CHAPTER ONE

Growing Up Near City Park

In the early thirties, from the second-story porch of the family duplex on Orleans Street, I had a perfect view of the Scenic Railway in Stock's Amusement Park on City Park Avenue. As a small child, I often stood there, watching the little string of cars climb slowly up the first rise of the roller coaster, perch momentarily at the top, and then begin the wild ride down the slope as the passengers shrieked with delight.

I do not remember that the shrieks ever startled or frightened me. I think I must have heard them from my crib. My family had moved into the house on the Orleans Canal when I was a year old, and Stock's had been on City Park Avenue, two blocks away, for more than twenty years, since the days when it had been known as Stock's Scenic Park.

Every Sunday afternoon, when I was four, five, and six years old, my Memere Pigeon (my mother's mother) took my brother Bob and me to Stock's for a ride on the carousel and a chocolate soda or a dish of cream. As we knelt up on the Coca-Cola chairs, slurping our sodas through straws, we whined and complained that our pleasures were so restricted.

The Sinnick Railway, as the old folks called it, was off limits, and so were the moving picture boxes. These edicts had been laid down by my mother, and were repeated weekly by Memere. The roller coaster was too old and rickety, and besides, we might get scared and throw ourselves out of the car just as it reached the top of the first high rise. As for the moving picture boxes, the scenes were too risque. (Mother had heard this; she had never seen the movies.)

Bob and I grimaced and watched enviously as knickered teenagers in Sunday ties and plaid caps stood on the platforms, dropped their nickels into the slots, turned the handles, and watched the still pictures pass in rapid succession, giving the illusion of a movie. How I yearned to see the forbidden pictures! And how disappointed I was in later years to find that we had been saved from nothing more than an occasional glimpse of gartered stockings!

Stock's offered such stiff competition to the City Park's concessionaires that with the worsening of the Great Depression, Stock's was forced out of business. In 1939, Stock's carousel was bought by Pontchartrain Beach operator Harry Batt, Sr., and placed in his lakeside amusement center, where it remained until Pontchartrain Beach closed in 1983.

To Bob and me and our neighborhood friends, City Park was like a big backyard. On summer days, we spent many hours playing on the swings, the slides, and the seesaws that lined City Park Avenue. We waded in the fountain basins where black metal ladies also dipped their toes.

Sometimes we entered the park at Alexander Street and wandered along beneath the oaks to a small arched bridge which crossed the lagoon to the Casino. There, one could rent boats, bikes, or tennis courts and we could buy a Coke or a bag of popcorn if we had a nickel. We often brought along a bag of stale bread to feed the ducks that gathered there.

My mother allowed us to swim in the City Park pool only on Tuesdays, since the pool was cleaned and refilled on Mondays. There was much in the newspapers then about the streptococcus bacteria (which caused scarlet fever and tonsillitis) being transmitted in swimming pools. I often thought my mother should not have been allowed to read the papers.

Nevertheless, on Tuesday mornings, Bob and I and the other kids in the neighborhood walked two blocks to the pool, bought a ticket, and changed in the bathhouse into our woolen, one-piece, belted suits. The girls all wore bathing caps and some wore little rubber bathing shoes. But shoes or no, everyone had to step barefooted into a footbath of disinfectant before going into the pool.

We spent hours in the pool, swimming out to the central raft, jumping off the diving boards, and sitting on the steep stone steps at the ends of the pool, where the water cascaded down around our shoulders. The Hell Diver in the center of the pool seemed miles high, and it challenged the boys to show off for their girl friends.

Sometimes on summer days, we carried our skates to the park and spent an hour or two skating on the smooth cement floor of the Peristyle, shaded by its roof and cooled by the breezes off the lagoon. Before we left, we always took a minute to straddle one of the huge stone lions that sat outside the majestic Grecian columns, guarding the lagoon.

The Peristyle, built as an entrance to a grand and imposing building which had never materialized, had become around 1910 an outdoor dance floor, but as far as we children knew or cared, it was there for us to roller skate in.

On Sunday nights, the neighborhood children, with one or more mothers, took a leisurely walk beneath the oaks in the park to the Casino to watch the dancers perform. We sat on benches outside the Casino facing the concert stage, watching an endless procession of children from local dancing schools go through their routines in glitzy satin costumes, top hats, and tap shoes. It was the perfect entertainment for the Depression era. The viewers were treated to a free show; the dancers had an audience to perform for; and the Casino made money on snowballs, popcorn, soft drinks, and cotton candy.

Tap dancing got the most applause, but there were also ballet and soft-shoe dances, and no show was complete without at least one adagio. Nothing thrilled me more than this daring dance where the young man threw his partner around (gracefully), pulled her around his neck or his back, and held her over his head as he spun her in a circle.

After the live performances, a cartoon or a movie was shown on a large outdoor screen, for those who had the fortitude to take in more entertainment.

Looking back on those revues, I recall most vividly my desolation, my self-pity as my throat tightened achingly with envy. More than anything in the world, I wanted to be up there on the stage with lipstick and rouge on my face, a walking cane in my hand, and taps on my shoes. But my father had forbidden any talk of dancing schools for me.

Little girls, put out before the world with their legs bare! he preached. It's downright indecent, and it teaches them the worst possible lessons in feminine modesty. My father, I always thought, had missed his vocation. He should have been a priest. Truth be told, I had known many priests who were more modern and up-to-date than he.

Unfortunately for me, I had been born the year before Shirley Temple. She was therefore my envy and my delight, my role model and my secret soul mate. I saw every movie she made, and I laughed and cried and wished I could be Shirley, not unlike, I am sure, thousands of other little girls all over the country. It helped my ego but not my situation that my Aunt Hazel, my father's sister, was convinced that I could do anything Shirley Temple could do, and said so whenever she had the chance.

That child has talent, she told my father. She has a fine little voice, she can carry a tune, and she's graceful. If she had a few singing and dancing lessons, she could do anything any of those other kids do in the movies.

My father then gave her a melting stare, and shook his head threateningly. But Aunt Hazel was not intimidated by her brother, and she went on with her litany of my talents. Nothing helped, however. I didn't get the lessons or the chance to perform. And somehow, I outlived the yearning.

Once in a while, when my mother was with me in the park, we were approached by a very short man whom we all knew by the name of Mr. Wolf. For thirty years this Russian immigrant, whose real name was Wolf Rosensweig, operated a homemade tintype camera in the park, taking snapshots of children and selling them to the parents. If Mother said yes, Mr. Wolf, with his perpetually dour expression, lifted me onto his stuffed pony, set up his camera on its tripod, put his head beneath a huge black cloth, and took the sepia picture.

We had fun in the park every day without spending a dime. Our one extravagance was the weekly twenty-five-cent ticket to the swimming pool. But as for the rest of the week, we spent our time climbing on the knobby branches of the ancient oaks that spread out close to the ground, swinging on the swings, watching the dance revues, and feeding the ducks. Growing up in the Great Depression, we had little spending money in our pockets, and we sought and found free entertainment.

In the middle and late thirties, it seemed to us children that there were hundreds of workmen all over our park, changing the looks of everything. My father explained that President Roosevelt had organized the Works Progress Administration to give work to the unemployed.

The WPA workers dug new lagoons and left the park with beautiful art deco statuary, new bridges, a football stadium (where we were to attend all the high school football games in the late thirties and throughout the forties), and Roosevelt Mall, on whose quiet lanes I first learned how to drive.

I remember once, a close girl friend was able to obtain through her father (the manager of City Park) the use of the McFadden mansion for a slumber party for a big group of us. We could not believe our good fortune.

Twenty excited young girls and three chaperones rushed into the mansion at dusk, giggling hysterically at the privileged adventure. We set up our cots on the Japanese sun porch and partied throughout the night, talking about boys, drinking Cokes, and eating snacks. Then, in the early morning hours, we were taken on a tour of the magnificent mansion. We gasped in awe at the marble-lined swimming pool, the ballroom, and the family chapel with its stained-glass windows.

When the sun was coming up, we escaped our sleeping chaperones and explored the grounds. We ran barefoot through the dewy grass, revelled in the beauty of dawn in the Oriental garden, and discovered the lovers' lane with its iron-arbored wisteria vines, bamboo canes, and roses.

Many years later, my own son attended the Christian Brothers' School, which had taken possession of the mansion in 1960. The ballroom where we had twirled like queens of the cotillion had become a gymnasium. And the sun porch, where Colonel W. H. McFadden had once cultivated tropical plants, and where a group of young girls had once enjoyed a luxurious slumber party, had become a series of classrooms and a library.

I was a freshman in high school in 1938 when the City Park Stadium, which had opened the year before, was used as a setting for the National Eucharistic Congress. The impressive new structure, completed by the WPA, had been chosen by Archbishop Joseph Francis Rummel to stage the major activities of the Congress. Catholic church dignitaries from all over the country, and indeed the world, came to New Orleans for the occasion. Not before or since have so many people come to the park in a four-day period. My brother Bob, who had been an altar boy for ten years, was chosen to be an acolyte at the Solemn High Mass concelebrated by dozens of priests on the altar built for this purpose at the open end of the stadium's horseshoe.

Dressed in white uniforms and gold capes, Catholic school students from all over the city marched, some for many miles, to the football field of the stadium to participate in the Youth Mass. The altar was so imposing that it was preserved outside the stadium for more than thirty years after the Congress.

How lucky I was—and I knew it even then—to live just three blocks away from the City Park Stadium, the center of the most important high school sports activities during my high school years, 1938 to 1942. (I was always a young student, having skipped a grade and later enrolling in accelerated programs. There was no such thing as the eighth grade then, either.) It was from the stadium that I first heard the name Al Widmer announced over the intercom during a football game. Widmer passing to Loker, good for fifteen yards and a first down, the announcer said in sufficient decibels to be heard on our front porch on Orleans Street if the wind was right.

This was