THE FUTURE PROJECTED

Here’s everyday life in the near future, according to the 1912-1913 Santa Rosa newspapers: Someone in your family might go to the theater after supper to catch the latest blockbuster, but the rest of you will probably watch a movie or something in the living room. As a special treat there may be an occasional trip to San Francisco to see a much-hyped film only playing in certain theaters because it required special movie equipment, which made the audience feel the movie was almost real.

That may not seem much different from today, except: The movie at the local theater would be black and white but have sound synchronized from a recorded cylinder. Being watched at home would be a silent, flickering image shown by a hand-cranked machine. And what made the movie in San Francisco worth the trip was it being in color, made possible by the theater having a special color projector.

There were several methods of adding color or sound to movies in the early 1900s, but this isn’t cinema technology history 101; the topic here is limited to what was mentioned in the local papers, and in the spring of 1912 the excitement in Santa Rosa was the opportunity to see movies in “natural color.”

(Your obl. Believe-it-or-Not! factoid: 1912 was also the year when the word “movie” first appeared in the papers, and it was almost always used in quotes to show it was slang. The origin of the word is unclear, but the first use I can find is in a 1911 Central Valley newspaper where it was mentioned as being coined by “a bright El Centro youngster.”)

“Kinemacolor” movies were quite the rage that season; the Cort theater in San Francisco sold out for a month (including most matinees) with a three hour Kinemacolor spectacular showing the pageantry of the coronation of King Edward VII as emperor of India. The film itself was 150 minutes – the longest movie produced up to then – with the show padded out with a live speaker and “orchestra rendering Oriental melodies” (a fragment can be seen here). Also produced were Kinemacolor travelogues along with hundreds of short comedies and melodramas with titles like, “Dandy Dick of Bishopsgate” and “Detective Henry and the Paris Apaches.” In New York J. P. Morgan’s daughter threw herself a party showing Kinemacolor home movies of the hostess colorfully prancing around the family’s Italian villa. Editors at both Santa Rosa papers were clearly excited such a high-falutin’ event was coming to town – and it would be free admission, too!

The Kinemacolor films were shown in the Native Sons of the Golden West ballroom (that impressive red brick building which still stands at 404 Mendocino Avenue). The big Columbia theater in town couldn’t be used because a special Kinemacolor projector was required. The film – which ran through the projector at twice the speed as normal – was still black and white, but alternating frames were captured through a red or green filter and the projector had a synchronized red and green color wheel. More about the process is explained in a BBC documentary (the five minute section on Kinemacolor begins at 13:23) and in a video showing how the frames were merged. The result is awful; when there is any movement onscreen red or green fringing follows like a ghost. How anyone could watch such a thing for more than a couple of minutes without suffering a ripping headache is a mystery, as is why Kinemacolor was widely praised for its “natural color.”

But even if the color effect was far from perfect (far, far, far away) at least it was a free evening at the movies; perhaps there would be scenes from exotic lands or an exciting yarn about those “Paris Apaches.”

“There were pictures, true to life in color, of aeroplane flights, of automobiles busy about the factory,” promised an ad disguised as a Press Democrat news item. “Views showed the process of molding brass castings. The lighted furnaces and the men pouring the metal made the scenes seem real. They showed improved machinery turning out its products. Then there were views of the men and women at work, and leaving the factory.” As exciting as it might be to watch factory workers shuffling home at the end of their shift, the movie was actually an industrial film produced by a company to sell cash registers. “All the residents of Santa Rosa, especially the business men, are invited,” chirped the advertisement.

Okay, so maybe color movies with actual entertainment weren’t in Santa Rosa’s immediate future – at least there would soon be sound movies in the theaters and films to watch at home…right?

The movie projectors mentioned for home and local theater were versions of Edison “Kinetophones,” which were also called Phonokinetoscopes and Kinetoscopes, the latter also being Edison’s name for the peep show cabinet he had introduced twenty years earlier (old Thomas Edison may have been a maniac for inventing things, but he certainly fizzled when it came to naming them).

Like many papers nationwide, the Press Democrat in January 1913 ran a front page story on Edison’s announcement that he was about to revolutionize the entertainment industry. Where there had been earlier gizmos which played music on a phonograph while a movie was shown (including some of Edison’s peep-show boxes), his Kinetophone “delivers at the exact instant of occurrence on the film any sound made at the moment such action took place. Every word uttered by the actors is recorded and delivered in time with the action,” Edison boasted. A segment of the short sound film made to introduce the system can be viewed on YouTube and it’s still impressive to watch, once you keep in mind it is over a century old.

Edison should have ended the press conference with the demo; regrettably, he went on to say that thanks to his Kinetophone, performers would no longer have to tour – they could make “talkies” at the studios, which would probably be located in New York. “Entire operas will be rendered,” Edison told reporters. “Small towns, whose yearly taxes would not pay for three performances of the Metropolitan Opera company, can see and hear the greatest stars in the world for 10 cents.” The press twisted those egalitarian visions into a doomsday prophecy. “EDISON SEE FINISH FOR STAGE” was the PD headline, and the San Francisco Call warned the Kinetophone “Will End ‘Legitimate’ Careers.”

“Legitimate” performers soon discovered they had nothing to fear (although you gotta love how the SF Call put the word between cynical quotes). It may have worked flawlessly with engineers back in the lab, but real projectionists in real theaters struggled to keep the record and film in synchronization and often failed. Having never seen such a screwup before, audiences howled. Remember the end of “Singing in the Rain”?

But even at its best, Edison’s Kinetophone was a not-ready-for-primetime invention. Sound was recorded on large Edison cylinders which offered six minutes of playback (instead of the usual four) so forget the option of watching those entire operas Edison promised – most of the Kinetophone productions were of vaudeville acts. As the amplified loudspeaker was still years away, sound came out of a big metal horn behind the screen, making dialog hard to hear in all but the smallest theaters; one of the most popular Edison films was a comedy where two characters thought the other was deaf, causing the pair to continually shout at each other.

The Kinetophone wasn’t the only half-baked Edison invention Santa Rosa learned about in 1913. Just a few days before the Kinetophone announcement, the front page of the Press Democrat displayed the ad at right for the “Edison Home Kinetoscope.” It had no sound because there was no ability for it to synch with a phonograph, but it could show a film nearly twice as long as a Kinetophone, thanks to the bizarre, non-standard film it required.

Although the arc lamp was electric, the person standing in the silhouette was turning a crank which advanced film containing three streams of images side-by-side. The person acting as the, um, designated cranker, turned it one direction until the film stopped after about six minutes; the film gate was then shifted to the middle position and the projectionist cranked backwards – the images on the middle strip of film were printed in reverse. After another six minutes the film stopped again and the film gate was shifted to its final position, with the machine to be cranked forward. A photo of this ingenious layout can be seen here.

The ad proclaimed it was “not a toy,” but despite the high price (it cost up to $100, or about $2,500 in today’s dollars) it really couldn’t be taken seriously, either. Each image on the film was merely about 6mm wide so resolution wasn’t nearly as good as a 35mm film shown in a theater; nor was there pin registration to pause the film for a fraction of a second while it is being projected, resulting in vertical “motion blur.” And although the owner’s manual claimed it could throw an image thirty feet and a promotional photo shows a bright, clear image at about half that distance, the low resolution images and teensy arc lamp (with no reflector, either) meant that 3-4 feet was probably all that was practical.

As the Press Democrat ad noted, Home Kinetoscope owners could watch the same movies as were being shown in theaters – limited, of course, to titles produced by Edison’s studio. About 250 were listed (amazingly, copies of most still survive) and sold at prices from $2.50 to $20. A service was available to exchange your boring old films for others by mail, using pre-paid coupons purchased from dealerships such as the one on Fourth street.

The Home Kinetoscope was a flop, with only about 500 sold in the U.S. Nor did the sound Kinetophone system last very long; Edison and his staff continued tinkering with it for the next two years and in 1914 a magazine wrote, “Mr. Edison is at work now on some vital problem dealing with the synchronism effect and has promised that the day is near when the world’s greatest singers will be heard in grand opera scenes, with voice and action concretely reproduced.” But when a fire later that year swept through Edison’s West Orange, New Jersey complex and destroyed all Kinetophone negatives, Edison created no further talkies. Shortly after that he also discontinued making motion picture equipment of any kind, despite having ads running for a new, top-end theatrical “Super Kinetoscope.”

And at about the same time, the last Kinemacolor film was made. Public interest in the odd system still remained high; they were starting to produce feature films and much-desired footage of early WWI battlefields and armaments. But their undoing was their constant drumbeat about displaying “natural color.” A competitor challenged this on their patent claim and Kinemacolor lost, because it could not, in fact, display any form of the color blue.

MOVING SCENES IN NATURAL COLOR
Unique Entertainment Will Be Given Here on Monday Afternoon and Evening

Much interest is taken in the public moving picture entertainment that will be given at Native Sons’ Hall next Monday afternoon and night. The pictures will show the famous Kinemacolor process.

Kinemacolor, the new motion picture process in nature’s colors, is an English invention and was developed in all its details by an American. The process is fairly simple and somewhat similar to the three-color process in printing.

The camera taking the subject resembles the ordinary moving-picture camera, save that it operates at double the speed and interposes alternate red and green colored filters by means of a rapidly revolving wheel operated by a very nicely timed mechanical device, 1-32 or a second is devoted to the production of each picture, of which there are sixteen to the foot of film. This film is remarkably sensitive to the colors of nature, is produced by an American concern.

The films are developed in absolute [illegible microfilm]  reproduction of the colors on the screen, the picture made through the red filter is projected through a similar red filter, and the green picture through a green filter. These appear upon the screen 32 to the second, too rapidly for the eye to detect the color changes that take place. As a consequence, the colors blend harmoniously, giving the remarkable effects which you are about to witness.

120 feet of film moves through the delicately adjusted apparatus starting and stopping 1920 times in one minute. You can readily see from these figures that it would be absolutely impossible to hand color or tint this enormous quantity of film with such gorgeous hues as are shown by this marvelous process, Kinemacolor.

– Press Democrat, March 8, 1912
Rare Treat for Santa Rosans
Wonderful Moving Pictures Are Shown in Natural Colors At Business Show
THE FIRST TAKEN IN AMERICA

Scientists and photographers have worked for years on processes for photographing in Nature’s own colors. The solution of their problem has been found.

By the Kinemacolor process, moving pictures are now taken in colors and thrown on the screen with the motion and tints of actual life. The Kinemacolor film differs from other moving picture films in that it is not colored by hand nor by chemicals.

The first Kinemacolor pictures made in America were taken at the plant of the National Cash Register Company, Dayton, Ohio.

While A. J. Strayer, the local representative of that concern, was attending a business efficiency convention at the N. C. R. plant, he saw these pictures.

There were pictures, true to life in color, of aeroplane flights, of automobiles busy about the factory, of scenes at the N. C. R. Country Club, where baseball, tennis, running races, horseback riding and games are enjoyed Saturday afternoons during the summer.

Views showed the process of molding brass castings. The lighted furnaces and the men pouring the metal made the scenes seem real.

They showed improved machinery turning out its products.

Then there were views of the men and women at work, and leaving the factory.

Fireless locomotives drew their loads to and from the receiving and shipping platforms.

The green grass, the shrubbery and the vines clinging to the walls, made pictures in color which no artist could equal.

Mr. Strayer asked that the film be shown in this city at the earliest opportunity. His request was granted.

These beautiful pictures in natural colors will be shown in the Native Sons’ Hall, March 11th at 2:30 p.m. and 8:00 p. m.

All the residents of Santa Rosa, especially the business men, are invited to see these Kinemacolor views.

Admission free.

– advertisement in Press Democrat, March 8, 1912
NO ADMISSION TO SEE PICTURES
First Kinemacolor Entertainment Tonight

Everybody is invited to attend the lecture and exhibition of the Kinemacolor pictures at the Native Sons’ Hall this evening, and the entertainment is absolutely free. The pictures to be shown are the first to be taken by a new process of moving pictures, that show nature in all of her wonderful moods and colorings. Flowers are shown in their original tints without any hand coloring.

The lecture is delivered by H. C. Ernst, who arrived here on Monday with his operators of the moving pictures. A. H. Walker and E. C. Deveny.  included in the entertainment are many beautiful scenes of landscape gardening and suggestions for the beautification of homes, and the adornment of the exterior and interior of residences. The progress of the past twenty-five years in machinery is graphically shown, it being greater than all the progress of the ages preceding that time.

The reproduction of flowers and nature in the original colorings is the latest thing in the moving picture world and these pictures are the first to be taken and the first that have come to this city. They are interesting, educational and instructive, and should attract a crowded house to the Native Sons’ Hall this evening. No admission is charged, the expense being defrayed by the National Cash Register Company. Arthur J. Strayer is the local representative of the company, and he has arranged for the entertainment of the people of Santa Rosa by his company.

– Santa Rosa Republican, March 11, 1912

EDISON SEE FINISH FOR STAGE
Says His New Invention, the Kinetophone, Will Put the Legitimate Actor Our of Business and Reduce Prices to Minimum

New York, Jan. 6–Thomas A. Edison, in an interview today declared that he believed the legitimate stage doomed as the result of the completion of his “Kinetophone.” The success of its operation in the last few days was such as to make him believe that the $2.00 theatre must give way to the cheaper show with the better talent. He was sure that there would be no more barnstorming companies. The inventor declared that not one out of fifty had the right to spend the price of a theatre ticket. He believes that the legitimate action must leave the stage as more money is to be made acting for the new machines.

– Press Democrat, January 7, 1913
COLUMBIA WILL PRESENT EDISON’S KINETOPHONE

Morris Meyerfeld, Jr., head of the Orpheum Circuit, announced Wednesday that the Orpheum and affiliated theatres have secured the American rights for Edison’s latest invention, the kinetophone, by which talking motion pictures are presented, and that it will be put simultaneously in all the playhouses of the circuit in about three weeks. The kinetophone recently was demonstrated successfully and promises to revolutionize the career if the stage profession in some respects through its ability to transmit not only the actions, but the voice of the performer. The inventor has declared it will result in the stars leaving the legitimate stage to work for the “movies.”

Manager Crone of the Columbia Amusement Company has arranged to have the kinetophone at one of his amusement houses in the near future, which will give the lovers of “movies” a chance to see this latest invention by Edison.

– Santa Rosa Republican, January 20, 1913

Read More

GREAT-GRANDPA, THE PHONE HACKER

Imagine not being able to make a phone call because your neighbor is out feeding her chickens or chopping wood. Welcome to rural Sonoma County – or pretty much anywhere else in rural America – during the first years of the 20th century.

A reoccurring theme here has been describing how modern Santa Rosa began to appear in 1910 and 1911, as seen through its newspapers. There were several auto dealerships downtown showcasing next year’s models, and at least a portion of downtown was as brightly lit after dark as any big city; the Columbia Theater on the corner of B and Third had a big marquee dazzling with light bulbs “so as to show on Third, Fourth, and Fifth streets for blocks in either direction,” according to the Press Democrat. Santa Rosa merchants began running ads in both local papers promoting the latest conveniences (hot water heaters in bathrooms, electric washing machines and gas stoves, for ex) as well as coveted high-tech gadgets (Edison phonographs and Kodak cameras).

But it was a different world for their country cousins. There was no coal gas service outside of town, so the kitchen range was fired by oil or wood and the stove also had to heat water for a hot bath. Unless the farm was on a major road there probably was no electricity either, so the house was lit at night by kerosene lanterns and lamps and dirty clothes were scrubbed by hand.

Far worse than the lack of conveniences could be the sense of isolation on the farm, particularly during rainy, cold winters. Trips to town were no impetuous thing when it involved harnessing up the ol’ grey mare for a slow buggy ride, and when mr. farmer arrived in the city it was difficult to find a place to leave the buggy; the hitching posts around Courthouse Square had been removed to accomodate parking. The farm family could try to stay in touch with the community and world by subscribing to the Press Democrat but there was no home delivery in the country; three days’ editions arrived twice a week by mail, rolled up in a brown paper wrapper. Too bad you missed your friend’s funeral.

For these outlying country people, having a telephone was a necessity – but the phone companies only served urban areas, so anyone outside of city limits was out of luck. Thus was born the wild ‘n’ wooly world of the tiny rural telephone companies.

Here’s how it usually worked: An enterprising farmer or a group formed a business which contracted with the local phone company to connect (for Santa Rosa it was first Sunset then Pacific Telephone & Telegraph, called hereafter just PT&T – see sidebar). The farmer then built a little network, and here “build” is meant in the most literal sense; he put up his own telephone poles, strung the wires and climbed the poles again when something went haywire. From the phone company office the line usually went directly to his home where it was attached to something like the 1910 switchboard shown at right, which could serve up to twenty lines fanning out to customer’s homes. A small system like this probably only operated between dawn and dusk, or whenever the farmer or another family member was around; larger switchboards that handled 50 or more lines came equipped with night buzzers to wake somebody up. To have the service a neighbor generally paid $12-30 a year plus up to 10¢ per call, out of which PT&T took a nickel.

There is no known list of the “independent” companies (as they were called) that offered rural service around central Sonoma County, but its a safe bet that there were dozens. Here are some names: Russian River Light & Power, the Sonoma Valley Co., the Valley Telephone Co., the Cotati Co., the Mark West and Santa Rosa Telephone Co. (which went as far west as Mt. Olivet, currently the intersection of River Road and Olivet Road) and the Kenwood Rural Telephone Co. Some were not even named, such as the one that served Fulton. The biggest and best known was the Guglielmetti Telephone Company of Petaluma, which reportedly had nearly a thousand customers.

Also unknown is how many of these operations were run in a businesslike manner or were more of a break-even hobby. We know they could be very territorial; Guglielmetti filed a complaint in 1912 against Chileno Valley Telephone Company for encroaching on Chapman Lane with its very few residences. The Chileno Valley company also got in trouble for offering a five year contract with an up-front payment of $25, which would have been significantly below actual cost. But truth is, almost all of these independents were borderline legal, in that only Guglielmetti and a couple of others were properly registered with the state of California.

       
THE MAKING OF A MONOPOLY

Everything in this story orbits around “The Telephone Company,” which was then often viewed as a predatory leviathan that offered barely satisfactory service and nickel-and-dimed its customers with confusing rates and myriad special charges. Thank goodness everything is different today.

To be accurate, our story involves three telephone companies: Pacific Telephone & Telegraph Co. (PT&T) was the big boy on the block, being the West Coast tentacle of AT&T which controlled most telephone and telegraph service elsewhere nationwide. PT&T grew in the decades around the turn of the century by buying controlling interests in its competitors. One of these rivals-turned-puppets was Sunset Telephone and Telegraph, which provided service in Santa Rosa and much of the Northwest, and another was San Francisco-based Pacific States Telephone & Telegraph. This semi-independent arrangement might have rolled along indefinitely if not for the troubles of 1906.

Just weeks before the earthquake struck, San Francisco newspapers were howling because the Board of Supervisors had awarded an exclusive telephone franchise to a competitor of Pacific States. Once the city somewhat regained its footing after the disaster and the ongoing graft investigations resumed, it came out that Pacific States and its competitor were both shoveling enormous bribes to the Supervisors. The grand jury indicted a Pacific States vice-president and a lobbyist on a combined 23 counts. The company possibly might have weathered that storm, but it could not survive without income – and it lost over 90 percent of its subscribers immediately after the earthquake. Rebuilding infrastructure would be a long and expensive process. It was decided that as of Jan. 1, 1907, both Pacific States and Sunset would disappear into PT&T. It was completely a shell game; the old president of Pacific States was now president of PT&T. (The older companies survived in name until 1917, probably in part because of unsettled lawsuits.)

The people who built and operated those small independent telephone systems had more than a little in common with today’s computer hackers. They loved the tech of it; there were magazines breathlessly reviewing the latest equipment and offering anecdotes and photos from readers, expert tips, and emotional editorial essays barking or sighing over small matters. In short, they had the same passions as Apple or PC fanboys demonstrate today.

And just as Internet users can be heard speaking with contempt about the cable companies that provide their network connectivity, the independents regarded with fear and loathing the telephone companies upon which they likewise depended. They had reason to worry; after all, the phone company could put independents out of business overnight by expanding its service area outside the cities, which was something bound to happen eventually. But that was more of an existential threat; what really had the independents upset was the possibility of the phone company shutting down their sole equipment provider.

Independents purchased most of their gear from a company named Kellogg Switchboard and Supply Company. Kellogg stores sold everything they needed and provided instructions on how to put it all together – they even had the sort of crookneck electric lamp that was the perfect size to perch above your switchboard. In a pair of large display ads that appeared in the 1911 Press Democrat (shown below) Kellogg didn’t so much promote their brand as the wonderfulness of having a phone at all, which would be so very simple to set up, guided by their friendly illustrated booklets. It would not be too much of a stretch to call it a kind of Apple Computer for its day.

But in 1903, Western Electric – the hardware side of AT&T – quietly arranged to buy controlling interest in Kellogg. Once this became known, rumors began flying – either it was a conspiracy to shut down Kellogg and create a monopoly, or maybe Kellogg was in cahoots with the phone company to screw over the independents by price-fixing. Telephone Magazine offered a cartoon showing Mr. Kellogg holding down “the Kellogg customer” while the “Bell Company” roots through his pockets for change. In the same issue, an editorial hysterically called AT&T the “arch enemy” and insisted “buying of the Kellogg company is treason; it is furnishing ammunition and sympathy to the enemy in time of war.” Kellogg’s reputation was redeemed because minority stockholders sued to block the deal, but the lawsuit rumbled through the courts until the sale was finally prevented in 1909, causing five years of anger and turmoil in the little industry.

Even if the Kellogg stock battle hadn’t happened, the independents had reason enough to despise the phone company for how they were treated. In 1907 Santa Rosa, customers paid $21 a year to share a two-party line; although PT&T did no maintenance on the “farmer lines” or had other expense (aside from the few seconds needed for the operator at the central exchange to connect callers), the company charged the independents high per-user rates which meant rural customers paid about the same as city dwellers – except the country people had to share the line with twenty others, or however many were hooked to that independent switchboard. And even if you had a telephone in your farmhouse, you couldn’t make a long distance call; a farmer on Todd Road, for example, still had to go into Santa Rosa to call someone in Petaluma. There apparently was no technical obstacle preventing the call being made from an independent line; as part of the deal to settle the government anti-trust suit in 1913, the Bell System dropped the rule preventing long distance. It looks like they restricted the service simply because they could.

Independent operators were also required to collect PT&T’s 5¢ per-call fee. An internal company newsletter, Pacific Telephone Magazine from the years 1907-1909 shows the company often suggested better ways for them to pry those nickels loose from their neighbors. It urged independents to require a deposit from each subscriber, but no advice on how to handle any uncomfortable situation that might arise from demanding payment in advance – which a tight-fisted farmer might regard as an interest-free loan. But that’s a common refrain in the newsletter; any person or business with PT&T service was expected to have foremost consideration for the company’s wants. Drug stores were singled out as being particularly bad actors for letting just anyone walk in and use their phone free of charge. In a particularly rancid screed, the editor argued people with a telephone shouldn’t let others use it unless they could first verify the person was also a bonafide PT&T customer.

Sometime around WWI Pacific Telephone & Telegraph finally began adding more rural service, which was the death knell for some. That followed the 1911 purchase by California Telephone & Light Co. of the Healdsburg Telephone Co. and several other local independents. The longest to survive was rural Petaluma’s Guglielmetti Telephone Company, which was around until 1949.

A final word of caveat lector; there is no previous research into this topic – at least, that I can find.  A few books have sketched a bit about the Kellogg suit and the overall independent history but no local historian has touched the topic; there’s lots available on the Sonoma County phone scene from about WWII onwards, but no mention of these interesting early days. There are not even any surviving regional telephone books prior to 1928. This article has been cobbled together primarily from old State Board of Equalization reports, legal notices, trade magazines and materials placed online by telephone equipment collectors. If anyone has more, I’d love to know.

Although there are no surviving early regional telephone books, some kind soul has made available the complete 1898 directory for the greater Bay Area. the section for Santa Rosa shows only 26 residences in town had telephones. Followers of this Comstock House blog will not be surprised to learn that one of those lines went to the home at 431 Tenth street owned by James Wyatt Oates, the man who loved having the latest technology and had to be in the center of everything.

Read More

TELEPHONE NUMBERS, VERSION 3.0

Oh, look, junior’s using the phone. How precious is that? Wait – is he talking to the chief of police?

Today, every family album has an adorable picture of a toddler sitting at a computer, and a century ago, it was too-cute when the little ones spoke on the telephone. It was even newsworthy; in 1908, both Santa Rosa papers had stories about kids using phones. Before Christmas that year, several children asked the operator to connect them with Santa Claus. After a bit of head-scratching at the telephone office, it was decided that their calls were to be transferred to the Chief Operator, who ho-ho-ho’d and took down their present requests. And then there was the five-year-old who called the police chief to report his missing tricycle; unable to understand what the child was saying, an officer rushed to the house to find out exactly why the boy had summoned help.

Telephones were still regarded as cutting-edge technology, and some adults remained uncomfortable or uncertain about how to operate the things; one of the Santa Rosa newspapers had printed articles on telephone use and etiquette the year before (“the undignified ‘Hello’ seems to have come to stay”). The UI was also in flux; although you still initiated a call by speaking to an operator, the procedure of indicating who you wanted to contact was becoming complex and confusing.

Until 1905, it was possible for someone in Santa Rosa to ask for a connection by name: “Get me John Smith.” The proliferation of home and business telephones now required numbers be assigned to each line, which meant that telephone books also had to be printed and distributed. Exchanges were also added at the same time: In Santa Rosa there primarily was “Red,” Black” and “Main,” so someone trying to reach John Smith would be required to provide an exchange and number, such as “Red 333.”

I also found four digit numbers sometimes mentioned in the newspapers around that time; if that many numbers were available there really was no need for an exchange system at all, as Santa Rosa’s population would not surpass 10,000 for a couple of decades. And stranger still, I sometimes saw letters included after the numbers, such as “333Y.” Huh? It was an odd little history puzzle and I probably never would have figured it out, had I not stumbled across the article below.

The core of problem was that there were still many party lines in use, and the operator had to know how many “rings” to send to alert a particular customer. Thus if John Smith expected two rings, his number might be “Red 3332” – the last of the four digits indicated the number of rings needed (it might be better understood as “Red 333-2,” for ex).

Even with the “ring” suffix, it was the direct ancestor of the seven-digit system we use today. Similarly, Oakland and San Francisco were at the time using an exchange+4, such as “Kearny 4444.” As the city grew, this provided the flexibility to create another exchange and be good for another 9,999 connections. But in 1908, some genius at the telephone company imposed a telephone ID system in Santa Rosa that made no sense whatsoever.

Gone were the exchanges; now you gave the operator a three-digit number, followed by the letter R, Y, J, or L. The first two letters corresponded with the old Red exchange, the latter two with the old Black exchange. The particular letter indicated one or two rings. So John Smith – originally “Red 333,” then “Red 3332,” was now “333Y.” The reasoning behind the new system was not explained, although the choice of these particular four letters could have had sadistic racist inspiration; the Asian community might have had trouble expressing Americanized R and L hard consonants through the lo-fi transmitter, as Hispanics might have struggled with Y and J.

Judging by ads in the newspapers, this third mod to the telephone system in as many years was not widely accepted. Some advertisers used the suffix, others held on to the old Red and Black exchanges. Many downtown businesses continued to ignore all of it, providing only their old two or three digit number. Rather than making it easier for the operators, it suggests the customer attitude hardened: t’Hell with it all, I’ll just let the “Hello Girl” figure it out for me.

SWEEPING CHANGE IN PHONE SYSTEM
After November 7 There Will Be No More “Red,” “Black” or “Main,” But it Will Be Easier For Patrons

On November 7, at midnight, the Telephone company will change over to its new system and move into its handsome new quarters on Third street. As a result, a number of innovations will be put into effect. As far as the general public is concerned, however, these changes will apply principally to the numbering of the phones.

The old prefixes of “Red,” “Black” and “Main” will be done away with, and everything except suburb and rural lines will be known as “Santa Rosa.” In the new directory this prefix will precede every number. Local subscribers calling main line subscribers will not find it necessary to use the prefix, but may secure the number wanted by simply asking for “268,” or whatever the number may be. Out of town subscribers will merely have to ask for “Santa Rosa 268.”

Another change that will apply to all two-party lines is that the letters “R” and “Y” will hereafter be used to designate the number of bells in the red, and “J” and “L” in the black, instead of the suffixes 1 and 2 as at present.

Everybody may not know that the last figure in the numbers now in vogue simply indicate the number of bells which should be rung, but such is the case. Take the number “Red 2861,” for instance. The “1” means that in calling a subscriber the operator is to ring one bell. If the last figure were 2, the operator would ring two bells.

Under the new arrangement, as stated, these latter figures will be discarded on all two-party lines, and the letter “R” will stand for 1 bell in the red, while “Y” will mean two bells red. “J” will represent 1 in the black, and “L” will stand for 2 bells in the black. “Red 2742” will thus become “Santa Rosa 274Y,” and “Black 2741” will become “274J” to local subscribers, and “Santa Rosa 247J” to subscribers calling up from other towns. By remembering this subscribers getting hold of an old directory will be able to secure the number desired by merely substituting the proper letter for the missing suffix, although the new directory will be out and distributed several days before the changed conditions go into effect. This directory will be effective on and after November 7, at midnight.

– Press Democrat, October 31, 1908

ALEX TRACHMAN CALLED POLICE
Youthful Citizen Invokes the Help of the Officers

Alex Trachman, the five-year-old son of Dr. and Mrs. H. J. Trachman, sustained a very material loss on Tuesday, when some miscreant stole his tricycle. For several hours during the morning the little chap endeavored to have his father call up the chief of police and report the loss, but to no avail, and so finally taking the matter in his own hands, he climbed on a chair and reaching the telephone, got the ear of “central” and told her that he wanted the chief of police. The connection was made with the office of Chief Rushmore, and Master Alex told his tale of woe in the ear of a sympathizing chief. The boy does not talk very distinctly as yet, and hearing the youthful voice over the phone the chief surmised that something must be wrong at the home, and after learning from the child that he lived on Humboldt street, Police Officer Nick Yeager was detailed to hurry over there and ascertain what the trouble was.

In the meantime Alex hung up the receiver and went into his father’s office and told him he had reported to the chief the loss of his “wheel.” In a few minutes the door bell rang and Mr. Yeager inquired what the trouble was and why he had been called. Mr. Yeager was panting and all out of breath when he reached the door, having made a “hurry-up” trip around the block, fearing that something was wrong at the home, and that the child had been used to summon help.

– Santa Rosa Republican, November 11, 1908
CHILDREN PHONE TO SANTA CLAUS
Much Diversion Caused at “Central” by Numerous Messages to the Time Honored Gift Bestower

“Number, please.”

“I want Santy Claus.”

“Who?”

“Santy Claus.”

“All right, just a minute.”

This what has been going on over the telephone line at “Central” during the past few days. The first message came over the wire from a child who could barely lisp her desire.

At first the “Hello girl” at the receiving end was puzzled. Manager Morrill was called into conference and Santa Claus began coming in, and Manager Morrill is one of the most kind-hearted of men. And, like the rest of us, he was a child once himself. He is not very old now, either.

Other messages of inquiry for Santa Claus began coming in, and Manager Morrill not wishing to cause the little ones sending their messages disappointment, suggested that for a few days when such reports came for Santa Claus the Chief Operator might impersonate the gift bestower the children all look for on Christmas morn. Consequently the Chief Operator has been taking down names and list of presents desired by the children.

“Just as well to let the children have a good time anyway. Expectancy is half the fun, too,” said Manager Morrill yesterday after he had taken a call for old Santy himself.

The children phoned for every kind of gift calculated to delight the child heart. In some instances parents took this opportunity of ascertaining what the youngsters wanted most for Christmas. In other instances, doubtless, hearts were heavy while the childish prattle went over the wire to the imaginary Santa Claus at the other end, for perchance the wherewithal to procure the presents was not available.

– Press Democrat, December 24, 1908

Read More