Fort Lauderdale in Vintage Postcards
By Susan Gillis
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About this ebook
Susan Gillis
Susan Gillis has lived on the Atlantic and Pacific coasts of Canada, and now lives most of the year in Montreal, where she teaches English. Her books include Volta (Signature Editions, 2002), which won the A. M. Klein Prize for Poetry, and Swimming Among the Ruins (Signature Editions, 2000), and a chapbook, Twenty Views of the Lachine Rapids (Gaspereau Press, 2012). Whisk, with Yoko’s Dogs, is forthcoming in 2013 from Pedlar Press. The Rapids is Susan’s third collection (Brick Books, 2012).
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Fort Lauderdale in Vintage Postcards - Susan Gillis
(P26.)
INTRODUCTION
Fort Lauderdale is recognized throughout the United States as a tourist destination, and the postcard is in fact the perfect metaphor for that phenomenon. The city is named for a Second Seminole War fortification established in 1838 on the beautiful New River in southeastern Florida. Sparsely inhabited throughout the 19th century, the true beginnings of the modern community of Fort Lauderdale can be traced to the establishment of Frank Stranahan’s trading post on the river in 1893. In 1896, Henry Flagler’s Florida East Coast Railway was completed from Palm Beach to Miami and opened the southeast coast for development. A town began to develop where the rail and river met—the pioneers called it Fort Lauderdale.
Fort Lauderdale has generated thousands of postal card images throughout its 20th-century history; over 2,000 are housed in the collections of the Fort Lauderdale Historical Society. But not all of these images are of oceanfront hotels and Spring Break crowds. At the dawn of the new century (in the early days of the picture postcard), Fort Lauderdale was touted as the Gateway to the Everglades,
and postcard images featured dredges at work on the North New River Canal, the first of the drainage canals constructed to reclaim the Everglades.
Downtown
Fort Lauderdale was centered not at the beach, but at the Florida East Coast Railway Tracks and New River. The Seminole Indians, long-time local residents, were also a popular subject in the days before they moved to the reservation in Hollywood. And girls posed with large cabbages—and were clothed from head to toe.
By the 1920s, the Florida land boom was underway and land development and tourism became the mainstays of the local economy. Postcards appeared featuring bathing beauties, Fort Lauderdale’s beach, and Mediterranean mansions on idyllic waterways. The end of the boom was signaled by a great natural disaster—the hurricane of 1926, which generated its own souvenir industry, including postcards. Despite hard times, the community was united in its desire for the tourist trade; the first glamorous beach hotels were constructed in this period, and sports fishing became a major attraction. During the 1940s, Fort Lauderdale became an armed camp with the opening of the Fort Lauderdale Naval Air Station, a bomber training base, as well as several other military installations. Travel became difficult because of rationing, and most, but not all, of the visitors to the region were associated with the war effort.
In the years after World War II, Fort Lauderdale experienced growing pains. As thousands of veterans, attracted to the region during their service here, returned with their new families in tow, the city struggled to provide adequate housing and services to the increased population. This phenomenal growth continued during the 1950s and 1960s, with new communities developing to the ever-widening city limits, away from its original core. The classic
postcards of this era featured beautiful waterfront homes,
modern architecture,
glamorous beachfront hotels, and streamlined mid–century shopping centers. A new theme appeared—postcards featuring Fort Lauderdale’s beachfront crowded with young people and identified as Where the Boys Are,
a result of the Spring Break phenomenon memorialized in the 1960 film of that name.
I would like to mention a few technical notes for those interested in postcard collecting. The first modern
American picture postcards date from early in the 20th century. In 1907, the divided back
became legal, allowing the message and address to be written on one side, freeing the other for an image. Until the 1940s, postcard images were usually lithographs, either original artwork or created from original photographs. White borders
were common in the 1920s and 1930s. In the 1930s, the famous linen
postcard was introduced, which featured a cloth-like finish and muted colors of a tinted photograph. These lasted until after World War II, when the perfection of Kodachrome film resulted in the production of the modern chrome
style postcard. Throughout all of these eras, true photographic prints have been produced as postcards, although rarer than the mass produced lithographs. Photographs were often printed with postcard mailer backings for the convenience of patrons. They are nonetheless considered postcards.
I have found the rules
of postcard dating to be only guidelines. The date of the original photograph from which the postcard was made, the date of publication of the card, and the cancellation date (when it was mailed), often differ from each other. In actual fact, manufacturers continued to use the linen style
into the 1950s, and postcards from 1910 often lack the white border.
I have relied on the date of the images themselves, based on information gleaned from the extensive research archives at the Fort Lauderdale Historical Society and elsewhere, in the assignment of dates to the images in this collection.
The era of 1900–1960s is the focus of Fort Lauderdale in Vintage Postcards. This book documents Fort Lauderdale’s history as it changed from a riverport, where agriculture was key to the economy, to a world-class tourist destination. It reveals not only the public face