Tram Tuesday - Frankfurt, Germany

Trams have been operating in Frankfurt since 1872.  The tram system is alive and well and integrated with light rail (U-Bahn), suburban rail (S-Bahn) and the bus system. According to Wikipedia,  two new sections have been added to the streetcar system in the past few years and additional service will be added to serve neighborhoods with medium transit needs. The reason cited is that "trams are more attractive to the traveling public than buses and cheaper to build than underground railways." It's interesting to see trams replacing bus service, a reversal of trends in the mid 20th century.

Here are some postcards showing early views of Frankfurt with streetcars. The first two are both from about 1910, showing the same church from different angles.

The next two cards both show views of Zeil, Frankfurt's vibrant shopping street. The first one was sent in 1898, at a time when there were still horse-drawn trams, as well as steam-powered and electric ones. I can't tell which kind this one is, because it's tiny and there are some carriage horses in front of it.

On the next one, sent in 1903, you can see the overhead wires.

The last card shows an electric tram in front of the magnificent Circus Schumann, which was destroyed by Allied bombs in World War II. According to Circopedia, the U.S. Army used what was left of the building (the facade, foyer, and restaurants right behind it) until 1958.  The remains of the building were demolished in 1960.

That white object in the sky to the right of the building is a highly-stylized cloud, probably the strangest one I've seen, added by the person who tinted the card. This tinting process was also used to obscure unsightly things like overhead streetcar wires.

I love it when people write dates and document other happenings on the back of cards.  If we had been around 100 years ago, we too could have celebrated Otto's birthday at Circus Schumann.

The back of the first card looks just like the one above, but with no writing, so I won't post it. Here are the backs of cards 2, 3, and 4.

Berlin State Opera - Germany

This opera house, now known as Staatsoper Unter den Linden, was destroyed not once, not twice, but three times, only to emerge each time like a phoenix from the ashes. The original building was inaugurated in 1742 and burned down 100 years later. The reconstructed building was inaugurated in 1844.  The opera house was bombed in 1941, but managed to reopen in 1942. A more severe bombing in 1945 resulted in ten-year rebuilding time.

After 1961and the Berlin Wall, the opera house was a bit isolated over on the east side. I went to see an opera here in 1981 when the wall was still up. The street was oddly quiet and there was something eery about the surroundings in general. Since the reunification, this street is once again vibrant and lively.

This card is from about 1898. Here's a picture of the opera house taken by Josef Lehmkuhl in 2005.

And here's the back of the card, printed on the strange blue card stock.

Kit, The Arkansas Traveler

I have looked at this 19th century trade card numerous times and tried to find some history on it. Each time I have given up and put it away for later. Who or what was Chanfrau's Kit? What were the Beats? I found nothing on the internet, but I did find a few journal articles that gave me a clue. Here's where the trail of clues took me.

Frank Chanfrau (1824-1884) was a popular 19th century actor. He managed New York City's Bowery Theatre and was famous for his role as Mose in New York As It Is,  a play that broke all records for attendance and became the most popular play in the United States.

 Here's a photo of Frank Chanfrau.

Source: Wikipedia

Chanfrau later played the part of Kit, the Arkansas Traveler, a role that had been adapted for him based on the popular story and fiddle tune. The story, as described by Gene Bluestein, author of "The Arkansas Traveler" and the Strategy of American Humor, goes like this:

A traveler who is lost in a backwoods area inquires for the route home from a squatter or farmer. The squatter is usually seated on his front porch playing the fiddle or picking a banjo. After each section of dialogue, the squatter plays the first part of the tune. (It has become so well known it is often used to introduce or identify rustic characters.) 

Here's a typical exchange:

SQUATTER: Hello, Stranger. 

TRAVELER: Which one of those forks in the road do you take to town? 

S: I don't know. I keep my forks up on the shelf. (Here SQUATTER plays the first part of the tune.)

It goes on from there with lots of misunderstandings, the humor being derived from the differences between the sophisticated eastern traveler and the backwards country dweller. While the State of Arkansas eventually protested and declared that untold damage had been done to their reputation by these stereotypes, the sympathies of the drama seem to lie firmly with the country folk. It is the city dweller who is being outwitted by the country dweller, who merely pretends to be dense in order to withhold information.

Bluestein compares the city dweller/country bumpkin conflict to the conflict between Europe and the New World:

In response to this identification, the American has consistently faced his European antagonists with a show of bravado. But he has as often relied on just the kind of dissembling "The Arkansas Traveler" depicts. In fact, if one enlarges the scope of the antagonism between the squatter and the traveler, he perceives the outline of the more basic conflict. The traveler is not only a city-dweller, but an easterner who, in his point of view toward the backwoodsman, shows himself to be a European. The squatter, on the other hand, is not merely a farmer or rustic; he takes on the characteristics of the aboriginal American as well... The strategy of humor "The Arkansas Traveler" employs is uniquely American because it is based on the theme of cultural conflict between the European and the American. The traveler-squatter antagonism masks a deeper tension between the European traveler, who is smug and condescending, and the American native, who cleverly reverses the roles.

I find this particularly interesting in view of the recent criticism of presidential candidate Mitt Romney for speaking French. It makes a lot more sense now.

The Major and the Judge, depicted in the card above, are characters in the play along with the card sharp, the old man with the flirtatious young wife, and the German Hausfrau. I still don't know what they mean by "The Beats", but at least I feel like understand the greater story.

Frank Chanfrau died in 1884  at the age of 61. At the time of his death, he was still actively performing as Kit, the Arkansas Traveler. The New York Times death announcement on October 3, 1884 reported that large audiences had viewed his performance on Monday and Tuesday, but after dinner on Wednesday he was stricken with apoplexy and died the next morning at 5 am. 

For those of you who are curious, here's what the Arkansas Traveler music sounds like.

If you want to know more about The Arkansas Traveler, here are some good sources:

"The Arkansas Traveler" and the Strategy of American Humor Author(s): Gene Bluestein Reviewed work(s):Source: Western Folklore, Vol. 21, No. 3 (Jul., 1962), pp. 153-160 Published by: Western States Folklore Society.

"The Arkansas Traveller:" Southwest Humor on CanvasAuthor(s): Sarah Brown Reviewed work(s):Source: The Arkansas Historical Quarterly, Vol. 46, No. 4 (Winter, 1987), pp. 348-375Published by: Arkansas Historical Association.

The Success of Kit, the Arkansas TravelerAuthor(s): Robert L. Morris Reviewed work(s):Source: The Arkansas Historical Quarterly, Vol. 22, No. 4 (Winter, 1963), pp. 338-350 Published by: Arkansas Historical Association.

Paris Opera - Palais Garnier

On Monday I posted a card of the Hippodrome in New York. Then I saw that this week's Sepia Saturday theme is theaters (or theatres, depending on where you live.) So, I decided to post a couple more, including the Frankfurt Opera house and La Scala. I will have additional theater-related posts over the next few weeks, but I'll intersperse them with others, because I know some of you have already had enough of opera and theaters. But today, we're off to Paris.

The Palais Garnier certainly dominates the focus of the Place de l'Opéra. The building housed the Paris Opera from 1875 until 1989, when the new larger Opéra Bastille was built. The Palais Garnier is now primarily used for ballet performances. I have visited the building and the Paris Opera Library-Museum, but I have never been to a performance there. I did see a performance of Verdi's Simon Boccanegra at the Opéra Bastille in 2007, which was roundly booed by the audience, in part because of the modern reinterpretation and the spare set with its glaring gold backdrop.

Here's the Palais Garnier at the turn of the century. The card is embellished with lots of glitter, which unfortunately doesn't show up well on the scan.

And another view from decades later.

Here's the back of the first card, sent in 1906 to Cherry Morgan, staying at the Mount Hotel in Scarborough, England. The message reads:

Dear Cherry

We have put across the Channel. Some of the Channel was on ___of us Rough. Paris is very gay - hope you and your Ma are enjoying yourselves. Send love.

E.M. Costaline (?)

This is a post for Sepia Saturday, which is as entertaining as any theater. Click the box below to be transported.

La Scala - Milan, Italy

The building we see here was inaugurated in 1778 and named after the church (Chiesa di Santa Maria alla Scala, built in 1381) that was demolished to make way for the opera house. Over the years, numerous operas by Verdi, Puccini, and Rossini, among others, premiered at La Scala. The first performance at La Scala was the performance of Antonio Salieri's Europa riconosciuta.

It may not look like much from the outside, particularly on a black-and-white postcard, but it seats 2,800, and the interior looks pretty fabulous. I have never been to La Scala, but if I did I would want to sit in the cheaper nosebleed seats (known as the loggione) above the box seats. If you sit there, I imagine you can watch the opera and all the people in the box seats too.

La Scala was severely damaged by bombing in 1943, but was rebuilt in 1946.  The opera house is currently facing a tough budget year, with a drop in both private and public contributions.

Source: Wikipedia

Here's the back of the card.

Opera House - Frankfurt, Germany

The grand old Frankfurt Opera House still stands, although it is now known as the Old Opera, having been replaced by a newer building. The original Opera House was inaugurated in 1880. Kaiser Wilhelm attended and remarked that he would not be allowed such an extravagance in Berlin.

Carmina Burana premiered here in 1937, but only seven years later, a bomb nearly destroyed the opera house. It lay in ruins for many years amid proposals to demolish it and build an office building. Instead, a citizens' initiative started raising money for a reconstruction fund in the 1950s. The opera house was finally reopened in 1981.

At the time this card was sent (sometime before 1907), senders were not allowed to write a message on the back of the card. Many people scribbled message over or around the picture on the front. Salomon Marx simply imprinted the front of the card with his personalized stamp.  He sent the card to Rachel and Esther Rousseau of Ghent, Belgium.

I couldn't find anything on the Rousseau sisters, but I did find that Salomon Marx was born into a prominent Jewish family in Frankfurt. I can only assume that this is the same Salomon Marx. He was born in 1863 and was able to emigrate (to the United States?) sometime after 1933.

New York's Hippodrome

Imagine visiting New York's Hippodrome Theatre in 1910. At the time, the huge theatre, which seated 5,300, was only five years old. You might have seen Harry Houdini make a 1,000 pound elephant disappear here or watched a Charlie Chaplin film when it first came out. The theatre had an 8,000-gallon water tank which could be raised from below the stage for diving shows. The huge stage had no trouble accommodating circus animals. The Hippodrome passed through many incarnations--as a vaudeville theatre, a budget opera house, and a sports arena--in an effort to make money. Unfortunately, the operating costs were high, and the Great Depression just made matters worse. The theatre was closed down and demolished in 1939.

It was replaced by this building.

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Here's the back of the card, sent to Sarah Craven of Lawrence, Massachusetts. The message reads:

New York, Sep. 25, 1910

Dear Sarah.

We are in new York. I think I will go ashore. Will write you a letter. Hope you are in the best of health. From your friend Chas