Since at least the late-19th century, art galleries and critics have focused most of their attention on young, emerging artists. This strategy has paid off for savvy dealers and galleries, as these rising stars of the art world have brought in large amounts of money and produced blockbuster shows. The downside of this trend for the artists themselves, is that it can be difficult to find places to exhibit and sell their work as they get older. This is especially disappointing, as many artists peak later in life and produce their best work in their golden years. In this way, an artist’s best work might go largely unappreciated. [1]
Georgia O’Keeffe, From a Day with Juan II, 1977, Museum of Modern Art, www.moma.org.
There are signs that this reign of young artists may be coming to an end. For example, the Tate announced that artists over the age of 50 would now be eligible for the coveted Turner Prize, awarded to a British artist each year for innovation in the arts. This shift recognizes that older artists can also be innovators. [2]
Meanwhile, the Museum of Modern Art [MoMA] recently featured an exhibition titled The Long Run, which featured artists who were at least 45 years old when they made the exhibited piece of artwork. Most were much older, like Georgia O’Keeffe, who painted From a Day with Juan II at 90. The MOMA explained:
Innovation in art is often characterized as a singular event—a bolt of lightning that strikes once and forever changes what follows. The Long Run provides another view: by chronicling the continued experimentation of artists long after their breakthrough moments, it suggests that invention results from sustained critical thinking, persistent observation, and countless hours in the studio. [3]
The Carter Burden Gallery, which like other New York City spaces sells its artists’ works for thousands of dollars, is different in one significant way. All of its exhibited artists are 60 or older. The gallery’s director Marlena Vaccaro told NPR:
Older adults do not stop being who they are because they hit a particular age. Professional artists never stop doing what we do, and in many cases we get better at it as we go along. [4]
Frank M. Hohenberger, “Will Vawter at Work in His Studio,” photograph, n.d., Frank M. Hohenberger Photograph Collection, Lilly Library, Indiana University.
Simply put, some artists get better with age. This was true for Indiana artist Will Vawter. He began his artistic career in the 1890s as a talented but unremarkable illustrator for his local newspaper. He gained popularity mid-career for his drawings that brought the children’s books of James Whitcomb Riley to life. Vawter peaked, later in his life, as one of the finest landscape artists ever to work in Indiana. As the current art world shifts to include older artists, it’s worth examining one Hoosier painter who produced his best work in his late 60s. Will Vawter’s late-blooming reminds us to give exhibit space to older artists, not for the sake of inclusion only, but because we don’t want to miss out on the best work of their careers.
The Early Years of Will Vawter
John William “Will” Vawter was born in West Virginia in 1871 and moved with his family to Greenfield, Hancock County, Indiana, by 1880. [5] He worked as an illustrator for the (Greenfield) Hancock Democrat before becoming an illustrator at the Indianapolis Sentinel and the Indianapolis News in 1891. [6] In 1893, Vawter got his big break. The Indianapolis Journal dedicated a full page to an exclusive new poem by James Whitcomb Riley. [7] The Journaldescribed the special edition, produced to coincide with a large national Grand Army of the Republic meeting, as “by far the most expensive and delightful feature ever offered its readers by an Indianapolis newspaper.”[8] The newspaper prominently featured Vawter’s illustrations of the poem.
James Whitcomb Riley, “Armazindy: A Borned Soldier and Hero,” Indianapolis Journal, September 5, 1893, 13, accessed Hoosier State Chronicles.
By the time Vawter started his illustrations for Riley, the “Hoosier Poet” had achieved national renown, and several of his volumes of poetry were best-sellers. [9] Riley was known for using “Hoosier dialect” to create poems “infused with the very spirit of the Hoosier soil from which they sprung.” [10] Likewise, Vawter honed his artistic skills observing life around him for local newspapers. Both men were Greenfield natives and keen observers of the local culture that colored Hoosier life. In this way, Vawter was uniquely positioned to interpret Riley’s work. Thus, the Riley-Vawter pairing, initiated by the Indianapolis Journal, was the beginning of a long creative partnership.
James Whitcomb Riley, Child-Rhymes, Bobbs-Merrill Company, 1898 edition accessed Indiana State Library, 1908 edition accessed Hathi Trust.
The Riley Years
In 1898, Indianapolis publisher Bowen-Merrill Company reissued a collection of Riley poems as Riley Child-Rhymes. Vawter’s illustrations were heavily featured in the book. In an extensive interview with the Indianapolis News, Riley described Vawter’s innate ability to capture the spirit of the folks depicted in the poems. Riley stated:
It is a very gratifying thing to find an artist who is unconsciously aware of the exact situation and who understands his own intimate surroundings. Will Vawter is such an artist. There is no vagueness in his interpretation of the poems of this book. He is a Greenfield boy, and natively an artist . . . He depicted people and things in no patronizing way. They are taken in a realistic spirit; he is of them. [11]
Riley went on to describe the importance of understanding the subtlety of local dialect when dealing with characters like the “town gossip,” for instance. He continued on Vawter’s ability to capture these individuals:
All these characteristics have been unconsciously observed by young Vawter. Now that he comes to sit down and illustrate these scenes and people, he knows his material and surroundings perfectly . . . While he may be criticized for lack of technical finish, it would be dangerous to equip him with an exacting technical art knowledge . . . This would be to the absolute loss of native feeling, of the tone and direct blood relationship that is needed in his work. [12]
Riley’s comments are a mixed bag. He praised Vawter for his talent, but noted his unpolished rendering skills. He admired the way Vawter captured in ink the very people Riley depicted in words, but implied that the artist did so out of naiveté. Vawter captured their essence only because they were just the kind of folks that the simple young man knew and understood. At this early point in his career, Riley did not see Vawter as an artist with a vision of his own. Vawter would prove this assumption wrong much later in his career.
The fact that Riley’s appreciation for Vawter grew over the following years is evidenced by the sheer number of times the author paired with the artist on lushly-illustrated volumes of poetry. Vawter illustrated:
James Whitcomb Riley, Book of Joyous Children (New York: Charles Scribner’s Sons, 1902, accessed IUPUI Digital Collections.
Riley Farm-Rhymes (1901, 1905 editions), The Book of Joyous Children (1902), His Pa’s Romance (1903), A Defective Santa Claus (1904), Riley Songs O’ Cheer (1905 edition), The Boys of the Old Glee Club (1907), Riley Songs of Summer (1908), Riley Songs of Home (1910), Riley Songs of Friendship (1921 edition).
Vawter also created front pieces for Riley’s A Child-World (1897) and Home Folks (1900), and illustrations for short Riley volumes Down Around the River and Other Poems (1911) and Knee Deep in June and Other Poems (1912). [13]
A Golden Age for Greenfield
Vawter illustrated a children’s book for another Greenfield author: his sister, Clara Vawter. “Miss Clara” as the local newspapers called her, was a rising star of the Indiana literary scene. She was writing for “several publications of prominence,” her work was read aloud and praised by the Western Writers’ Association, and publishers had written her “offering to pay her handsomely for her literary work.” The illustrated book by the Vawter siblings, Of Such Is the Kingdomof Heaven (1899, later published as The Rabbit’s Ransom) was widely praised not only for stimulating the imaginations of children, but also for appealing to the nostalgia of older people. Unfortunately, every article that mentioned Miss Clara’s promise as a writer, also noted her “delicate health” and she died in 1900. Of Such Is the Kingdom was her only published work. [14]
Will Vawter, illustration from The Rabbit’s Ransom by Clara Vawter (Brooklyn: Braunworth, Munn & Barber, 1899), accessed GoogleBooks.
Vawter contributed art to other Greenfield authors. He illustrated historian and poet John Clark Ridpath’s Epic of Life (1893) and contributed engravings to William H. English’s two-volume history Conquest of the Country Northwest of the River Ohio, 1778-1783 (1897). And he illustrated a children’s book by Greenfield author Adelia Pope Branham called Grandma Tales and Others (1899) and poet Barton Rees Pogue’s work Fortunes in Friendship (1926). [15] He made art for numerous other Indiana authors outside of Hancock County. [16] And by the turn of the twentieth century, his original book illustrations were exhibited around the country. [17]
The Rise of American Impressionism
By this time, Vawter was an accomplished illustrator, working in a popular style, and highly demanded by publishers. With the drastic increase in number and circulation of illustrated journals across the country, an illustrator like Vawter could stay gainfully employed in that medium. At the same time, American artists were hungry for an artistic style they could call their own. American painters educated in Europe were returning with the influence of French impressionism – broad, quick strokes, a bright palette, an eye for capturing the effects of light, and a desire to paint en plein air, or outside the walls of the studio. For example, Indiana-born painter William Merritt Chase shifted from the darker tones of the Munich school where he was trained as a young man, to the bright, impressionist style of the era’s avante garde painters during his mid and late career. Working out of his studio in New York, Chase and his colleagues helped to define this style of American Impressionism. These artists remained at home, painting scenes of life and landscape in the United States, as opposed to expatriating to European art capitals like their predecessors. While they drew on artistic elements from European styles as they saw fit, their goal was to create a uniquely American style of art. [18]
William Merritt Chase, Ready for the Ride, oil on canvas, 1877, Museum of Fine Arts Boston, accessed collections.mfa.org.William Merritt Chase, At the Seaside, oil on canvas, ca. 1892, Metropolitan Museum of Art, www.metmuseum.org.
The Aesthetic Pull of Brown County
Another Hoosier painter took this localism further, pushing his cohorts to not just remain in the U.S., but to paint the beauty of their home state. T. C. Steele followed in Chase’s footsteps, studying in Munich before returning to live and work in Indianapolis. Steele found his calling in the Indiana landscape and his muse in the hills of Brown County. Steele’s plein air paintings captured the light and natural beauty of the region and helped establish the reputation of the Hoosier Group, painters of the Indiana landscape that achieved international recognition by 1900. [19]
Indianapolis News, May 4, 1918, 32, Hoosier State Chronicles.
Someone of Vawter’s artistic sensibilities could not help but be influenced by this aesthetic shift, as well as the renown of the Hoosier Group. By 1909, Will and his wife Mary moved to Brown County, Indiana, just south of Nashville on a scenic farm they jokingly called “Rattlesnake Terrace” after some of the local fauna. Vawter set up a studio in an “old clapboard-roofed log cabin” with an expansive view of the property. Reportedly he kept a cow grazing on the property, despite the fact that it gave very little milk, because it added “picturesque interest to the landscape.” [20] While Vawter continued to derive his income from newspaper and magazine illustration, he too was enraptured by the Brown County landscape and began to work in an impressionist style influenced by the Hoosier Group. [21]
Will Vawter, Sunshine and Hollyhocks, 1925, n.d., accessed Fine Art America.Frank M. Hohenberger, “Willa Vawter Painting in Studio,” photograph, n.d., Frank Hohenberger Collection, Lilly Library, Indiana University Image Collections Online.
Vawter was known to be kind and became popular with the locals. A 1917 Indianapolis News article reported on a little girl who came to visit him in his studio, carrying a well-loved doll. Noticing that the doll’s painted face had faded, Vawter “painted a new face with the rosiest cheeks and a beautiful pair of unwinking blue eyes.” The little girl left “bubbling over with gratitude.” Vawter went back to his work, but only for a few minutes. He was interrupted by another little girl holding her doll, and a half hour later, he had a dozen little fans gathered outside the studio. He quit trying to work and “gave up the day to making faces for all kids of dolls, from the old-fashioned rag baby to the most pretentious efforts in wax.” After fixing everyone’s toy over the course of a day, he joked that “this beauty parlor has closed.” [22]
Vawter was just as generous with his fellow artists. After becoming interested in etching in 1919, he opened up the small studio he had moved to in downtown Nashville, Indiana, to his peers. The modest room stood over a grocery store and still displayed the sign of the previous occupant, a realtor. It housed a copper plate printing press, cans of ink, cheesecloth for wiping the plates, a table, and a stove.
The Brown County Democrat reported:
Indianapolis News, June 7, 1919, 18, Hoosier State Chronicles.
It is understood between the few members of a little community etching and printing club that any member is free to use the press, stove, table, etc, but no member must be guilty of using any other member’s printing rags. [23]
In September 1919, Vawter exhibited some of these etchings at the H. Lieber Company art store in downtown Indianapolis, along with oil paintings by Steele and others. [24] While his work gained popularity across the state, Vawter worked to enhance the art scene in Brown County.
Will Vawter, Brown County Landscape, 1920, accessed MutualArt.
By August of 1920, Vawter and fellow artist Adolph R. Shulz, were working to establish an art museum. They found support in unlikely places, both with artists and locals hoping that such an art center would preserve the “nature wonders of a country that is fast losing its old-fashioned atmosphere,” and local businessmen who saw it as a means to increase tourism. [25] Their dream became a reality in 1926 with the opening of a gallery on the public square. The artists and locals supporting the gallery formed the Brown County Art Gallery Association in order to open quality exhibitions to the public. [26]
In 1925, the work of Vawter and his fellow Brown County artists was exhibited at the art galleries of Marshall Field & Co. in Chicago. This exhibit, known as the “Hoosier Salon,” was popular and well-covered by the press, thus establishing Vawter permanently in the canon of great Indiana artists. For his oil painting Our Alley, which depicted a winter scene in Brown County, he won the Frank Cunningham prize and one hundred dollars. He continued to exhibit regularly at the H. Lieber gallery in Indianapolis and the Hoosier Salon in Chicago into the 1930s. [27]
The Late-Blooming of Vawter
Indianapolis Star, February 19, 1961, 27, accessed Newspapers.com.
But it was in the last years of his life that Vawter created his finest work. No one was better poised to observe this development than Lucille E. Morehouse, an insightful art critic whose popular column “In The World of Art” ran for decades in the Indianapolis Star. [28] In 1936, she covered the Annual Brown County Exhibit at the H. Lieber Company galleries, as she did every year. Morehouse clearly had a fondness for the Brown County artists but also a certain weariness of their subject matter, the landscapes of the county in various seasons, which had become standard fare by the 1930s. Nonetheless, she covered the show in her usual energetic and descriptive manner, because it was still in demand by the public. She explained that the show’s popularity was owed to Indianapolis residents, who vacationed in Brown County and looked to the paintings as reminders of their scenic vacations.
She explained that the public appreciated that Brown County Artists hadn’t changed their style, that they resisted modernism, and made pictures that could “smooth away the cares of the day.” [29] On the other hand, Morehouse wrote: “Sometimes we wish they would paint new subjects or would interpret the old ones in a different angle.”[30] Vawter did just that. Unlike his colleagues, Vawter began to travel in his later years and it refreshed his work. Morehouse especially praised Vawter’s recent painting Blue Pool, which was “one of the fine things from the group of New England coast scenes and Marines.” [31]
Besides exhibiting his reinvigorated work alongside the Brown County artists, Vawter showed his marine paintings in a one-man show at the H. Lieber Company gallery. Morehouse praised his bold paintings in a lengthy article. [32] Comparing his marinescapes with an earlier, popular Brown County fall landscape, she wrote:
When a Hoosier from the Brown county woods goes East to paint New England coast scener[y], one might expect him to go about it timidly. Not so Will Vawter. He makes his brush slash into the ocean just as if it were putting “the glory of autumn” on canvas. [33]
For Morehouse, who had long been familiar with Vawter’s work, these paintings of coastal scenes were like seeing his work fresh for the first time. She wrote:
But I never have been able to throw off my early feeling of wonder when I back away from a broadly-painted canvas and see form emerging from massively-painted surfaces over which the brush had evidently moved with more or less of inspiration. [34]
Detail of Vawter’s Along the Coast showing the abstraction of the work up close as opposed to the impressionist style of the larger work as noted by Morehouse.
She continued to praise the spontaneity of the work and the “striking evidence of genius” in his mastery of form and “expression of light and atmosphere.” [35] The works were vigorous, alive, and fresh, proving the innovative spirit of the older artist.
In 1938, Vawter again held a solo show. This time he combined his seascapes with other scenes from his travels, including hilly landscapes painted on the East Coast. In a show of maturity as an artist, he also included new, but traditional views of Brown County. He could both try new things and showcase his mastery of the light and scenery of his home county. Morehouse took note:
Indianapolis Star, December 26, 1939, 10, accessed Newspapers.com.
What a heritage Will Vawter will leave to Hoosierdom! The longer he paints, the more beauty he captures from nature and transfers to canvas. Because the present exhibit is so all-inclusive, representing every phase of his work. [36]
Morehouse described his Brown County landscapes as “lusciously painted,” his flower still lifes as “vigorously alive,” and again praised his adventuring beyond his home state for new subject matter. [37] She concluded that Vawter’s 1938 exhibit “surpasses all previous showings by this gifted Hoosier painter of landscape.” [38] At 67 years old, Vawter was reaching his artistic peak.
Indianapolis Star, December 8, 1940, 76, Newspapers.com.
In 1940, just two months before his death, Vawter held what would be his last one-man exhibition. It surpassed all previous exhibitions, even the acclaimed 1938 show. Vawter showed nineteen paintings, including tranquil seascapes, the Great Smoky Mountains in early fall, the New England coast in spring, and Brown County landscapes from all seasons. For Morehouse, even his paintings of traditional flower still lifes felt fresh and vibrant. She explained that Vawter didn’t just reproduce the appearance of the plants, but that “he interprets the souls of flowers, makes us feel their personality.” In fact, Morehouse regretted that she couldn’t do Vawter justice by describing his paintings; you just had to see them. She wrote that he depicted something “spiritual that can be expressed only in terms of paint, and not in words.”
Vawter passed away in 1941 after a forty-eight year long art career. But before he died, he mastered not just the technical aspect of art, but found in the heart of his life’s work a spiritual connection to nature so powerful it could be sensed secondhand by the viewer. Will Vawter remains an example to artists everywhere to keep working, despite obstacles the art world places before older artists. By considering the long career of a late-blooming artist, we see that artists can do their best work in their autumn years. Hopefully, art museums and galleries will continue to make more space for this mature, yet still innovative and evolving work.
Will Vawter, A Sunny Day in Springville, n.d., accessed Fine Art Dealers Association.
Notes: All newspapers accessed Newspapers.com unless otherwise noted.
[1] Susan Stamberg, “This New York Gallery Has an Unusual Age Limit: No Artists Younger Than 60,” Morning Edition, January 11, 2018, NPR.
[3] The Long Run, MoMA, November 11, 2017-May 5, 2019.
[4] Stamberg, “This New York Gallery . . .,” NPR.
[5]“The Eclectics,” Indianapolis News, May 14, 1879, 4, accessed Hoosier State Chronicles; “Seriously Hurt,” (Greenfield) Hancock Democrat, July 24, 1879, 3; 1880 United States Census (Schedule 1), Enumeration District 194, Greenfield, Hancock County, Indiana, Page 15, Line 27, June 5, 1880, accessed AncestryLibrary.com; “Eclectic Physicians in Council,” Indianapolis News, November 17, 1880, 3. Newspapers and the 1880 census show Will Vawter’s father Lewis working as a physician in Greenfield by 1879. The 1880 census confirms the family’s move.
[6] (Greenfield) Hancock Democrat, March 5, 1891, 1; (Greenfield) Hancock Democrat, April 9, 1891, 1; “Notes of Newspaper Men,” Indianapolis News, December 5, 1891, 7.
[7] James Whitcomb Riley,“Armazindy: A Borned Soldier and Hero,” Indianapolis Journal, September 5, 1893, 13, accessed Hoosier State Chronicles.
[8] “That Girl Wuz, and Is, I know, A Borned Soldier and Hero,” Indianapolis Journal, August 30, 1893, 4, accessed Hoosier State Chronicles.
[9] Advertisement, Indianapolis News, October 14, 1893, 9, accessed Hoosier State Chronicles.
[11]“A Co-Worker with Riley,” Indianapolis News, reprinted (Greenfield) Hancock Democrat, December 8, 1898, 5.
[12] Ibid.
[13] Most of Riley’s books featuring Vawter’s illustrations are accessible via Livin’ the Life of Riley Digital Collection, IUPUI University Library. Most other Riley books are accessible via Hathi Trust. First editions are accessible through the Indiana State Library. Vawter’s illustrations for Riley Songs of Cheer are accessed through Newfields.
[14] “New Authoress Rapidly Coming to the Front,” Hancock Democrat, September 21, 1899, 5; “Of Such Is the Kingdom,” Indianapolis Journal, December 11, 1899, 4; Book Buyer 19: 2 (September 1899), 83, accessed HathiTrust; “Miss Clara Vawter Dead,” Indianapolis News, October 12, 1900, 14.
[15] John Clark Ridpath, Epic of Life (New York: Hunt & Eaton, 1893), accessed HathiTrust; “Mr. English’s New Book,” Indianapolis News, December 14, 1895, 5; William Hayden English, Conquest of the Country Northwest of the River Ohio, 1778-1783 and, Life of Gen. George Rogers Clark (Indianapolis: Bowen-Merrill Company, 1897), accessed Archive.org; Advertisement, (Greenfield) Hancock Democrat, June 1, 1899, 1; “Greenfield Genius,” Hancock Democrat, June 8, 1899, 8; Adelia Pope-Branham, Grandma Tales and Others, (Greenfield, Indiana: Harold Pub. Co. Press, 1899), accessed Archive.org; “Greenfield Now at the 5,000 Mark,” Indianapolis News, November 30, 1901, 3; Charles H. Bartlett, Tales of Kankakee Land (New York: Charles Scribner’s Sons, 1904), accessed HathiTrust; “C. H. Bartlett’s New Book,” South Bend Tribune, April 9, 1904, 6; John William Vawter, Sheet of 15 Illustrations to Barton Rees Pogue’s ‘Fortunes and Friendship,’ pen and ink over pencil on paper, n.d., Prints, Drawings, and Photographs Collection, Indianapolis Museum of Art.
[16] Robert J. Burdette, Smiles Yoked with Sighs (Indianapolis: Bowen-Merrill, 1900), accessed HathiTrust; “Recent Literature,” St. Louis Globe-Democrat, June 30, 1900, 13; Advertisement, Indianapolis News, November 14, 1903, 6, accessed Hoosier State Chronicles; Wallace Bruce Amsbary, The Ballad of Bourbonnais (Indianapolis: Bobbs-Merrill Company, 1904); “The Ballads of Bourbonnais,” Indianapolis News, May 7, 1904, 16; “Among the Books,” Topeka State Journal, June 4, 1904, 13.
[17] Advertisement, (Rochester, New York) Democrat and Chronicle, October 29, 1898, 8; “Exhibit of Paintings by Indiana Artists,” Indianapolis Journal, April 24, 1904, 16, accessed Hoosier State Chronicles; “Exhibit of Original Drawings for Novels,” Indianapolis News, March 20, 1905, 8. Vawter’s illustrations from Riley’s Child Rhymes were exhibited in Rochester, New York in 1898. In 1904, his original illustrations were exhibited at the H. Lieber Art Gallery in Indianapolis and the St. Louis Exposition; in 1905, at the Indianapolis “city library.”
[20] (Greenfield ) Daily Reporter, October 9, 1908, 2; (Greenfield) Daily Reporter, April 7, 1909, 2; (Greenfield) Daily Reporter, May 11, 1909, 1; (Greenfield) Hancock Democrat, May 13, 1909, 1; “Vawter’s Brown County Home,” (Greenfield) Daily Reporter, August 8, 1909, 1; “Rattlesnake Terrace, the Vawter Home,” (Greenfield) Hancock Democrat, August 12, 1909, 6, accessed Newspapers.com; N. L., “A Day in the Artists’ Arcadia in Brown County,” (Muncie) Star Press, September 5, 1909, 14; (Greenfield) Hancock Democrat, October 28, 1909, 8.
[21] William Forsyth, “Art in Indiana,” Indianapolis News, September 27, 1916, 12, accessed Hoosier State Chronicles; “Paintings of Local Artists Exhibited,” Indianapolis News reprinted (Greenfield) Hancock Democrat, December 27, 1917, 4; “Brown County Pictures,” Indianapolis News, September 17, 1919, 26, accessed Hoosier State Chronicles; William Herschell, “Will Vawter’s Home in Brown County,” (Greenfield) Daily Reporter, August 5, 1920, 1; “Art Notes,” Indianapolis News, December 4, 1920, 5; John William Vawter, Barnes Cabin on Owl Creek, Brown County, circa 1920, Oil on Canvas, Indianapolis Museum of Art; Will Vawter, Sunshine and Hollyhocks, 1925, Oil on Canvas, Private Collection, published in Lyn Letsinger-Miller, Artists of Brown County (Bloomington and Indianapolis: Indiana University Press, 1994), 41.
[22] “Little Stories of Daily Life,” Indianapolis News, May 3, 1917, 24, accessed Hoosier State Chronicles.
[23] “Produced in Brown County Etching Club Shop,” Indianapolis News, June 7, 1919, 18, accessed Hoosier State Chronicles; “Brown County Etchers’ Club,” Brown County Democrat, June 12, 1919, 5.
[24] Ibid.; “Brown County Pictures,” Indianapolis News, September 17, 1919, 26, accessed Hoosier State Chronicles.
[25] “Will Vawter’s Home in Brown County,” (Greenfield) Daily Reporter, August 5, 1920, 1; “Urge a Museum to Keep Romance of Hoosier Art,” South Bend News-Times, August 12, 1920, 7, accessed Hoosier State Chronicles.
[26] “Brown County Art Gallery at Nashville,” Brown County Democrat, September 2, 1926, 1; “Brown County Art Gallery Is Assured,” Brown County Democrat, September 9, 1926, 1; “New Art Gallery,” Huntington Herald, September 8, 1926, 8; “Artists in Brown County Organize,” Indianapolis Star, September 8, 1926, 1; “Art Gallery Association Grows Rapidly,” Brown County Democrat, September 16, 1926, 1; “Open Art Gallery in Brown County,” Indianapolis Star, October 9, 1926, 5; “Vawter Heads Local Artists’ Association,” October 23, 1930, 1.
[27] “Brown County Artists at Exhibit in Chicago,” Brown County Democrat, March 5, 1925, 1; “Winter Scene Wins Prize for Artist,” Indianapolis Star, March 14, 1925, 11; “Richmond Man Wins Art Prize,” Richmond Item, March 7, 1926, 1; “46 Paintings by Brown County Artists Put on Display at Lieber’s Galleries,” Indianapolis Star, November 16, 1927, 24; “Vawter’s Landscape Wins Prize in Exhibit at Hoosier Salon in Chicago Galleries,” Indianapolis News, January 31, 1928, 7; “Eighth Hoosier Salon Will Be Held in Field Galleries Jan. 23 to Feb. 6,” Indianapolis Star, December 20, 1931, 50. Other newspaper articles on Vawter’s exhibitions available in the IHB marker file.
[28] “Miss Morehouse Dies; Ex-Art Critic,” Indianapolis Star, February 19, 1961, 27.
[29] Lucille E. Morehouse, “In The World of Art: Local Art Exhibitions Scheduled for December Are Distinctly Inviting and of Unusual Character,” Indianapolis Star, December 6, 1936, 75.
[30] Ibid.
[31] Ibid.
[32] Lucille E. Morehouse,”In The World of Art: Brown County Landscapist Turns Marine Painter; One-Man Show at Lieber Gallery for Another Week,” Indianapolis Star, November 22, 1936, 65.
[33 – 35] Ibid.
[36] Lucille E. Morehouse,”In The World of Art: Will Vawter’s Exhibition Tops Previous Shows,” Indianapolis Star, December 18, 1938, 69.
As you’re likely in your second or third week of social isolation, you’ve probably done everything you can think of to occupy yourself. You’ve exercised at home, binged all your favorite shows, cleaned and dusted, and reread your favorite books. What else is there to do?
Puzzles!—a longtime mainstay of home-bodied folks. Whether it’s crosswords or word searches, tabletop jigsaw puzzles or drawing games, puzzles can be a welcome pastime. These three stories from Hoosier State Chronicles, our freely-accessible digital repository of nearly a million pages of historic newspapers, will challenge your mind and warm your heart. The first item comes to us from nearly 100 years ago, in the August 28, 1920 issue of the Richmond Palladium and Sun-Telegram. This puzzle, known as “Pencil Twister,” was printed in the Junior Palladium section of the paper, a four-page insert published on Saturdays.
Do you think you can complete the picture? (You can view the answer here.) You would copy the object shown onto a blank piece of paper and then turn it 90-degrees counterclockwise.From there, you would attempt to complete the drawing based on a clue, which for this puzzle is “Can you change Santa into an Apricot Sundae?” I hope that you got it! This drawing puzzle is a bit different than most of your average brain games.
Next up is an inspiring story from the October 29, 1983 issue of the Indianapolis Recorder. It centers on the life of Bertie Miller, a retired nurse’s aide and secretary who devoted her golden years to jigsaw puzzles—using only one hand to complete them. Years before, Miller lost her right hand to an amputation following a stroke, but that didn’t stop her. Her passion for puzzles started around that time, when her friend asked her to help finish one. “By having use of only one hand,” Miller shared, “I didn’t think I would be much help—I looked past my handicap and helped her.” After that, she was hooked. Over the next seven years, she completed roughly 200 jigsaw puzzles, many of which she had framed for display in her room at the Central Healthcare Center where she lived. She even won a blue-ribbon award at the Indianapolis Black Expo for one of her puzzles.
Alongside her jigsaw joys, Miller kept herself busy with distributing mail to her fellow residents at the Central Healthcare Center, playing bingo, chatting with other residents who were room bound, and attending church. She was also a grandmother to seven and great grandmother to another seven, all of whom she would regularly visit with. The Recorder called her a “truly remarkable and independent lady.”
Mary Jane Allen, activity director for the center, remarked on Miller’s love for puzzle craft. “Among Mrs. Miller’s favorite puzzles to work have been The Lord’s Supper, the Changing of the Guards, animals, flowers, antique cars and a large puzzle of kinds of jellybean candies.” Allen also reflected on how this hobby improved Miller’s life for the better. “She has rehabilitated herself with this hobby and is learning to use her good hand,” Allen said. Miller loved sharing her hobby with others; her completed puzzles adorned the walls of the center and were given to fellow residents as gifts. Bertie Miller “hasn’t let her handicap prevent her from living and [bringing] happiness to others,” the Recorder noted. During your time at home, dust off your puzzles and finish one in Bertie’s honor.
Our final story comes from a May 4, 2001 article in the Indianapolis Recorder that also reports on jigsaw puzzles but focuses this time on their educational value. W. Bruce Adams, an entrepreneur who worked as a salesman for iconic game company Parker Brothers, started his own venture creating African American history themed jigsaw puzzles. “I couldn’t believe that 10 years after I left Parker Brothers there were still no puzzles with African-American themed images on them,” he said. This inspired Adams to develop his own line of African American themed puzzles. “I looked all over and couldn’t find any,” he remembered. “I said ‘this is a perfect opportunity for me to start a business, doing something no one else is doing.’”
Adams’s passion for culturally-relevant products may have started when he worked as an intern for the trailblazing congresswoman and presidential candidate, Shirley Chisholm. Realizing law wasn’t for him during his work with Chisholm, Adams found his calling in sales and worked for Parker Brothers, as well as Gabriel Toys and Bristol-Myers. It was at Parker Brothers that he first discovered there were no African American themed games, so he started developing prototypes in his spare time that he sold at flea markets, yard sales, and trade fairs.
Portraits of African American Inventors, W. B. Adams Puzzles & Games, Amazon.com.
Adams began his own game company around 1998, with his first two puzzles centered around African American history. The first, “Portrait of African American History,” highlighted important figures such as Harriet Tubman, Frederick Douglass, and Dr. Martin Luther King, Jr. The puzzle “The Dream, Martin Luther King, Jr.” focused exclusively on the civil rights leader and orator. Later, he created puzzles focusing on Kwanzaa and Kenyan culture. Adams developed these puzzles and others with African American artists, such as Brenda Joysmith, Synthia St. James, Charles Bibbs, and Paul Goodnight. His roster grew to 20 puzzles by 2001.
“Developing a Winner,” W. B. Adams Puzzles & Games, Art by Brenda Joysmith, Amazon.com.
Customers at flea markets and trade shows were thrilled with Adams’s puzzles, citing their educational value. Adams recalled:
When I was doing flea markets, African American parents would always come up to me and ask, ‘Do you have any African-American educational puzzles?’ Puzzles are very educational because they teach eye hand coordination skills, they help your memory, and I noticed that a lot of African Americans bought puzzles.
His success with the company led to retailers like Walmart and Toys “R” Us carrying his products, which sometimes sold out too quickly for his small sales staff to keep up with. In an effort to meet demand, the company used telemarketing and the internet to get the word out about his puzzles.
Kwanzaa Family Celebration 300 Piece Jigsaw Puzzle, W. B. Adams Puzzles & Games, Amazon.com.
Alongside puzzles, Adams developed educational CD-ROM games with Lady Sala Shabazz, a nationally-syndicated radio host and independent children’s book author. He also developed puzzles with food entrepreneur and television personality Wally “Famous” Amos. Adams’s dedication to fun games with a message should encourage you to take advantage of the time you have at home, to perhaps finish a puzzle with a historical or educational theme. If you have kids, bring them in on the fun!
We hope these stories of puzzles, games, and community have helped uplift you. It’s through all of our actions that we can extend our sense of Hoosier kindness to ourselves and others. Now, get to puzzling!
Many dismiss movies made during the silent film era (1885-1930) as farcical or irrelevant. However, this period of great discovery and innovation laid the foundation for modern film-making techniques. One early contributor to this burgeoning new art form was Hoosier actor John Bowersox. He made over ninety films during his career and was among those first honored with stars on the Hollywood Walk of Fame. His versatility and athleticism enabled him to become a leading man in a variety of roles and genres. Off-screen, Bowersox was an extreme sports enthusiast who enjoyed racing his automobile, airplane, and yacht during a novel time for those sports.
Born circa 1884,[1] John Bowersox grew up in the small town of Garrett, Indiana, not far from Fort Wayne. Six feet tall and naturally athletic, Bowersox played football on a local Garrett team.[2] As a young man, he could often be found sailing his boat on nearby Lake Wawasee, the largest natural lake in Indiana. As early as fifteen, he began acting locally in amateur plays. His parents encouraged him to become a lawyer and John enrolled in nearby Huntington Business College. However, John Bowersox was destined for something completely different.
Bowersox continued to act while attending college and he caught the eye of local stock company owner, C. Garvin Gilmaine, who took Bowersox under his wing and eventually recommended him to a touring company performing A Royal Slave.[3] Turning his back on college, John signed an acting contract and left Garrett for rehearsals in Coldwater, Michigan in July, 1904.[4]
As a demonstration of support, his father equipped him with $450 worth of clothes and a trunk that his co-workers joked was worth more than all the show props combined. Bowersox recalled his father’s parting words in an interview with Photoplay Magazine, “If you don’t make [a go of it], come home.”[5] That $450 investment George Bowersox made in his son turned out to be a good one.
The part he played as a Mexican soldier in A Royal Slave introduced Bowersox to a world he could have only dreamed of as a small-town kid. It led to more roles and bigger parts and, by 1912, Bowers had dropped the “ox” from his name and worked as an actor in New York City. [6] Many of his early performances came by way of his relationship with William A. Brady, a prolific producer of both stage and screen.[7] Under his guidance, Bowers made his Broadway debut in Little Miss Brown on August 29, 1912.[8]
When Bowers was working in New York theater, film studios in and around the city dominated the American motion picture film industry. By today’s standards, “silent era” films can seem campy and amateurish. The acting was often melodramatic and unnatural, a by-product of stage performances. However, a century ago this entertainment medium was every bit as creative and innovative as modern day modes of expression like virtual reality and TikTok.
Image courtesy of IMDB.
As the scale of production increased, the larger studios on the West Coast began dominating the film industry and Bowers eagerly followed the work, moving back and forth between New York, Chicago, and California.[9] It’s impossible to know precisely how many films Bowers made. Early film stock contained highly volatile nitrates that were subject to deterioration at best, and combustion at worst. Some sources estimate that seventy-five percent of early films are forever lost to either decay or disposal.[10] Bowers’s first known credit appears in the short film The Baited Trap (1914), in which he played a criminal.[11] He made two more films that year including one with Tom Mix. It wasn’t long before “John Bowers” was a leading man. He is officially credited with appearing in over ninety films, including Lorna Doone (1922), The Sky Pilot (1921), When a Man’s a Man (1924), and Chickie (1925). His rugged good looks and natural athleticism allowed Bowers to play many different roles.
Although often the love interest, Bowers played heroes, gangsters, cowboys, businessmen, soldiers, and lawyers. He acted in many genres including drama, musical, comedy, romance, crime drama, adventure, action, and westerns. He worked with most of the early silent film stars, such as Mary Pickford, Will Rogers, Lon Chaney, Bela Lugosi, and Richard Dix. In 1960, the Hollywood Chamber of Commerce honored him with one of the inaugural stars on the Hollywood Walk of Fame.[12] However, acting did not define John Bowers.
Always a bit of daredevil, Bowers took pride in doing his own stunts, believing the audience would appreciate him more if they saw him risking life and limb.[13] Early in his stage career, while acting in A Royal Slave, his over-enthusiastic dueling performance resulted in a sword-jab to his eye, causing serious injury.[14] Years later, while making the film When a Man’s a Man (1924), he broke his leg trying to bull-dog a steer.[15]
He was always athletic and believed that staying physically fit was essential to happiness.[16] As a teenager, he built his own 21’ sailboat that he sailed around Lake Wawasee in northern Indiana. Bowers became so adept at maneuvering it that he would sometimes “turn turtle” just to exasperate his parents watching from shore.[17] Sailing would become central to Bowers’s life. After achieving some success in New York, he purchased a 70’ racing schooner, the Uncas, which he enjoyed sailing up the Hudson River.[18] Sometime in the early 1920s, his friend Doc Wilson sailed it from New York to California in ninety days.[19] Later, Bowers would take his Hollywood friends out for weeks at a time.[20]
An early adopter, Bowers embraced new technology. He became enamored with automobiles and was a known speedster around Los Angeles. In 1924, he took racing lessons from professional driver Ralph De Palma and even entered the 250-mile Thanksgiving Day race at the Ascot Speedway in LA.[21] In addition to sailing and racing cars, Bowers became an accomplished pilot and even customized his own racing plane. In 1927, Bowers won first place on both days of the Santa Anna air races with his plane, the Thunderbird.[22]
In the early decades of the 20th century, the Western genre began to take off and many film roles required athleticism. Bowers, who was reportedly, “an excellent horseman, can swing a mean lariat, and can bull-dog a steer like a hardened plainsman,” landed many plum roles.[23] The exuberance in which he lived life made for great press. Publicists, either on behalf of the studios or hired by actors for a percentage of their income, carefully crafted the images of movie stars. They arranged appearances, set up photo shoots, and provided copy to trade magazines and newspapers eager to report the off-screen lives of the Hollywood elite. [24]
Bowers and De La Motte on set, courtesy of Motion Picture Classic Magazine.
His third wife Marguerite De la Motte was also a silent film star. [25] De la Motte and Bowers co-starred in the film What a WifeLearned (1923), where they developed a friendship. For quite a while, fans and media speculated about their relationship and, according to most sources, Bowers and De La Motte married in 1924.[26] The couple often entertained and sometimes amused their guests with an exhibition of Bowers’ shooting prowess. De La Motte would place an object on her head and John would shoot it off, an offer he made to anyone willing to participate.[27] It is unclear how many reports about John Bowers are true. Many newspaper accounts reported what he was going to do rather than what he actually did. It’s possible that some accounts of Bowers have been exaggerated. Self-promotion and exaggeration were just as common then as they are today. One thing is certain; John Bowers embodied the spirit of carpe diem.
Bowers worked steadily during the 1920s, but like many silent film stars, he was unable to make the transition to “talkies”. Actors struggled to succeed in the era of sound for many reasons. Sometimes their voices did not match their screen persona, possibly due to an accent or the pitch of their voice. Some actors relied on constant direction that was not possible with the introduction of sound. For whatever reason, by 1927 Bowers’s film career was in decline. To make matters worse, around 1930 John and Marguerite likely separated.[28]
Bowers and De La Motte in Daughters Who Pay, courtesy of IMDB.
The last movie Bowers made was Mounted Fury (1931). By then his drinking had become a problem. Bowers was only forty-five-years-old, but his life was unraveling. A few years later, he returned to Indiana and wrote a weekly fictional serial for the local newspaper, the Garrett Clipper. [30] The serial was a lighthearted coming-of-age story of a small town kid who made good. The protagonist, John Wright, was affable, ambitious and, “If he had fallen into a sewer he would have come out with a bouquet in his hand.” Many of the characters would probably have been familiar to Garret residents, and the serial ran from March until August of 1936.
While in Indiana, John had been caring for his long-ill mother, Ida, in nearby Syracuse when she passed away in July of 1936.[31] Given the new void in his life, John decided to give acting another try. He heard that his old friend Henry Hathaway was directing a film with Gary Cooper and hoped there might be a part in it for him. So, he went back to LA one last time.
The morning after finding out that Hathaway was unable to offer Bowers a part in his movie, Bowers rented a small sailboat in Santa Monica. Two days later, on November 17, 1936, his body washed ashore in Malibu. The coroner reported the cause of death as “Drowned as a result of suicide – jumped off sail boat.” The boat was later recovered adrift.[32] His sister, with whom he was staying at the time, reported that he had recently become despondent.[33]
Although nobody knows what was on the mind of John Bowers when he went overboard, most believed he died by suicide. His mother had recently passed away, his acting career was floundering, and his drinking had become problematic. Despite such a tragic ending, this Hoosier left behind a legacy as a prolific film actor and adventurer.
Notes:
[1] The exact date of Bowers’s birth is questionable. Census records, newspaper articles, and magazine stories report his date of birth differently, but generally around 1885. The DOB from his death certificate is the only official record. “California, County Birth and Death Records, 1800-1994,” FamilySearch (https://familysearch.org/ark:/61903/3:1:3QSQ-G9SF-P9BR-Y?cc=2001287&wc=SJ5X-JWG%3A285174601%2C285330201 : 22 August 2018), Los Angeles, Death certificates 1936, no. 10100-12041, image 31 of 2142, California State Archives, Sacramento.
[2] “Local and Personal,” Garrett Clipper (Indiana), October 15, 1903, 5, Newspapers.com.
[3] “John Bowers Receives Contract for Royal Slave Company,” Huntington Herald (Indiana), May 20, 1904, 4, Newspapers.com.
[4] “John Bowers Receives Contract for Royal Slave Company,” Huntington Herald, May 20, 1904, 4, Newspapers.com.
[5] “He Hasn’t Been Home Since,” Photoplay, August, 1919, 61, Internetarchive.org.; “The Right Bower,” circa 1920, Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[6] “He Hasn’t Been Home Since,” Photoplay, August, 1919, 16: 3, 61, Internetarchive.org.
[7] Brady produced both plays and films. IMDB credits him for producing forty-three films from 1897-1920. Here are some examples of Brady-produced plays in which Bowers was a cast member: “At the Brady Playhouse,” Brooklyn Citizen, November 30, 1913, 17, Newspapers.com.; “The Family Cupboard” Chat [Brooklyn, New York], January 3, 1914, 16 Newspapers.com.; “Attractions of Current Week in Leading Washington Theaters: Family Cupboard,” Washington Herald [Washington, D.C.], January 18, 1914, 18, Newspapers.com.; “Belasco: The Family Cupboard,” Evening Star [Washington, D.C.], January 20, 1914, 8, Newspapers.com.; “This Week in the Theaters: Alvin,” Pittsburgh Daily Post, January 25, 1914, 23, Newspapers.com.; “Attractions at the Theatres: The Decent Thing to Do,” Boston Globe, March 8, 1914, 150, Newspapers.com.; “Surpasses Drury Lane,” Brooklyn Citizen, October 8, 1914, 6, Newspapers.com.; “Plenty of New Productions Listed for Future Appearance,” Variety, October, 1914, 36, 10, Internetarchive.org.
[8] David L. Smith, “John Bowers: A Tragedy That Became a Legend,” Traces of Indiana and Midwestern History, Fall 2017, 4, Indiana Historical Society.
[9]1920 Census, Los Angeles Assembly District 63, Los Angeles, California; Roll: T625_106; Page: 12B; Enumeration District 167, FamilySearch.org.
[15] Bull-dogging refers to the act of wrestling a steer to the ground by holding its horns and twisting its neck.; “Movie Facts and Fancies,” Boston Globe, July 29, 1923, 54, Newspapers.com.
[16] “Sophistication Lends Charm, is Actor’s Theory,” Los Angeles Times, May 1, 1927, 57, Newspapers.com.
[17] David L. Smith, “John Bowers: A Tragedy That Became a Legend,” Traces of Indiana and Midwestern History, Fall 2017, 4, Indiana Historical Society.
[18] “The Sport of Kings – and Movie Stars,” Motion Picture Classic, September, 1923, 18:1, 18, Internetarchive.org.
[19] “The Sea-Going Actor,” Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[21] “Notes from Movie Land,” Knoxville Journal and Tribune (Tennessee), August 10, 1924, 17, Newspapers.com. This article establishes that he began taking racing lessons.; “Famous Driver Adopts Novel Training Stunt,” Los Angeles Times, August 16, 1924, 11, Newspapers.com.; “Floyd Roberts Adds to Fame,” Van Nuys News (California), September 16, 1924, 1, Newspapers.com. The previous two articles establish that Bowers became involved in the professional auto racing world in 1924.; “50 Daredevils Gamble Lives Against Time in 250-Mile Speed Battle,” Los Angeles Evening Express, November 27, 1924, 1, Newspapers.com. This article reveals that Bowers did not race in the Thanksgiving Day race but rather contributed as an track official.
[22] “Planes are Hobby of Bowers,” Los Angeles Times, July 24, 1927, 46, Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[23] “Yachts and Autos His Hobbyhorses,” Los Angeles Times, July 20, 1924, 48, Newspapers.com.
[27] “Hollywood’s Halls,” Los Angeles Times, May 15, 1927, 136, Newspapers.com.
[28] Solid proof of the separation of John and Marguerite may not exist. Exactly when they married and when they separated is uncertain. “Romance of Screen Pair Disrupted,” Los Angeles Times, December 19, 1930, 8, Newspapers.com.
[30] “Middle West,” Garrett Clipper, March 9, 1936, 2, Newspapers.com; “Middle West,” Garrett Clipper, July 6, 1936, 2, Newspapers.com; “Middle West,” Garrett Clipper, August 10, 1936, 3, Newspapers.com; “Middle West,” Garrett Clipper, August 17, 1936, 2, Newspapers.com.
[31] “Mrs. Ida Bowers,” Garrett Clipper, July 16, 1936, 1, Newspapers.com.
[32] “Body of Former Film Star Found,” Cushing Daily Citizen (Oklahoma), November 19, 1936, 12, Newspapers.com. After his death, a local newspaper reported that Bowers had been depressed and wanted to get back into movies. “John Bowers,” Indiana Historical Society, David L. Smith Collection, Collection #P568, Box 1, Folder 3.
[33] “How Bowers Met Death,” Hammond Times (Indiana), November 19, 1936, 4, Newspapers.com.
In the very literal sense of the word, 1968 was an extraordinary year. Even situated as it was within a decade characterized by social and political upheaval, 1968 was unique in the sheer number of transformative events: the Tet Offensive, the assassinations of Martin Luther King, Jr. and Robert Kennedy, the Apollo 8 mission, anti-Vietnam War protests, protests against racial discrimination. The list goes on.
While the majority of these events occurred on the East and West Coasts of the United States, it would be a mistake to think that the Midwest was immune to the revolutionary spirit sweeping the nation. In fact, many of the movements seen at a national level played out within the confines of the Indiana University Campus in Bloomington. When recruiters from Dow Chemical Company (the company responsible for producing napalm for use in the Vietnam War) visited campus, hundreds of students marched in protest. Following objections to exclusionary judging standards drawn along color lines, the IU Homecoming Queen pageant was permanently cancelled. African American students demanded more representation in all aspects of campus life and staged a sit-in at the Little 500. That sit-in led directly to the removal of discriminatory covenants from Indiana University’s fraternities.
Clarence “Rollo” Turner at the Little 500 Sit-in, Indiana University, Artubus (Bloomington, Indiana: 1968), accessed Artubus Archives.
While this wave of revolutionary fervor was cresting both nationally and on IU’s campus, another wave was close behind – the “third wave” of the Ku Klux Klan. Rising in response to the Civil Rights Movement, approximately 40,000 Klan members belonged to the Klan nationally in the 1950s and 1960s. In the spring of 1968, Klan members from nearby Morgan County attempted to establish a chapter of the terrorist organization in Monroe County. A membership drive, which was to consist of a gathering on the Bloomington courthouse square followed by a march through the business district, was scheduled for March 30, 1968. But before events could get underway, Monroe County Prosecutor Thomas Berry requested and was granted an order blocking the event, citing the possibility of violence.
This was neither the first nor the last appearance of the Klan in Bloomington. In Citizen Klansmen: The Ku Klux Klan in Indiana, 1921-1928, Leonard Moore estimates that 23.8% of all native-born white men in Monroe County were members of the Ku Klux Klan in 1920. The Indiana Daily Student on November 7, 1922 described the supposed first appearance of the Klan in the city:
Marching with slow and solemn tread, 152 men paraded Bloomington streets, garbed in mysterious robes of white, with tall hoods masking their identity, and carrying aloft the flaming cross of the klan, while hundreds of townspeople and students stood and witnessed [as] the pages of fiction and movie scenarios unfolded before their eyes.
Example of a calling card left by the Ku Klux Klan, accessed Nate-Thayer.com.
Although county officials blocked a similar scene to that described above from playing out in 1968, the Klan still made its presence known in the city. During a Bloomington Human Relations Commission meeting on September 30, 1968, African American commission chairman Ernest Butler showed his fellow commissioners and others present at the meeting a card which had been left on his door. The card read, “The Ku Klux Klan is watching you.” Butler claimed to have received as many as ten such cards, as well as several similarly threatening phone calls. Soon, local Klan affiliates would go further than simply making threats.
In the face of these threats, Black Indiana University students continued to demand more representation and equality, staging protests and demonstrations across the campus. The Afro-Afro-American Student’s Association (AAASA)—an organization formed in the spring of 1968 with the goal of fostering unity among IU’s Black students—frequently encouraged members to participate in this activism. At the forefront of many of these protests was AAASA co-founder and sociology graduate student Clarence “Rollo” Turner.
In the fall of 1968, Turner shifted his attention towards a new project – The Black Market. Financed entirely by Black faculty and staff, The Black Market was a shop specializing in products made by African or African American artists. This included “free-flowing African garb, Black literature and records, African and Afro-American fabrics, dangling earrings, and African artifacts.”
As a leader in the African American community at Indiana University, Turner served as the shop’s manager and its public face. He and his backers had two main objectives when opening the shop. First, it was to act as a cultural center for Black students at the university, who had limited recreational opportunities in the predominantly white city. Second, he aimed to eliminate “misconceptions about black people” by exposing IU students and Bloomington locals alike to Black culture.
After its late-September opening, it seemed as though the shop would be a success. The campus newspaper, Indiana Daily Student, proclaimed, “suits and ties may eventually join the ranks of white socks and baggy slacks if the immediate success of The Black Market is a sign of things to come.” However, at the same time that the shop was proving a popular enterprise with IU students, factions within Bloomington were pushing back against its very existence. This resistance took the form of violence when, on December 26, 1968 a Molotov cocktail was thrown through the front window of the store.
The resulting fire destroyed the entire stock of The Black Market and caused structural damage to adjacent businesses. To those most closely associated with the shop, the motive for the attack seemed obvious, especially considering the heightened presence of the Ku Klux Klan in the city. As student newspaper The Spectator commented:
It was not very difficult, of course, to determine a ‘motive’ for the bombing. Since the construction of the Black Market in September, black students involved have been harassed periodically by abusive white ‘customers,’ . . . Larry Canada, owner of the building, had received telephoned bomb threads because he allowed the ‘n––rs’ to use the space for the store.
Black Market after fire, printed in The Spectator, accessed Indiana University Archives.
Two weeks later, 200 students attended a rally on the sidewalk outside of the burnt remains of The Black Market. Amidst calls for action from university and city officials and appeals to Black students to make a stand in the face of violence, Rollo Turner said, “the only reason this store was bombed was because it was a black store.” Behind the rally, hung across the splintered door of the shop a hand lettered sign that read, “A COWARD DID THIS.”
Eight months would pass before those students knew the identity of the man responsible for the attack, though. In the intervening time, IU students and faculty came together to raise enough money to pay back the financial backers of the shop, as the shop’s inventory was uninsured. Rollo Turner also made the decision not to re-open the store – all of the funds raised had gone to pay back investors, leaving none for re-investment in new stock. Additionally, the extensive damage to the structure necessitated its total demolition, meaning a new space would need to be secured and it may have proven difficult to find a landlord willing to risk their property if a repeat attack was carried out.
“The Black Market,” accessed Indiana University Archives.
Details about the search for the perpetrators are limited. An ad-hoc group formed by representatives from the community, university, and local civil rights organizations offered an award for information leading to the arrest and conviction of the guilty parties. The alternative student newspaper The Spectator alluded to a person of interest in their coverage of the attack, saying:
Acting on reports of witnesses, police are searching for a white male with dark hair, about 5’8”, 160 lbs., wearing a light gray finger-length topcoat at the time of the fire.
Whether or not either of these played any part in the search for the perpetrators, or if they were identified in some other way, on August 6, 1969 the Marion County Circuit Court issued arrest warrants for two men in relation to the crime. One of those men, Carlisle Briscoe, Jr., plead guilty to the second degree arson charges while implicating as an accomplice Jackie Dale Kinser, whom he accused of driving the get-away vehicle. Eventually, the charges against Kinser would be dropped, just before he plead guilty to three unrelated crimes.
Both men had strong ties to the local Ku Klux Klan – Kinser was a member who in subsequent years would be arrested multiple times in Klan-related crimes. Briscoe’s Klan connections are slightly less clear. At first, Monroe County Prosecutor Thomas Berry and Sheriff Clifford Thrasher announced that both men were Klan members. An article in the September 19, 1969 issue of the Indianapolis Star, states that Briscoe himself claimed to be a Klan member. The headline of Briscoe’s obituary in the Vincennes Sun-Commercial proclaims, “Notorious Klansman Dies in Prison: Briscoe Led a Bloomington Crime Wave in 1960s and ‘70s.” As late as 1977, he was arrested while committing crimes alongside Klan members, apparently while carrying out Klan business. However, in 1969, the Grand Dragon of the Indiana Ku Klux Klan, William Chaney, denied that Briscoe was a member of the organization. Regardless of Briscoe’s official Klan membership status, Briscoe at the very least maintained close ties with the terrorist organization. He was sentenced to one to ten years and was released on April 7, 1973 after serving approximately three and a half years of his sentence.
The story of The Black Market firebombing could have ended there. The structure had been demolished, the investors had been paid back, and a conviction had been made. However, the revolutionary atmosphere on the Indiana University campus stretched beyond the 1960s, and the space would once again be used to make a statement.
YIP Poster Advertising the 1968 Festival of Life, accessed Wikipedia.
In late February 1970, a group of Yippies, or members of the Youth International Party, were looking for ways to bring the community of Bloomington together. One of the ideas that emerged from these discussions was the creation of a people’s park on the vacant lot where The Black Market had once stood. People’s parks, which were spreading across the nation, could trace their roots back to the People’s Park in Berkeley, California. Typically created by activists without the approval of government or other officials, the parks were meant to promote free speech, activism, and community involvement.
By May 1970, work had started on the project. Anyone who was interested in the enterprise was encouraged to join in helping to prepare the land for its future intended use. The Bloomington People’s Park was to be a mix of gathering space, community garden, and a place for “everyone to sing, dance, rap, and generally ‘do his own thing,’” and by the next summer, it was being put to good use, as reported by the Indiana Daily Student:
About 250 blue jeaned “freaks,” tapered-legged “straights,” the bell bottomed curious and two guys with rolled-up sleeves, greasy hair and tattoos celebrated the 4th in People’s Park Sunday evening.
Student protest in People’s Park, Artubus, Indiana University, Bloomington, Indiana: 1981, accessed Artubus Archives.
Over the next five years, various issues threatened to put an end to the whole affair. The city threatened to shut it down over “public health” concerns. The property owner, Larry Canada, had various plans to develop the property. In the end, though, People’s Park became legally sanctioned after Canada deeded the land to the city in 1976.
Throughout the years, the park has carried on the site’s democratic heritage, hosting anti-Vietnam War protests, protests against the US involvement in El Salvador in the 1980s, music festivals, flea markets, and, more recently, Occupy Bloomington protests. Today, the park serves as a reminder of the revolutionary ideals that swept through Indiana University’s campus in the 1960s and 1970s. In 2020, IHB, in partnership with the Bloomington Chamber of Commerce, will commemorate those events by installing an Indiana state historical marker.
Photograph by M. B. Parkinson (New York: 1890), Special Collections, University of Virginia.
This has been adapted from its original August 22, 2019 publication in the Weekly View.
Was a Hoosier the inspiration behind the book that sold more copies in the 19th century than any other book except the Bible—Harriet Beecher Stowe’s 1851 Uncle Tom’s Cabin; or, Life Among the Lowly? It’s a distinct possibility. Stowe penned the novel during a fearful time in America for persons of color. Fleeing intolerable conditions wrought by enslavement, many risked a perilous journey to the North. This was America after passage of the Fugitive Slave Act of 1850, which mandated that residents of free states return fleeing slaves to their masters or face imprisonment or fines. The country was at odds over the issue of slavery and as to the responsibility of individuals in protecting the peculiar institution. It appeared America was edging ever closer to being torn in two.
Harriet Beecher Stowe, daguerreotype by Southworth & Hawes, c. 1856, courtesy metmuseum.org, accessed Britannica.org.
Moved by these events, young abolitionist Harriet Beecher Stowe put pen to paper and wrote Uncle Tom’s Cabin, hoping to appeal to the heart and conscience of the nation. The National Era serialized the narrative, with the first of forty chapters appearing on June 5, 1851. A year later it was published in book form and quickly became the most widely-read book in the U.S., selling 300,000 copies in 1852 alone. Stowe’s realistic depiction of American slavery through the character of “Uncle Tom” mobilized support for abolition, particularly in the North.
Playwrights adapted the popular story for the stage, but in doing so distorted Stowe’s original depiction of Tom in order to attract bigger audiences. Readers encountered a benevolent, but deeply convicted character, who would rather lose his life than reveal the location of two enslaved women hiding from their abusive master. The stage version depicts Tom as a doddering, ignorant man, so eager to please his master that he would sell out fellow persons of color. Dr. David Pilgrim, Professor of Sociology at Ferris State University, notes that because of the “perversion” of Stowe’s portrayal, today “in many African American communities ‘Uncle Tom’ is a slur used to disparage a black person who is humiliatingly subservient or deferential to white people.” Despite the modern implications of the term “Uncle Tom,” the Antebellum stage productions further propelled Americans to take action against the plight of enslaved people in the mid-19th century.
While Stowe acknowledged that the inspiration for Uncle Tom’s Cabin came from an 1849 autobiography, The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, she’d had personal interactions with former slaves who she had met while living in Cincinnati. She was also familiar with Quaker settlements, which “have always been refuges for the oppressed and outlawed slave.” [1] In a companion book, A Key to Uncle Tom’s Cabin, Stowe documented “the truth of the work,” [2] writing that the novel was “a collection and arrangement of real incidents . . . grouped together . . . in the same manner that the mosaic artist groups his fragments of various stones into one general picture.” [3]
Although Stowe does not mention him by name, Indianapolis residents and newspapers credited a local man with influencing her book: Thomas “Uncle Tom” Magruder. Tom had been enslaved by the Noble family. Dr. Thomas Noble gave up his medical practice and became a planter in Frederick County, Virginia when his brother gave him a plantation sometime after 1782. Tom Magruder was probably one of the slaves on this plantation who, in 1795, were forced to move with Dr. Noble to Boone County, Kentucky, where he established “Bellevue” farm.
Tom managed the farm during his enslavement until 1830, when both Dr. Noble and Elizabeth Noble had passed away. He was “permitted to go free” [4] and he moved his family to Lawrenceburg, Indiana, likely to a free slave settlement. In 1831, Dr. Noble’s son, Indiana Governor Noah Noble, brought the aged Tom and his wife, Sarah, to Indianapolis. There, he had a cabin built for them on a portion of a large tract of land that he had acquired east of the city. The dwelling that became known as “Uncle Tom’s Cabin” was located on the northeast corner of Noble (now College Avenue) and Market Street. Eventually Tom and Sarah Magruder’s daughter, Louisa Magruder, and granddaughter Martha, known as “Topsy,” joined the household. Tom was a member of Roberts Park Methodist Church and was an “enthusiastic worshipper—his ‘amens,’ ‘hallelujahs,’ and ‘glorys’ being . . . frequent and fervent.” [5]
Henry Ward Beecher and Harriet Beecher Stowe, 1868, Lenox Library Association, courtesy of Digital Commonwealth, Massachusetts Collections Online.
Living a few blocks from Tom at the southwest corner of Ohio and New Jersey in the 1840s was Rev. Henry Ward Beecher, white pastor of the Second Presbyterian Church. [6] He was “a constant visitor of Uncle Tom’s, well acquainted with his history, and a sincere admirer of his virtues.” [7] Like the main character in Stowe’s novel, Tom Magruder was a “very religious old Negro;” [8] of commanding appearance, his “open, gentle, manly countenance made him warm friends of all persons, white and black, who became acquainted with him.” [9]
It is known that Rev. Beecher mentioned the venerable gentleman in a sermon, which may have been when he preached on slavery on May 34, 1846. [10] Harriet Beecher Stowe visited her brother in Indianapolis that summer and may have accompanied him on one of his frequent visits to “Uncle Tom’s Cabin.” It is possible that she left the city with the future title of her novel and its main character in mind. It is likely that the names of the Magruder sons—Moses and Peter—and the name of their granddaughter Topsy remained with Stowe to later find their way into her tale of Uncle Tom’s Cabin. [11]
Jacob Piatt Dunn, Greater Indianapolis; The History, the Industries, the Institutions, and the People of a City of Homes (Indianapolis Public Library, 1910), 242, accessed Archive.org.
Tom Magruder died on February 22, 1857 at about 110 years old. He was buried in the Noble family lot at the city’s Greenlawn Cemetery. At the time of his death, there was a universal belief in Indianapolis that “there are some circumstances which give it an air of probability” [12] that “Old Tom” is “Stowe’s celebrated hero.” [13] Among other things, “‘Uncle Tom’s cabin’ . . . was a familiar phrase here long before Mrs. Stowe immortalized it.” [14] Local papers “stood up for the claim” [15] in the immediate years after Tom’s death. The Daily Citizen wrote in April 1858, “It is believed here that Thomas Magruder . . . was the ‘veritable Uncle Tom,’” [16] and the Indianapolis News in March 1875 bluntly stated, “[Josiah Henson] is a fraud. The original Uncle Tom lived in this city and his old cabin was near the corner of Market and Noble Street.” [17]
In his 1910 book Greater Indianapolis, historian Jacob Piatt Dunn thought it unlikely that Tom Magruder would ever be confirmed as the inspiration behind Stowe’s legendary fictional character. However, he noted that “it is passing strange that none of the numerous friends and admirers of the Beechers in this city received any denial of it, which would necessarily have broken the uniform faith in the tradition.” [18] What Dunn was certain about is that nearly everyone in Indianapolis at the time knew Tom Magruder, “‘for he was noted as an exemplary and religious man and was generally respected.'” [19]
SOURCES USED:
[1] Harriet Beecher Stowe, A Key to Uncle Tom’s Cabin (John P. Jewett & Co, Boston, 1858), Part I, Chapter XIII: The Quakers, p. 54.
[5] Jacob Piatt Dunn, Greater Indianapolis, vol. 1 (Chicago: Lewis Publishing Co., 1910), p. 243.
[6]The Diary of Calvin Fletcher, vol II, 1838-1842 (Indiana Historical Society Press, 1973), p. 164, p. 340.
[7] “An Old Resident Dead,” The Indianapolis Journal, February 24, 1857, 3:1.
[8]Jacob P. Dunn, “Indiana’s Part in the Making of the Story ‘Uncle Tom’s Cabin,’” The Indiana QuarterlyMagazine of History 7, no. 3 (September 1911), 115.
[9] “Early Recollections. Uncle Tom’s Cabin,” Daily State Sentinel, December 31, 1862, 2:4.
[10]The Diary of Calvin Fletcher, vol. III, 1844-1847, (Indiana Historical Society Press, 1974), p. 62, p. 259.
[11] Harriet Beecher Stowe, Uncle Tom’s Cabin or Life Among the Lowly (Boston: John P. Jewett & Co., 1852), title page.
Will Cuppy, accessed Traces of Indiana and Midwestern History (Winter 2014).
Humorist Will Cuppy’s witticisms tended toward, as his biographer Wes Gehring put it, “dark comedy that flirts with nihilism.” Cuppy’s The Decline and Fall of Practically Everybody, published posthumously in 1950, spent four months on the New York Times best-seller list and enjoyed eighteen reprints in hardback. Decline and Fall typified Cuppy’s life’s work, which satirized human nature and utilized footnotes to great comedic effect. He spent sixteen years researching the historic figures featured in Decline and Fall, but, after years of battling depression, passed away before its publication.
Young Cuppy, 1902, Traces of Indiana and Midwestern History, accessed Gale Academic OneFile.
The Auburn, Indiana native spent a lot of time on his grandmother’s South Whitley farm. There, he developed a love of animals and a curiosity about life. According to an oft-cited anecdote, Cuppy found himself wondering if fish think—and no one he knew was curious enough to similarly wonder or care if indeed fish do think. In search of more inquisitive conversationalists, Cuppy moved out of Indiana as soon as he could. Upon graduation from Auburn High School, Cuppy departed for the University of Chicago where he would spend the next twelve years taking a wide array of courses. He completed his B.A. in philosophy and planned to get his Ph.D. in Elizabethan literature.
While at university, Cuppy worked for the school paper. As a result, the University of Chicago Press hired Cuppy to “create some old fraternity traditions for what was then a relatively new college” to give the school more of an old east coast university feel. This assignment evolved into Cuppy’s first book, Maroon Tales, published in 1910. Eventually, Cuppy’s college friend Burton Rascoe invited him out to New York City, where Rascoe was an editor and literary critic for the New York Tribune. After agreeing to move to New York City, Cuppy decided to get his M.A. in literature and leave the University of Chicago rather than complete his Ph.D. He was ready to move on.
Illustration from How to Become Extinct (New York: Farrar & Rinehart, 1941), 31.
In 1921, Cuppy moved into a tarpaper and tin shack on Jones’ Island in New York. Suffering from hypersensitivity to sound, Cuppy wished to escape the noise of the city. He lived on the island year-round for eight years, with occasional visits to the city for supplies. The men of the Coast Guard station a few hundred feet down the beach befriended him and shared food, as well as fixed his typewriter. Cuppy called his beach home Tottering-on-the-Brink, giving insight into his mental health. But despite his seclusion, Cuppy’s career progressed. By 1922, he was writing occasionally for the New York Tribune, and in 1926 he joined the staff there as a book reviewer (by which time the Tribune had become the New York Herald Tribune).
End paper art from How to be a Hermit, courtesy of Simanitis Says.
Then, in 1929, Cuppy had to leave his shack because New York designated the area to become a state park, although he received permission to visit his hermitage for irregular vacations. Cuppy moved to an apartment in Greenwich Village, but even after he left his residence at Jones’ Island he would sometimes be referred to—and refer to himself—as a hermit because he continued to maintain an isolated lifestyle. Predictably, Cuppy found it difficult to stand the noise of the humming city. He tended to sleep during the day and work during the night to minimize his exposure to the cacophonous sounds. When it all got to be too much, Cuppy would blow on noisemaker as hard as he could out an open window.
Cuppy published a book about his experience living on Jones’ Island in 1929, How to Be a Hermit (Or A Bachelor Keeps House). The book was a best-seller—reprinted six times in six months—and put Cuppy on the map as a humorist and author. In traditional Cuppy fashion, he quipped “I hear there’s a movement among them [architects] to use my bungalow as a textbook example of what’s wrong with their business. The sooner the better—that will give the dome of St. Paul’s a rest.” And then there was this telling jest:
Coffee! With the first nip of the godlike brew I decide not to jump off the roof until things get worse—I’ll give them another week or so.
Cuppy followed up Hermit with How to Tell Your Friends from the Apes in 1931.
Cuppy at a broadcast for CBS Radio, circa 1942, courtesy of Gale Academic OneFile, accessed Simanaitis Says.
The 1930s were a busy time for Cuppy. In 1930, he tried to establish himself as a comic lecturer; however, after a brief stint of talks, it appeared the venture did not work out. A few years later Cuppy hosted a short-lived radio program on NBC called “Just Relax.” It proved too difficult to sustain a radio program with Cuppy’s singular brand of comedy and socially anxious tendencies—radio executives simply told him he wasn’t funny. Though his program didn’t last, Cuppy continued to appear in radio broadcasts sporadically through the years. He went on the radio to promote his next book, How to Become Extinct (1941).
Numerous reviews of mystery and crime novels had garnered Cuppy the distinction of being “America’s mystery story expert” as early as 1935. It was earned—in the course of his career Cuppy published around 4,000 book reviews. He secretly admitted that his heart wasn’t in it and he’d never particularly enjoyed the mystery and detective genre, but reviewing these books in his New York Herald Tribune column “Mystery and Adventure” was Cuppy’s steadiest income stream over the years. Nevertheless, in the 1940s Cuppy used his genre expertise to edit three anthologies of mystery and crime fiction. His freelance writing also picked up in this decade. National publications like McCall’s Magazine, The New Yorker, College Humor, For Men, and The Saturday Evening Post printed Cuppy’s essays that would later be compiled in his books, like How to Attract the Wombat (1949).
In a reflection that brings to mind Hoosier novelist Kurt Vonnegut Jr., Cuppy was fond of saying:
I’m billed as a humorist, but of course I’m a tragedian at heart.
One gets the sense from reading Cuppy’s material that he used humor as a coping mechanism. Quoting Cuppy, Gehring wrote that the dark humorist “believed humor sprang from ‘rage, hay fever, overdue rent, and miscellaneous hell.’” You could say that, like his humor, Cuppy’s life was tragic. Though he had long suffered from depression, multiple sources noted Cuppy’s declining health in mid-1949. Then, threatened with eviction from his Greenwich Village apartment and reeling from the end of a decades-long friendship, Cuppy followed through on decades of casual talk about self-harm. He died on September 19, 1949, due to suicide. He was buried in Auburn, Indiana’s Evergreen Cemetery.
Illustration from The Decline and Fall of Practically Everybody (New York: Henry Holt and Company, 1950), 38.
After Cuppy died, his editor, Fred Feldkamp, took on the task of assembling Cuppy’s numerous notes into The Decline and Fall of Practically Everybody. Cuppy took his research seriously, and this is where Cuppy’s extensive education shined through. He would spend months researching a single short essay, reading everything he could find on the topic and amassing sometimes hundreds of notecards on each subject. Having worked on Decline and Fall for a whopping sixteen years before his death, Cuppy had collected many boxes of notecards filled with research. Decline and Fall was an immediatesuccess when it was published in 1950. Locally, the Indianapolis News named it one of the best humor books of the year, and listed it as the top best-seller in Indianapolis in non-fiction for the year. In 1951, Feldkamp used more of Cuppy’s notes to edit and publish How to Get from January to December; it was the final publication in Cuppy’s name.
Footnote from The Decline and Fall of Practically Everybody (New York: Henry Holt and Company, 1950), 154.
Cuppy’s style was characterized by a satirical take on nature and historical figures. Footnotes were his comedic specialty—they were such a successful trademark that he was sometimes hired to add his touch of footnote flair to the works of fellow humorists. In Decline and Fall there is one footnote in particular which is emblematic of Cuppy’s unique dark humor: “It’s easy to see the faults in people, I know; and it’s harder to see the good. Especially when the good isn’t there.” Before the publication of Decline and Fall, Cuppy was frequently asked why he always wrote about animals—when would he write about people? But, of course, he had been lampooning humanity all along.
Perhaps it makes sense, then, that in the last decade of his life, Cuppy befriended William Stieg, the man who would go on to create the character Shrek in his 1990 children’s book by the same name. A young cartoonist, Stieg was hired to illustrate How to Become Extinct and Decline and Fall. Cuppy and Stieg struck up an extensive correspondence, and Cuppy influenced Stieg’s style. The notion of a humorous curmudgeon living in isolation and drawn out into the world by both necessity and outgoing friends strikes a familiar chord that echoes in Shrek.
Cuppy was a famous humorist in his time, and the acclaim of his better-known comedy contemporaries, like P. G. Wodehouse and James Thurber, certainly helped to heighten his renown. When Decline and Fall came out, a reviewer for the New York Times insisted that “certain people, at least, thought [Cuppy] among the funniest men writing in English.” Beyond his work as a humorist, Cuppy’s career as a literary critic had been impactful; the managing editor of the Detroit Free Press wrote that he had “given up reading whodunits” after Cuppy’s death because he didn’t trust any other critic to guide his mystery selections. The sadly serious humorist is less widely known today, but his quips seem more relevant than ever.
Be sure to see Will Cuppy’s state historical marker at the site of his childhood home in Auburn after it is unveiled in August.
Further reading:
Wes D. Gehring, Will Cuppy, American Satirist: A Biography (Jefferson, NC: McFarland & Company, 2013).
Norris W. Yates, “Will Cuppy: The Wise Fool as Pedant,” in The American Humorist: Conscience of the Twentieth Century (Ames: Iowa State University Press, 1964).
Al Castle, “Naturalist Humor in Will Cuppy’s How to Tell Your Friends from the Apes,” Studies in American Humor, 2, 3 (1984): 330-336.
Walter Dorwin Teague, courtesy of North Carolina State University.
Visit the ultra-sleek website of the industrial design firm TEAGUE and you will see the echoes of company founder and namesake Walter Dorwin Teague. TEAGUE touts “we design experiences for people and things in motion.” This could easily have been declared in 1939 when Teague applied his experience as an industrial designer to the New York World’s Fair “World of Tomorrow.”
Walter Dorwin Teague’s story starts in the house of a Methodist circuit-riding preacher in Decatur, Indiana. Here, Walter was born on December 18, 1883, the youngest of six children to Reverend M.A. Teague and Hettie Teague. By late 1889, the family had settled in Pendleton, where Teague graduated high school in 1902. Teague credits his time in Pendleton, and particularly a book on the history of architecture from the Pendleton High School library, with setting him on the path that would eventually lead him to become a dominant force in American industrial design.
Walter Dorwin Teague designed the Kodak Baby Brownie Camera and its packaging, seen here. The Baby Brownie, sold for just $1, is credited with helping popularize amateur photography. Image courtesy of Cooper Hewitt.
Soon after his graduation, Teague moved to New York City to study at The Art Students League of New York. However, it wasn’t until the late 1920s that Teague discovered his life’s passion: industrial design. He was early to the game – in the decade after Teague scored his first major contract with Eastman Kodak in 1928, mentions of the phrase “industrial designer” in printed material increased 40 fold. Many sources consider Walter Dorwin Teague to be one of the five founders of industrial design in the United States, along with Henry Dreyfuss, Donald Deskey, Raymond Loewy, and Norman Bel Geddes.
In the decade after his first contract with Kodak, Teague designed for the likes of Boeing, Texaco, the Marmon Motor Company, and Ford Motor Company. He built lasting business relationships with many of these companies, and in some cases those relationships went beyond the designing of products. In the early 1930s, Henry Ford turned to Walter Dorwin Teague to design a cutting-edge exhibit hall for the 1934 re-opening of the Chicago World’s Fair, themed “Century of Progress.” The exhibition featured a wide array of elements, including a museum, industrial barn, and gardens tied together by–what else–design.
Interior of the Ford Pavilion at the 1934 Chicago Century of Progress. This diorama shows the extraction of different materials used in automobile production. Image courtesy of Hemmings Daily.
According to historian Roland Marchand, the 1934 Chicago Century of Progress:
ushered in a period of striking convergence between an increasing corporate sensitivity to public relations and the applications of designers’ expertise to display strategies. More than ever before, the great fairs became arenas for the public dramatization of corporate identities.
Gone were the sales-driven exhibits of the past, in which company representatives pitched the latest and greatest Ford products. With Teague at the helm, salesmen were replaced by young, affable college students. Product demonstrations were replaced by art, dioramas, and museums. Pressure to buywas replaced with entertainment, as well as information about the concepts behind and benefits of featured products. These innovations made the exhibit a hit of the fair and Walter Dorwin Teague a highly sought after exhibition hall designer.
In the wake of the successful Ford project, Teague designed exhibits for a number of regional fairs. He designed for Ford in San Diego (1935), Dallas (1936) and Cleveland (1936), and for Du Pont and Texaco in Dallas (1936). These smaller exhibits were a trial of sorts for the 1939 New York World’s Fair, which would become Teague’s crowning achievement in the realm of exhibit design.
Cover, New York World’s Fair 1939 Brochure, from the Collections of The Henry Ford.
For the New York World’s Fair, which was themed “The World of Tomorrow,” Teague designed the exhibition halls for heavy-hitters like Ford, U.S. Steel, Du Pont, National Cash Register (NCR), Consolidated Edison Company, Eastman Kodak, A.B. Dick, Bryany Heater Company, and parts of the United States Government Building. In addition, Teague served on the official Design Board, the lone industrial designer among a group of architects.
One might assume that with so much on his plate, Teague would have moved towards a more hands-off approach at the 1939 fair.However, he was deeply involved in the conceptualization process.While on previous projects he had simply put the finishing touches on an already developed idea or perhaps added design elements around an existing exhibit plan, by 1939, Teague was involved in “the fundamental work of determining what [the] exhibit should be.” Employing lessons learned at the 1934 Century of Progress, Teague determined that exhibits should include animation and audience participation whenever possible. He and his team also began using phrases such as “visual dramatization” and “industrial showmanship” to describe their work. The resulting 1939 New York World’s Fair exhibits reflected the evolution of his design approach.
Exterior of Du Pont’s “Wonder World of Chemistry,” designed by Walter Dorwin Teague. Image courtesy of Curbed New York blog; The “Tower of Research,” from the cover of the June 1939 issue of The Du Pont Magazine, accessed with the Hagley Digital Archive.
Du Pont, the company responsible for developments such as Kevlar, Teflon, neoprene, and Freon, had high expectations for their exhibit. In the November 1938 issue of The Du Pont Magazine, the company promised, “a panorama of man’s triumphs over his environment, of the progress he has made in building a new nation and a new civilization, of the hopes and plans he has for creating a better world in the future” and to illustrate “chemistry’s part in making the United States more self-sufficient.”
The resulting exhibition building, featuring a 120-foot “Tower of Research” inspired by test tubes, literally towered over passersby. The essential element of animation was incorporated through lights and bubbles that flowed through the test tubes and brought the structure to life. Inside the building were a variety of displays that highlighted the role of chemistry in the modern world–and painted a picture of what the “World of Tomorrow” could look like with further investments in the sciences. Displays followed the production process from raw materials to laboratory testing, and finally to manufacturing. Still other exhibits featured technicians weaving rayon, making cellophane, and demonstrating various techniques used in producing Du Pont materials. From the Tower of Research to fully functional displays to a plethora of dioramas, every aspect of Teague’s design employed the tenets of visual dramatization, industrial showmanship, and educational entertainment.
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Ford Building Model, courtesy of New York Public Library New York World’s Fair (1939-1940) Collection.
The same tenets were present in Teague’s development of the Ford building. Whereas a tower drew visitor’s eyes towards the Du Pont building, a metallic sculpture of the Roman god Mercury–symbolizing “fleet, effortless travel”–attracted exhibit-goers. Inside the exhibition hall, a 70-foot-high moving mural made of automobile parts, planned by Teague and designed by Henry Billings, welcomed visitors to the Ford building. The theme, “From Earth to Ford V-8,” was depicted in the “Cycle of Production,” a massive revolving wedding cake-like structure with three tiers. On the bottom tier, small animated figures harvested raw materials such as cotton, wool, and wood. On the next tier, figures processed those raw materials into cloth and boards. Finally, on the top tier, those products were incorporated into the final product – the wildly popular 1939 Ford V-8, a finished version of which adorned the top of the turntable. Surrounding the “Cycle of Production” were live demonstrations of the production process depicted in the display.
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Even more so than in the Du Pont exhibition, Teague incorporated a plethora of entertainment elements into the Ford pavilion. The same figures from the Cycle of Production were featured in a Technicolor film, telling the story of Ford production. Visitors watched the history of transportation unfold in the form of a live musical drama and ballet. They also watched race car drivers demonstrating the abilities of Ford cars on an outdoor track. Teague united these seemingly disparate parts through design to tell the story of Ford’s impact on the world–whether that be in job creation, technological advancement, or simply as an amusing diversion.
The features seen in these two exhibition buildings could be found to varying degrees in Teague’s other designs at the fair. The U.S. Steel building consisted of a 66-foot-high stainless steel hemisphere, an early example of a building designed to highlight, rather than mask, its steel structural supports. The National Cash Register exhibit was perhaps the least innovative, yet most striking of Teague’s 1939 World’s Fair designs–it was simply a gigantic, working cash register which displayed the fair attendance numbers. Inside, various models of NCR registers were shown being used in exotic locals around the world. For Consolidated Edison’s “The City of Light” display, Teague recreated New York City by building 4,000 scale buildings. The diorama came to life to depict a day in the city–the printing press of the Brooklyn Eagle whirred, a family lounged on a porch listening to the radio, and a six-car subway sped through the display. These innovative features developed by the industrious Hoosier and his design firm would be the central design elements in exhibition halls for decades to come.
Walter Dorwin Teague is best remembered as the “Dean of Industrial Design.” His impact on corporate exhibitions has largely been forgotten with the diminishing role of exhibits in modern life. But at the 1939 New York World’s Fair, the impact of this industrious Hoosier was impossible to ignore.
Today, we expect presidential candidates to come to us. They speak on the capitol steps, at memorials, and in high school gyms. They shake hands, meet local leaders, and in Indiana at least, make sure they’re seen eating a homemade pie or pork tenderloin of local renown. Beyond these appearances, however, campaign ads, emails, and social media posts bring candidates into our living rooms, our inboxes, and our daily lives.
President Ronald Reagan Eating Peach Cobbler at Mac’s in Mooresville, Indiana, June 19, 1985, photo located in the Philadelphia Inquirer by Justin Clark for his research into Reagan’s visit.
This was not always the case, however. In fact, for much of U.S. history, such active campaigning was seen as power hungry, uncouth, and beneath the dignity of the office. While they didn’t hit the campaign trail, the candidates were still working hard to win over voters with events and promotional material. If we start our story in Indianapolis, Indiana, in 1888 and close it twenty years later in Brook, Indiana, we see a sea change in Republican Party campaign tactics. And believe it or not, our modern barrage of presidential politicking owes a lot to the 1908 presidential campaign of William Howard Taft.
Republican Politics from the Front Porch
“Harrison and Morton Campaign Ball,” 1888, Benjamin Harrison Presidential Site, accessed University Library, IUPUI.
During the 1888 presidential campaign, Hoosier candidate Benjamin Harrison and incumbent President Grover Cleveland mostly stayed home. That’s not to say they weren’t politicking. Harrison ran a “front porch” campaign, speaking to crowds that gathered at his Indianapolis home and the reporters he invited to cover the event. Political organizations produced “posters, political cartoons, speeches, rallies, parades, brass bands, and torchlight demonstrations” in support of their candidates (Miller Center). And while Harrison stayed in Indianapolis, his supporters took the campaign on the road for him with a memorable publicity stunt. Inspired by a gimmick used for his grandfather William Henry Harrison‘s successful 1840 campaign, a Maryland supporter built a steel and canvas ball and rolled it 5,000 miles across the country to Benjamin Harrison’s home. In an attempt to draw comparisons between the two Harrisons, the campaign slogan became, inevitably, “Keep the Ball Rolling.” Harrison won the presidency, losing the popular vote, but carrying the electoral college. During the rematch in 1892, Cleveland declined to campaign out of respect for Harrison’s wife’s illness and Harrison made only a few public appearances. However, the Republican Party only tenuously backed Harrison because of “his failure to resolve three national issues,” and Cleveland won easily in 1892. (more here: Miller Center).
“Photograph of Campaign of 1888 in Front of House,” 1888, Benjamin Harrison Presidential Site, accessed University Library, IUPUI.
In 1896, the Democrats, with the support of the Populist Party, ran former U.S. Representative William Jennings Bryan for president. (Remember him; he’ll be back later). Bryan was a dynamic speaker and hit the campaign trail with enthusiasm, covering 18,000 miles in three months. Still, the Republican candidate and former Governor of Ohio William McKinley stayed home. Having raised four million dollars mainly from business and banking interests, the party organization dumped money into the printing and distribution of campaign pamphlets. Meanwhile, McKinley delivered 350 speeches to 750,000 people – all from his front porch- resulting in his election. McKinley won easily again in 1900, bringing New York Governor Theodore Roosevelt with him to the White House as his vice president. (Miller Center)
Library of Congress Caption: “Theodore Roosevelt, Joseph Cannon, members of the Republican Nomination Committee, and guests in front of Sagamore Hill, Oyster Bay, N.Y.,” Underwood & Underwood, publisher, c. 1904, August 4, accessed Library of Congress.
After McKinley was assassinated in 1901, Roosevelt served out McKinley’s presidential term and was the clear choice of the Republican Party to run in 1904. (Roosevelt picked Indiana Senator Charles W. Fairbanks as his running mate.) The Democrats selected New York Supreme Court Judge Alton B. Parker as a safe choice for presidential candidate, appealing to those who opposed TR’s progressive domestic politics and expanding foreign agenda. Parker refrained from campaigning as was the norm, but heavily criticized his opponent in the press. TR made a thirty day tour of Western states after his nomination was announced, but also refrained from actively campaigning for election. By the summer of 1904 he began speaking from his Sagamore Hill front porch at Oyster Bay, New York. Like McKinley, large campaign donations helped TR secure the presidential office. (Miller Center)
Taft V. Bryan: The Game Changer
William Howard Taft doesn’t get a lot of love as a president. He was indecisive, easily railroaded by Congress, and never wanted the office as badly as his wife or TR wanted it for him. However, the strategy crafted by Taft and his advisers to win the 1908 election was brilliant and the fierce showdown of the two major party candidates changed campaigning forever. And for the Republicans, it started just outside tiny Brook, Indiana.
Muncie Evening Press, June 24, 1908, 3, accessed Newspapers.com.
Taft was TR’s handpicked successor to the presidency and thus had the backing of a beloved president and the powerful Republican political machine. He easily won the nomination at the June 1908 Republican National Convention in Chicago. However, Taft had an image problem – one that could lose him the essential votes of farmers, laborers, and African Americans. As an U.S. Circuit Court of Appeals judge, he made several anti-labor decisions. In 1894, Taft had ruled against the railroad workers of the Chicago Pullman Strike. Taft’s Democratic opponent William Jennings Bryan, (remember him?) on the other hand, was a Populist who appealed to laborers and farmers by promising to protect their interest from the Republicans, who were backed by exploitative big business.
During the 1908 campaign, Bryan, now on his third presidential run, again stormed the U.S. like an evangelist, talking directly to the people and criticizing Taft’s anti-labor record. This time, it seemed, the Republican candidate was not going to be able to stay home. Taft needed to defend his record, assure workers that the Republican Party backed their interests, and smile and shake as many hands as possible.
Library of Congress caption: Mitchell, S.D. (1909) [i.e. 1908] Wm. Howard Taft shaking hands Library of Congress Prints and Photographs Division Washington, D.C.Bryan should really get credit for launching the whistle stop campaigning that became standard practice. He had been touring the country for some time advocating for the silver standard. However, it wasn’t until Taft began actively campaigning on the road – in order to rehabilitate his image and make himself likable to voters, as opposed to simply spreading an educational message – that we get the kind of spectacle politics we recognize today. [Bourdon, 115-6.]
The campaign was strikingly modern in other ways too. Speeches by presidential candidates were traditionally quite long – an hour of expounding on the party platform was not unusual. However, Taft kept it short, speaking for thirty minutes at major events, but sometimes spending only five minutes joking with crowds on train platforms. Bryan, known for lengthy rhetoric, was not to be outdone. He recorded a series of two minute speeches on a wax cylinder for Thomas Edison’s National Phonograph Company. Of course, Taft then had to do the same. Thus, we get the modern sound bite. [Listen here: NPR]
George Ade: Reluctant Republican Ringleader
Meanwhile, in Indiana, the Republican Party was in danger of being torn apart over temperance (prohibition versus local option). Leaders thought that a visit from a national candidate could unify the party at least for long enough to push through a Republican state ticket. Charles S. Hernly, Chairman of Indiana’s State Republican Committee, could see that the base needed a flamboyant event to generate enthusiasm for the Party. Recalling a promising conversation from the previous spring, he formed a plan. It involved George Ade, a native of Newton County, a beloved Indiana author, and a dabbler in local politics.
By this time, Ade had achieved financial success as the writer of clever and observant fictional stories for books and newspapers. He gained fame as the wit behind several popular comedic Broadway plays. Ade was known for using humor and rustic, slangy language and was often compared to Mark Twain. He had done well for himself and wisely trusted his brother William to invest his money in real estate.
In 1902, William secured 417 acres near the small town of Brook for his brother to build a cottage as a writer’s retreat. George named the estate “Hazelden.” By 1904, when he began to stay at Hazelden more regularly, “it had grown into an Elizabethan manor house . . . complete with cow barn, greenhouse, caretaker’s cottage, dance pavilion, several smaller outbuildings, swimming pool, softball diamond, and forty foot water tower,” plus extravagant landscaped gardens. (Indiana Magazine of History)
When Ade awoke at Hazelden the morning of August 20, 1908 and settled in to read the day’s Indianapolis Star, he received somewhat of a shock. The front page headline read, “Ade’s Farm Rally Will be Big Event.” Ade later wrote that he recalled a casual conversation with Chairman Charles Hernly about the possibility of a political picnic. However, they had not had formally planned any kind of function, let alone one that Hernly described to reporters as “the biggest Republican event Indiana will see this campaign.”
Indianapolis Star, August 20, 1908, 1, accessed Newspapers.com.
Hernly had colorfully expounded on the day’s details for reporters. He listed the names of prominent state and national politicians who would likely speak, “all the big guns,” and promised a meal of “roast beef, potatoes, bread and butter and coffee” for the Midwestern farmers who were invited to attend. Hernly emphasized that Ade was “enthusiastic in his support of the Republican ticket,” and the reader assumed, the event to take place at his estate. “The only thing that is bothering Mr. Ade is the fact that it is going to take forty of his best beef cattle to satisfy the hunger of the crowd,” Hernly claimed.
Ade was now in an impossible position. He would have liked to “have headed off the barbecue idea,” but was also an enthusiastic Republican who wanted to help his party. [Indiana Magazine of History] He had served as a visible delegate to the Republican National Convention where Taft was nominated – a fact that made headlines even in the New York Times – and as a member of the notification committee that formally told Taft of his nomination. Ade was a respected figurehead for the party. If he were to refuse to host this now public event, he risked further demoralizing the already troubled Indiana Republican Party. If Hernly meant to force Ade’s hand, it worked. The “biggest Republican rally of the coming campaign” would be held in George Ade’s backyard.
The Taft Special to Ade Station
Through the summer Taft was hanging back, assessing the political climate, trying to determine how best to campaign. By September 1908, however, it was clear that he was going to have to defend his labor record from Bryan’s attacks. Taft needed to align himself with the more progressive agenda of the Republican Party as announced at the June convention. He had also been briefed on the tenuous situation in Indiana and knew he needed to appeal directly to Hoosier farmers if he wanted to win the state. The rally planned at Ade’s farm was an opportunity the candidate could not pass up. Taft accepted the invitation sent to him by Chairman Hernly.
On September 16, the Taft campaign announced the tour itinerary. The candidate would leave Cincinnati the morning of September 23 to travel though Indiana, Illinois, Wisconsin, Minnesota, the Dakotas, Iowa, Nebraska, Colorado, and Kansas over several weeks. The New York Times reported:
Judge Taft’s first address on his Western speaking tour will be made at Brook, Ind., on Sept. 23. It will be at a big Republican rally on the farm of George Ade, the Hoosier humorist and politician.
Notably, the newspaper reported that Taft would be following the route that William Jennings Bryan had undertaken in his campaign.
The morning of September 23, Taft and his staff boarded a five car train dubbed “The Taft Special” and headed for Indiana. The train stopped briefly in Indianapolis, where Taft shook hands with local politicians and waved to the approximately 200 people gathered to greet him. He joked with the crowd, forgoing a formal speech. The Taft Special stopped again briefly in Lafayette and switched tracks at Sheff before arriving at Ade station just west of Brook. Ade and a welcome committee arrived in a six car caravan to take Taft, staff, and guests to Hazelden.
As the caravan drove through Brook, a large sign made of evergreen reading “Welcome” framed in marigolds and goldenrod greeted them. “Triumphal arches” also made of evergreen spanned the main street and supported large pictures of Taft and the other Republican candidates. Newspapers around the country described the scene in detail. The New York Times reported:
All forenoon, from miles around the countryside, buggies, family carryalls, hay racks, and farm vehicles of every description crowded the roads leading to Hazelden, the country home of George Ade. When the candidate, seated in the humorist’s automobile, reached the farm he was driven through a veritable gauntlet of vehicles hitched to telephone poles, fence posts, trees, or anything else calculated to restrain the horses.
Indianapolis News, September 24, 1908, 4, Newspapers.com.
The Indianapolis News described the scene that greeted Taft upon his arrival at Ade’s estate:
Before the arrival of the Taft party there was a concert by the Brook Band and later by the Purdue Military band, followed by short speeches from some of the local statesmen. At noon the Second Regiment Band, of Chicago, gave a great display of daylight Japanese fireworks. When the Taft party appeared in sight down the road, a dozen bombs were hurled in the air —the explosions resembled a salute by a gun squad and the air was filled with smoke as if from a battle.
The spectacle of this political theater was not lost on the Indianapolis News. The newspaper referred to the rally as a clever “stunt” and a “big play” put on by Ade. It continued to draw comparisons between the playwright’s craft and the political event:
The frameup of Ade’s latest act was all that could be desired. It was elaborately staged, and the scenery was all that nature could do for one of the prettiest places in northern Indiana, and the actors were of a pedigree out of the ordinary.
Upon arrival, the official party had lunch in the Ade home while the crowd purchased “full dinner pails,” a reference to the 1900 Republican slogan that appealed to the labor vote and helped William McKinley defeat William Jennings Bryan. At 1:15 p.m., Ade and Taft appeared on the decorated speaker’s platform. Ade introduced the candidate, and Taft officially kicked off his campaign.
Brook Reporter, September 25, 1908, 1, Newspapers.com.
Taft had not only remembered Ade from the notification committee, he was a fan of the writer’s work, “The Sultan of Sulu,” which was set in the Philippines. Taft had presided over the U.S. commission overseeing the new U.S. protectorate of Philippines under McKinley and spent a great deal of time there. National newspapers reported that Taft referred to Ade as “the Indiana Sultan of Sulu” and stated that “the Philippine original had no advantage over Ade.” Then, Taft got down to brass tacks.
He looked out at the faces of the farmers, the constituents that brought him to Indiana, and addressed them directly. He wanted this point to hit home, stating:
I was told if I came here I should have the privilege of meeting 10,000 farmers of the State of Harrison and [former Indiana Governor Oliver P.] Morton, and I seized the opportunity to break my journey to Chicago to look into your faces and to ask you the question whether your experience as farmers with Mr. Bryan and your recollection of his course since 1892 is such as to command him to you as the person into whose hands you wish to put the executive power over the destinies of this nation for four years.
Library of Congress Caption: Taft Crookston, Minn. [Minnesota], Prints & Photographs Online Catalog.In other words, Taft implied: I came here to talk to you directly and honestly, unlike Bryan, who didn’t stop between big cities and doesn’t have your interests in mind. Taft continued to attack Bryan’s record in the House as a supporter of tariff bills that hurt the working man and policies that prevented democratic discussion of amendments to such legislation. And, Taft continued, when these tariffs negatively affected the economy, what did Bryan do to fix it? Taft claimed that Bryan toured around the country advocating for the silver standard and ignored the needs of “the farmers of the country, who were groaning under a very heavy weight of obligations.” Thankfully, Taft continued, Bryan was defeated and gold remained the standard, something that helped the farmers return to prosperity. [More here on gold versus silver standard, if that’s your thing.]
Taft then espoused the progressive policies of the Republican administration that had directly improved farmers’ lives. He especially focused on the administration’s introduction of free rural mail delivery, which helped to connect farmers to new ideas, keep them up-to-date on news, and reduce the feeling of isolation from which many rural people suffered.
Lake County Times, September 24, 1908, 1, Newspapers.com
Taft’s direct appeal to the farmers worked. The Brook Reporter could scarcely believe that “Mr. Taft would notice a small town like Brook.” The Indianapolis News ran the headline: “Brook Now On The Map, Thanks To George Ade.” In November, Hoosier farmers went to the polls. And while the split in the Indiana Republican Party proved fatal to the state ticket, Hoosiers chose Taft by over 10,000 votes. Taft was inaugurated March 4, 1909 as the twenty-seventh President of the United States.
(Richmond) Palladium-Item, November 4, 1908, 1, accessed Newspapers.com
Conclusion
Taft’s Indiana stop marked a sea change in campaign strategy. At Hazleden, Taft introduced the political tactics into his repertoire that he would hone through the rest of his tour and helped win him the election. He promoted the Republican platform as a progressive agenda that would benefit farmers and laborers. He crafted a likable, jovial, and personable image by speaking casually and humorously with crowds, while still seriously addressing their concerns. He went on the offense against his opponent in a manner the Baltimore Sun called “aggressive,” stopping in many places where Bryan had recently spoken in order to rebut his opponent’s statements. And perhaps, most importantly, he shook hands and flashed that unbeatable Taft smile at as many voters as his schedule would allow. Through sheer spectacle and tenacity, the man who had squashed labor strikes as a judge was now the candidate of the working man. A little support from Teddy didn’t hurt either, but Taft’s tour of the Midwest shaped him as a speaker and directly led to his election. And the 1908 election became the first where the Republican and Democratic candidates campaigned actively – an irreversible break with convention, as we see each election season through social media, a steady stream of ads, and even late night shows. It’s enough to make you nostalgic for the ol’ front porch.
Newspapers on the Rally
“George Ade’s Rally at Hazelden Farm,” Indianapolis News, September 23, 1908, 1; “George Ade As Sultan,” Buffalo Mourning Express and Illustrated Buffalo Express, September 24, 1908, 3; “Brook Now On The Map, Thanks To George Ade,” Indianapolis News, September 24, 1908, 4; “Taft Appeals To Labor,” Baltimore Sun, September 24, 1908, 2; “Taft Defends His Record On Labor,” New York Times, September 24, 1908, 3, accessed TimesMachine; “Taft at Brook,” Brook Reporter, September 25, 1908, 1, accessed Newspapers.com.
Secondary Sources
Peri E. Arnold, “William Taft,” Miller Center of Public Affairs, University of Virginia, https://millercenter.org/president/taft.
Jeffrey Bourdon, “‘Just Call Me Bill:’ William Taft Brings Spectacle Politics to the Midwest,” Studies in Midwestern History 2, no. 10 (October 2016): 113-138, accessed Grand Valley State University.
Howard F. McMains, “The Road to George Ade’s Farm: Origins of Taft’s First Campaign Rally, September, 1908,” Indiana Magazine of History 67, no. 4 (December 1971): 318-334, accessed Indiana University.
Music has long played a vital role in not only American history but also American activism. Slave spirituals were key to enduring the brutality of slave life and provided not only relief but also coded communication. Frederick Douglass wrote in his autobiography Narrative of the Life of Frederick Douglass, “The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears.” Similarly, music has been instrumental in a variety of modern 20th century movements such as the freedom songs of the Civil Rights Movement and feminist anthems of the Women’s Movement. All movements have their anthems. But what about when it comes to our actual national anthem, “The Star Spangled Banner”?
Original manuscript, Francis Scott Key, “Star Spangled Banner,” accesssed Library of Congress.
It seems unlikely that during the War of 1812, when Francis Scott Key penned the poem that would later become our national anthem, he could have foreseen the controversy over the song that would occur centuries later. Certainly, he could not have predicted black football players taking a knee during his now musical poem prior to a professional football game, for one, because Key could not envision an America where black people lived free. While he viewed slavery as sinful (despite owning slaves himself at various points in his life), he was an anti-abolitionist who also at times upheld slaveholder rights. He personally supported the idea of black people “returning to Africa” if they were freed from slavery.
His poem, set to the tune of an English drinking song, has been rife with controversy from the beginning. Many critics thought it too militaristic, too long, or even too hard to sing or to remember the complicated lyrics. It did not become the official anthem until 1931 during President Herbert Hoover’s tenure and there were many outspoken critics of the choice at the time and since (“America the Beautiful” has always been a fan favorite). But enough about Key.
In recent years, and regardless of how one feels about it, it is clear that our national anthem has been at the center of controversy in terms of its meaning and our reactions to it. The anthem is, for some, a sacrosanct representation of America and to question it, to kneel during it, has become an act of such disrespect as to dominate national dialogue for years. But clearly questions remain regarding the idea of ownership and interpretation of the anthem. If indeed the anthem belongs to Americans and represents us as a unit, how do we come to a common consensus in regards to it? Do we even need to? If so, which Americans get to determine our anthem’s meaning and how we should respond to it? Who gets to embody Americanism and Americanness, and who gets to make the decision about how we display our patriotism or call our country to be its best self?
Celebration on the Circle Program, Jeffrey L. Huntington collection, Rare Books and Manuscripts Division, Indiana State Library, Indiana Memory.
These questions lead to a much less publicized yet incredibly important event that occurred in Indianapolis during the Gay Pride celebration called “Celebration on the Circle,” held at Monument Circle on Saturday June 29, 1991. The gay community had been steadily growing and becoming more open in Indianapolis during the 1980s and early 1990s. Yet, it was still dangerous in many ways to live openly as a gay man or lesbian in the Midwest at the time. The vibrant gay bar scene and activism of the city were working on changing that by the early 1990s, but it was a long row to hoe, one that has not fully been completed across the state of Indiana.
One important development, among many, of Indianapolis becoming a more welcoming community to LGBTQ folks was the founding and then performances of the Indianapolis Men’s Chorus. The Men’s Chorus was a gay men’s chorus founded by the non-profit Crossroads Performing Arts, Inc. Crossroads, whose steering committee was originally under the direction of Jim Luce, had been working since January 1990 to lay the groundwork for the Men’s Chorus with future goals to establish a Women’s Chorus and an instrumental group. Recruitment for the Men’s Chorus began in earnest by the end of March 1990, and the founding choral director, Michael Hayden, who was a music professor at Butler University, was hired in August 1990. Vocal auditions were held in late September and early October, and the Men’s Chorus began practicing in earnest on October 14. The group planned to formally debut in spring 1991, which they did at the historic Madame Walker Theater on Saturday June 8.
Crossroads’ mission was to “strengthen the spirit of pride within the gay/lesbian community, to build bridges of understanding with all people of Indiana, and to enable its audiences and the general public to perceive the gay/lesbian community and its members in a positive way.” It is not surprising then, that the newly formed Men’s Chorus was slated to perform at the Gay Pride celebration in Indianapolis in late June 1991, as part of their debut season. This was only the second Gay Pride event held at Monument Circle. Gay Pride events, hosted by various organizations such as Justice, Inc., had been held in the city in the past, but throughout the 1980s they were semi-closeted, meaning they were held in a hotel, bar or rented space that was not actually out in the public—it was deemed too dangerous to be that open. In 1988, however, the Pride celebration expanded with a festival held at the more public Indianapolis Sports Center. Approximately 175 people attended, and by the very next year, when the event moved to Westlake Park, the number had dramatically risen to 1,000.
Yet, the gay community still had real cause for concern, particularly as they began celebrating more openly and in highly visible spaces. In 1990, the Pride festivities continued to expand and moved to Monument Circle for an event dubbed “Celebration on the Circle.” Virulent anti-gay protesters from a variety of Indianapolis churches wanted to intimidate them off the streets and back into the closets. According to the Indianapolis Star, approximately 100 protesters were on the scene, “many of whom wore gas masks and shouted insults as they walked around Monument Circle.” One anti-gay demonstrator explained why they were at the Circle: “We are all Christians who are here because we don’t approve of what these people are doing, trying to turn Indianapolis into another gay capital like San Francisco…I find it objectionable that they want to take their unholy, unacceptable lifestyle to the center of the city.” Indeed, the Indianapolis Star described the rally as “a confrontation with fundamentalist anger.”
The climate was just as hostile or perhaps even more so for the second Pride event at the Circle. First off, in April 1991, city officials denied Justice, Inc. permission to hold the Pride rally at Monument Circle, and cited a temporary policy limiting “traffic disruption and police overtime as the reasons.” The Indiana Civil Liberties Union quickly planned to challenge the decision in court. Within weeks, Safety Director Joseph J. Shelton relented, stating, “The thing that really changed my mind about it is the fact that regardless of what we say or what we do, the outright appearance was that we were only imposing this restriction on this group… just because of the gay and lesbian organization.” After organizers were given the green light to host their event at the Circle, Pride attendees, including the Men’s Chorus singers, were still not exactly sure how they would be received by their own city and its citizens.
Indianapolis Star, April 6, 1991, accessed ProQuest.
Hayden recalled having conversations with the singers about whether they wanted to perform at the Pride event and how the chorus wanted to be sensitive to its members’ differing levels of comfort. They were right to have concerns. Religious protesters, even angrier than at last year’s events, were in the mood for blood. And they arrived with baseball bats. Jim Luce wryly observed, “Because Jesus would have a baseball bat, right?”
Hayden and the Men’s Chorus, including Luce, walked into a hostile scene. As the 1991 Gay Pride event was getting ready to kick-off, approximately 40 protesters stormed the stage. Lt. Tom Bruno, of the Indianapolis Police Department’s traffic unit, described the protesters as being armed with “an attitude of confrontation.” As tensions mounted, John Aleshire, a spectator at Pride who later went on to chair the board of Crossroads Performing Arts, was unsettled by what was taking place before his eyes. He was both fearful of what was to come and felt helpless to stop it.
Celebration on the Circle Program, Jeffrey L. Huntington collection, Rare Books and Manuscripts Division, Indiana State Library, Indiana Memory.
Right as the fundamentalist protesters and rally attendees including the Men’s Chorus, who had by then made their way onstage, seemed ready to clash, Michael Hayden, the chorus director, made a split-second decision. He somehow had the knowledge and foresight to choose the only song that could defuse the tension and make the bat-wielding Christians stop in their tracks. He looked at his men and said, “Sing the national anthem. Right now.” Pride attendees encircled the unwelcome protesters on the stage and assailed them with music. According to the Indianapolis Star, “it was a tense moment,” but as Aleshire recalled, “something magical happened.”
As the Men’s Chorus armed themselves with their voices, the protesters were taken aback. Luce described the scene: “It was fascinating to watch that group of people actively hating us while we were singing the National Anthem. I mean they actively hated us.” One onlooker later wrote, “Those who had wrapped their religion in Old Glory were hearing those ‘sissies’, ‘faggots’, and ‘moral degenerates’ demonstrating that the ugly protesters held no monopoly when it came to expressing their love of country.” And as Hayden queried, “What could they say? How could they protest America’s national anthem? There’s no way.”
Hayden in that moment understood what was at stake here: not only their right to be out in public as gay men and women, but their very Americanism. Hayden recalled thinking, “We’re Americans too. Shut up. We’re going to own this just like you. That flag represents us as well.” And the fundamentalists faced a choice as the notes of the “Star Spangled Banner” descended upon them: put their hands over their hearts as they had been taught that all loyal Americans should do when they hear our national anthem or charge full-force ahead at another group of patriotic Americans, nee Hoosiers, utilizing their right to celebrate in a public space. The protesters ultimately stopped and paid their respects to the anthem, and it was just enough pause to dull the escalating tension. In Hayden’s words, “We had sung them off the monument steps.”
After the protesters exited the stage, events were able to carry on without further disruption. No arrests were made and no violence occurred. Attendees were proud of how the Pride event transpired, but fear of being so openly exposed continued to permeate throughout the day.
Activists, particularly those with ties to the Men’s Chorus, remember with pride how they sang down the hatred using their own patriotism. Hayden described the Men’s Chorus singers as being these relatively young “homegrown” men, Hoosiers in their 20s and 30s who were “from these great families from Indiana.” And after the situation was defused, they started cheering and hugging each other, and processing what they had just done. The following month, Hayden wrote to his chorus to reflect on their experiences: “Seeing a man carry a ball bat or standing on the steps with them shouting in our faces just trying to enlist us to violence … and then this mighty male instrument opening its mouth and singing these ‘Christians’ right off the steps! Goliath has never seen a stronger David. I have never felt so proud to be gay, a musician, and what we know to be a true Christian in my entire life.”
Indianapolis Star, December 29, 1992, accessed ProQuest.
Decades later, Hayden could still recall the emotions, power, and importance of what transpired that summer day. He reminisced, “We all felt it, and we knew we had done that with our voices and our national anthem.” Aleshire confirmed these feelings, “It proved to me, once again, that music is one of the most powerful forces to bring down walls and build bridges in their stead.”
Sources Used:
Frederick Douglass, Narrative of the Life of Frederick Douglass: An American Slave, Written by Himself, Edited with an Introduction by David W. Blight, (Bedford St. Martin’s, 2002).
Indianapolis Men’s Chorus/Crossroads Performing Arts, Inc. Records, ca. 1989-1995, 2005. William Henry Smith Memorial Library, Indiana Historical Society, Indianapolis, Indiana.
“3,000 gays expected for event,” Indianapolis Star, Friday June 29, 1990.
Kyle Niederpruem, “Gay bar patrons often crime targets,” Indianapolis Star, Sunday September 30, 1990.
Diana Penner, “Men’s Chorus keeps on singing in face of adversity and protest,” Indianapolis Star, Tuesday December 29, 1992.
Dorothy Petroskey, “Homosexuals told they can’t rally at Circle,” Indianapolis Star, Saturday April 6, 1991.
Jacqui Podzius, “Homosexuals show their pride at rally,” Indianapolis Star, Sunday June 30, 1991.
Business stationary, Lester “Marvelo” Lake, courtesy of London the Mentalist, reproduced in Julie Schlesselman’s Buried Alive Every Afternoon Burned Alive Every Evening, p. 123.
Lester “Marvelo” Lake was born in 1904 in the small town of New Trenton, Indiana, where his father owned a local dry goods store. It was in that store that Lake met a man who would change his life. The man remains unnamed in the story told to a reporter, but Lake recalled “Then came . . . an old timer that kindly showed me some tricks and very nicely ruined me forever.” Magic came to be not only a passion for the outgoing and entertaining young Hoosier. It would become his profession.
Lake’s magic career spanned from 1925 to 1960. He performed shows in theaters, parks, and nightclubs from California to Louisiana, as well as abroad in Europe and Cuba. The changes in his career reflected closely the changes in the entertainment industry. Early in his career, during the tail end of the “Golden Age of Amusement Parks,” Lake was contracted to perform multiple daily shows at Forest Park in Dayton, Ohio. As the Great Depression set in, Lake began travelling more frequently for work, going wherever he could get a gig – mostly in small theatres and nightclubs. However, Lake’s importance comes not from his performances but from his many inventions.
Lake is credited with either inventing or improving upon 300 tricks and illusions during his career. First independently, and later in conjunction with Abbott’s Magic Co. of Colon, Michigan, Lake invented and sold versions of popular illusions such as the Indian rope trick, 3-card monte, and a sword-box. Some of his most notable developments were his spectacular outdoor performance pieces – Boiled Alive and Burned Alive, as well as the Lester Lake Guillotine.
Boiled Alive
Outdoor venues such as amusement parks were the perfect venues for spectacular illusions. Lake’s first large scale outdoor illusion was Buried Alive, versions of which had been performed by the likes of Harry Houdini and Howard Thurston. After gaining some notoriety for his performance of Buried Alive, he began performing a new illusion of his own creation – Boiled Alive. The illusion is described in the Dayton Daily News:
Dayton Daily News, August 12, 1928, 22, Newspapers.com.
“Permitting himself to be bound with chains and shackled, he jumps into a tank of blazing fluid, emerging a few moments later free of all his bounds and seemingly without being any the worse for his experience. That there is not fraud in the manner in which he permits himself to be bound and shackled, he permits personal inspection of his bonds by anyone so desiring, before leaping into the tank.”
Later, Lake described some of the mechanics of the illusion in a magic magazine called The Sphinx:
“Suggested measurements for the props for this effect are a platform five feet wide, twelve feet long, which is raised twelve feet from the ground on four uprights or substantial posts. The platform needs to be braced and to have a trap door in the center four feet by four feet. This trap door has two doors opening down and a release connected with a rope which runs to the edge of the platform and hangs down . . . Around the base of the tank is laid light kindling and brush wood and excelsior . . . I filled the tank practically to the top and poured a quart of gasoline on top of the after . . . After the performer has released himself from the shackles in the water, he stays down as long as he is able in order to heighted the effect.”
Lake preparing to plunge into the Boiled Alive container, courtesy of Ken Klosterman’s Salon de Magie, reproduced in Schlesselman’s Buried Alive, p. 79.
Perhaps due to all of the equipment involved in the production of this illusion, reports of Lake performing it are confined to his time at Forest Park. His next large scale spectacular illusion would become much more wid espread.
Burned Alive
The Richmond Item, July 5, 1929, 15, Newspapers.com.
On Monday, July 1, 1929, Lester Lake unveiled his newest act – Burned Alive. The set-up of the performance was described in The Sphinx:
“A platform was built and covered with sand. Coal oil was poured around and papers scattered about and in the center was a box of zinc construction. Lake was put into it and the lid clamped down. Then someone set4 the oil on fire. The mass burned for seven and one-half minutes, after which Lake was removed from the box, hot but unburned.”
Newspapers reported that there were some adjustments to be made for future performances, noting:
At Monday night’s performance the oven in which Lake allows himself to be placed became ‘a little too hot.’ He emerged from it as per schedule, but a little too warm under the collar. A fire that is not too hot has been ordered by Lake for future performances.
Lake denied all accusations of utilizing an oxygen tank during his performances. He explained in interviews that he employed “self-hypnosis,” a type of meditation, in both his Burned Alive and Buried Alive Acts. After being closed in the coffin (a wooden coffin was used for Buried Alive and a metal coffin was used for Burned Alive), Lake would enter a “catatonic state,” allowing him to survive on a limited amount of oxygen and withstand the high temperatures.
Lake’s Buried Alive Performance, Courtesy of London the Mentalist, Schlesselman’s Buried Alive, p. 131.
Lester Lake Guillotine
Advertisement for the Lester Lake Guillotine, personal collection of Julie Schlesselman, reproduced in Schlesselman’s Buried Alive, p. 110.
Probably Lake’s most recognizable illusion, the Lester Lake Guillotine, improved upon past beheading illusions. The history of decapitation illusions can be traced back to ancient Egypt. Lake’s version of the ancient trick was different in that it was portable. Weighing about 30 lbs. and transported in a briefcase-like package, the Lester Lake Guillotine was much more feasible for a travelling show and small stage than its large, cumbersome forbearers.
The Linking Ring, 10, No. 12 (February 1931): 1557.
Unlike the Boiled Alive and Burned Alive illusions, Lake manufactured and sold the Lester Lake Guillotine, which caused him to be tight lipped on the exact construction. It is clear that, like most decapitation apparatuses that came after it, the Lester Lake Guillotine employed two blades – one above the head and one below the head – and stopper blocks hidden within the neck stock piece to stop the upper blade just before it reached the neck of the “victim.”
Lake manufactured his guillotines independently from 1931 until 1934, when he began working in conjunction with Abbott’s Magic Co. From that time on, the device became more frequently referred to as the “Head Chopper.” Later, Lake produced many similar products for the company, including The Chopper (a smaller, even more portable version of the Guillotine) and The Disecto Illusion (shown below).
The Conjurors’ Magazine, 1 No. 4 (May 1945): 47.
Lester Lake’s contributions to the world of magic are enduring. In the years after his 1977 death, magicians continued to perform and improve illusions pioneered by “Marvelo.”
