Archive for the 'History' Category
Tuesday, November 4th, 2008
Hiking Dripping Springs - Part 2
Details on hiking to the springs in Dripping Springs Canyon are given here.
Van Patten Mining Camp
The ruins of the Van Patten Mining Camp are a short hike north of the springs. Construction of the Camp began about 1895 and was completed and advertising for business in 1897. The Camp sold itself as a vacation resort in the Organ mountains several thousand feet above the sultry southern New Mexico desert. The resort building was L-shaped. One two-story wing had 14 hotel rooms for customers, and the other wing a large dining hall, a dance hall, a roller skate rink, and living rooms for the operators.
A historical marker at the site provides a photo of what the Camp, also known as the Dripping Springs Resort, looked like in 1900.
The marker provides a few historical details on Van Patten, but does not convey the extent of the accomplishments of this remarkable New Mexico pioneer.
Albert Eugene Van Patten was born November 10, 1839 in Oneida, New York, but many sources give a different, erroneous birth date.
In 1857 when John Butterfield was starting the Overland Mail Company, he hired Van Patten and his three older brothers to help set up the El Paso link of the stagecoach trail. They arrived in El Paso as part of the first Overland work crew on December 23, 1857. Van Patten did all kinds of work for the Company, including driving stages and serving as stationkeeper at the Picacho Station.
On February 9, 1860, Van Patten was the conductor of a stage coach ambushed by Apaches in Cooke’s Canyon on its way from Tucson to Mesilla. After a long standoff in which all of coach’s mules but one were killed, Van Patten, the driver, and the six passengers abandoned the coach and fortified themselves behind rock outcrops. They were rescued eventually by scouts of a merchant party which happened to hear shooting.
When the civil war started he joined the Confederates, even though he was born a Yankee. Following the war, he was a life-long Republican.
In 1865 he married Benita Madrid Vargas, a high ranking Piro Indian. This began a life-long commitment to Indian interests, and he was a major player in the Piros relocating to Tortugas and being granted title to that land by the State of New Mexico in 1914.
He served in many offices, including county sheriff from 1884 to 1888 and deputy U. S. Marshall from 1889 to 1896. He led the posse that tracked the murders of Colonel Albert Fountain and his son Henry, and was a major witness at the trial (the accused were acquitted). Although unable to serve, he helped organize the New Mexico contingent of Roosevelt’s Rough Riders.
In 1917 (not 1915 as given by the historical marker) he sold the Van Patten Mountain Camp to Dr. Nathan Boyd and entered a long period of financial difficulties. When he died on February 28, 1926, he was almost destitute.
The Ruins
The Camp Ruins are extensive, and make stunning photographs. This part of the original structure is in the best condition. Note how the two end windows in the eve match the windows in the old photo.
These ruins are of the other wing.
Picnic Area
Take your lunch, because there is a lovely, shaded picnic space next to the Camp ruins.
Coming Soon:
Part 3 - Boyd’s Sanatorium
Related posts:
Hiking Dripping Springs - Part 1
Dripping Springs - Green, Green, Green!
Sources:
Las Cruces New Mexico, 1849-1999, Gordon Owen, Red Sky Publishing Company, Inc, 1999.
Pioneers of the Mesilla Valley, Paxton P. Price, Yucca Tree Press, 1995
The Butterfield Trail in New Mexico, George Hackler, Yucca Enterprises, 2005
Tags: Las Cruces, Organ Mountains, History, Dripping Springs, Chihuahuan Desert, Eugene Van Patten
Thursday, September 18th, 2008
Las Cruces Gets Talkies
On October 19, 1929, the Las Cruces newspaper announced the arrival of talkies:
Sound Pictures Coming
A matter of great interest to Las Cruces theatre goers is that tomorrow the Fox Rio Grande Theatre, one block west of Church street, will open up their sound projector system which they have been busily installing for the past week or so. From the character of pictures with sound which have been booked for the coming weeks it is quite apparent that Las Cruces is to have just as high grade entertainment in that line as the largest cities in the country. Las Cruces is to be congratulated upon this fact and it is comforting to know that with this beautiful playhouse, and the installation of this most adequate and modern sound projecting system which is the product of Western Electric and the best made; together with the management afforded by the great Fox West Coast Theatre chain which now owns the Rio Grande, Las Cruces folks will not have to go to El Paso nor anywhere else to see and hear the best shows produced. It is also a matter of satisfaction to Las Cruces people that manager W. L. Gullett is to remain in charge of the management of the Rio Grande.
Las Cruces Citizen, October 19, 1929
Here’s the story behind this highly welcomed event:
Some time in early October 1929, the Rio Grande Theatre was purchased by Fox West Coast Theatres, a distribution and theater ownership company begun in 1921 by William Fox.
William Fox is one of the pioneers - and early heroes - of movies. He got into the film showing business in 1904 by starting the Greater New York Film Rental Company. In 1909, he played an important role in breaking Thomas Edison’s film monopoly, the Motion Picture Patents Company.
In 1915, he founded the Fox Film Corporation to make films, his first film being A Fool There Was staring “sex vamp” Theda Bara.
Business was booming in 1929 and Fox, who always thought “gigantic” and had a “big” reputation for showmanship, decided to celebrate his “Silver Jubilee” of being in the film business with a massive national promotion. On October 12, 1929, he ran the following full-page ad in the Las Cruces Citizen newspaper:
is the History of the Motion Picture”
Time Magazine said this about his campaign.
Last week came the Silver Jubilee (25 years) of the Fox Theatres, announced by lavish two-page newspaper advertisements that told of gala performances, mysteriously adding: “Far more important than even the entertainment, will be a message from William Fox of vital concern to the future welfare of every patron of Fox theatres.
In 500 of the 1,100 Fox theatres throughout the U. S. audiences heard this message delivered through Fox Movietone. The birthday gift was advice that Fox patrons buy outright as many shares as they could afford of Fox Theatres Corp. operating and holding company for his gigantic chain. As special inducement they were told of plans for future expansion and the large earnings that were possible.
Expansions promised by Mr. Fox far outstripped the ordinary bounds of showmanship. He promised not only installation of his “grandeur” proscenium-filling screen, and cinema houses devoted to newsreels, but magnificently he offered one fourth of his fortune (which newsmen were permitted to estimate at $36,000,000) to develop visual-oral instruction in schools. “On the theory,” he said, “that one picture is the equivalent of eight words” and that words uttered by college presidents are more potent than those of ordinary teachers, Mr. Fox visualized the time when 15,000,000 or 20,000,000 school children will have school hours reduced from six to three per day by listening to a talkie “educator” instead of to a teacher….
Less convincing than his generosity was Cineman Fox’s foxiness. Offered in 1925, Fox Theatres stock has paid no dividends, has never responded to continued reports of expansion. In 1928 its earnings were $1.91 a share. Previous attempts to distribute the stock, mostly held by speculators, have been unsuccessful. Early this year a group of brokers ran the stock to 37-7/8, but before much was distributed it broke to 21-1/2. Last week it was strong around 28 on belief that the Fox Birthday plan, if successful, will reduce the floating supply.
Time Magazine, Oct. 21, 1929
The coming attractions advertisement that ran in conjunction with the Silver Jubilee announcement showed that the first talkie in Las Cruces was The Flying Fool, staring William Boyd. William Boyd later became famous as “Hopalong Cassidy.” The Flying Fool was followed by Geraldine, The Single Standard, and Diamond Master.
The Flying Fool is the story of a WWI pilot with that nickname who falls in love with his brother’s girlfriend. To settle who gets the girl, the brothers “fight it out” without guns in the air. After taking extraordinary risks, both brothers land safely and the girl decides she is in love with the “Flying Fool.”
Stock Market Crashes - October 24, 1929
The people who attended the Thursday showing of The Single Standard staring Greta Garbo probably enjoyed it. It’s impossible to say how many people in Las Cruces heard of or worried about the stock market crash that day. Certainly no one knew that people would later consider that event that day — Black Thursday — the beginning of The Great Depression.
On October 26 the Las Cruces Citizen published the advert for the next week’s pictures, clearly marked as talkies.
For the curious, here’s the advertisement for the last silent movies shown in Las Cruces, just prior the Rio Grande Theatre’s purchase by Fox.
Prior posts:
Rio Grande Theatre
Rio Grande Theatre - More History
Tags: Las Cruces, Rio Grande Theatre, Theaters, History, Main Street
Saturday, September 13th, 2008
Rio Grande Theatre - More History
The Rio Grande Theatre opened on July 29, 1926. The official announcment to the public was made in the July 24 issue of the Las Cruces Citizen newspaper:
RIO GRANDE THEATER OPENS JULY 29
At last we are privileged to announce the definite opening date of the new Rio Grande Theatre built by Seale and Dyne and operated by the Central Theatres Corporation of Denver as Thursday July 29th with the powerful Sea Drama “Mare Nostrum” as created by the masterful director, Rex Ingram with Alice Terry and Antonio Moreno in the leading roles. Mr. Ingram has directed such notable successes as The Four Horsemen of the Apocalypse, and may others. Mare Nostrum is conceded to be one of the outstanding successes of the year and the management was indeed fortunate in securing an attraction of this caliber as an opening production.
A treat indeed is in store for those who have anxiously awaited the opening of this truly wonderful institution which is a great credit to the Southwest, the builders who have had the foresight to visualize the future in their enterprise and the operators for the confidence they have placed in the community in the manner they have equipped the theatre.
Replacing the old style painted scenery, the stage is to be hung and decorated in a lavish manner with velvet drapes and curtains as is the Auditorium proper. The foyer and aisles are carpeted in a rich red and the lightning [lighting] is as modern as has yet been installed in even the larger theatres in the cities.
A washed air cooling system maintains any desired temperature with its clean pure air as distributed scientifically throughout the house, the mammoth organ will be operated by Miss Elsie Dean Bristol who comes direct from one of the corporation’s Denver theatres, which assures all lovers of accurately played pictures a treat in store for them.
– Las Cruces Citizen, July 24, 1926
The first advertisement for the theatre was published in the same issue of the newspaper:
The movie selected for the opening was the silent movie Mare Nostrum, directed by Rex Ingram. The New York Times’ movie critic Mordaunt Hall had given the movie a mixed review on Feb 16, 1926. Even then, the movie critic’s basic stance of a haute attitude and a pseudo-intellectual tone is evident. Some quotes from that review:
“The German submarine and the Wilhelmstrasse spy system during the World War are the theme of Rex Ingram’s picturization of Blasco Ibanez’s “Mare Nostrum,” which was presented last night before an audience that appeared to be left slightly dazed by the weird delivery of the film. It is an effort that in the second half has its full quota of thrills, but in the end it reminds one of the Von Tirpitz edict—”Spurlos Versenkt!” The heroine and the hero have met their deaths and so have the villains; the comedian alone is left to drift back to his Spanish port aboard a flimsy raft.”
“Mr. Ingram goes about the unfolding of this narrative with a dislike of haste. He seems to tell you that you must gaze upon his story as he tells it or not at all, and therefore it is not until just before the first half has come to a close that interest in the picture is really awakened; that happens to be through a scene in which a stout German Frau Doktor of the German Secret Service, her faithful and beautiful aid, Freya Talberg, and a Spanish skipper, drink a toast to the Emperor Josef.”
“The first sequence dealing with the sinking of a British vessel by a submarine is graphically filmed. The Mediterranean is a tame stretch of blue to a wireless operator. He had just said “Hello” to his colleague aboard the Californian. Then one perceives the submersible sneaking after its prey, and subsequently the Californian receives her death blow in an explosion of spray and fire. Aboard the other vessel all is tranquil; then the wireless operator gets the S. O. S., but gradually the sinking ship is covered by water. The commander of the submarine pushes his cap back over his shorn head and checks off the British steamship as having been sunk.”
“Freya is arrested as a spy and taken from Marseilles to the St. Lazare prison, in Paris. In the course of usual motion picture events Freya would have been saved at the last minute. One awaits it in this film. She is taken to Vincennes in the early morning, and the soldiers line up. The buglers sound “Taps” after making a flourish with their brass instruments. Freya had made a petition to be shot in furs, feathers and expensive clothes; it was granted. She had walked proudly to the white stake against which she rests. Her hands had been tied with rope. An officer winces before the order is given to fire. When that order comes the rifles blaze and nothing more is seen of Freya until a weird idea or nebulous figures under the sea is portrayed at the end of the picture.”
“Alice Terry is fair, but unconvincing in the rôle of the German spy. She is too phlegmatic for the part. Antonio Moreno figures as the susceptible Ferragut. Mr. Moreno has plenty of character in his countenance, but he does seem to be a ready victim to a pair of blue eyes.”
“Aside from the effective photography in Spain, Italy and France and the dramatic sequences concerned with the submarine’s deadly work and the shooting of a woman spy, this production does not do justice to the talent of the man who made “The Four Horsemen of the Apocalypse” and “Scaramouche.” His last production, “The Arab,” was lovely but a slow story that did not boast of much in the way of drama.”
“Mare Nostrum” is Latin for “Our Sea.” Beginning in Roman times it referred to the Mediterranean Sea. During World War I, it was common shorthand for the fight for control of the Mediterranean between the two sides.
Probably no one in Las Cruces at the time read the New York Times’ review. The opening was a big success:
NEW THEATER HAS GRAND OPENING
W. L. Gullett, manager of the new Rio Grande Theater got off to a good start Thursday night when he opened this fine new playhouse because the house was packed and the play was up to expectations, and then some.
It is needless to say that he will continue to have full houses as it is Mr. Gullett’s intention to bring only the best plays.
M. B. Stevens, the popular realty man, made an address that took big. If “Mo” decides to throw his old chapeau into the political ring, the La Estella will get right behind his candidacy.
Las Cruces Citizen, July 31, 1926
As was standard in those days, the Rio Grande Theatre changed its movies every week. Here’s the showing for the second week, July 31, 1926:
Here’s the newspaper ad for week three, Aug 7, 1926:
For more photos of the Rio Grande Theatre see this prior post.
Tags: Las Cruces, Rio Grande Theatre, Theaters, History, Main Street
Thursday, September 27th, 2007
How Las Cruces Got Its Name
Las Cruces, N. M., “The City of Crosses”
In reply to an inquiry as to how Las Cruces, New Mexico, “the City of Crosses,” got its name, Judge Charles Blanchard, of Las Vegas, who is located in Las Cruces temporarily, handling lands and mines, writes to The Optic as follows from that city:
“I have renewed here the acquaintances of many old settlers, some of whom I have never seen but whose names were familiar through business connections in the early days; from the early 1840’s until the advent of the railroad in New Mexico, during the good, old times of wagon freighting from Chihuahua to [the] Missouri river, by way of Las Vegas, where I was initiated into the mercantile business that commanded the patronage of this portion of New Mexico in its full breadth from east to west and along the Rio Grande [and a] hundred miles into Texas.
I read the other day the register of the old Mesilla hotel, rendered famous as the rendezvous of many pioneers of the southwest, at that time that Soccorro county extended from Arizona to the west line of Texas, when the present “Lincoln” was known only by the name of Fort Stanton and the old town of Tularosa. Such names as John Chisum, Col. Emil Fritz, Major Murphy, Capt. J. C. Lea, Col. A. J. Fountain, Col. Rynerson, Jimmy Dolan, Joseph Reynolds, Pat Garrett, A. Griggs and a host of other familiar figures often appear upon the leaves of the records of the ancient hostelery of Mesilla.
In the old town of Mesilla are several families with centenarians, one of whom is living with members of four generations in the same house, due, of course, to simple, frugal living, and exploding the theory that longevity is produced by modern, scientific preparations of diet.
Mesilla is one of the oldest settlements in the southern New Mexico, and has consequently been the scene of many thrilling adventures and historic events. Being on the main road between Santa Fe and Chihuahua, it was a settlement of no small importance, and when in 1865 Silver City began to loom up as a mining camp, a wagon road was opened from Mesilla through Cook’s Peak and Stein’s pass, of Indian massacre fame, and it added much to the importance of the old town. El Paso and Las Cruces were not known then; the town of Dona Ana, seven miles up the valley, being the only settlement as a rival as a trading post and county seat.
In 1852, a long caravan of forty five carts drawn by oxen, heavily loaded with freight from Santa Fe to Chihuahua merchants were one morning nearing a point where the Lucero flouring mill now stands, the northern suburb of Las Cruces, where the convoy was attacked by the Mescalero-Apaches and entirely destroyed, some fifty men being killed and buried on the spot. The native cart was constructed without bolts of iron and the creaking of the wheels could be heard at great distances, when in motion.
The news of the disaster was conveyed to Dona Ana where some troops were stationed. The men were buried in separate graves marked with mounds and a cross on each grave. Ever since the spot has been designated as that of Las Cruces, the present City of Crosses.”
– Rio Grande Republican, Feb 13, 1909 (newspaper)
Tags: Las Cruces, History
Thursday, April 5th, 2007
Pat Garrett Marker
The city of Las Cruces is considering the approval of a 1,703.9 acre subdivision on the East Mesa south of Hwy 70 called “The Vistas at Presidio II.”
Unknown to virtually everyone in Las Cruces, this block contains a marker built by Jarvis Garrett to memorialize the spot where his Dad was shot. Jarvis Garrett is the youngest son of Pat Garrett. Pat Garrett is the lawman who is most famous for having shot Billy the Kid.
A local organization called Friends of Pat Garrett has been formed “to ensure that the site where the death occurred is set aside for a memorial to Pat, and that the marker set up by Jarvis is retained and protected.” Their web site is:
Here’s what the marker looks like:
Pat Garrett was shot February 28, 1908. You can see “Feb 1908″ carved in the marker in this closeup:
Photos courtesy of Friends of Pat Garrett.
Tags: Pat Garrett, Billy the Kid, Las Cruces
Friday, February 16th, 2007
Las Cruces’ Worst Mistake
The hands-down worst mistake in Las Cruces history was the destruction of Main Street under the guise of “urban renewal.”
“Urban renewal” was federal policy in the 60s, part of the big government social engineering mindset that began its rule then and is with us still. In the case of Las Cruces, the Federal Government was willing to pay two thirds of the cost of “renewing” the downtown area.
Here are a couple of post card images of Main Street, Las Cruces from the 1940s.
The justifications for the “renewal” of Main Street and surrounding area were the usual ones:
The businesses there were not doing that well,
The buildings were old and unattractive, some dating to the late 1800s,
And, of course, a wonderful urban utopia could be put in its place with businesses that would pay more taxes.
But the truth of “urban renewal” was never an urban utopia.
Instead, businesses that social planners didn’t like, but had historical and organic roots, were replaced by businesses they “favored” and were willing to subsidize. Whether the new businesses would make money was a gamble — the only firms that were certain to profit were those involved in the destruction of the “old” and the construction of the “new.”
The plan that was adopted involved closing 7 blocks of Main Street and turning it into a “shaded” walking mall. The blocks on both sides of the mall would be cleared of all buildings to make that space available for new construction. Businesses and home owners that did not voluntarily sell in the cleared areas, or agree to renovations in the walking mall, would be removed by eminent domain.
Implementation of the plan began in 1968 and was finished in 1974.
The “renewal” area contained 160 businesses. 38 agreed to make the required remodeling changes and were permitted to stay. 122 did not and moved or went out of business.
A total of 84 families and 52 individuals lived in the cleared area and were forced to relocate.
Here you can see the “urban renewal” area shortly after its completion. Main Street has been closed and the streets on both sides now loop around it. The extensive empty areas, including the swath to the right of the loop (east), are “cleared” areas.
Here’s a better view of the “front” (south end) of the mall:
As the photo makes clear, this was an extremely ugly design with very serious problems. There was absolutely nothing that was attractive to people driving by in cars. All you could see from the loop were the backs of the businesses, and in the walking mall itself, the low “shades” covered anything attractive in the buildings — not that there was much that was attactive left, because the forced renovations had resulted in the historical storefronts being destroyed or covered with “modern” facades.
The mall was and is a failure.
It destroyed Las Cruces’ historical downtown heritage and replaced it with an ugly public space that no one wanted to visit.
Here’s what the front entrance looks like today:
Here’s what the inside of the mall looks like:
Recognizing what a horrible mistake the project was, the city is now removing the mall and restoring Main Street. But it’s impossible to recover what was destroyed.
Tags: Las Cruces, Urban Renewal, Downtown Mall, Las Cruces History
Saturday, November 11th, 2006
La Entrada Moved
The La Entrada Monument is gone — moved to storage.
The removal of the monument is part of the renovation to restore Main Street and remove the Downtown Mall. This reverses the most disastrous public policy decision in Las Cruces history, which closed the historic old street and converted it to a semi-open mall.
La Entrada’s creator Anthony Pennock supervised the monument’s disassembly. A new location for the monument has not been selected.
Tags: La Entrada Monument
Friday, October 27th, 2006
Peter Wolf Toth
Las Cruces has one of Peter Wolf Toth’s Whispering Giants, as noted here.
Since yesterday was the 50th anniversary of the Hungarian Revolution, this is a good time to review his book on his sculptures and life, Indian Giver.
Indian Giver was published in 1980. It begins with his childhood in Hungary. He was born in 1947, the seventh child in a family that eventually numbered 11 kids.
Conditions under the communists were brutally harsh, and got even worse when what little property his father had was taken and given to a party member. They were left with a dirt-floored house in which the only furniture was a table and 13 chairs.
When the people of Hungary revolted against the Russians, it appeared at first they had succeeded. The Russians even agreed to negotiate — but it was a ruse. They returned with a huge force, mercilessly crushing all opposition. Mass arrests and executions followed.
Two of Toth’s brothers escaped to the West, and Toth’s parents decided they would follow. For a short period of time the Yugoslavian border was open because the United States was paying Yugoslavia a bounty for every Hungarian that was permitted to leave Hungary.
After a dangerous escape and two years in refugee camps in Europe, Toth and his family came to the United States as sponsored immigrants.
Following his account of his life, Toth describes how he carved his first sculpture in a rock cliff, motivated by a compelling image he saw in the stone. That was 1972.
After carving a second sculpture in wood, he decided he would carve one for each state in the country, taking nothing for his work.
The difficulties and rewards of the first 27 “Whispering Giants” are described, and pictured. These sculptures are not “works” created in a studio — they are his life, requiring months of travel searching for the appropriate tree and location, and months of carving.
In releasing the image he sees in each unique piece of wood, he satisfies something deep in himself. But he also makes it clear the work itself is a physical pleasure — the outdoors, the textures, the fragrances — even scrubbing pitch out of his hair.
This is a wonderful, exuberant book. It is no longer in print, so see if you can find a used copy.
Tags: Indian Giver, Peter Wolf Toth, Trail of the Whispering Giants
