, gang members and rebellious juvenile delinquents.
 
Pork Pie Hat
Wartime patriotism didn’t help matters: After the bombing of Pearl Harbor on December 7, 1941, and the U.S. entry into World War II, wool and other textiles were subject to strict rationing. The U.S. War Production Board regulated the production of civilian clothing containing silk, wool and other essential fabrics. Despite these wartime restrictions, many bootleg tailors in Los Angeles, Chicago, New York and elsewhere continued to make the popular Zoot suits, which used profligate amounts of fabric. Servicemen and many other people, however, saw the oversized suits a flagrant and unpatriotic waste of resources.

The local media was only too happy to fan the flames of racism and moral outrage: On June 2, 1943, the Los Angeles Times reported: “Fresh in the memory of Los Angeles is last year’s surge of gang violence that made the ‘Zoot suit’ a badge of delinquency. Public indignation seethed as warfare among organized bands of marauders, prowling the streets at night, brought a wave of assaults, and finally murders.”


In the summer of 1943, tensions ran high between Zoot-suiters and the large contingent of white sailors, soldiers and Marines stationed in and around Los Angeles. Mexican Americans were serving in the military in high numbers, but many servicemen viewed the Zoot-suit wearers as World War II draft dodgers (though many were in fact too young to serve in the military).

On May 31, a clash between uniformed servicemen and Mexican American youths resulted in the beating of a U.S. sailor. Partly in retaliation, on the evening of June 3, about 50 sailors from the local U.S. Naval Reserve Armory marched through downtown Los Angeles carrying clubs and other crude weapons, attacking anyone seen wearing a Zoot suit or other racially identified clothing.
In the days that followed, the racially charged atmosphere in Los Angeles exploded in a number of full-scale riots. Mobs of U.S. servicemen took to the streets and began attacking Latinos and stripping them of their suits, leaving them bloodied and half-naked on the sidewalk. Local police officers often watched from the sidelines, then arrested the victims of the beatings. 
Zoot suiters lined up outside Los Angeles jail en route
to court after a feud with sailors in 1943.
Thousands more servicemen, off-duty police officers and civilians joined the fray over the next several days, marching into cafes and movie theaters and beating anyone wearing Zoot-suit clothing or hairstyles (duck-tail haircuts were a favorite target and were often cut off). Negroes and Filipinos — even those not clad in Zoot suits — were also attacked.

By June 7, the rioting had spread outside downtown Los Angeles to Watts, East Los Angeles and other neighborhoods. Taxi drivers offered free rides to servicemen to rioting areas, and thousands of military personnel and civilians from San Diego and other parts of Southern California converged on Los Angeles to join the mayhem.

Leaders of the Mexican American community implored state and local officials to intervene — The Council for Latin American Youth even sent a telegram to President Franklin D. Roosevelt — but their pleas met with little action. One eyewitness, writer Carey McWilliams, painted a terrifying picture:

“On Monday evening, June seventh, thousands of Angelenos turned out for a mass lynching. Marching through the streets of downtown Los Angeles, a mob of several thousand soldiers, sailors, and civilians, proceeded to beat up every Zoot-suiter they could find. Street cars were halted while Mexicans, and some Filipinos and Negroes, were jerked out of their seats, pushed into the streets, and beaten with sadistic frenzy.”

Some of the most disturbing violence was clearly racist in nature: According to several reports, a black defense plant worker — still wearing his defense-plant identification badge — was yanked off a streetcar, after which one of his eyes was gouged out with a knife.

Local papers framed the racial attacks as a vigilante response to an immigrant crime wave, and police generally restricted their arrests to the Latinos who fought back. The riots didn’t die down until June 8, when U.S. military personnel were finally barred from leaving their barracks.

The Los Angeles City Council issued a ban on Zoot suits the following day. Amazingly, no one was killed during the weeklong riot, but it wasn’t the last outburst of Zoot suit-related racial violence. Similar incidents took place that same year in cities such as Philadelphia, Chicago and Detroit.

A Citizens’ Committee appointed by California Governor Earl Warren to investigate the Zoot Suit Riots convened in the weeks after the riot. The committee’s report found that, “In undertaking to deal with the cause of these outbreaks, the existence of race prejudice cannot be ignored.”

Additionally, the committee described the problem of juvenile delinquency youth as “one of American youth, not confined to any racial group. The wearers of Zoot suits are not necessarily persons of Mexican descent, criminals or juveniles.
Cherry Poppin' Daddies
"Zoot Suit Riot" (original video 1997)

"It was okay with me," Fox said of the end of the fad. "I was sick of Zoots by that time anyway."

Merriam-Webster [Dictionary] Company accepted Mr. Fox's claim to the name "Zoot Suit."

The initial fad of Zoot suits was short-lived, but the 1990s witnessed a resurgence in the popularity of swing dancing and the Zoot suit. In an effort to embody the spirit of the 1940s, many dancers dressed in vintage clothing which helped bring back the Zoot suit. Soon, the fad expanded to dressier occasions such as high school proms. Several tailors throughout the country began offering custom-made Zoot suits. Fox, who died in 1996, continued wearing the fashion throughout his life and was buried in a lavender Zoot Suit. 

The Fox Brothers Custom Tailors at 556 West Roosevelt Road, Chicago, Illinois, is still open for business. 

Compiled by Dr. Neil Gale, Ph.D.

Horse drinking from a fountain which stood at LaSalle and Monroe Streets, Chicago, Illinois. circa 1911

At the 1874 organizing convention of the National Woman's Christian Temperance Union, the members were urged to erect drinking fountains in their towns so that men could get a drink of water without entering saloons and staying for stronger drinks. Often the drinking fountains that were erected offered a place for horses to drink, another place for dogs, and of course, a place for humans to drink.
Horse drinking from a fountain which stood at
LaSalle and Monroe Streets, Chicago, Illinois. circa 1911

In 1876, Thomas Hoyne and Harvey Doolittle Colvin were both Chicago Mayors at the same time.

Thomas Hoyne
Thousands of Chicagoans live on Hoyne Avenue, yet few know much about the man it was named after. Thomas Hoyne was a schoolteacher, a lawyer, Chicago’s third City Clerk, the first president of the Chicago Public Library’s Board of Directors, a U.S. Marshall, and holder of numerous other public offices.

He is perhaps most famous for what he wasn’t. On April 16, 1876, he was elected mayor of the City of Chicago. He took the oath of office on May 9 and attempted to act as mayor. The City Council and some city department heads accepted him. Other departments claimed that the election was invalid. Harvey Doolittle Colvin still claimed to be mayor since the election was not called by either the City Council or the mayor.

During 28 tumultuous days in 1876, Chicago had two men claiming to be mayor. Chicago adopted the Illinois Cities and Villages Act in 1875. The Act changed the date of the mayoral elections and extended the term of Harvey Colvin, the current mayor. Thomas Hoyne was nominated in a mass meeting and subsequently won an April 16, 1876 election. Colvin claimed the election was illegal and that he was entitled to serve for another year.

Harvey Doolittle Colvin
The City Council and most city departments accepted Hoyne as mayor. However, the Comptroller and the Police Department did not, and continued to support Colvin. During May and June, the Police Department guarded the Mayor’s office against Hoyne’s supporters. Hoyne with the support of the City Council fired Colvin’s supporters and appointed his own. Both mayors offered to resign but didn’t.

The impasse was resolved by the June 5 ruling of the Cook County Circuit Court that the April election was illegal--meaning that Thomas Hoyne had never legally been mayor. Monroe Heath was elected mayor July 12th, nearly bringing the saga to an end.

However, in August, after Heath took office, the city attorney was asked if Hoyne and the department heads he appointed should be paid. The city attorney issued an opinion stating that although Hoyne was never mayor de jure, he had been mayor de facto, and thus he and his appointees should be paid.

Thomas Hoyne continued to be active in public affairs until his death in a train crash on July 28, 1883, in Carlyon, New York. He is buried in Rosehill Cemetery, Chicago, Illinois.


THE CARLYON TRAIN WRECK: 
ITEM IN THE NEW YORK TIMES, JULY 29, 1883

A BAD RAILWAY WRECK.

A SCORE OF PERSONS KILLED AND MANY WOUNDED.

THE STEAM-BOAT EXPRESS ON THE ROME, WATERTOWN, AND OGDENSBURG DASHED TO PIECES — THOMAS HOYNE KILLED.

Rochester, N.Y., July 28, 1883. — The Rome, Watertown, and Ogdensburg Railroad, heretofore so free from disastrous accidents, has at last met with one which has cost dearly in life and property. The news received has been very meager all day, and the morning papers here published the most scanty details of one of the worst accidents which has occurred since the Spuyten Duyvil disaster. The accident occurred at the flag station on the Oswego and Niagara Falls Division of the road known as Carylon, 30 miles west of Charlotte, and almost directly north of the village of Albion, on the Falls Branch of the Central Railroad. The train was the steam-boat express, which runs regularly between Niagara Falls and Cape Vincent, and frequently draws from seven to 10 sleeping cars, filled with Thousand Islands excursionists from the West. Last night it consisted of eight sleeping cars, one regular coach, a smoking car, and a baggage car, and was drawn by two locomotives, engines Nos. 61 and 51.

A terrible gale was blowing, and rain was falling in torrents. The train was running at the rate of 35 or 40 miles an hour. It was not marked to stop at Carylon, and there was no one to warn the engineer of any danger. A boxcar had been left on the siding, and this car was started by the wind and blown down and upon the main track, so that it stood upon an angle, half on and half off the track. The express train struck this car and the terrible wreck which followed was the result. The crash was heard by persons living near, above the storm, and they rushed out of doors to behold nothing, but hear groans and cries for help. The front-engine was flung from the track on the north side, while the one following left the rails on the south side, and, turning around parallel with the train, literally made a somersault, landing in the ditch with its trucks in the air, with escaping volumes of smoke and steam coming from it. The baggage car was jerked after it and tossed as if only the tail of a kite on top of the locomotive. The smoking car, which followed, was torn from the rails and dashed into a thousand splinters. The scene was indescribable. The first sleeper kept on the track, although it was hurled from the trucks, and the sides and ends were smashed in. It was completely flattened out. The second sleeper was telescoped half upon it and left its trucks and the track. The third left its forward trucks and mounted the wreck, but stood on its rear trucks and was not demolished.

Under and around the wreck could be seen heads and arms, and men and women were calling for help in most piteous accents. For a wonder, the engineer and fireman of the pilot engine were not seriously injured. Their companions on the following engine did not fare so well. Engineer McCarthy, one of the best on the road, was terribly scalded, and his death was a question of only a few hours. Fireman Lucius France was instantly killed, his body being scarcely recognizable. W. H. Chauncey, the trainmaster of the road, sat upon the fireman's side of the engine and is among the injured, but notwithstanding his wounds, he superintended the work of rescuing the victims.
This picture, taken the morning after the accident occurred, shows the crowds gathered at the wreckage. Nearby residents assisted in pulling wounded passengers from the wreckage and removed the corpses to a designated area, into the early morning.
A wrecking gang was at once sent out from Oswego, and also from Lewiston, and the work was commenced of getting out the killed and wounded. Surgeons were sent from Oswego, and also from Rochester. The list of the dead, so far as known this evening, is as follows:

THE KILLED.
  1. Lucius France, fireman, Oswego.
  2. James McCarthy, engineer, Oswego.
  3. _______ Sill, colored porter, Watertown.
  4. Mr. Thorp, residence unknown.
  5. Archie Tyler, baggageman, Watertown.
  6. Prof. C. W. Stone, Battle Creek, Mich.
  7. Thomas Dickson, No. 249 Pearl-street, Cleveland.
  8. Thomas Hoyne, Chicago.
  9. Mrs. Worthy, Saline, Mich.
  10. Henry McCormick, Benton, Mich.
  11. Dr. Schenck, Oberlin, Ohio.
  12. Willie Lefever, Bay City, Mich.
  13. O. B. Troop, Schoharie.
  14. Bernard Bostwick, Toledo, Ohio.
  15. Mrs. Jane E. Carl, Lansing, Mich.
  16. _______ Cromb, residence unknown.
  17. _______ Adams, Chicago.
  18. _______ Dower, Lansing, Mich.
  19. Unknown, young lady, of Leslie, Mich.
  20. Mary Troop, daughter of O. B. Troop.
  21. Louis J. Booth, No. 1,108 Pine-street, Philadelphia.
  22. Mrs. Louis J. Booth.
Those of the injured who could travel were placed in a sleeper and taken to the Falls, while the rest were taken to the neighboring houses and cared for. One man, who lives only a few rods from the wreck, had driven his son to Lyndonville, a distance of three miles, to take the train and got home just in time to find him a corpse. The work of removing the débris is being pushed forward rapidly, and the track will be cleared in a few hours.

There are about 50 persons injured, some of whom will die. There were about 270 people on the train. The list of wounded is as follows, as far as ascertained at this hour:

W. H. Chauncey, Oswego; bruised.
W. E. Rockfellow; leg broken.
Mr. Aiken and his wife, Sarnia.

The conductor on the train was E. Garrison. He was in the fourth car, but when he heard the signal he ran back to the car to set the brake, and, seeing the car breaking up, he jumped and saved himself. This afternoon a special train arrived at Charlotte with 12 bodies from Carylon. During the afternoon the Coroner of Orleans County impaneled a jury and commenced the inquest. The station agent at Carylon states that he set the brake when he left the car on the siding, and he is of the opinion that the car was pushed to the junction with the main track by some maliciously inclined persons.


Chicago, July 28, 1883. — Thomas Hoyne, who was killed by the accident at Carlyon Station last night, was born in New‑York City and came West in 1835. He lived in Galena for two years and then came to Chicago, where he began the practice of law. He found his professional work very remunerative and amassed a large fortune. He was a charter member of the Iroquois Club and a member of the committee from that organization that recently visited the East and interviewed Tilden, Hewitt, and other Democratic lights for the purpose of securing the next Democratic National Convention for Chicago. Mr. Hoyne was at one time Mayor of Chicago. He leaves four sons and a daughter, all residents of this city. It was not until 10 o'clock tonight, 25 hours after the disaster, that Mr. Hoyne's relatives here were informed of his death. 

Compiled by Dr. Neil Gale, Ph.D.