And here’s what we’re listening to in the Daily Mirror city room this morning.
It was written by Charles Ives in 1891 but not published until 1949.
And here’s what we’re listening to in the Daily Mirror city room this morning.
It was written by Charles Ives in 1891 but not published until 1949.

July 4, 1944
”The Make-Believe Sheriff” is the title of today’s episode of “The Green Hornet.” Otrrlibrary.org via Archive.org
”Lum and Abner” are building a health resort on grandpappy’s farm. Otrrlibrary.org via Archive.org.
Get ready to smile with “Vic and Sade,” brought to you by Ivory flakes. Otrrlibrary.org via Archive.org.

July 4, 1944: Uncle Sam in a cartoon by Edmund Waller “Ted” Gale for the Los Angeles Examiner and republished in the Milwaukee Sentinel.
Here’s a look at how Los Angeles has celebrated Independence Day over the years.

July 3, 1944
Life says: “The two lean young men on the cover are walking back from the front after a battle — the beginning of the Allied offensive which broke out of the Anzio beachhead toward Rome in May. Only one is wounded, but the other is effectively out of action, illustrating the military adage that it is more efficient to wound an enemy than to kill him. This wounded man is one of 225,382 U.S. casualties reported up to June 22.
John Hersey writes the fictional “Joe Is Home Now,” about Joe Souczak, who returns to civilian life after losing an arm during fighting in Africa.
MGM announces the release of “The White Cliffs of Dover” in celebrating its 20th anniversary.
In the field of religion, Life takes a look at polygamy in Utah and snake-handling in Virginia.
And at the age of 22, Deanna Durbin takes on her first role as a married woman in “Christmas Holiday.”


July 3, 1944
Officers from Pasadena, Glendale and Los Angeles County join to recover four safes that had been dumped in the San Fernando Reservoir by a gang of thieves. The safecrackers specialized in stealing a small safe, loading it into their car and breaking it open on the drive to the reservoir, where it was dumped down a steep bank.
Hedda Hopper says: “If it’s true that Greta Garbo is lending an interested ear to David Selznick’s blandishments to do the Sarah Bernhardt role for him, what’s to happen to the story of the Norwegian merchant marine which she agreed to do at the request of the Norwegian ambassador to the United States?

An undated photo of LAPD officers from SkyscraperCity.com, which reposts images from all over the Internet (including mine), often without acknowledgement.
In case you just tuned in, we’re examining an early photo of LAPD officers, often misidentified as dating from 1876 or 1869. In the last post we narrowed the date of this photograph to between 1887 and 1890. The men are wearing the Series 1 badge, which was replaced by the Series 2 badge in 1890, and Officer Henry W. Marden (third from right) was with the LAPD from 1887 to 1901.
Let’s see if we can do any more detective work:


July 2, 1944
Hedda Hopper says that some of the greatest of Hollywood veterans have been around so long that nobody takes them seriously anymore. Like Charles Laughton.

Here’s what they actually do in the Bradbury Building.
This ad popped up after a thrilling round of Words With Friends. Could it be the Bradbury Building? Indeed it is.

An undated photo of LAPD officers from SkyscraperCity.com, which reposts images from all over the Internet (including mine), often without acknowledgement.
I recently learned that this photo, published in Capt. Art Sjoquist’s “History of the Los Angeles Police Department” as “The first Los Angeles Police Department, 1876” has been dated incorrectly.
Sjoquist’s “History of the Los Angeles Police Department,” published in 1984, is an outgrowth of Sjoquist’s 1972 master’s thesis “From Posses to Professionals: A History of the Los Angeles Police Department.” Both of these volumes are essential research tools but hard to obtain, particularly “History of the Los Angeles Police Department,” which is almost impossible to find at any price. (The Los Angeles Public Library index lists both books).
Glynn Martin, executive director of the Los Angeles Police Museum, has done more recent research that questions the traditional date of this photo. Martin notes that a copy of the picture is displayed at the museum with a plaque reading “LAPD First Paid Officers, 1869.”
In his 2006 blog post, Martin says that one of the officers in the photo has been identified as H.W. Marden, who wore Badge No. 21.
Above, Officer Henry W. Marden in an image taken from the group photo. At right, Marden in a photo dated 1889, courtesy of the Los Angeles Police Museum. |
As best as I can determine, the photo of the six officers was taken between 1887 and 1888.
Here’s the first part of my research, which tells us the following:
First of all, the men are wearing the Series 1 badge. Sjoquist’s history indicates that the badge was in use from 1869 until it was replaced by the Series 2 badge in 1890. A collector says that they were in use from 1876 to 1890. Either way, the Series 1 badges indicate the photo was taken no later than 1890.
Now for Police Officer Henry W. Marden, whom we find in the 1894 Los Angeles City Directory, courtesy of the Los Angeles Public Library:

The Times reported on March 27, 1901, that Marden resigned from the LAPD after 14 years with the department:

He is mentioned in a Dec. 8, 1887, story in the Herald.
And further research reveals that he was a Civil War veteran who died in 1909 at the age of 68. He is buried at Inglewood Park Cemetery.
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Los Angeles Herald, July 15, 1909.
Veterans Administration records show that he was a private in Company B of the 25th Wisconsin Infantry.
To be continued.


July 1, 1944
Louella Parsons is on vacation and instead of running her replacement, Dorothy Manners, I thought I would switch to dear, old Hedda. I’m not a Hedda fan, so she won’t last long, but I thought she would make an interesting contrast with Louella, Walter Winchell and Sidney Skolsky.
Judge William B. McKay opens an investigation into charges of police brutality in Glendale and Burbank after the arrest of a 21-year-old man who says he was beaten by police and moved from jail to jail so he authorities couldn’t be served with a write of habeas corpus.

This week’s movie is “Let Us Be Gay” (1930).
A March 4, 1930, article in the Los Angeles Times about the making of the film said that some sequences were to be in Technicolor. “It may, in fact, be done entirely in color,” The Times said. (Obviously wrong).
The Sept. 13, 1930, review by Philip K. Scheuer called it an inferior variation of Norma Shearer’s previous film, “The Divorcee” (1930), which had a similar plot, but suffered from being rather stagey, having been adapted from a play by Rachel Crothers. And yes, Scheuer noted that leading man Rod La Rocque was miscast. “Mr. La Rocque’s self-consciousness remains acute through the picture, destroying the verisimilitude of the scenes,” Scheuer said.
And apologies for overlooking Mandiemarie20, who identified our mystery lad.

Cecil B. DeMille on the steps of the barn, which Paramount was using it as a gym, photo courtesy of Mary Mallory.
Most visitors to the Hollywood Bowl probably don’t realize the historic significance of the little gray barn sitting across Highland Avenue in Parking Lot D. Cecil B. DeMille directed his first feature film, “The Squaw Man,” outside this tiny structure a century ago, making it the West Coast birthplace of what is now Paramount Pictures. Countless stars have walked through its doors over the years, and the building has appeared in many films and television shows. For more than 112 years, this small barn has witnessed the evolution of Hollywood from sleepy village to filmmaking capital.
In 1901, businessman and investor Robert Northam erected a grand mansion costing $10,000 at the southwest corner of Prospect Avenue and Vine Street for his young bride, Leotia. Across the street and south of Selma Avenue, the tycoon constructed a homely barn to board horses and farming equipment. Northam sold the property in 1904 to real estate developer Jacob Stern, who employed the stable as a garage for his large touring car, one of the first in Hollywood. Within a few years, a new industry would spring up around the Stern property.
Note: To highlight the Lasky-DeMille barn and “The Squaw Man” centennial, the Hollywood Chamber of Commerce is hosting a celebration Tuesday, July 1 from 5 p.m. to 8 p.m. in the parking lot outside the Hollywood Heritage Museum, featuring beer and wine, ice cream photo stations, vintage cars, face painters, games, horses and a fire engine. Tickets cost $10. Parking is available entering from Odin Street. Marc Wanamaker and Mary Mallory will be giving a presentation in the barn on the building and filmmakers’ history.
June 12, 1944
Note: This is a post that was on the clock but failed to go live. Here it is, two weeks later.
The Greatest Generation does not seem to be interested in conserving gas, tires, their automobiles or anything else and they ignore the federal 35-mph speed limit. In fact war workers are the worst offenders, according to the American Automobile Assn.
“Hundreds of thousands of these war workers are driving cars for the first time,” the AAA’s Thomas P. Henry said. “They are accorded top priority in cars, tires and gasoline and apparently proceed on the assumption that they have a divine right to replacement if a car is demolished or a tire destroyed.”
As part of a crackdown on bad driving across Southern California, police in Los Angeles cited 2,038 motorists for violations including DUI, speeding and defective headlights.
In the theaters: “Cobra Woman” and “Timber Queen.”

June 26, 1944
Oh my, what is the Greatest Generation up to?

On the jump, a feature on war photographers.
And a look at movie stars and their stand-ins, including Mary Lou Isleib (Shirley Temple) and Jack Robbins (Bob Hope).

June 26, 1944: Return with us now to those thrilling days of yesteryear! “The Lone Ranger” with Billy the Kid. Courtesy of otronmp3.com.

The Google car (not self-driving) was at 2nd Street and Broadway the other day.


June 25, 1944
HOLLYWOOD, JUNE 24 — A studious appearing quiet young man is gray eyed Alexander Knox, who, out of hundreds of applicants, was chosen by Darryl Zanuck to play “Wilson.”

In case you just tuned in, I am using Louella Parson’s May 15, 1944, item on Rouben Mamoulian being replaced as the director of “Laura” to take a detour into the making of the film.
We have looked at the life and early career of author Vera Caspary, whose novel was the basis for the film, and I decided that before delving into “Laura” it might be useful to look at some earlier films based on Caspary’s stories.
In her autobiography, she bragged of writing eight different versions of the same story (“Suburb”) starting in 1932 and selling them to the studios before she was finally confronted by Paramount and told to stop or risk charges of plagiarism. Paramount’s position is understandable. In addition to the matter of paying for the same story again and again, at least one of the films was made by a rival studio — Fox. In this post, we’ll take a look at some of those films, because as unlikely as it seems, they provide some of the foundation for “Laura.”
The Making of “Laura” Part I | Part II | Part III | Part IV | Part V | Part VI
Warning: Spoilers ahead.


June 24, 1944
I rarely run Hedda Hopper, but since Beachgal said Hedda would have never fallen for Warners’ publicity on Dennis Morgan, here she is, leading her column with… guess who.
Hedda Hopper says: Dennis Morgan has come up so fast in the last two pictures, especially “Harvest Moon,” that Warners have handed him the part of Tony Pastor in “The Life of Tony Pastor” opposite Ann Sheridan.


June 24, 1944
Dorothy Manners, filling in for her boss Louella Parsons, says:
HOLLYWOOD, JUNE 23 — A sudden shuffle in the casting of “Experiment Perilous” brings out some interesting news. George Brent will play the hero role opposite Hedy Lamarr in the RKO movie instead of Gregory Peck, originally scheduled for the part. As it stands now the lineup is Brent, Hedy and Paul Lukas.