Digest this: In 1975, Kodak invented the first digital camera. Unwilling to prioritize this technology over existing film products and unable to adapt to the market, Kodak notoriously claimed bankruptcy in 2013. The inability to capitalize on “firsts” brings into question the importance of priority—of ideas, inventions and even actions. At the Indiana Historical Bureau, we frequently review markers commemorating “firsts,” ranging from the first electrically-lighted city to the first county physician. Hoosier “firsts” inspire controversial discussion, local commemoration and even a stage play by Aaron Sorkin.
As one can imagine, these firsts are difficult, and sometimes impossible, to substantiate, given conflicting sources or lack thereof. Rather than wrestle with claims that may never be confirmed, we decided to focus on what makes these novel ideas, inventions and actions significant to Indiana and U.S. history.
The case of Indiana inventor and metallurgist Elwood Haynes illustrates not only the obstacles to proving a “first,” but why being “first” isn’t always ideal. Kokomo resident Haynes claimed to have constructed America’s first automobile in 1894, dubbed the “Pioneer.” Using a Sintz 2-cycle gasoline engine, Haynes built the automobile’s foundation in his kitchen and hired brothers Elmer and Edgar Apperson to construct the carriage based on his designs. Haynes debuted the vehicle at Kokomo’s 1894 Fourth of July celebration at the Pumpkinvine Pike and shortly thereafter established the Haynes Automobile Company with Elmer Apperson.
The company thrived, and historian Ralph Gray contends that “industrial activity connected with the automobile greatly augmented Kokomo’s importance as a manufacturing center.” Experiencing success, Haynes ignored public demand for small, mass marketed cars and instead focused on medium sized luxury cars intended for affluent customers. Eventually Haynes could not compete with Ford’s mass production and marketing and declared bankruptcy October 1924. He lamented that being a pioneer in the automobile industry
“meant a selling loss on the Haynes car, whereas to have waited until others had made the trial and experiment, and then to have followed in the easy path of their success probably would have saved us thousands of dollars.”
Journalist Rick Johnson contended that “instead of becoming one of the giants of American invention and enterprise, Haynes became merely the man whose discoveries helped spark a new era for others.”
Much like Haynes’, the battle to establish scientist and Fort Wayne business owner Philo T. Farnsworth as the inventor of the electronic television was arduous and public. In Farnsworth’s case, the U.S. Patent Office ultimately awarded Farnsworth priority of invention, providing historians with irrefutable proof via patents that he indeed earned the title of “first.” Tragically, neither visionary possessed the business acumen to capitalize on their inventions, failing to permanently establish their products on the consumer market. Yet, both were fiercely protective of their inventions, and historians suggest in both cases their deaths and the closing of their companies were more than coincidental.
We want to hear from you. Do firsts matter? Certainly, they will evoke strong opinions for decades to come.
The German-American community in Indianapolis, largely a product of mid-nineteenth century immigration, had a strong heritage of freethought (open evaluation of religion based on the use of reason). In particular, Clemens Vonnegut, the patriach of the Vonnegut family and lifelong freethinker, openly displayed his religious dissent through writings and community activism. This, in turn, influenced his family and the literary style of his great-grandson, novelist Kurt Vonnegut, especially the younger man’s ideas concerning God, religion, science, and ethics. The junior Vonnegut’s own midwestern brand of freethought, in the form of what literature scholar Todd F. Davis called a “postmodern humanism,” displayed a deep sense of skepticism about the irrationalism of his time, while simultaneously championing an ethical responsibility to ourselves and each other devoid of supernatural influences. Yet, true to his form as a freethinker, Kurt forged his own humanist identity. [*]
Clemens Vonnegut was born November 20, 1824, in Münster, Westphalia. In his early years, he studied in German public schools and apprenticed as a mercantile clerk. As recorded in the Indianapolis Press, a young Vonnegut came to the United States in the early 1830s, on assignment from his employer, J. L. de Ball and Company, which sold specialty fabrics. His year in New York convinced the young Vonnegut that America would be his permanent home. He then traveled to Indianapolis with his friend Charles Volmer to start a new life.
He founded the Vonnegut Hardware Store in 1852, and was considered by the Indianapolis Star as “one of the city’s most respected citizens….” Like fellow Hoosier freethinker Hermann Lieber, he was a co-founder of the Socialer Turnverein and a forceful voice for public education. Clemens founded the German-English Independent School and served on its board for over 30 years. He also served as the first president of the Freethinker Society from 1870-1875, gave lectures to the society on occasion, and even translated the celebrated agnostic orator Robert Ingersoll’sOpen Letter to the Clergy of Indianapolisinto German for publication. His actions and beliefs heavily impacted the inception and growth of the Freethinker Society of Indianapolis.
After the end of the Freethinker Society in 1890, Clemens Vonnegut continued his activism more than any former member, mostly through writing. A Proposed Guide for Instruction of Morals, published in 1900, enunciated Vonnegut’s philosophy of freethought, both in theory and in practice. This treatise also displayed a rhetorical flourish that Kurt would later cite as an influence in his autobiographical work, Palm Sunday. Echoing Ingersoll and Heinzen before him, Vonnegut declared that, “No religious creed has any real proofs. It rests simply on assertions.”
However, that does not mean that humanity cannot be moral. In fact, Vonnegut argued the opposite:
True virtue is its own reward, which is not enhanced but rather misled by belief. Belief deprives us of the joys of this world by teaching us that we must detest them, and instead of them we must hope for a heaven. Belief forms the germ for persecution of those who differ from us in their religious convictions.
Vonnegut saw morality as the wellspring of the “intrinsic quality of human character which ought to be nourished and cultivated early, continually, and carefully.” In subsequent pages, Vonnegut explained how such “cultivation” is achieved. Public education, family instruction, physical fitness, and social activities presented the means by which individuals perfected a moral life without the supernatural. Like Ingersoll, Vonnegut’s morality was clear, traditional, based in the family, and demonstrated a moral life without the need of God. While Clemens Vonnegut presented his philosophy clearly, the events surrounding his death were anything but.
Clemens Vonnegut’s death in 1906 created somewhat of a mystery for his family, and later his great-grandson. It was said that he died in the snow . . . or so the story goes. Kurt Vonnegut recalls this story in his autobiographical work, Palm Sunday. In the winter of 1906, Clemens Vonnegut supposedly went for a routine stroll. Having lost his way, he wandered the streets of Indianapolis for hours before he was found dead by the side of the road by a search party. This story bewildered Kurt, whose own freethought can be traced to his great-grandfather and his own extended family. However, as with many family stories, this one stretches the truth a little.
Clemens did not die by the side of the road, but was rather found unconscious. The Indianapolis News reported that C. W. Jones, a local construction worker, found the 82-year-old Vonnegut nearly five miles from the city on Crawfordsville Pike. He sustained injuries to his head and right shoulder, but doctors feared that exposure to the elements might be his biggest challenge. After fighting for his life for five days, Clemens Vonnegut succumbed to pneumonia on January 13, 1906. His obituary cited his charity and love for knowledge, his activities within the Socialer Turnverein and the Freethinker Society, and his 27-year service for a local school board. True to his iconoclastic nature, Vonnegut wrote his own eulogy back in the 1870s and asked for its recitation when he died. As recorded in the Indianapolis Star, he railed against the creeds of Christianity:
I do not believe in the atonement to the blood of Christ or in the sin of incredulity. I do not believe in a punishment in a future life. I believe neither in a personal God nor a personal devil, but I honor the ideal which man has created as the tenor of all virtues and perfections, and has named God.
Until the very end, Clemens believed in the power of humanity to throw off the shackles of religion and embrace the values of inquiry and human-based ethics.
Nearly a century later, famed author Kurt Vonnegut (born in 1922 in Indianapolis) wrote in Palm Sunday that his great-grandfather’s freethought was his own “ancestral religion” and that he was “pigheadedly proud” of the heretical nature of his family. Kurt Vonnegut, a future honorary president of the American Humanist Association, carried the torch of freethought for his grandfather, and in some respects, introduced his ideas to a new generation.
In many of his works, Kurt would openly criticize religion, spirituality, and faith, so much so that it even contributed to the end of his first marriage. Nevertheless, echoing his grandfather in a 1980 speech at the First Parish Unitarian Church, Vonnegut declared, “Doesn’t God give dignity to everybody? No—not in my opinion. Giving dignity, the sort of dignity that is of earthly use, anyway, is something that only people do. Or fail to do.”
His most popular novel, Slaughterhouse-Five(1969), displays Kurt’s intense abhorrence of war (influenced by his own WWII POW experience) and a belief in a common humanity. Specifically, “so it goes” is a phrase that Vonnegut peppered throughout the novel, often after horrible events or even banal ones. This phrase conveys that no matter how bad things get, no matter how high one can get, the world (and indeed the universe) goes on. As an example, this passage from the novel, describing the protagonist Billy Pilgrim’s memory of a sculpture of Jesus, is fairly apt:
A military surgeon would have admired the clinical fidelity of the artist’s rendition of all Christ’s wounds—the spear wound, the thorn wounds, the holes that were made by the iron spikes. Billy’s Christ died horribly. He was pitiful.
So it goes.
“So it goes” becomes the novel’s panacea; a way for the narrator to deal with the grim realities of war without the comfort of religious beliefs. In some respects, it can be seen as a mantra for humanism.
Kurt Vonnegut’s humanism continued until the end of his life, as displayed by an address he meant to give on April 27, 2007 for Indianapolis’s “Year of Vonnegut” celebrations (he died on April 11; his son Mark gave the address in his stead). In this address, from the posthumous work Armageddon in Retrospect (2008), Kurt espoused his continued commitment to humanism. He wrote:
Am I religious? I practice a disorganized religion. I belong to an unholy disorder. We call ourselves “Our Lady of Perpetual Consternation.” We are as celibate as fifty percent of the heterosexual Roman Catholic clergy.
Actually—and when I hold up my right hand like this, it means I’m not kidding, that I give my Word of Honor that what I’m about to say is true. So actually, I am honorary President of the American Humanist Society, having succeeded the late, great science fiction writer Isaac Asimov in that utterly functionless capacity. We Humanists behave as well as we can, without any expectation of rewards or punishments in an Afterlife. We serve as best we can the only abstraction with which we have any real familiarity, which is our community.
This emphasis on “community” squares nicely with Clemens’s own commitments to community, both with the Freethinker Society and with his advocacy of public education. Both Vonneguts believed that the values of sociality and comradery are essential to the flourishing of a community, and you can achieve that system without a supernatural element.
Clemens Vonnegut’s humanism carried through many generations of his family and left an indelible mark on Kurt Vonnegut. The two men’s rejection of religion and the supernatural reinforced their love for humanity, their desire for community, and their commitment to the truth, no matter how horrifying it may be. Kurt’s own success as a writer and social critic would have delighted Clemens, who participated in many of the same literary pursuits and civic activities decades before Kurt was born. As such, their two lives, separated by time, nevertheless became entwined by their ideals. Their humanist legacy reinforces the diversity of intellectual and moral philosophies that embody the American Midwest throughout the 19th, 20th, and early-21st centuries.
Both Vonneguts were proud to be from Indianapolis and the city proudly remembers them.
[*] Kurt Vonnegut’s humanism may also be described as “Modern Humanism,” or “Naturalistic Humanism, Scientific Humanism, Ethical Humanism, and Democratic Humanism, [is] defined by one of its leading proponents, Corliss Lamont, as “a naturalistic philosophy that rejects all supernaturalism and relies primarily upon reason and science, democracy and human compassion.” Modern Humanism has a dual origin, both secular and religious, and these constitute its sub-categories” (Fred Edwords, “What is Humanism,” American Humanist Association, last updated 2008, accessed March 19, 2016, americanhumanist.org).
American naturalists have been cited for combining philosophy and writing in ways that affect how concerned citizens value and care for their environment. Edwin Way Teale is considered one of the twentieth century’s most influential naturalists, stemming from his ability to combine the artistic, philosophical, and scientific in his writing. According to the extensive Biographical Dictionary of American and Canadian Naturalists and Environmentalists, “Through his popular books [Teale] convinced Americans they had a personal stake in the preservation of ecological zones [and] convinced them to support national parks and conservation movements.” Teale credited his renowned career to his rich childhood spent in the Indiana Dunes, where he developed a love for nature, an eye for photography, and an accessible writing style.
He immortalized his boyhood adventures in Dune Boy and later works, including Wandering through Winter, for which he became the first naturalist to win a Pulitzer Prize. Teale is included in the “heyday of dunes art and literature begun and perpetuated” by a group of artists of the “Chicago Renaissance” movement, according to J. Ronald Engel’s Sacred Sands: The Struggle for Community in the Indiana Dunes. Naturalists, conservationists, writers, and critics have ranked Teale among the renowned American naturalists, including John Muir, John Burroughs, and Henry David Thoreau.
Born Edwin AlfredTeale on June 2, 1899 in Joliet, Illinois. He later wrote of his disdain for the dismal industrial landscape of his parents’ home. Instead, Teale favored the holidays and summers he spent with “Gram and Gramp” exploring their Lone Oak farm in the Indiana Dunes. In Dune Boy (1943), Teale wrote that “to a boy alive to the natural harvest of birds and animals and insects, [Lone Oak] offered boundless returns.”
As he grew up, Teale’s interest in nature grew as well. At the age of seven or eight Teale looked through his first microscope, and at nine he declared himself a naturalist. By the age of ten he finished his twenty-five chapter “Tails [sic] of Lone Oak,” and at twelve he changed his name to “the more distinguished” Edwin Way Teale.
In 1918, Teale enrolled at Earlham College in Richmond, Indiana; he graduated with a bachelor’s degree in English literature in 1922. On August 1, 1923, Teale married his college sweetheart Nellie Imogene Donovan, who would become his “partner naturalist.”
The Teales moved to New York City in 1924, where Edwin attended Columbia University, and continued writing. After a period of rejection, he obtained regular work assisting Frank Crane, a popular religious writer, with his daily editorial column. The Teales’ only child, David, was born in 1925. In 1926, Teale received his M.A. from Columbia in English literature. In July of that year, he also took possession of his grandparents’ property in the Indiana Dunes, where he and his family built a brick cottage. They maintained the property until selling it in 1937.
In 1928, Popular Science hired Teale as a staff writer. Over the next thirteen years, he perfected his photography skills at the magazine, which led his pioneering technique for photographing insects and launched his career. Teale used an icebox to immobilize his insect subjects, placed them in a natural surrounding, set up a camera with magnifying lens, and waited for the subject to reanimate. Using this technique, he represented insects in a novel way – up close and larger than life. After successfully exhibiting his photos around New York City, they were published in nature magazines. His first critically acclaimed book, Grassroot Jungles, displayed a collection of over one hundred of these photos.
In January 1941, Teale’s The Golden Throng was published, receiving praise for the photographs of bees. On October 15 of that year, Teale left his job at Popular Science to become a freelance writer and photographer. He called that day his “own personal Independence Day.”
Teale’s decision to undertake freelance writing and photography also gave him time to work in his insect garden. For several years, Teale paid ten dollars a year for “insect rights” for a plot of land near his Long Island home. He planted “sunflowers, hollyhocks, spice bush and milkweed,” as well as “troughs offering honey and syrup to bees and butterflies (and) hidden pie pans with putrid meat to attract carrion beetles” to his garden. Teale’s biographer and publisher, Edward H. Dodd, wrote that “this small plot of land, undesirable for real-estate purposes, even in Long Island became his outdoor laboratory, his photography studio, his wilderness to explore.”
In October 1942, Dodd, Mead & Company published the result of these photography experiments, Near Horizons: The Story of an Insect Garden. Prominent publications praised the book, including the New York Times, Scientific Monthly, and The Scientific American, which proclaimed Teale one of few scientists “heavily gifted with literary charm.” In this latest book, Teale described himself as “an explorer who stayed at home, a traveler in little realms, a voyager within the near horizons of a hillside.”
In October 1943, Teale published Dune Boy: The Early Years of a Naturalist. In this work, Teale recollected the years he spent among the natural wonders of the Indiana Dunes, surveying his surroundings from the roof of the farm house, the shores of Lake Michigan, and the floor of the surrounding woods. In the book, he credits his grandparents for giving him freedom to develop his interest in nature. “At Lone Oak there was room to explore and time for adventure. A new world opened up around me. During my formative years, from earliest childhood to the age of fifteen, I spent my most memorable months here, on the borderland of the dunes.”
Dune Boy received a long and glowing review in the New York Times. The reviewer alluded to the book and Teale’s childhood, as representative of something inherently American. The reviewer stated that “Dune Boy is not only the record of a naturalist’s beginnings but one of our many-sided American way of life.”
Indicative of the book’s popularity, the army distributed more than 100,000 copies of Dune Boy during World War II. These “armed service editions” were printed by the Council on Books in Wartime.” Their slogan was “books are weapons in the war on ideas.”Teale commented that “he heard from many who had read it while engaged in battle for freedom in all parts of the world” and some scholars have suggested that the book presents “a timeless model of the democratic common life, for many . . . an image of their real American homeland.” The Teales’ son, David, served as part of an assault team under General George Patton during the war. After a period of considering him missing in action, in March 1945 the Teales’ received word that their nineteen-year-old son had been killed. The Teales claimed that only their love of nature got them through this difficult time.
Despite the personal tragedy, Teale’s career flourished. On November 19, 1945, The Lost Woods: Adventures of a Naturalist was published with critical acclaim and, beginning in January 1946, newspapers across the country began running Teale’s Nature in Action column. That November, Dodd, Mead & Company released a version of Henry David Thoreau’s Walden, “lovingly prepared” by Teale, who wrote an introduction and provided 142 of his own photographs.
In November 1951, Dodd, Mead & Company released North with the Spring, the account of the Teales’ 17,000-mile, four month long pursuit of spring across America. According to one New York Times reviewer, the book was “packed with solid learning” about the plants, animals, and weather they encountered, but it was also a “warm and moving” story of husband and wife naturalists. Contemporary environmentalists, such as Rachel Carson, embraced North with the Spring‘s environmentally conscious message.
On December 16, 1951, Teale began writing for the New York Times, producing the first of many nature articles and book reviews. In his first article, Teale wrote of the efforts to protect the wildlife areas and lamented the increasing urbanization and encroaching suburbs. Teale also wrote about the importance of contact with nature “to restore mental tone and health,” a common concern among conservationists during this time period.
Over the next few years, Teale produced compilations of selected nature writing, including Green Treasury: A Journey through the World’s Great Nature Writing (1952) and The Wilderness World of John Muir (1954), which made the New York Times “outstanding books of the year” list. [Buy it at the IHB Book Shop.] Reviewers called Teale “one of our most sensitive and observant naturalists” and among the “best of Americans writing about nature,” comparing him to Thoreau and Burroughs. Teale attended conservation fundraisers and entomological meetings. As his popularity grew, his earlier books were reprinted and adapted into children’s versions.
In August 1956, Teale published Autumn Across America, the second book in the American Seasons series. This time, the Teales followed fall through twenty-six states from Cape Cod to California over three months. Autumn Across America received even greater acclaim than North with the Spring. It was presented to the White House Library and described as a “revelation of the seasonal wonders that lie around us and the reflections they caused in the searching mind and genial soul of the author.”
In 1959, the Teales left their Long Island home, due to increased population and suburbanization, and moved to a 130-acre estate in Hampton, Connecticut, which they named Trail Wood.
In fall 1965, Teale published Wandering through Winter, the most celebrated of all his works. Teale covered a wide range of topics from beetles to whales to sunsets. The New York Times ran a laudatory review of Wandering through Winter, praising Teale’s work as without fault and his writing as combining the best of Thoreau, Hudson, and Muir. In May 1966, Teale became the first naturalist to win a Pulitzer Prize (for general nonfiction) for Wandering through Winter.
Although he continued to contribute introductions and chapters to colleagues’ books, and have his own books reprinted and adapted as children’s stories, his publishing slowed somewhat over the next decade. On October 10, 1970, Indiana University presented Teale with an honorary degree. In 1978, Teale produced his last work, A Walk through the Year. The book summarized a year with his wife Nellie at Trail Wood, highlighting the memorable experiences they shared.
On October 18, 1980, Teale died at the age of 81. On May 17, 1981, the Connecticut Audubon Society dedicated Trail Wood as the Edwin Way Teale Memorial Sanctuary, and it became steward of the property. Nellie remained at the farm until her death in 1993. In 1998, the University of Connecticut initiated the Edwin Way Teale Lecture Series. Visitors come to hike the grounds to see Teale’s landscape of “woods, open fields, swamps, two good-sized brooks and a waterfall.” Teale’s works continue to be reprinted, including a reissue of Dune Boy in 2002.
In 2009, the Indiana Historical Bureau, with the support of the Musette Lewry Trust, installed a state historical marker at the “Lone Oak” site where the brick cottage built by Teale still stands.
The United States faces an abundance of national security concerns in 2016, ranging from North Korean nuclear testing to Islamic State nuclear ambitions. Russia was notably absent from the 2016 Nuclear Summit, which was “aimed at locking down fissile material worldwide that could be used for doomsday weapons,” while maintaining the largest stockpile of nuclear weapons in the world. These concerns prompt a question that originated in the early Cold War period: how can a nation prevent nuclear attack?
During WWII, the U.S. detonated the first nuclear bomb over Hiroshima, Japan on August 1945, catastrophically damaging the city. The postwar 1949 explosion of a Soviet atomic bomb ignited fears of the American public about what Anne Wilson Marks dubbed in an article for the Bulletin of the Atomic Scientists, a “new Pearl Harbor.”
When most think of early Cold War civil defense they recall bomb shelters and “duck and cover” drills. However, President Dwight D. Eisenhower implored Americans in a 1953 advertisement to “Wake Up! Sign Up! Look Up!” to Soviet airplanes potentially escorting an atomic bomb over the U.S. He encouraged them to do so through a collaborative program with the U.S. Air Force called the Ground Observer Corps, established in 1949.
In the GOC, civilian volunteers were encouraged to build watchtowers in backyards and community centers, and to survey skies from existing commercial structures. Utilizing a telephone, binoculars, observation manual, and log of duties, civilians searched the skies for airplanes flying lower than 6,000 feet, which could evade radar detection. At the sight of a suspicious, possibly nuclear-bomb-toting plane, civilians were to telephone their local filter center, staffed with Air Force personnel, who could then direct the plane to be intercepted or shot down.
This collaborative civil defense program involved approximately 350,000 observers, made up of families, prisoners and guards, the youth and elderly, the blind and handicapped, and naval and USAF personnel. In 1952, the Ground Observer Corps operated 24-hours each day and became known as Operation Skywatch.
Scientists estimated that Soviet aircraft would emerge over the North Pole, raising questions about Indiana’s vulnerability. Governor Henry F. Schricker warned in The Indiana Civil Defense Sentinel that “Hoosiers should be alert to protect vital Indiana war industries if hostilities should break out.” Indiana officials worried that Lake County, part of Chicago’s urban industrial area, could be a site of an enemy attack. Concerned Indiana citizen Thomas H. Roberts wrote to Gov. Schricker that his family lived in “the highly industrialized Calumet area. I am sure you are aware that this area is a likely target for enemy attack.”
According to articles and letters sent to Schricker in 1950 from other governors, GOC planning advanced more quickly and decidedly in Indiana than other participating states. Unsure as to how to proceed after a Washington planning conference, Illinois Governor and future presidential candidate Adlai Stevenson appealed to Schricker for advice. Schricker detailed Indiana’s planning process for Stevenson, stating that he would first contact every mayor, town board president and all “peace officers on every level throughout the state.” Days after the meeting, the Department of Civil Defense for Indiana compiled a list of observer posts for each county.
On March 16, 1950, a mock air attack over Indiana illustrated the shortcomings of radar, as B-26 bombers flown by members of the Air National Guard of Indiana, Missouri and Illinois proceeded “completely undetected” by radar at Fort Harrison, the state’s only warning facility. Following the alarming mock air attack, municipal and county officials named Civil Defense Directors in 51 Indiana counties, who established observer posts in the northern two-thirds of Indiana. By late 1950, as the Korean conflict grew, the Air Force had partially constructed a filter center in South Bend, Indiana.
Historian Jenny Barker-Devine wrote in 2006 that rural residents were likely not targets of atomic explosions, but that federal civil defense agencies sought their help because “rural families also served as custodians of democracy and could prevent any type of socialism or communism from taking hold in local, state, and national governments.”
Diligent rural citizens, such as Larry O’Connor of Cairo, Indiana, organized movements to establish local GOC towers. O’Connor, a World War II Navy veteran and owner of Cairo’s only store (attached to his house), designated it the small community’s initial observation site.
In an interview with the author, Cairo resident James Haan shared that the post was necessary because Cairo was located along a line of beacon lights that could guide the enemy to industrial centers in Chicago. In 1952, building began on the Cairo observation tower and the local Rural Electric Membership Cooperative (REMC) donated and set the tower poles. Local merchants from Lafayette and the town of Battle Ground donated materials, and residents in surrounding areas furnished labor. Between 90 and 120 volunteers from surrounding areas volunteered at the Cairo tower. Haan states that volunteers worked in two-hour shifts and that he and other farmers worked all day in the fields, while female family members manned the towers, and the men volunteered throughout the night.
The Lafayette Journal and Courier claimed that Cairo’s tower was one of the first freestanding towers constructed over the ground. According to O’Connor, it was “the first G.O. Post officially commissioned by the U.S.A.F. in the U.S.A.” Commanding Officer of the South Bend GOC detachment, Lieutenant Colonel Forest R. Shafer, mentioned in a letter “I can verify that the tower constructed at Cairo, Indiana was the first of its kind within my jurisdiction but cannot confirm that it was the first in the United States. However, I am certain it was among the very first, at least.”
More research should be done to verify these claims, but it is clear that the recognition of USAF personnel and public officials gave residents a sense of pride in their contributions. Haan recalled “We had some representatives down here and felt pretty good about it.” He felt that the GOC tower made “a pretty important place out of it [Cairo]. There was a lot of business up there, a lot of people coming and going and working on the tower. And there was for days and days and days a lot of people up there.”
Under O’Connor’s direction, local residents held a dedication for the tower in 1976, commissioned a moment featuring limestone volunteers, and got the tower listed on the National Register of Historic Places. The site was later commemorated with a historical marker.
The GOC is now long forgotten, as demonstrated by the Cairo tower, once so revered by the community for decades, but now in decay. As with many civil defense programs of the 1950s, the GOC has been deemed a quirky, superfluous program, constructed by an overly-paranoid people. However, the GOC established a model of national defense that solicited the participation of the general public. It served as an opportunity for families, neighbors, and community members to spend quality time together through the shared objective of improving national security.
On January 31, 1959, the Secretary of the Air Force announced the termination of the program due to the improvement of detection radar and inability of civilians to detect increasingly technical Soviet missile system. The Indiana Civil Defender almost wistfully noted that the U.S. “is geared to the substitution of machines for manpower . . . and we accept this theory of progress.” The bulletin lamented the conclusion of the program, but congratulated its participants for successfully deterring attack, going so far as to claim the GOC may have been “the one final deterrent to an attack on the country by a calculating enemy.”
As national attention returns to security concerns, the question remains: how does a country stop the detonation of a nuclear bomb? An NPR correspondent recently contacted the author about the potential for a piece about these Cold War watchtowers.
Despite precarious national security issues, IHB is pleased to report that the Cairo marker has recently been repainted. We are grateful to the Sigma Phi Epsilon Fraternity at Purdue University and Bruce Cole and his sons for their work to preserve the legacy of those vigilant Indiana citizens.
Learn more about the GOC and Cairo tower with the author’s master’s thesis.
Want more towers? Check out our blog posts about Hoosier surveyor Jasper Sherman Bilby, whose Bilby Tower was foundational to modern GPS.
Check out Part I to learn about Bill Garrett’s time on the Shelbyville High School basketball team, the “gentleman’s agreement,” and Garrett’s entry in Big Ten basketball. Or check out our podcast!
In an oral history interview in June 1970, Bill Garrett reflected on his early experiences at IU and on the school’s varsity basketball team. Garrett noted that “it was somewhat of an adjustment as far as the team players were concerned” and that it made things “rough at the start.” Despite encountering discrimination from some of the squad’s older players and while on the road for away games, Garrett quickly made a name for himself on IU’s team. In a February 1949 article, the Bloomington Daily Herald commended Garrett on his talent, and noted the positive impact that he and other young players were having on the team. By the end of the season, Garrett had tallied 220 points, the highest total on the squad that season. This success continued into his junior and senior years, with newspapers commenting on his speed and play-making ability. In a January 5, 1950 article, the Wisconsin State Journal reported:
Indiana’s attack is built around William Garrett, a lithe Negro who stands only 6-2 1/2 but plays offensive center. He is quick as a cat and has a devastating one-handed shot.
The following month, the Pittsburgh Courier, a leading African-American newspaper, referred to him as “the most spectacular member on the team coached by Branch McCracken.”
During Garrett’s time on the varsity basketball squad, the team’s record improved greatly. According to the Indiana Basketball Men’s Database, in the 1947-1948 season, the year before Garrett joined the team, IU won only eight games and lost twelve. The following season, Garrett’s first with the varsity squad, they improved to fourteen wins, and by his senior year (1950-1951), they went 19-3 and were ranked seventh in the nation.
Much of the team’s success during this period stemmed from Garrett’s talent on the court. On March 6, 1951, the Jasper Daily Herald reported that Garrett had broken IU’s four-year career scoring record with a total of 792 points in only three seasons of play. His 193 Big Ten points during the 1950-1951 season also broke the old record set in the 1946-1947 season.
On February 24, 1951, the Indianapolis Recorder announced that Sporting News, a well-respected sports publication in the country, named Garrett to its All-American team. The Recorder quoted sportswriter Cy Kritzer in its February 24, 1951 issue regarding the selection. Kritzer remarked:
“Above all, he [Garrett] was a playmaker. The game has none better than the Hoosier star on the fast break.”
Just a few weeks later, the United Press named Garrett a second-team All-American. The All-American team was selected by a poll of the nation’s leading sportswriters and radio broadcasters. Garrett’s teammates also voted him Most Valuable Player of the season.
While at IU, Garrett was the only African American to play on a Big Ten varsity basketball team. On March 11, 1950, the Indianapolis Recorder published an article entitled “Bill Garrett Needs Company” in which it reported that Garrett was disappointed about being the only black basketball player in the conference. The article noted that in addition to Indiana University, DePauw, Earlham, and Anderson College all had African American students on their teams that season, and it encouraged Big Ten schools to follow their lead. However, by the following year, as Garrett’s final college basketball season was coming to an end, some feared that the Big Ten might revert to an all-white status again.
In their book Getting Open: The Unknown Story of Bill Garrett and the Integration of College Basketball, Tom Graham and Rachel Graham Cody note that African Americans John Codwell at the University of Michigan and Rickey Ayala at Michigan State were playing freshman basketball during Garrett’s senior year. At this time, freshman could not play on varsity teams except for the 1951-1952 season, which included an exception because the Korean War made it difficult to field a team.
Although no African American players joined him at the varsity level before he graduated, Garrett’s example on and off the court helped create opportunities for others in the future. On March 6, 1951, with his college career winding down, the Indiana Daily Student ran an article on Garrett, noting the school body’s pride in him and how much he would be missed the next year. According to the paper, Garrett was “one fine model for a young athlete to pattern himself after.” At a time when segregation was still practiced in many areas of the state, and black athletes were still scarce in certain sports, this was saying a lot. It was a testament to both his talent and character, and again called into question why blacks should not be permitted to play Big Ten basketball.
Garrett graduated from IU with a Bachelor of Science degree in Physical Education in June 1951. In the season immediately following his graduation, at least seven black basketball players made Big Ten teams. On November 17, 1951, the Indianapolis Recorder reported that Ernie Hall had become the first African American basketball player at Purdue, and that Bob Jewell, who played at Crispus Attucks, made the University of Michigan’s team. In January 1952, the Recorder noted that in addition to Jewell, Michigan had two other African American players that season: Don Eaddy and Jonn Codwell. The paper traced this progress back to Bill Garrett, stating:
Following the path opened by Bill Garrett at Indiana University, sepia cagers are now making Big 10 and other leading teams in increasing numbers.
Likewise, the Capitol Times of Madison, Wisconsin also credited Garrett, noting that he was “the Jackie Robinson of the cage court” and that he had “blazed the way for others of his race in the college game this season.” Other African American players during the 1951-1952 year included Rickey Ayala at Michigan State, Walt Moore at Illinois, and Deacon Davis at Iowa. Notre Dame also challenged the color barrier at the school during this period, with African Americans Joe Bertrand and Entee Shine joining the Irish squad.
Though racial prejudice in sports did not end, black players continued to find success on Big Ten and other Midwest basketball teams.
On May 5, 1951, Bill Garrett was drafted by the Boston Celtics to play in the NBA. Though the league was still in its infancy, it was already attracting some of the best players from around the country. Again Garrett’s selection was a testament to his talent on the court. According to the Indianapolis Recorder, Garrett “found himself the only Negro among 86 stars who were drafted” to play professional basketball that year. However, Garrett would never get his opportunity to join the team. On August 25, 1951, the Indianapolis Recorder reported that he had been drafted into the U.S. Army. The Korean War (1950-1953) was already in full swing by this time, and Garrett was ordered to report for induction into the Army by September 7.
It is unclear when the Celtics released Garrett. According to a March 29, 1952 article in the Indianapolis Recorder, Garrett took his regular Army furlough with the Harlem Globetrotters in April of that year. One year later, on September 26, 1953, the Recorder reported that he was discharged from the Army and signed a contract to play with the Harlem Globetrotters. According to Tom Graham and Rachel Graham Cody, NBA teams limited the number of African American players on their rosters during this period and the Celtics already had two others.
Garrett played with the Globetrotters until 1955, when he decided to leave the team. According to his wife, Betty Garrett Inskeep, “he wasn’t happy playing for them. He was a very easygoing person, but he was competitive when you’re supposed to be competitive, so what the Globetrotters did did not suit him at all.”
Two years later, on July 13, 1957, the Indianapolis Recorder reported that Garrett had been hired to succeed Ray Crowe as head basketball coach at Crispus Attucks High School in Indianapolis. Garrett had his work cut out for him. Crowe had led the all-black high school to the state basketball title in 1955 and 1956.
In his first year on the job, Garrett helped the team win its sixth straight sectional crown. Just one year later, he coached Attucks to the state championship, again bringing glory to the school. The Indiana Sportswriters and Broadcasters Association named Garrett Coach of the Year soon after the tournament.
Garrett coached Attucks for ten years before assuming the position of athletic director at the school in 1968. In 1974, he was inducted into the Indiana Basketball Hall of Fame. Sadly, Garrett died of a heart attack just a few months later, on August 7, 1974, at the age of 45. He was assistant dean for student services at IUPUI at the time of his death.
Though his name is not as widely recognized as Jackie Robinson’s or other pioneers in race relations, Garrett’s influence and contributions in helping to diminish racial discrimination in both high school and college basketball in the mid-1900s should not be forgotten.
Be sure to follow IHB’s Facebook page for information on the upcoming dedication of a new state historical marker to commemorate Garrett and the integration of Big Ten basketball later this year.
Learn about the origins of the Brown County Jamboree in Bean Blossom, Indiana in Part I.
William “Bill” Monroe’s Hoosier roots run deep. While Bill was born and raised in Kentucky, he moved to northwest Indiana in 1929 when was he was just eighteen years old. His brother Charlie had gotten a job at the Sinclair Oil refinery in Whiting, Indiana, and sent for Bill and their other brother Birch. It was the start of the Great Depression and the crowds outside the refinery of men hoping for a job grew large enough that the police had to move them so the street cars could get through. Luckily for Bill, Charlie Monroe was well liked at Sinclair and was able to help his brother to secure employment there as well. Birch was not as lucky and remained unemployed for some time. Charlie was afraid that Bill wouldn’t be able to do the heavy labor as a result of an appendectomy. Bill soon proved that he was up to the job, unloading empty oil barrels from the freight trains and cleaning them. However, Bill also had to do janitorial work at the company, something of which he was embarrassed and wouldn’t speak of publicly.
Bill was also sensitive about the problems with his eyes. Bill’s vision was poor, but he was also “hug-eyed,” a term for one eye that faces inward. Around 1930, the brothers were still working at Sinclair and settled in East Chicago, just a short train ride away from the Windy City. Somehow Bill, likely with his brothers’ help, was able to afford an expensive and delicate eye surgery. Luckily a Chicago surgeon was able to align the eye, “a major turning point” for the shy teenager, according to Richard D. Smith’s Can’t You Hear Me Callin’: The Life of Bill Monroe, Father of Bluegrass.
A lot of southerners were displaced by the Depression, but were able to bring their culture with them to northern industrial cities. The Monroe brothers were no exception. They went to square dances in nearby Hammond, Indiana, sometimes held in an old storefront. “Hillbilly music” had become nationally popular and there was demand for mountain ballads and energetic string bands for both live performances and on the radio. As they had back in Kentucky, the Monroe boys began playing at dances and gatherings around northwest Indiana. Along with their friend Larry Moore, they formed The Monroe Brothers.
Despite the death of their beloved Uncle Pen, who raised Bill and influenced his music greatly, 1931 looked like a better year for the brothers. All three now had refinery jobs and a little extra money to head to the square dances in Hammond. Here they were “discovered” by country music program director Tom Owens, who hired them for a “square dance team” which performed at a traveling variety show sponsored by a radio-station. Soon after, a Hammond radio station gave The Monroe Brothers airtime, a Gary station gave them a regular fifteen minute show, and the Palace Theater in Chicago booked them to perform. The Monroe Brothers’ next break took them away from the Hoosier state. Birch kept his refinery job, but Charlie and Bill headed to Shenandoah, Iowa to perform on a radio show. They were a hit and became full-time professional musicians.
During the time Bill Monroe was away from Indiana, his career took off. By 1936, The Monroe Brothers signed to RCA Victor and released a hit single, “What Would You Give in Exchange For Your Soul?” The Monroe Brothers disbanded in 1938, but Monroe quickly formed other groups, including an early version of the soon-to-be legendary Blue Grass Boys. In 1939 Bill successfully auditioned for the iconic Grand Ole Opry, which made him a star. By this time, the four-hour Opry radio broadcast reached country music fans in almost thirty states and its stars became household names. With the addition of Earl Scruggs on banjo and Lester Flatt on guitar to Bill Monroe’s mandolin and high tenor voice, the classic Blue Grass Boys line-up was born in 1945. Over the next two years, the band recorded several successful songs for Columbia Records, including “Blue Moon of Kentucky,” which again became a hit in 1954 when Elvis recorded it for the b-side of his first single.
Flatt and Scruggs left the band in the late 1940s, but Bill Monroe success continued. He signed with Decca records in 1949 and recorded several songs which became classics of bluegrass music, the genre named for the Bluegrass Boys. The New York Times referred to Monroe as “the universally recognized father of bluegrass” and reported that he “helped lay the foundation of country music.” The writer continued:
Mr. Monroe, who played mandolin and sang in a high, lonesome tenor, created one of the most durable idioms in American music. Bluegrass, named after his band, the Blue Grass Boys, was a fusion of American music: gospel harmonies and Celtic fiddling, blues and folk songs, Tin Pan Alley pop and jazz-tinged improvisations. The Blue Grass boys sang, in keening high harmony, about backwoods memories and stoic faith; they played brilliantly filigreed tunes as if they were jamming on a back porch, trading melodies among fiddle, banjo, and Mr. Monroe’s steeling mandolin. By bringing together rural nostalgia and modern virtuosity, Mr. Monroe evoked an American Eden, pristine yet cosmopolitan.
In the early 1950s, Monroe returned to Indiana and was impressed with what he saw at Bean Blossom in Brown County. The Brown County Jamboree was a country music variety show held in Bean Blossom that became hugely popular in the state by 1941. Thousands of people came to the small town to see local musicians and stars of the Opry. Bill Monroe began playing at the popular Brown County Jamboree by 1951. Likely it was that same year that Bill decided to purchase the Jamboree grounds from local owners Mae and Francis Rund. He took over management for the 1952 season. The Brown County Democrat reported:
The famous Brown County Jamboree at Bean Blossom has new owners. Mr. and Mrs. Francis Rund, founders and owners for 13 years, have sold the Jamboree Hall to the Grand Ole Opry entertainer, Bill Monroe, of Nashville, Tennessee.
Monroe himself confirmed the 1952 date in a later interview, stating:
This festival here in Bean Blossom Indiana . . . It means a lot to me. I bought this place here back in ‘52 and to set out to have a home base here where we could play to the folks and give them a chance enjoy and to learn about bluegrass music. And It’s really growing in this state and I’m glad that it has.
The Brown County Democrat reported that when Bill Monroe purchased the Brown County Jamboree, the show continued to operate “every Sunday night from the first Sunday in May until the first Sunday in November.” Advertisements throughout the 1950s and 60s for the Jamboree at the park and the Jamboree musicians (including Bill Monroe) at other venues and on the radio continued through the next few decades. However, in the Monroe years, there was much less advertising. The regular show was well-known and attended and so most of the advertising was done through posters. Bluegrass historian Thomas Adler also states in his book Bean Blossom: The Brown County Jamboree and Bill Monroe’s Bluegrass Festivals that the Jamboree under Monroe fell into a regular pattern: “Bill opened each season and played frequent shows in the barn and also used the park for other non-Jamboree events, especially those involving rural pursuits like fox hunting…”
With the rise of rock and roll in the first half of the nineteen fifties, people were much less interested in country music, according to Adler. This affected attendance at the Jamboree and less people visited Bean Blossom. However, with the revival of the folk movement in the late 50s and early 60s, Bill Monroe and his unique style of bluegrass attracted national attention once more. Long time New York Times music reporter Robert Shelton noted in 1959 that bluegrass “is enjoying a vogue in city folk music circles.” Shelton wrote that, through changing tastes, bluegrass was “earning the reconsideration of many serious listeners.” This reinvigorated interest in Bean Blossom as well, and the time was right for Monroe’s next move: a large annual bluegrass festival.
The first annual festival hosted by Bill Monroe in 1967 was called the “Big Blue Grass Celebration.” According to Adler, Bill Monroe didn’t want to put his name on the event and didn’t want the word “festival” because competing bluegrass and folk events used the term. It was officially a two day event, June 24 and 25, but according to Adler, there were a few performances and a dance the night before.
The next year the festival was extended to three days to accommodate the large crowds. This 1968 festival attracted ten thousand people. By 1969 the event was billed as “Bill Monroe’s Bluegrass Festival” and the location referred to as the “Brown County Jamboree Park.” This year the festival was extended to a four day event. According to the Indianapolis Star, highlights included “a banjo-pickin’ contest,” a bluegrass band contest, a “sunset jam session,” an “old-time square dance,” a workshop for learning bluegrass instruments, and church services. When the headlining musicians weren’t performing, they participated in “pick and sing” sessions, improvisational jams where the professionals and amateur players exchanged ideas.
The Bill Monroe Bluegrass Festival soon attracted not just fans but also performers from around the world. The 1969 festival included “Pete Sayers, country singer from London, England,” and Adler writes that Sayers returned in 1970. However, Sayers appears to be the only foreign performer until 1971. Writing for Bluegrass Unlimited Magazine in 1971, Frank Overstreet, a musician and festival attendee, reported on the event being the first international festival at Bean Blossom. He wrote, “The international aspect of bluegrass was brought to light at the festival this year by the presence of a New Zealand group, the Hamilton County Bluegrass Band and a Japanese one, The Bluegrass 45.” The 1971 festival included concerts, jam sessions, dancing, a church service, a bluegrass music school, and bands which travelled from all over to perform, including from other countries. Nonetheless, the main attraction remained Bill Monroe and the Blue Grass Boys “who started it all,” according to the Indianapolis Star.
According to Adler, the “golden age of the festival” was 1972-1982, a period which saw steady growth in attendance. In June 1972, the Indianapolis News reported that the previous year’s festival drew 15,000 people and that organizers were expecting up to 35,000 people for the 1972 event. In June 1973, the Indianapolis News reported that 35,000 people attended the festival. In June 1976, just ahead of the festival, the Indianapolis Star reported that festival organizers again expected up to 35,000 people to attend. In the midst of the festival, Monroe confirmed in a locally televised interview that the numbers of attendees was above 30,000. Monroe also stated that attendees represented thirty-six different states and eight foreign counties. In 1977, the festival was extended to nine days (from seven days the previous year) to accommodate the growing crowd; organizers were expecting crowds of up to 50,000 people.
Bill Monroe made his festival an international success and repeated that success annually. He died September 9, 1996 in Tennessee days before his 85th birthday. According to the Indianapolis Star, even while he was sick in the hospital, he played his mandolin for the other patients. On September 10, 1996, New York Times reporter John Pareles wrote:
He perfected his music in the late 1940’s and stubbornly maintained it, and he lived to see his revolutionary fusion become the bedrock of a tradition that survives among enthusiasts around the world . . . Every musician now playing bluegrass has drawn on Mr. Monroe’s repertory, his vocal style and his ideas of how a string band should work together. And his influence echoes down not just through country music but from Elvis Presley (who recorded Mr. Monroe’s ‘Blue Moon of Kentucky’ on his first single disk) to bluegrass-rooted rock bands like the Grateful Dead and the Eagles.
Upon Monroe’s death in 1996, the deed for the Jamboree grounds was transferred to his son James. In 1998, Dwight Dillman purchased the park and named it “Bill Monroe’s Memorial Park & Campground.” This year the park is preparing for the “50th Annual Bill Monroe Memorial Bean Blossom Bluegrass Festival” to be held June 11 – June 18, 2016. Bill Monroe’s legacy continues in the larger world of bluegrass and will certainly never be forgotten in Indiana, where he got his humble start at a Hammond square dance. As President Bill Clinton stated the year before Monroe’s death, “Bill Monroe is truly an American legend.”
In 1947, Jackie Robinson made history when he broke the color barrier in Major League Baseball. Robinson set the precedent, and in the years following, many African American players would follow his lead to join big league teams. In 1948, just one year after Robinson’s debut with the Dodgers, Indiana witnessed its own trailblazer in sports, as Shelbyville’s Bill Garrett broke the ironically named “gentleman’s agreement” that had barred African Americans from playing Big Ten college basketball (the Big Ten became the Big Nine in 1946 when the University of Chicago withdrew its membership. In 1949, Michigan State College – now Michigan State University – joined the conference, and it again assumed the name the Big Ten).
Bill Garrett was born in 1929, at a time when segregation and racial discrimination were rampant in Indiana. The Indianapolis Times had just been awarded the Pulitzer Prize for exposing the Ku Klux Klan’s influence in state politics the year before, and just one year later the state would experience the horrific lynching of Thomas Shipp and Abram Smith in Marion. In their thoroughly researched book Getting Open: The Unknown Story of Bill Garrett and the Integration of College Basketball, authors Tom Graham and Rachel Graham Cody note that Shelbyville avoided much of the racial violence that other Indiana communities experienced at this time, but that segregation was nevertheless commonplace. Garrett, like other African Americans there, attended the segregated Booker T. Washington Elementary School, and when he entered Shelbyville High School in the 1940s, he was one of only a few black students in his class.
Despite this, Garrett became widely recognized for his skills on the basketball court, and by his senior year in high school (1946-1947), he was one of the star players on Shelbyville’s varsity basketball team. Newspapers across the state praised him for his play. On January 9, 1947, one day after Garrett helped lead the Shelbyville Golden Bears to a decisive 59-40 victory over Greencastle, the Greencastle Daily Banner recognized him as “one of the smoothest performers and best shots” to appear on the Greencastle court over the years. He was quick, clever, and had a “natural talent” for the game. Many regarded him as the second Johnny Wilson. Wilson, also African American, had graduated the year before from Anderson High School, where he led the team to the state basketball title and was named Indiana’s “Mr. Basketball.” The Indianapolis Recorder noted the similarities between the two in a March 22, 1947 article, stating that the resemblance in their play was “uncanny.”
The mark of greatness, however, in Garrett as in Wilson, is the ability to sweep through the opposition and turn a stalemated contest into a rout. It is that extra speed and split-second timing which stamps an all-state player as distinguished from a good player. It is cool floor-generalship and flawless ball-handling – and Garrett has them all.
When the 1947 Indiana high school basketball tournament kicked off in late February that year, 781 teams competed for a shot at the title. Despite the odds, Garrett, along with starters Emerson Johnson, Marshall Murray, Hank Hemingway, and Bill Breck, helped lead Shelbyville to the school’s first basketball championship. On March 22, Shelbyville defeated the East Chicago Washington Senators 54-46 and advanced to the title game where they beat undefeated Terre Haute Garfield 68-58.
At a time when segregation was prevalent in the state, Shelbyville’s team featured three African American starters: Murray, Johnson, and Garrett, each of whom had captured the hearts of Shelbyville fans.
Garrett had set a new individual state tournament scoring record during the competition. His 91 points in the final four games broke the 85-point record set by Johnny Wilson the year before. And like Wilson, he too was named “Mr. Basketball” for the season.
After the 1947 title game, many wondered where Garrett would continue his basketball career. Despite the fact that he, Wilson, and other African American players were leading their teams to high school titles and were considered some of the best players in the state, the “gentleman’s agreement” barred them from playing college basketball on Big Ten varsity teams into the late 1940s. Reports out of Indiana University at this time note that there was “no written rule in the Big Ten regarding participation in athletics. The unwritten rule subscribed to by all schools precludes colored boys from participating in basketball, swimming, and wrestling.”
In the years following, many would question the inconsistency of this rule, as blacks participated in football and other Big Ten sports during this period. Some speculated that the reason for the discrepancy was that basketball was played in more intimate settings with briefer uniforms, thus increasing the chance of contact between white players’ and black players’ skin.
Referred to as the” gentleman’s agreement,” the “unwritten rule,” or the “lily-white rule,” the color line in basketball came under increasing attack throughout the 1940s as more and more talented black players were being overlooked solely because of their race. In 1944, African American Richard (Dick) Culbertson played varsity at the University of Iowa, but coaches largely regarded his participation as an exception rather than the rule. Culbertson was a substitute rather than a starter, and wartime conditions had made it more difficult to field a team, leading to slightly relaxed rules.
On March 25, 1947, after watching Bill Garrett, Emerson Johnson, and Marshall Murray help Shelbyville win the state championship, John Whitaker of the Hammond Times wrote an open letter to the commissioner of the Big Ten in which he asked why the “unwritten agreement” existed:
If the biggest, braggingest athletic conference in the middle of the greatest country in the world can use Negroes like Buddy Young, Ike Owen, Dallas Ward, Duke Slater, George Taliaferro and the like to draw $200,000 crowds for football . . . and Negroes like Jesse Owen[s] and Eddie Tolan to win Olympic crowns . . . why can’t it use them in basketball.
In June 1947, the Indianapolis Recorder reported that despite Garrett’s hopes to play Big Ten basketball at IU or Purdue, the “gentleman’s agreement” might force him to continue his career in California. The news disappointed many who had hoped to see Garrett stay in state, and prompted Recorder writer Charles S. Preston to call out the state and the Big Ten conference in hopes of bringing an end to the ban:
What in Hades is the matter with the Hoosier state, when we are going to let one of our best basketball players of all time get away from us, and go out to California to play! And all because of a ridiculous ‘unwritten law’ that doesn’t begin to make sense!
Though some denied that such an agreement barring blacks from Big Ten basketball existed, the continued absence of African Americans on these teams indicated otherwise.
Fearful that Garrett would be bypassed by Big Ten teams like others before him, black leaders in Indianapolis banded together in order to persuade IU to give him an opportunity to make the school’s team. Faburn DeFrantz, Executive Director of the Senate Avenue YMCA in Indianapolis, spearheaded the effort, and in the months following the 1947 state high school tournament, he and other black leaders drove down to Bloomington to meet with IU President Herman B Wells on Garrett’s behalf.
President Wells was eager to end racial discrimination and segregation at IU, and had already been doing so quietly in other parts of the campus at this time. After meeting with DeFrantz and the others, Wells asked IU basketball coach Branch McCracken to give Garrett a chance to make the team, noting that he would handle any potential backlash from other Big Ten coaches.
In DeFrantz’s unpublished autobiography, excerpts of which were obtained by Graham and Cody during their research, DeFrantz acknowledges Wells’ role in helping to break down racial barriers at IU:
In Indiana University’s President Herman B Wells democracy found an ally. No overhaul of policy such as that accomplished at Indiana University could have been possible without the cooperation he gave.
In an October 4, 1947 article, the Indianapolis Recorder praised DeFrantz and others for their efforts to get Garrett to IU and recognized them as “key figures in the victory for democracy.” In January 1949, during Garrett’s first season on the varsity team, the Recorder named DeFrantz to its 1948 Race Relations Honor Roll, noting his unremitting campaign to help end racial discrimination in sports. Two years later, Garrett would also be named to this Honor Roll.
Garrett was admitted to IU in the fall of 1947 and played one year on the freshman basketball squad. He made his regular-season varsity debut in December 1948 as IU beat DePauw 61-48. In doing so, he became the first African American player on an IU varsity basketball team. More importantly, the Recorder recognized on December 11, 1948, that “Garrett’s entry into the Big Nine ranks may prove to be the beginning of the end for an anti-Negro ‘gentleman’s agreement’. . .”
Integration in basketball, both at the high school and eventually the college level went a long way in improving race relations in the state, as fans cheered their teams to victory regardless of the color of their players’ skin. On February 18, 1950, the Recorder reported on the influence that sports had on blurring the color line, stating:
Race prejudice, too, has generally been given the bum’s rush by the fans who lose sight of everything but the fortunes of OUR TEAM. The performances of such athletes as Bill Garrett, Johnny Wilson, and a host of others have probably done as much as anything else to kill the Ku Klux Klan spirit in Indiana. A quick field goal by a Negro player will do more to “convert” the ordinary Hoosier than all the Race Relations Days in a century.
Garrett helped “convert” thousands in Shelbyville and across the state during his high school years and he would work to do the same while playing at IU.
Check out Part II coming later this week to learn about Garrett’s achievements while on IU’s squad, his impact on other African-American players, and his career after graduating.
In 1936, Dr. James Naismith, basketball’s inventor, attended the Indiana high school championship game between Frankfort and Fort Wayne Central. In his first exposure to Hoosier Hysteria, he recalled that the sight of the stadium “packed with fifteen thousand people, gave me a thrill I shall not soon forget.” During his visit, Naismith told an Indianapolis audience: “Basketball really had its beginning in Indiana which remains today the center of the sport.” Expanding upon this comment, Naismith associated Indiana’s national distinction in basketball with the popularity and success of the state high school basketball tournament.
The Indiana high school basketball tournament began in 1911, when Crawfordsville High School (C.H.S.) defeated Lebanon High School for the state title. This post provides an historical examination of the first Indiana high school basketball champions’ season, and the beginning of one of Indiana’s most cherished cultural traditions.
EARLY CRAWFORDSVILLE HIGH SCHOOL BASKETBALL
In 1900, C.H.S. organized one of the earliest high school basketball teams in Indiana. Unfortunately, finding high school opponents in the nascent years of the sport in the Hoosier state often proved difficult. During the 1901-02 season, Crawfordsville defeated Indianapolis’ Shortridge High School, the lone high school team on their schedule. In the opinion of the C.H.S. team, this victory gave them “the championship of the High Schools of Indiana in basketball.” They justified this claim because they defeated Shortridge, and Shortridge defeated Indianapolis’ Manual Training High School. A Crawfordsville newspaper issued a standing challenge on behalf of the local team, “They are willing to defend their title any time and any where,” but no other challengers came calling.
THE BIRTH OF A RIVALRY
More high schools began playing basketball in the subsequent years. In 1907, C.H.S. again styled themselves “the state champions” after finishing the season undefeated, but this time four high schools numbered among their opponents. By the 1908-09 season, all but two of C.H.S.’s opponents were high schools. Lebanon High School debuted on C.H.S.’s schedule that season. Although Lebanon finished with a 22-2 record, both their losses came against Crawfordsville. Because of this, the Lebanon Patriot conceded that Crawfordsville could claim the title of “state champions” yet again.
Any high school’s claim to be the “state champions” based simply upon best record grew more contentious at the end of the following season. In 1910, C.H.S. claimed to be the “state champion” after compiling a 13-1 record, a 92.8 winning percentage. Crawfordsville’s lone loss that season came against Lebanon High School. Lebanon and Crawfordsville split their season series, each team winning on their respective home courts . Lebanon finished their season with a 20-2 record, for a 90.9 win percentage. Even though Crawfordsville had the better winning percentage, Lebanon won seven more games. Consequently, Lebanon refused to concede the “state championship” to Crawfordsville. The Lebanon High School yearbook argued their team’s case, “Lebanon . . . has played more high schools than any other claimant, has defeated them all, and has been defeated only twice.”
Lebanon proposed a solution, and challenged Crawfordsville to a third game on a neutral court to decide the state champion. If Lebanon won they could justly claim the “state title” by virtue of having defeated Crawfordsville twice, and having the overall better winning percentage. Conversely, if Crawfordsville won the third game their claim to the title could no longer be questioned. Crawfordsville refused a re-match.
The controversy over the “state championship” of 1909-10 created strong enmity between the neighboring high schools of Crawfordsville and Lebanon. After Crawfordsville declined to play a third game, Lebanon proceeded to discredit “the motives and actions” of their rival. C.H.S., in turn, threatened to file charges with the Indiana High School Athletic Association’s (IHSAA) Board of Control, charging Lebanon with “unsportsmanlike conduct and unfair criticism.” Thus, the Crawfordsville-Lebanon rivalry was born.
The “state championship” controversy demanded a solution. Although the IHSAA began in 1898, the Indiana University Booster Club organized the first Indiana high school basketball tournament. It planned the event to take place at Indiana University in March 1911. The Booster Club’s proposal called for a twelve-team tournament, which would include the teams with the best records from Indiana’s congressional districts. The tournament winner would receive “a suitable trophy, emblematic of the state championship,” and thereby quash any debate as to which team was the rightful title holder.
CRAWFORDSVILLE’S 1910-11 SEASON
During the regular season, Coach Dave Glascock led his team to a 12-2 record. Crawfordsville’s starting line-up was comprised of forwards Carroll Stevenson and Orville Taylor, center Ben Myers, and guards Clio Shaw and Newt Hill. The substitutes were forward Hugh “Buddy” Miller, and guard Grady Chadwick. The team averaged a little over 29 points a game while holding their opponents to 16.5. Myers led the team in scoring with 12.3 points a game, and Stevenson averaged 9.3. Regarding the team’s defensive abilities, the Crawfordsville Journal reckoned Shaw, “As a back guard has no superior in the state,” and Hill many times spoiled what looked like sure goals “by his phenomenal guarding.”
As impressive as C.H.S.’s team and individual successes were, they still had four games to play to prove that they were Indiana’s best.
THE TOURNAMENT: FIRST ROUND
The teams invited to the “First Annual State Interscholastic Basket Ball Tournament” at Bloomington included Anderson, Bluffton, Crawfordsville, Evansville, Lafayette, Lebanon, Morristown, New Albany, Oaktown, Rochester, Valparaiso, and Walton. The tournament teams and fans convened at Indiana University’s original Assembly Hall on Friday, March 10. In the first round of play, New Albany eked past Rochester, 19-18, “Walton walloped Morristown,” 31-23, Bluffton carried “off the bacon” against Evansville, 38-23, Lafayette “romped away from” Oaktown, 31-14, and Lebanon defeated Valparaiso, 23-11.
Crawfordsville’s first round game was against Anderson High School. The game remained competitive in the first half, and at half-time Crawfordsville led 14-10. The pace changed dramatically in the second half. The Anderson Herald described, “The Crawfordsville quintet showed [a] burst of varsity playing which swept the Anderson players off their feet and the ball fell into the basket with great rapidity.” Crawfordsville went on a 22-6 run in the second half, as the “Blue and Gold” won, 36-16.
THE TOURNAMENT: SECOND ROUND
On Saturday, March 11, Lebanon began the second round of tournament play against New Albany at 9 a.m. Although it took fifteen minutes for either team to score, Lebanon led 14-3 at the half, and at the end of regulation Lebanon triumphed, 28-10. Following that game, Bluffton took the floor versus Lafayette at 10 o’clock. In a game “replete with sensational floor work and fine basket shooting,” Bluffton defeated Lafayette, 34-22.
The next game tipped at 11 a.m., and matched Crawfordsville against tiny Walton High School from Cass County. The Daily Student reported, “The first half proved a soul stirrer [with] both teams fighting savagely on the floor.” The half ended with Crawfordsville leading 16-10. In the second half, and held Walton field goalless. Myers continued to shine offensively for Crawfordsville, “playing a speedy, heady and nervy game,” en route to fifteen points. Myers’ teammates, Miller, Hill, and Taylor combined for sixteen more points as Crawfordsville advanced past Walton, 31-12.
THE FINAL FOUR THREE?
Instead of a final four, the first Indiana state high school basketball tournament had a final three, a product of seeding the tournament with twelve teams. Tournament organizers held a drawing with Bluffton, Crawfordsville, and Lebanon to determine which teams would play next, and which team would receive a bye into the final round. The story of Indiana’s first basketball tournament would lose much of its intrigue if Lebanon and Crawfordsville met in the semi-final game. As chance would have it, Lebanon drew the bye, and advanced to await the winner of Crawfordsville v. Bluffton for the championship.
In their first two tournament games, Bluffton averaged 36, but their defense surrendered 5.5 points more than their regular season average. Injuries to key Bluffton players, sustained in their quarterfinal game against Lafayette, further weakened the team. Bluffton’s top-two scorers in the regular season, Doster Buckner and Dwight Fritz, hobbled into the game against Crawfordsville on sprained ankles.Bluffton did what they could against Crawfordsville, and “fought gamely all throughout the fray.” Yet, Bluffton’s scrappiness could not contain Crawfordsville’s “tall, husky lads.” Crawfordsville led 21-7 at the half, and easily won the game, 42-16. Myers again led the offense with sixteen points, despite receiving a “deep gash on his forehead” after colliding with Bluffton center Claude Ware. “Chine” Taylor had his strongest tournament showing with six field goals. Carroll Stevenson saw his first tournament action in the second half, and exhibited no ill effects from his injury, finishing with 12 points. In defeat, Bluffton’s Homer Brumbaugh led his team in scoring with 10 points.
STATE FINAL: CRAWFORDSVILLE VS. LEBANON
After all the antagonism expressed between Lebanon and Crawfordsville the previous three seasons, it was only fitting that these two squads met in the finals. The high school championship would be decided that evening (March 11); “played as a curtain-raiser” to Indiana University’s regular season finale against Northwestern University. Entering the contest Lebanon had a clear advantage of a nine-hour rest, after defeating New Albany earlier that morning. Crawfordsville, on the other hand, must have felt fatigued preparing for their third game in eight hours.
Crawfordsville evidently shook off some of their weariness after the opening tip, and rushed out to a 7-1 lead in the first five minutes. After this opening run, Lebanon responded, and “started some of their brilliant team work. Beautiful passes . . . [left] the Crawfordsville lads . . . utterly bewildered at times in following the ball. Despite their fancy passing the Lebanon men couldn’t score, blowing about four out of five shots right under the basket.” The half ended with Crawfordsville still in control, 13-7. Coach Glascock recalled that at half-time, “The boys said, ‘Coach, if we win this game we’re all going downtown and really celebrate.’ I told them if they won the game I didn’t care what they did.”
In the second half, Crawfordsville’s “Athenians” continued at an “undying pace.” Lebanon never got closer than three points in the entire game. Shaw and Hill’s “close guarding . . . kept [Lebanon’s] score down” while Crawfordsville’s frontcourt kept a “continual attack on the basket.” Lebanon’s defense concentrated on keeping Taylor “completely smothered,” but he still managed two field goals. Myers, after averaging more than seventeen points in the first three tournament games, only mustered six points in the finale. He was exhausted as a result of being “battered up in nearly every scrimmage.” Fortunately for Crawfordsville, Stevenson was fresh. The Daily Student praised Stevenson as “a marvel in finding the net from the foul line and also hot when it came to making field goals.” He finished with a game-high fourteen points. At the end of regulation, Crawfordsville prevailed over Lebanon, 24 to 17. The Daily Student proclaimed, “Crawfordsville . . . [won] the first state high school championship basket ball tournament and is now undisputed state champion.”
At half-time of the IU-Northwestern game, Booster Club chairman, Charles H. Nussell, presented to Coach Glascock the tournament trophy: “a handsome oak shield decorated with metal letters describing the event.” The newspaper articles do not report the players being present at the trophy presentation. Glascock remembered, “I had no idea where the players had gone.” He perhaps thought they stuck to their half-time promise and went downtown to celebrate. Nevertheless, Coach Glascock stayed and watched the second half of the IU-Northwestern game. After the game, Glascock recalled, “When I went back to the fraternity house where we were staying, I found them all sound asleep, worn out completely.”
Crawfordsville High School’s basketball team’s three year run of “state championships” would end the next season. C.H.S. finished the 1911-12 season with an 11-4 record, but “for the first time in the school’s history, [their] colors fell before Lebanon,” not once, but twice. If that was not enough humiliation, Clinton High School clinched the district invitation to the tournament, and thereby denied Crawfordsville High School the opportunity to defend the state title in 1912, which Lebanon, incidentally won. Furthering the irony, the 1912 tournament was the first Indiana high school basketball tournament that the IHSAA sanctioned. Consequently, Lebanon, for many decades, claimed to be the first IHSAA basketball tournament champion.
In 1957, Crawfordsville High School found their place in Indiana basketball history restored. The IHSAA accepted a resolution from Indiana University, whereby the university transferred its claim to recognition of the first Indiana high school basketball championship to the IHSAA’s Board of Control “for inclusion in the official records of that body.” At halftime of the forty-seventh annual high school basketball championship, played between South Bend Central and Indianapolis’ Crispus Attucks at the Butler University Fieldhouse, the IHSAA recognized Crawfordsville’s 1911 high school basketball team as Indiana’s first state tournament champions.
For that feat, and for being the first state tournament champion, they will be remembered as long as high school basketball is played and celebrated in Indiana.
By 1939, the Great Depression had ended and Hoosiers had a little more money in their pockets. More folks had access to automobiles and most had a little bit of free time after church on Sunday afternoons. So rural Hoosiers gathered at each other’s homes, turned on the radio, and listened to variety and comedy shows and country music. Sometimes they got out their own fiddles, rolled back the rugs, and danced, much as they had since the previous century.
They also gathered at schools and halls for more organized concerts and dances. Despite such diversions, down in the quaintly-named town of Bean Blossom in Brown County, locals reported there was still the feeling that there was nothing to do. According to an August 10, 1941 Indianapolis Star article, Bean Blossom had no movie theater and the town’s only tavern was closed Sunday, so the locals “must provide their own entertainment.”
Bean Blossom, originally spelled “Beanblossom,” is located in Brown County just four miles north of Nashville. The history of the descriptive moniker is clouded with folklore. There are at least two different accounts of men with the name of Bean Blossom or Beanblossom who almost drowned in the creek which was then named for them. An alternate explanation is that it is a translation from the Miami name for the creek. Still another tradition holds that the town is named after the wild bean plants that grew along the stream and provided sustenance for early settlers.
In the late 1930s, early 1940s, there still wasn’t much to the little town, but that didn’t mean there wasn’t excitement to be had – especially at the intersection of Indiana Highways 135 and 45, where there was a lunch counter at a filling station owned by Dan Williams. Sometimes musicians gathered there to play country and “hillbilly” music. They played some tunes they grew up with, and some they heard on the radio – country music popularized by the broadcast of the Grand Ole Opry. One day a man was passing through town with a speaker system set up on top of his truck through which he could amplify records. This drew people to the filling station to listen to music and some of the locals got the idea to put on a free show. In 1941, the Brown County Democrat recalled: “The Brown County Jamboree, which it has been commonly named, was not formally planned but just grew out of an evening when a passing truckman with a loudspeaker system proposed that he connect it up and play records which he was allowed to do.”
According to recollections gathered by historian Thomas Adler in his thoroughly researched workBean Blossom: The Brown County Jamboree and Bill Monroe’s Bluegrass Festival, the first show was modest, but successful. There was one microphone set up on a stand and a small amplifier for the musicians who played popular songs both live and on recordings. One of the original founders and performers, Guy Smith, had some experience organizing country band performances and dances. Another, Denzel Ragsdale, also known as “Spurts” or the “Silver Spur” was a performer and took on the role of soundman and promoter. He created a series of “ballyhoo cars” to advertise the free show. Painted with the words “Brown County Jamboree,” the cars had horn speakers on the roof that projected sound from the record player and a microphone located in the car. Jack McDonald, an early Jamboree attendee, recollected the events but not the names in an interview collected by Adler:
Sometime in the early forties when life in the country was a little slow, some men decided that Bean Blossom needed a little country music to lighten things up a bit. One person had an old station wagon with a sound system including a couple of big horn-type speaker mounted on the roof of the car. . . they [The car owner and two others] went through Bean Blossom and other towns, called out to those they say standing near their path or sitting in yards and porches for them to ‘Come to Bean Blossom for a free music show!’” Now, a short time earlier, about a week or two, these same country music buffs had set a microphone and speaker system up on the grassy area in front of the local filling station . . . In those days and nights were at a slow pace so a little thing like someone singing into a microphone and telling stories created a little excitement.
The “free” aspect of the free show didn’t last long, as the organizers couldn’t help but see how the crowd was growing. The lunchroom business was booming and there was no reason the promoters and performers shouldn’t make a little money too. They built a small stage, fenced in the area, and started to charge twenty five cents per show. Soon, they put up a tent as can be seen in the only known photograph of the Jamboree from this period.
The admission fee didn’t dissuade the crowds. The Brown County Democrat reported August 18, 1941, “Large crowds have been attracted to the place and each evening the performance has been staged the crowds have been becoming larger. Attendance was estimated at over 4,000 for last Sunday night.” The Indianapolis Star covered the boom in attendance at the Jamboree as well, even noting that the State Police had to get involved with traffic control. Lester C. Nagley, reporting for the Indianapolis Star August 10, 1941, wrote:
Thousands of furrriners who have been touring Hoosierdom on their vacations and have been visiting Brown county’s hills are writing postcards to send back-home, telling their acquaintances about this rustic program of Sunday evening recitals of Brown County Music . . . Well, the fiddling and the ballad singing has gone over big for the last six weeks and traffic jams at this crossroads village in the Bean Blossom valley from sundown to almost midnight have required special duty by state police. Cars bearing many foreign tags . . . are thronging the village. Parking space is becoming a problem too.
In addition to drawing large crowds, the Jamboree drew the attention of radio stations. According to the Brown County Democrat in August 1941:
Brown County talent may soon be heard over the air, and believe it or not it will be broadcast from Beanblossom, according to Dan Williams, proprietor of the lunch room at the south edge of Beanblossom. Mr Williams states that representatives of Indianapolis broadcasting stations have been to Beanblossom several times in efforts to make satisfactory working arrangements to broadcast the programs which are being held there each Sunday night.
Just before the Jamboree launched, locals Francis and Mae Rund had been making improvements to their nearby property and building cabins with some sort of tourism-related business in mind as early as August 1940. By the summer of 1941, as the large crowds coming to the Jamboree were causing traffic and parking problems and more seating was needed at the outdoor venue, the Runds saw an opportunity to construct a permanent building (as opposed to a tent) so the programs could continue be held in the winter. Construction began in October. The barn-like building was funded by residents and was to seat 2,500 attendees. On October 23, 1941, the Brown County Democrat reported:
Plans for a large permanent building to be used for the Brown County Jamboree in Beanblossom to replace the tent which is now being used have been completed. . . It is to be located on the land owned by Francis Rund just north of Beanblossom where the tent which houses the jamboree now stands.
The shows during the Rund decade (1941-51) generally featured a variety show format hosted by an emcee which included comedic performers as well as music. However, the country and “hillbilly” music was always the main draw. Adler writes, “Brown County Jamboree shows were professional, fast paced, and entertaining. From the beginning, the music, comedy, and ambience of the site combined to present a nostalgic and entertaining whole.” The Indianapolis Star on August 10, 1941 described the Jamboree as “a co-operative program providing real, homespun talent, rail-fence variety of music and frivolity . . . old fiddlers and rural crooners, who would sing and warble Brown county ballads brought over the mountains by their pioneer ancestors.” The Indianapolis Times noted October 10, 1941 that in addition to “singing and dancing” the Jamboree included “vaudeville skits.” The Runds ran large advertisements for the Jamboree in the local newspaper and partnered with nearby radio stations, notably WIRE and WFBM, Indianapolis. On October 23, 1941, the Brown County Democrat reported that the Indianapolis radio station WIRE referenced the Jamboree many times during its programs.
Even gas rationing during World War II couldn’t keep the attendees away. One participant joked that the limited gasoline only kept people from leaving Bean Blossom. Adler explained, “Rationing took effect locally in late 1942, but audiences never abandoned the Jamboree. Weekly attendees from inside the county sustained the show through the war and the following years; that pattern remained unchanged until late-1960s bluegrass festivals began to draw national and international fans.” According to Adler, however, the advertising and perhaps the Rund’s interest waned by 1951. The Jamboree needed a new owner and would soon find it in Bill Monroe, one of the biggest country music stars of all time, and the “Father of Bluegrass.”
Learn about Charlestown’s rapid transformation resulting from the WWII smokeless powder plant in Part I.
Employment of women and African Americans at the Charlestown smokeless powder ordnance facility, groups that often faced exclusion or discrimination in the workplace, contributed to the plant’s nationally-recognized production accomplishments.
WWII defense needs quickly brought women into the labor force, particularly later in the war as men left factories to enter into combat. The New York Times reported on October 19, 1941 that “entry of women into the defense factories of the nation is something that is just beginning on a considerable scale . . . now they are utilized for a wide variety of tasks by at least nineteen large plants.” The article asserted that women surpassed male workers in “finger dexterity” and “powers of observation” and possessed “superior traits in number memory,” completing tasks like painting planes, covering oil lines and packing powder bags. The article also reported that thousands of women had begun to produce smokeless powder at plants in Indiana, Alabama and Virginia and that “care is taken to select only women who are emotionally stable for these hazardous tasks.”
As with the nation, Indiana began employing women en masse at munitions factories and by 1944 the Indianapolis Star reported that while industrial work was once considered “unsuitable for women . . . this view has been abandoned since employers have found that women can and have been willing to adjust themselves to practically any type of labor if given the opportunity.”
Women were hired in large numbers at Charlestown’s ordnance facility and, while originally serving as mail runners and lab technicians, they eventually replaced men as powder cutting machine attendants. The bag-loading plant known as HOP employed 3,200 workers by December 1941, most of whom were women, who sewed bags and packed them with powder. By 1942, so many women worked at the Charlestown plants that the town had to rapidly expand child care facilities, enlarging the community center nursery at Pleasant Ridge Project.
In addition to child care, transportation proved an obstacle to women hoping to enter Charlestown’s workforce. The Charlestown Courier reported that women were prohibited from riding the “four special trains bringing employes to the Powder Plant. They have to find some other way to get to their jobs here.” Additionally, the New York Times reported that women working industrial jobs made “only about 60 percent of that of men doing comparable work.”
“Trailer wives” in Charlestown felt they too contributed to defense efforts by relocating their families to ordnance towns where their husbands found employment. The Indianapolis Star described these women as a “gallant band who ‘follow construction’ in order to keep the family life being lived as a unit and not subject themselves and their husbands to the hardships of separation.”
Much like women in WWII, defense needs partially opened the labor force to African Americans. A questionnaire from the Indiana State Defense Council reported that from July 1, 1941 to July 1, 1942 those firms reporting African American employment experienced a net increase of 82% in the number of blacks employed. Initially African Americans worked at Charlestown’s smokeless powder plant primarily in janitorial and unskilled fields. However, by the end of 1942, due to a labor shortage, they found employment in various roles, such as chemists, plant laborers, and plant operators.
Former plant employees stated in interviews that they witnessed little or no segregation, but that separate restrooms may have existed at one time. However, housing and schooling for African Americans in Charlestown was segregated and often in poor condition. Due to protests by some white residents regarding mixed housing units, a section of 130 units were separated for black workers with a 300 foot wide area. A 1942 Louisville Courier-Journal article about the deplorable state of Clark County African-American schools, particularly in Charlestown Township, stated that grade school students:
were broken out in a rash of goose pimples yesterday morning as they shivered at their antiquated desks. . . . A not unbitter wind whistled thru broken window panes and thru cracks in the walls of the sixty-five year old frame building as twenty-three students . . . huddled together and with stiffened fingers signed up for a year of ‘education.’
The boom afforded limited employment opportunities for African Americans outside the plant, despite earlier employer prejudice, which often barred them from working at local Charlestown businesses.
In the spring of 1945, after deliberation by the Army, War Production Board, and union officials, approximately 1,000 German prisoners of war were transferred to Charlestown to supplement construction of the rocket powder plant (IOW2), the third WWII ordnance plant at the facility. The Charlestown Courier described the POWs:
“Far from supermen, the German POWs employed on the Rocket Plant are predominantly youthful, many never having required a razor to date. They seem to be in good spirits and are healthy and husky. A surprisingly large number speak English and don’t hesitate to say they would rather remain in this country.”
The Indianapolis Star reported on August 19, 1945 that the POWs had left the plant and returned to Fort Knox and other camps where they were “obtained.” Newspapers located by IHB staff did not report on the POWs’ contributions, but Steve Gaither and Kimberly Kane state in their report on the facility that it was “doubtful that the POWs contributed directly to construction.”
The massive Charlestown ordnance facility produced more than one billion pounds of smokeless powder in World War II, nearly as much as the “total volume of military explosives made for the United States in World War I” (Indianapolis Star Magazine, 1948). Output levels were so high that the military nationally recognized the facility’s production and safety records, conferring upon the plant the Army-Navy “E” Award, awarded to only 5% of the estimated war plants in the country during WWII.
National munitions production wound down with termination of the two-front war, which concluded first on May 7, 1945 with German surrender and Japan’s informal agreement to surrender on August 14, 1945. The plants at Charlestown gradually reduced payroll in August before eventually shutting down. The Richmond Palladium noted that after reductions “scarcely a wheel turned, or a hammer fell. Now there are just a few thousand ‘running out’ the powder which was in process, and putting the whole installation in weather-tight conditions.”
The Indianapolis Star reported on August 19 of that year that Charlestown is “dying with the same gusto with which it was born.” The Richmond Palladium described Charlestown folding up “like an Arabian tent village,” as trailer caravans departed and workers returned to various states across the nation. Although the abrupt exodus shocked local residents, worried about maintaining their postwar economy, a trickle of new residents soon arrived, including veterans and their families. Boom town activity returned to Charlestown during the Korean and Vietnam wars when the ordnance facility again began producing powder, reuniting workers from the WWII era.
Charlestown’s 1940s ordnance plants illustrated how WWII energized local economies and afforded women and African Americans job opportunities. Accommodating the massive facility transformed Charlestown from a town to a city and led to its first sewage system,the resurfacing and improvement of miles of roads, and two major housing projects.