Hollywood & Vine

Spent a few hours at Hollywood & Vine. Once with my friend, Carmela Denton, and her family for a Sunday morning brunch in a restaurant on the top floor of a bank building with a wonderful view of Hollywood. It was the first time I'd ever had blintzes. The other time was when Chuck scheduled an audition for us and Dad on the show, Family Feud, hosted by Richard Dawson, 1976-1985, and again in 1994-1995. After the audition, we went for dinner and drinks at a nearby restaurant and talked about the fun we had.

Calvary

Chuck Pullman's gravestone is missing.  He's buried underneath his mom, or perhaps on top.  

Josephine was born in Denver County, Denver Colorado on November 13, 1915, one year after Dad, according to Find A Grave.  I'd always thought her birthday was November 30th.  Wow.  And she passed on the 26th of July, 1953, two years after her mother passed, at the tender age of 37. 

Sally, through Find A Grave, was able to find a record of Ma's burial.  Born in Wisconsin on January 19, 1879, and she passed on February 17, 1951 at 72 years old. 

This is the crypt that Conroy is buried in, and I believe his wife, Geraldine, is also laid to rest here.  It's the one on top.  Only  name given is William Michael Conroy, and you can see his dates.  

NOTRE DAME BEATS UCLA, 71-70, JANUARY 19, 1974 UPENDING THE LONGEST WINNING STREAK IN COLLEGE SPORTS

I saw this game with Dad at Bill Conroy's place in Lakewood.  The good old days.  There was a park/school near the Conroys' home and I used to play with kids there.  Check out the Irish roster.  

Adrian Dantley averaged 30 points per game.  Incredible.  

Loved the coach's name, Digger Phelps, who seemed to bring a certain luck to the Fighting Irish.  

UCLA's 1974 Roster: 

          

1937 Olvera Street

Be sure to read the notes to the documentary. 

Take an 8-minute guided tour through Olvera Street in 1937, presented here in original color and amusingly narrated by former silent film star Wallace MacDonald.

While Olvera Street got its name in 1877 and has roots going back more than 200 years, to the construction of its Avila Adobe in 1818, the charming pedestrian marketplace that we know and think of today didn’t open until 1930, which means that it’s just seven years old in this film.

This version of Olvera Street owes its existence to Christine Sterling, who upon learning of the city’s intention to demolish the Avila Adobe in 1926 went on to lead a three-year public campaign to save it. At that time, the Adobe had fallen into a state of total disrepair, and would require substantial work and resources to renovate it, so to appeal to the City Council, she presented a plan that she co-developed with LA Times owner Harry Chandler to convert the entire area into a Mexican cultural center.

1930s, A man playing the guitar serenades a young woman in front of an adobe on Olvera Street. After Olvera Street opened in 1930, vendors and performers—often dressed in traditional Mexican clothing such as serapes, rebozos, and charro outfits—helped create an authentic atmosphere. Photo from the Ernest Marquez Collection.  Thank you to Jack Feldman and the Water & Power Museum.

This plan garnered public support, thanks to Chandler pushing some friendly reporting and publicity in the Times, it wasn’t until condemnation notices appeared in 1928 that Sterling was able to emphasize the urgency and get financial support. In 1929, the City Council reversed its decision and embraced Sterling’s idea, and while they didn’t want to allocate city funds to help, they did enlist LAPD chief James Davis to drag out a crew of prison inmates sentenced to hard labor to help build it. According to Wikipedia, Sterling oversaw every step of the project and wrote in her diary: “One of the prisoners is a good carpenter, another an electrician. Each night I pray they will arrest a bricklayer and a plumber.”

This travelogue was written and directed by William L. Prager, using a ‘veracolor’ color process, and was produced by William Pizor’s Imperial Pictures. It is in the public domain.

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Finally, just want to note that the swastikas in this film are not being used here as symbols of hate. The swastika was originally used by various Native Americans and by Eastern religions as a symbol of peace and divinity, and it was later hijacked by Germany’s Nazi Party as a symbol of antisemitism.

1930s, Thanks to Jack Feldman.

1930s, A woman leans against a chain barrier in front of a classic automobile, watching a group of Mariachi musicians playing at the edge of Olvera Street, with L.A. City Hall seen in the distance. Photo from the Ernest Marquez Collection.

1930, Olvera Street, Los Angeles. Olvera Street was revived in 1930 as a tribute to Los Angeles’ Mexican heritage, with its colorful market stalls, cobblestone walkways, and historic architecture. Vendors offered traditional crafts, foods, and performances, creating a vibrant celebration of the city’s roots. Tourists and locals flocked here to experience authentic culture and cuisine, from tamales to handmade pottery. Olvera Street became a popular destination, preserving the heritage of early Angelenos while contributing to the city’s unique blend of cultural influences.  Thank you to Historical Los Angeles, USA.

1952, Visitors stroll and shop for traditional Mexican gifts and clothing on Olvera Street, ca. 1952. This view is from the north looking south, towards La Plaza and La Plaza Methodist Church, which are partially visible in the center background of the image. Source: LAPL and Los Angeles Relics.  

"Day by Day," "Day After Day," "Lord," and others from the early 70s

It's funny where we find ourselves when we hear songs for the first time.  Will never forget riding with Dad in his VW Bug westbound on the 210 Freeway at the Rosemead off-ramp.  I think the 210 only went that far back in 1971.  The song is titled, "Hear Me, Lord," from his 1970 triple album, All Things Must Pass.  I loved it when I first heard it, and it struck me because it was such a reverent tune, a distinct contrast to all of the crass, murdering, assassinations, wars, and conspiracies of that decade. 

What was funny was that I found this song so much more beautiful than the American song, "Day by Day" from the 1973 musical Godspell soundtrack.  

This video reminds me of the idiocy of the 70s.

 

Then there's another song from the 70s with "day" in it, called "Day After Day," 1971, by Badfinger.  

BTW, they wrote and sang the song, "Baby Blue," 1972, that's featured in the Netflix series, Breaking Bad, at the end when Walt dies after killing all of the