Beulah Vee's Cedar Chest (2)

To recap: in a series of five posts I'm exploring the contents of a cedar chest belonging to my aunt Beulah Vee Wright, who died in 1939 at the age of 18. Background on her and this project can be found in part 1.

Part 3 of this series can be found here, part 4 here and part 5 here. 

Here's the cedar chest resting in its current home in my daughter Becca Leon's house in Oklahoma. 

Open the chest and here's part of what you see.

Whitman's chocolates have been around for a long time--since 1842.

There are several song and music books in the chest. 

Lots of small, personal items are stored in the chest.

My aunt apparently received this memory book on her 17th birthday. On the pages below she's written her favorites in various categories.

Interesting that she listed English as one of her "Pet Studies". As we'll see in a subsequent post, high school English was not her best subject. 

She apparently had her share of boyfriends! Note one of the names in the middle: Joe Lane. He will make an interesting appearance in another post. 

Beulah Vee seems to have been a fan of Tyrone Power, Clark Gable and Myrna Loy, all popular film actors of the 1930's. Faith Baldwin was a very prolific and popular novelist at the time. I presume "Night and Day" is the popular 1932 song by Cole Porter. Singer, songwriter and saxophonist Wayne King started his own orchestra in 1927. 

Here's one of many similar items my grandmother saved from Beulah Vee's school days. 

Beulah Vee's Cedar Chest (1)

Part 2 of this series can be found here, part 3 here, part 4 here and part 5 here.




My dad's older sister and thus my aunt Beulah Vee Wright has always been something of a mystery in the family. Born in Gadsden on November 2, 1921, she died soon after her eighteenth birthday on December 10, 1939. She had attended Etowah High School, graduating that spring despite a serious illness that had begun in March. She is buried in Forrest Cemetery in Gadsden with my grandfather Amos J. Wright, Sr., and grandmother, Rosa Mae Wright. 

This event was a cataclysmic one in the family, especially for my grandmother. She never really got over it despite living until 1997. My grandparents' social life apparently changed drastically. My grandfather and father pretty much had to warn everyone not to bring up Beulah Vee's name; the memory must have been too painful. Unfortunately, I never brought the subject up with my father before he died; his memories of his sister would have been interesting to know, since he was 13 when she died.

Despite its effect on her and her desire not to talk about her daughter, my grandmother maintained something of a shrine to her. The furniture purchased for Beulah Vee's bedroom became the guest room furniture in a house where she never lived that my grandparents moved to in the late 1940's. My aunt's portrait shown below hung on the wall of that guest room. And then there was the cedar chest.

My grandmother saved clothes, documents, and various objects of her daughter's life and kept them in the cedar hope chest she and my grandfather had bought for her at some point. Some of those items will be explored in several posts to follow. The chest is stuffed with material--it is a time capsule that captures the life of a young and then a teenage girl in Gadsden, Alabama, in the 1920's and 1930's. 

My daughter Becca is the only grandaughter on my father's side; there are also three grandsons. Her great-grandmother thus wanted her to have Beulah Vee's furniture and chest. The furniture has been kept in our house in Pelham since my grandmother died in 1997; the chest remained at my parents' house in Huntsville. 

Recently Becca and her husband moved to Oklahoma, and they took all the furniture and the chest with them to fill a guest bedroom. In these posts I'll share our fascination with all this material and a young woman neither of us ever met.

In this post I want to introduce Beulah Vee using some family photographs. Most of them below have handwritten captions; they were written on the back by my father.  

In the lower right corner of this oil portrait of my aunt is the artist's signature in red: "T. Takada". And therein lies a tale. Just after World War II my dad's cousin in the military, Lacy Wright, was stationed in Japan. He noticed a number of Japanese artists were painting portraits from photographs for a small fee. He wrote his aunt Rosa Mae Wright, Beulah Vee's mother, and told her he would have such a portrait done if she would send him a photograph.  

Here is the famous cedar chest. The contents will be explored in more posts in this series. 

W.E. Striplin Elementary School as it exists today

Source: Gadsden Public Schools

Movies with Alabama Connections (7): The Alabama Hills

On the eastern slope of the Serra Nevada Mountains in Inyo County, California, is an area of rock formations known as the Alabama Hills. The name originated in the exploits of the CSS Alabama during the Civil War. Prospectors mining for gold in the area and sympathetic to the Confederate cause began naming their claims after the warship. Eventually the entire area had that name.

In 1969 the U.S. Bureau of Land Management designated almost 30,000 acres of public land in that region as the Alabama Hills Recreation Area. The Hills are a popular spot for hikers, rock climbers, photographers, etc.

What does all this have to do with the movies? Well, quite a bit, actually. In the early 1920's Hollywood filmmakers discovered the Hills and since then the formations have been featured in numerous productions. The Internet Movie Database has 363 titles of movies and TV series episodes with the Alabama Hills-Lone Pine area as filming locations. The Museum of Western Film History in the town of Lone Pine documents that heritage in this area about three hours north of Hollywood.

Of course, many western films and series have used the area to film. But the Alabama Hills have also been used by productions as varied as Gunga Din, Gladiator, Django Unchained and the science fiction series Firefly. Alabama is thus connected in this minor way to many Hollywood productions.

In March 2019 18,000 acres of federal land were designated the Alabama Hills National Scenic Area. 

Charles Michael Morfin's 2014 book Location Filming in the Alabama Hills documents over 500 productions in the area. 

  

The photograph above shows some typical rock formations in the Alabama Hills. The one below shows the area that served as the Khyber Pass in the 1939 film Gunga Din. 

Source for both photographs: Wikipedia

Old Alabama Stuff (13): Women in Alabama Industries in 1924

In 1924 a publication entitled Women in Alabama Industries was published by the U.S. Department of Labor. Subtitled "A Study of Hours, Wages, and Working Conditions", the work was the 34th "Bulletin" from the Women's Bureau", an agency within the Labor Department established by Congress in 1920 and still functioning today. Alabama was the 11th state examined in the series. Let's take a look at the report, which sold for 15 cents.  

As noted in one of the excerpts clipped below, there were almost 224,000 women "gainfully employed" in Alabama in 1920. Many worked as domestic servants, laundresses and farm laborers. However, some 15,000 were in textile mills, garment and food factories, printing and publishing plants, and other manufacturing jobs. Another 5400 worked in retail stores, and about 1200 worked in power laundries. Sample industrial locations were studied in 31 towns and cities, including Birmingham, Dothan, Gadsden, Mobile, Montgomery, Selma, Sylacauga, Talladega and Tuscaloosa. These surveys were done in February, March and April 1922.

The report has five parts. After an introduction, areas such as hours, working conditions, wages and demographic and sociological characteristics of the workers are all examined in great detail. For instance, section three on working conditions covers such things as posture, ventilation, lighting, toilets, lunch rooms and health and accident hazards. 

In 1920 the population of Alabama was about 2,348,000. Thus 9.5% of the people in the state were women working outside the home or on farms. Of course, a much smaller percent worked in manufacturing as covered in this report. Most of these women probably worked because they were not yet married, were widowed or were adding needed family income. They were also setting the stage for even greater influxes of women into the state's workforce during World War II and again in the 1960's and following decades until the present.