Category: Women

Dr. Helene Knabe: A Vanguard

Graduation Portrait, Medical College of Indiana, 1904, courtesy of the Indiana University School of Medicine Ruth Lilly Special Collections.

The black snake undulated between the two women, winding back and forth, circling overhead. A lascivious leer seemed to be affixed to the snake’s mouth as it weaved, moving the women closer, but then winding between and pulling them apart. Augusta Knabe could not bear to see this horrible apparition between them. She reached for her cousin.

Augusta lost her grip on Helene and sat up in bed, struggling to catch her breath. She pushed her sweat-drenched hair back and collected herself. What a horrible dream! Augusta felt guilty she had not accepted her cousin’s offer of tea the past afternoon. She was sure the dream was her penance for wanting to avoid late afternoon traffic and enjoy the comfort of her home after shopping. Augusta promised herself she would stop by Helene’s flat after school and take her to tea the very next afternoon. Despite this promise, Augusta passed the rest of the night fitfully.

Augusta’s cousin, Helene Elise Hermine Knabe, yearned to be a doctor. In Germany women were not allowed in medical school until 1900 and it would not be allowed for women in the German state of Prussia, where she lived, until 1908. Her father, Otto Windschild, left her mother when Knabe was an infant and she was raised by her uncle after her mother died. Given her humble upbringing, becoming a doctor became more of a dream and less a reality with each passing year.

Augusta Knabe (R), cousin, and Katherine McPherson (L), an office assistant, courtesy of “State’s Most Important Witnesses in Knabe Case,” Indianapolis News, December 6, 1913.

When Augusta informed Helene that women were allowed to attend medical school in America, Helene’s life changed forever and she moved to Indianapolis in 1896.  The motto she heard most often growing up was “You cannot be a master in anything unless you know every detail of the work.” No one applied this maxim more than Knabe.  To prepare for school she worked for four years in domestic and seamstress work in order to learn English from the upper class. She attended Butler University for a term to supplement her self-learning and to prepare her for the rigors of medical school.

In 1900, Knabe entered the co-educational Medical College of Indiana (MCI). She was required to attend classes, dissect every body part of cadavers, maintain a 75% grade in all classes, refrain from drinking, and work fourteen hour days. During this time, she continued as a seamstress to supplement her income. Knabe also used her drawing skills by providing medical textbook illustrations to several books, including detailed sketches for anatomy, surgery, and pathology slides.

Dr. Knabe’s illustration of a neck wound. This would prove foretelling of the doctor’s fate.

Knabe proved a trailblazer with her medical school accomplishments. Dr. Frank B. Wynn, the Director of Pathology at MCI, appointed her curator of the pathology museum. She was consequently placed in charge of the pathology labs at the school.  Much to the chagrin of many of her male peers, Dr. Wynn chose her to be his only preceptee for the year. She began teaching underclassmen, an unheard of honor for a student. On April 22, 1904, Knabe became one of two women to graduate from MCI. She threw herself wholeheartedly into her profession, burning the candle at both ends to gain a foothold in practice, networking, and skills.

Dr. Knabe stayed on in her positions as lab curator and clinical professor—for which she was not paid. Appointed a deputy state health officer in 1905 by Dr. J. N. Hurty, the Secretary of the Indiana State Board of Health (ISBH), Dr. Knabe became the first woman to hold this office in Indiana. Part of her duties involved investigating suspected epidemics, such as typhoid and diphtheria, and making recommendations to reverse unsanitary conditions. Dr. Knabe routinely traveled the state to work with the public and doctors, and processed hundreds of pathological samples.

Despite Dr. Knabe’s expertise, Dr. Hurty did not hire her as superintendent of the lab. Instead, he chose Dr. T. V. Keene, regardless of the fact that he did not apply for the job. As the laboratory grew, Dr. Knabe became Assistant Bacteriologist and was expected to work longer hours and spend more time in the field. During her work at the ISBH, Dr. Knabe presented papers and worked with the public in diagnosis and education. Local papers interviewed her for her thoughts on how to make Indianapolis a more beautiful and clean city.

Indianapolis Star, October 25, 1911, 4.

Dr. Knabe also kept current on new methods, most notably studying with Dr. Anna Wessel Williams of the New York Research Laboratory. Dr. Williams was brilliant in her own right as the originator of the rapid diagnosis of rabies, which was based on research from Negril and the co-developer of the diphtheria antitoxin. Dr. Knabe proved the widespread existence of rabies in Indiana. From this work, she implemented ways to prevent the spread of rabies by educating the public about the disease and its consequences.

Widely accepted as the state expert on rabies, Dr. Knabe was promoted to acting superintendent and paid $1,400 annually. Dr. Hurty promised her the superintendent position and an increase to $1,800 or $2,000. Over a year later Dr. Hurty told Dr. Knabe that there was no money for her salary increase and that because she was a woman she could not command the amount of money the position should pay anyway. Dr. Knabe contacted the newspaper and tendered her resignation, citing discrimination and broken promises.

Dr. Hurty had searched for what he considered “a real capable man” by actively recruiting Dr. Simmonds as the new superintendent. Additionally, although Dr. Hurty told Dr. Knabe the state had no money for her raise, he informed Dr. Simmonds he would pay $2,000 the first year and $3,000 in the second. That was a 47% increase from Dr. Knabe’s salary. The final slap in the face came from Dr. Simmonds himself in the first 1909 Indiana State Board of Health bulletin. He published Dr. Knabe’s findings about rabies in Indiana and elsewhere without crediting her.

Dr. Knabe’s illustration, courtesy of “A Parting Word to the Class of I.M.C 1907,” The Medical Student. (1907) vol. 5, no. 8 (19. 21-25).

Leaving the oppressiveness of state employ could not have been better for Dr. Knabe. Her dedication to medicine was rejuvenated. She opened her own private practice and continued her rabies research at $75 or more per case. While many female physicians shied away from accepting male patients because they may not be taken seriously or feared being attacked by male patients, Dr. Knabe insisted on having a phone installed in her apartment in case a patient needed her. She would always answer a knock or a call, regardless of the hour. Quite often she would treat people for free or accept payments via the barter system. This is how she acquired a piano and the lessons to go with it.

One of her biggest achievements was when she became the first elected female faculty for the Indiana Veterinary College (IVC), where she was the Chair of the Parasitology and Hematology. Dr. Knabe’s tenure at the IVC predates any recognized woman department chair at any veterinary college in the United States prior to 1920.

Demonstrating her willingness to be a social feminist, Dr. Knabe bucked trends at every turn by her work in sex education. She served as the medical director and Associate Professor of Physiology and Hygiene, known today as sex education, at the Normal College of the North American Gymnastics Union in Indianapolis. She also networked with women’s clubs and the Flanner House to create and teach hygiene and sanitation practices to all ethnic groups across the State of Indiana, especially African American communities.

The same night that Augusta dreamt about the black snake, a person entered Dr. Knabe’s rooms at the Delaware Flats and brutally cut her throat from ear to ear. The killer was skilled enough to cut her on one side first, missing her carotid artery and cutting deep enough to cause her to choke on her blood. The second cut just nicked the carotid artery and cut into the spine. See Part II to learn how Dr. Knabe’s non-conformist lifestyle and work as a female physician would be used against her in the bungled pursuit of her killer.

* To learn more about the extraordinary life of Dr. Knabe, see She Sleeps Well: The Extraordinary Life and Murder of Dr. Helene Elise Hermine Knabe.

 

Vivian Carter: From Gary Roosevelt High School to Introducing The Beatles

Accessed via the Calumet Regional Archives.

In an era when African Americans, especially women, were often professionally sidelined, Vivian Carter forced herself onto the field. Through her ingenuity and personal popularity, the musical “matriarch” became a business owner and record producer. Her company, Vee Jay Records, recorded and popularized many successful musicians of the mid-20th century, ranging from Rhythm-and-Blues to Pop Rock, Doo-Wop, Gospel, Soul, and Jazz artists. Although music had been strictly segregated along racial lines, Vee Jay introduced both black and white artists to mixed crowds of local teenagers first, and then to a national audience between 1953 and 1966. The company released recordings of some of the nation’s most prolific musicians, including Little Richard, The Beatles, Jimi Hendrix, and The Four Seasons.

Beginnings

Born in 1921 in Tunica, Mississippi, Vivian Carter moved with her brother and parents to Gary at age 6. As a child and teenager, she was competitive, outgoing, and self-confident. These qualities helped her win a 1948 contest for the “best girl disc jockey in Chicago,” which was the beginning of Vivian’s radio career. Eventually, Vivian had a five-hour nightly radio program in Gary, called “Livin’ With Vivian,” referring to female listeners as “Powder Puffs” and male callers “Sponges.” The “hostest who brings you the mostest” played music by black artists and much of what she played was not available on commercial records. Since Vivian owned a record store in the heart of Gary, along with her future husband Jimmy Bracken, she knew that recordings of this music would sell.

Courtesy of the NWI Times.

Teenagers of all races from several Calumet Region schools would gather after school to watch Vivian through the glass store window while loudspeakers broadcast her favorite Rhythm and Blues recordings, as recalled by Jerry Locasto, a future radio executive who was one of those kids. While the records played, Vivian would come out and mingle with the kids to find out what they liked or disliked about each one. Kids could request songs, and she would play them. In 1953, Vivian and Jimmy started their own record label, called Vee Jay Records from the initials of “Vivian” and “Jimmy,” to record the music of local black artists.

Their first group was the Spaniels, a group of crooners from Gary Roosevelt High School, Vivian’s alma mater. The boys walked into the record shop after winning a talent contest at school, to ask if Vivian knew how they could get a recording made. Vivian listened to the group, then gave the impoverished boys a place to practice – her mother’s garage –and arranged to record them at Chance Records, a studio in Chicago. She later bought suits for their publicity photos and a station wagon for their travels.

Best Years of Vee Jay Records

Vivian Carter-Bracken, James Bracken, and Ewart Abner at work, 1961, courtesy of the Made-in-Chicago Museum.

The Spaniels’ first record, “Baby, It’s You” reached #10 on the Rhythm and Blues charts. Then the Spaniels hit #5 with their second record, “Goodnite, Sweetheart, Goodnite.” The record “crossed over” from the Race Records category to become a hit with white purchasers as well. But Vivian was disappointed when the McGuire Sisters, a “white girl trio,” sold more copies with their “cover” of the same song. She asked her brother, Calvin, to put more of a white-sounding background on the future records, to appeal to broader audiences. And the young company learned to print and register publishing rights to all their performers’ original songs, so they still made money when other performers covered them.

Ewart Abner, courtesy of Discogs.

In 1954, Vee Jay moved to Chicago and eventually opened on Michigan Avenue’s “Record Row.” Vivian, Calvin, and her husband Jimmy remained the heads of the company. But according to Bob Kostanczuk of the Gary Post-Tribune, Vivian was always “viewed as the company’s matriarch and driving force.” They hired the knowledgeable Ewart Abner, accountant for the former Chance Records, after Chance went out of business. Abner started as manager and eventually worked his way up to president.

In the next ten years, Vee Jay Records released successful recordings of black and white performers, including hits like The Four Seasons’s “Big Girls Don’t Cry,” The Dells “Oh, What a Night,” and The Beatles’s “Love Me Do” and “Twist and Shout.” Since radio stations wouldn’t play several records from one company label in the same time slot, Vee Jay also recorded under the labels Falcon, Conrad, Tollie, and Abner, from the middle names of the company’s principals. Vee Jay opened a Los Angeles studio, and Vivian and Jimmy soon drove around in luxury convertibles and fur coats.

The Beginning of the End

Courtesy of the Made-in-Chicago Museum.

Vee Jay’s best (and worst) luck came in 1962 when they tried to buy distribution rights for Australian singer Frank Ifield’s European hit single “I Remember You.” The Gary Post-Tribune on August 23, 1998, noted that the British agent insisted they also take a quartet named The Beatles, unknown at that time in the United States. Vee Jay released several Beatles singles and their first U. S. album, to lukewarm success until the group appeared on the nationwide Ed Sullivan Show.

Then Beatles’ sales skyrocketed. Capitol Records, who had earlier turned down the Beatles, started filing lawsuits against Vee Jay to get the group back, as reported by Mike Callahan in “The Vee Jay Story” in Goldmine (May 1981). The cost of defending the lawsuits, in addition to Ewart Abner’s poor financial management and gambling habit, wiped out Vee Jay’s money and credit, and put the company out of business.

Vee Jay president Randy Wood presenting a gold record to John Lennon, courtesy of the Made-in-Chicago Museum.

In a life story that Vivian called “rags to riches to rags,” Vivian and Jimmy lost everything, even their little record store, and divorced. Jimmy died and Vivian worked days at the county trustee’s office and hosted a late-night radio program in Gary from 1967 to 1982. According to Dr. James B. Lane’s Traces of Indiana and Midwestern History article, when her best friend from high school, Yjean Chambers, asked how Vivian felt about the spectacular rise and fall of her recording business, Vivian replied that she had “learned too late the art of looking over the shoulder of those who work for you.” Then Vivian added, “But I don’t miss a thing. That’s all behind me now.”

After several years of illness, Vivian died of complications from diabetes and hypertension in 1989. Lane says one of Vivian’s last visitors was James “Pookie” Hudson, her first recording artist, who sang Vivian to sleep with his hit song, “Goodnite, Sweetheart, Goodnite.”

Further Reading

For photos and a brief history of Vee Jay Records, see Andrew Clayman’s article for the Made-in-Chicago Museum.

Learn more with James B. Lane’s article in Traces of Indiana and Midwestern History, Winter 2011, Vol. 23, pp 48-55.

The “Symbolic Rape,” Arrest, and Defense of Sojourner Truth in Indiana

Sojourner Truth Indiana
Sojourner Truth, courtesy of Schomburg Center for Research in Black Culture/Photographs and Prints Division/The New York Public Library, accessed Mapping the African American Past.

In May of 1861, as men throughout the state answered Governor Oliver P. Morton’s call for volunteers to suppress the rebellion, well-known abolitionist and evangelical speaker Sojourner Truth visited Indiana to speak in support of the war. This would ultimately lead to her arrest. The reformer was born a slave in Ulster County, New York, sometime in the late 1790s, and named Isabella. She became free in 1827 under New York’s gradual emancipation law, and took the name Isabella Van Wagenen, after her last master.  That year, she had a religious conversion experience and became a Methodist. In June, Isabella Van Wagenen was inspired to change her name to Sojourner Truth and became an itinerant preacher. She settled among the Northampton Association and for the remainder of her life spoke widely on behalf of spiritual, anti-slavery, feminist, and temperance causes.

Sojourner Truth first visited northeastern Indiana in 1858, probably because it was not far from her new home in the Harmonia community near Battle Creek, Michigan. By setting foot in Indiana she broke the law, as Article 13 of Indiana’s 1851 Constitution provided that “No negro or mulatto shall come into or settle in the State, after the adoption of this Constitution.”  This was of no concern for a woman of her ideals and determination. It was at the small town of Silver Lake in Kosciusko County that a hostile crowd insisted that she was really a man in disguise.  Challenged to reveal her breasts to women of the audience, she uncovered her breasts for the entire audience, saying that she “had suckled many a white babe.” Accounts of this “symbolic rape,” as modern scholars describe it, were published both locally and in the nation’s leading abolitionist newspaper, William Lloyd Garrison’s The Liberator.

Her 1861 appearance at the Steuben County courthouse in Angola was, according to abolitionist accounts, disrupted by a drunken mob, which pushed and cursed her, threatening tar and feathers or even worse. Reports noted that she made a dramatic figure:  unusually tall (some said nearly six feet), thin, very dark complexioned, and dressed for this occasion in red, white, and blue.  According to the Steuben Republican, “Sojourn Truth” did speak, although her words were not recorded.  Local residents were divided on her right to speak, but the Republican said nothing about a mob or threats of violence.  Its seven headlines tell a story of confusion in five distinct typefaces:

A BLOODLESS VICTORY.

Free Speech Tolerated in Angola.

GRAND MILITARY DISPLAY!

NEGROES NOT TOLERATED IN INDIANA.

Arrest for Harboring Negroes.

Arrest and Trial of Sojourn Truth.

ANGOLA BECOMING HERSELF AGAIN.

Apparently many local Republicans were reluctant to allow Sojourner Truth to speak, although they were equally opposed to allowing anti-abolitionist Democrats to prevent her from speaking.  The Republican seemed to be more concerned with the community’s reputation for law and order than for printing a clear account of what actually happened:

Although the freedom of speech had not been questioned here, yet the free speech of colored persons was not thought advisable at this time and under the excited state of the country, which met with opposition by some and encouragement by others, which resulted in favor of free speech, although but of short duration.

Sojourner Truth was arrested “by her would be friends on a charge of being in the State contrary to the laws of the State,” tried before a friendly justice of the peace, and set free.  Other local residents, dissatisfied by this “mock trial,” had her arrested again and taken before a less-friendly justice, whereupon her friends won a change of venue to a court ten miles to the north in Jamestown, very near the state line.  As she told the story afterward, she and her white companion Josephine Griffing were called before the courts on six occasions, but she was never convicted.  A local abolitionist named Horatio Roby was arrested and bound over to the circuit court “for harboring a negro.”  He was released on bail set at $500, but there is no record that he was ever brought to trial.

Sojourner Truth lecturing, January 2, 1860, Illustration from the Film, ‘The Emerging Woman’, Produced by the Women’s Film Project, 1974, accessed gettyimages.com.

Sojourner Truth remained for about a month during her 1861 visit, and she certainly spoke at a number of places in northeastern Indiana, not only in favor of the war itself, which was not a matter of great controversy in that part of the state, but also on the evils of slavery and the necessity for its destruction.  Abolition did not become government policy until President Abraham Lincoln’s preliminary Emancipation Proclamation of September 22, 1862.

Sojourner Truth’s visit emphasizes how divided was public opinion in Indiana in the late spring of 1861.  Most Hoosiers were enthusiastically in favor of preserving the Union, far fewer favored the abolition of slavery, and few of those would have welcomed freed slaves to live in Indiana.  Although it was unenforceable during and after the Civil War, Article 13 was not formally repealed until 1881.  Nevertheless, despite accusations of intimidation by a drunken mob published by the abolitionist press, Sojourner Truth did speak publicly in Steuben County.  She was threatened but not injured, she was protected by armed members of the Scott Township Home Guard, and she was never convicted for the crime of entering the state although obviously guilty of the charge.  The Steuben Republican believed that “Negro excitement has run very high in Angola for the last ten days, very much to the discredit of the town.”   Those who invited, sheltered and defended Sojourner Truth on her visits to Indiana held a much different opinion.

The author wishes to acknowledge the generous assistance of Peg Dilbone of Angola, independent researcher and Steuben County Historian.

 

Bibliography

Painter, Nell Irvin, editor, Narrative of Sojourner Truth.  New York:  Penguin Books, 1998.

Painter, Nell Irvin, Sojourner Truth:  A Life, a Symbol.  New York:  W.W. Norton, 1996.

Steuben Republican [Angola, Indiana].

Thornbrough, Emma Lou.  Indiana in the Civil War Era, 1850-1880.  Indianapolis:  Indiana Historical Bureau and Indiana Historical Society, 1965.

Thornbrough, Emma Lou, The Negro in Indiana:  A Study of a Minority.  Indianapolis:  Indiana Historical Bureau, 1957.

Washington, Margaret, Sojourner Truth’s America.  Urbana:  University of Illinois Press, 2009.

Strange Fruit: The 1930 Marion Lynching and the Woman Who Tried to Prevent It

The National Memorial for Peace and Justice, image accessed NPR.org.

After investigating over 4,000 incidents of “racial terrorism” that took place in the United States between 1877 and 1950 in the form of lynchings, the Equal Justice Initiative realized the trauma left in their wake had never been properly confronted by the nation. The EJI sought to remedy this and opened the Memorial for Peace and Justice in Montgomery, Alabama on April 26, 2018. Memorial visitors first encounter sculptures of chained slaves before experiencing memorial square, an exhibition of 800 6-foot monuments that represent lynchings in each of the counties where they took place. The memorial concludes with a bronze sculpture that examines “contemporary issues of police violence and racially biased criminal justice.”

Woven into the fabric of racially-motivated violence in America is a summer night in Marion, Indiana in 1930. On August 7, black teenagers Tom Shipp, Abe Smith, and James Cameron were held in the Marion jail for the murder of Claude Deeter and rape of Mary Ball. Before they could stand trial, a mob comprised of white residents tore the young men from their cells and brutally beat them, mutilating and hanging Shipp and Smith from a tree on the courthouse lawn. They intended to send a message to other African American residents, one which Marion NAACP leader Katherine “Flossie” Bailey scrambled to prevent.

A crowd at the Marion courthouse looks on following the lynching of Shipp and Smith, courtesy of the Organization of American Historians.

Local photographer Lawrence Beitler took a photograph of the swinging bodies, capturing a white crowd that looked on in a mixture of satisfaction, hostility, amusement, and bewilderment. This photo was reproduced on postcards and circulated by the thousands. NPR noted that in the late 1930s white poet, activist, and Bronx school teacher Abel Meeropol remained haunted by the image of “strange fruit hanging from the poplar trees” and penned a poem about the lynching, published by the teacher’s union. Inspired by Meeropol’s words, artists like Billie Holiday, Diana Ross, Sting, Kanye West, and Nina Simone have performed their own versions of “Strange Fruit.”

Historian Dr. James Madison contends that the Marion lynching continues to command attention because it took place outside of the Deep South and occurred after the Ku Klux Klan-prompted lynchings of the 1920s. The East Tennessee News noted weeks after the lynching that the “deplorable affair” confirmed the notion that “mob law” can break “forth in all its furry [sic] in North as readily as in the south.” The paper added that only the enactment of a federal law would “serve to discourage the tendency of irresponsible hoodlums who are inclined to take the law into their own hands.” Prior to August 7, 1930, it is believed that the last lynching in Indiana took place in 1902 in Sullivan County and the resurgence sent shockwaves through Indiana and around the nation.

Katherine “Flossie” Bailey, courtesy of America’s Black Holocaust Museum.

As white residents gathered on the afternoon of the 7th, formidable NAACP state president Flossie Bailey mobilized. Born in Kokomo, Bailey was described as a “hotrod,” “born leader,” and “superb organizer” for her tireless work with the NAACP. She established the Marion branch in 1918 and built it up, despite encountering apathy created by Great Depression conditions. She became head of the Indiana NAACP and offered her house as headquarters when Marion’s Spencer Hotel refused to accommodate black guests.

As the restless crowd hoisted Claude Deeter’s blood-stained shirt from the window of the Marion City building, Bailey called Sheriff Jacob Campbell to alert him to the mob’s plan to lynch the prisoners. According to NAACP acting secretary Walter White, upon Bailey’s phone call, Sherriff Campbell checked the jail’s garage and found that gasoline had been removed from the cars and the tires flattened, preventing transportation of the endangered prisoners. He made no attempt to procure working cars, despite three hours passing until the lynching. Bailey also called on Governor Harry G. Leslie’s secretary, operating in his absence, to dispatch troops to the restless city. He abruptly hung up on her.

Mary Ball, courtesy of the Wisconsin State Journal, August 11, 1930, accessed Newspapers.com.

As Bailey tried to intervene, Mary Ball’s father, Hoot Ball, entered the jail to speak with Sheriff Campbell and, upon failing, the crowd broke into violence and stormed the jail. The Muncie Evening Press estimated that of the thousands gathered around the jail “only about 75 men actually took part in the rioting,” encouraged by the shouts of onlookers. The mob penetrated the front and side of the jail using crowbars and hammers. Officials inside tried to stop rioters with tear bombs, one of which was lobbed back into the jail and exploded among nearly fifty prisoners.

Thomas Shipp, school photograph, courtesy of the Cameron Family, accessed America’s Black Holocaust Museum.

Walter White declared the lynching of Shipp and Smith to be the “most horrible and brutal in the whole history of lynching.” He stated that Smith was taken first and lynched from the jail bars and “When first pulled up he held on to the rope, preventing strangulation.” Shipp “fought furiously for his life, burying his teeth in the arm of one of the lynchers. In order to make him loosen his teeth his skull was crushed in with a crow-bar and a knife plunged into his heart.”

The rancorous mass took Smith’s life by dragging him to the courthouse square and hung him from a tree before a crowd that included children, an act witnessed and recounted by Muncie podiatrist Dr. E. Frank Turner. He saw the “ghastly spectacle” around 8 p.m. and, hearing that water would be used to disperse the crowd, “felt that everything would be alright, and went away.” When he returned around 10 o’clock, he saw the mob drag Shipp and Smith to the courthouse lawn. Lynchers utilized shadows created by tree branches to obscure their identities. Dr. Turner recalled that:

The body went up, dangling on the rope, and a demoniacal yell surged from the crowd. It was hideous! That mob sounded like wild wolves, the yells were more like vicious snarls. Some even clapped their hands. 

Not all observers cheered, he recalled. Some wept and others condemned the crowd.

Grant County jail where white residents mobbed Shipp and Smith, courtesy of the Wisconsin State Journal, August 11, 1930. The Journal noted that the arrow indicated the “window from which one body was suspended.”

Cameron, the youngest of the three accused men, was ripped from his cell and nearly hanged before someone in the crowd shouted that he was not involved in the crime. Muncie policeman Earl Doolittle noted that when Indianapolis officers finally arrived in their “big touring car” they were “greeted with boos and catcalls” from the crowd, lingering to prevent the coroner from removing the bodies. This was the same crowd that had left the jail “ravaged,” with “gaping holes in the walls” and the “twisted remains of broken locks.” Reportedly by midnight, an “indignation meeting” formed in Johnstown, the Marion neighborhood where African Americans lived. Hundreds of black residents listened to speeches about the sheriff’s unwillingness to order officers to shoot at the mob. Officers broke up the meeting, which prevented further violence. An Illinois newspaper reported that about 200 black residents fled Marion for Weaver, a historic black community in Grant County, out of fear of escalating violence.

At the time of the lynching, the state militia was training in Kentucky and, therefore, the “lawless element” controlled the scene of the lynching for over half a day. After Sheriff Campbell removed the bodies the following day, the crowd used penknives to cut buttons and shreds of fabric from the victims’ clothes as “souvenirs.” Shipp’s and Smith’s bodies were then taken to Shaffer Chapel African Methodist Episcopal Church in Muncie because Marion lacked a black mortician.

Echoing editor George Dale‘s 1920s skewering of the Ku Klux Klan via the Muncie Post-Democrat, the Muncie Evening Press condemned the act, stating “Not alone Marion but the state of Indiana stands today disgraced in the eyes of the world as a result of the lynching of two Negroes in that city last night. As for Marion herself she will be regarded abroad as a city of barbarians.” The paper believed that Marion could be partially redeemed only by indicting rioters on murder charges. The article noted “This ought not to be difficult.”

NAACP acting secretary Walter White, courtesy of the New Georgia Encyclopedia.

Flossie Bailey knew otherwise. According to James Madison, after the crime Bailey convinced Walter White to investigate the lynching. Fearing her phone calls were being monitored, she traveled back to Kokomo to communicate with NAACP leaders in Indianapolis and Marion. She received threatening phone calls, Madison noted, and drivers “deliberately backfired their cars as they cruised past her house.” Despite these threats, Bailey worked diligently to hold the perpetrators accountable. She joined a delegation of ten African American citizens from Marion and Indianapolis that met with Governor Leslie, including prominent pastors and Walker Manufacturing Company attorney Robert L. Brokenburr. In a formal resolution presented by Bailey, the group demanded that Governor Leslie ask for Sheriff Campbell’s resignation and promise protection for those who would testify about the identity of the lynchers. According to The Kokomo Tribune, Governor Leslie responded by claiming that “rumors had come to him that negroes in Marion were equipped with dynamite and were threatening to blow up the county jail.”

Bailey countered this rumor directly in a letter-to-the-editor for the Pittsburgh Courier, one of the leading African American newspapers in the country. The Courier previously printed a story about plans for retaliation by Marion’s black residents. Bailey noted that this was a “LIE,” one absolutely not perpetuated by the city’s black pastors, as the Courier had claimed. She stated that because of the rumors she and her husband “are daily receiving anonymous letters of a threatening nature” and alleged that “The Negroes who start rumors of this sort are the ones who will not help in anything constructive.” She concluded her letter “A few of us refused to be intimidated and do all we can in the name of the Association [NAACP] to bring law and justice again to Marion.”

The county grand jury began its investigation into the lynching in September. Bailey testified that she warned Sheriff Campbell of the formation of the mob just before 5 p.m., countering Campbell’s statement that it was made after 7 p.m. When questioned about his lack of action, he stated he feared hitting a woman or child with a stray bullet. Ultimately, the jury decided that Sheriff Campbell handled the mob in a “prudent manner” and exonerated him of any responsibility for the deaths of Shipp and Smith. 

Flossie Baily and husband Dr. Walter Thomas Bailey, courtesy of Find-A-Grave.

Unable to extricate Campbell from office, Bailey and her husband focused their efforts on prosecuting the lynchers. Historian Emma Lou Thornbrough noted that they led the effort to gather names from witnesses at “considerable personal risk.” White sent a list of twenty-seven alleged participants, along with evidence of their involvement, to Governor Leslie and Indiana Attorney General James M. Ogden. According to Thornbrough, only seven men were arrested, two tried, and both acquitted. She noted that at the trial of the second man, antagonism “against the blacks who attended it was described by a representative of the national NAACP as ‘appalling.’ Most of the whites who packed the courtroom were jubilant when the accused man was acquitted.” The New York Age noted of Bailey that “A high tribute is paid her courage and energy in working to restore order in Marion and to bring the lynchers to justice.” The NAACP awarded Bailey with the Madam C.J. Walker Medal for her refusal to be intimidated in her quest to bring the perpetrators to justice.

While Bailey’s efforts were ultimately unfruitful, she used the Marion lynchings as a springboard to enact anti-lynching legislation in Indiana. House Democrats introduced a bill in February 1931, for which Bailey organized statewide meetings, and convinced African Americans to contact their legislators. Her legwork paid off. Governor Leslie signed the bill into law in March, which allowed for the dismissal of sheriffs whose prisoners were lynched. The law also permitted the families of lynching victims to sue for damages. The Indianapolis Recorder, one of state’s preeminent African American newspapers, praised the law. The paper stated, “Indiana has automatically retrieved its high status as a safe place to live.” It added that without the law, Indiana “would be a hellish state of insecurity to our group, which is on record as the most susceptible victims of mob violence.” Although the newspaper praised Governor Leslie, it credited a “small group which stood by until the bill became a law.”

Using this momentum, Bailey and her NAACP colleagues worked to pass a similar bill on a federal level. Madison noted that she tried to change national lynching laws by publishing editorials, wiring President Franklin D. Roosevelt, and distributing educational materials to Kiwanis clubs. Although these efforts were unsuccessful, Bailey fought for the rights and safety of African American citizens until her death in 1952, challenging discrimination at IU’s Robert W. Long Hospital, speaking against school segregation, and suing a Marion theater for denying Bailey and her husband admittance based on their race.

Memorial for Peace and Justice, courtesy of the Equal Justice Initiative.

The Memorial for Peace and Justice has made tangible the tragic events of August 7, 1930. Perhaps one day the American landscape will represent Flossie Bailey and other individuals who tried to prevent racial terrorism at considerable personal risk. Learn how to apply for a state historical marker via the Indiana Historical Bureau.

 

SOURCES USED:

“Marion and Indiana Are Disgraced,” “Negro Killers Hanged in Courthouse Yard After Big Mob Storms Jail; Trio Accused of Attacking White Girl,” “Muncie Man is Lynching Witness,” and “Police Tell of Scenes at Marion,” Muncie Evening Press, August 8, 1930, accessed Newspapers.com.

“Negroes Leave City,” Journal Gazette (Mattoon, Illinois), August 9, 1930, accessed Newspapers.com.

“Gross Failure of Officials Is Exposed by Investigators” and “Lynching, North and South,” Indianapolis Recorder, August 30, 1930, accessed Hoosier State Chronicles.

Mrs. F.R. Bailey, Letter to the Editor, The Pittsburgh Courier, August 30, 1930, accessed Newspapers.com.

“Marion, Indianapolis Negroes Call upon Governor for Action,” The Kokomo Tribune, August 21, 1930, accessed Newspapers.com.

“Five Heard in Lynching Quiz,” Muncie Evening Press, September 3, 1930, accessed Newspapers.com.

“Sheriff Was Negligent,” The New York Age, September 6, 1930, accessed Newspapers.com.

“The Anti-Lynching Law” and “Cruising Around,” Indianapolis Recorder, March 14, 1931, accessed Hoosier State Chronicles.

James H. Madison, “A Lynching in the Heartland: Marion, Indiana, August 7, 1930,” Journal of American History (June 2011), accessed Organization of American Historians.

James H. Madison, “Flossie Bailey,” Traces of Indiana and Midwestern History (Winter 2000): 22-27.

Emma Lou Thornbrough, Indiana Blacks in the Twentieth Century (Bloomington: Indiana University Press, 2002), 67-69.

The Fort Wayne Visiting Nurse League

Josephine Shatzer, first paid nurse, image courtesy of Visiting Nurse Archives.

With a staff of over 155 and over 170 volunteers, today’s Fort Wayne Visiting Nurse is a far cry from its humble beginnings. In 1888, a group of Fort Wayne women organized the Ladies Relief Union with a mission to “help the sick poor of Ft Wayne.”  Calling themselves the Visiting Nurse Committee, they soon discovered a link between poverty and disease.  Dr. Jessie Calvin, a Fort Wayne sanitation and indoor plumbing pioneer, encouraged women’s church groups to raise money for a qualified nurse that could meet community needs.

Prior to the 1860s, nursing was “typically considered a domestic responsibility provided in the home by family members.” Nursing as a profession evolved after the Civil War, when women gained experience caring for wounded soldiers. Historian Clifton J. Philips noted that in the post-war period, women’s religious orders were “especially active in establishing hospitals in an attempt to extend to the general public, and the poor in particular, some of the services formerly rendered to sick and wounded soldiers.” As hospitals materialized, so too did nursing groups and training programs. By 1897, The Fort Wayne Journal-Gazette noted that “modern nurses” wished to “be given her proper position as a skilled assistant in serious illness.”

Nurse with a Ford Model T purchased in the 1920s, so that nurses could more efficiently reach patients, image courtesy of Visiting Nurse Archives.

The paper added that:

The daily or visiting nurse is a recent development of modern nursing and meets the needs of many people who find it inconvenient to have a nurse stopping in the house and requiring more or less attention from servants perhaps already overtaxed. The visiting nurse comes in for an hour or so every day to perform those services for which her skill is needed.

On March 1, 1900, an organizational meeting was held in Fort Wayne and the Visiting Nurse League became a reality. At a salary of $10.00 a week, Josephine Shatzer was hired as the League’s first nurse.  During harsh weather she took a trolley, but normally she could be seen making her rounds on her bicycle.  Regardless of transportation, it was clear that she wasted no time.  On her first day she saw six patients.  Next she established a baby milk station at First Presbyterian Church, instructing new moms how to prepare formula.

Fort Wayne Daily News, September 29, 1900, 5, accessed Newspapers.com.

She also volunteered at free immunization clinics, bathed patients, delivered meals, changed bedding, dressed wounds, cared for the elderly and ill in their homes and endeared herself to all she served. At the end of her first year she had made hundreds of calls, utilizing supplies donated by local churches, relief societies, and drug stores. For those patients who could pay, the charge of a one-hour visit was fifteen cents.

The Fort Wayne Daily News praised the program in 1900, noting that the league “found favor with all classes of people” and that visits to the “sick poor” conveyed not only “help and benefit, but hope and good cheer to every member of the family.” In 1913, the Public Health Nursing Association appointed a visiting nurse to serve African American patients at the Flanner Guild. Dr. Calvin continued to guide the League, through the years of World War I and the 1918 flu epidemic, which took the lives of 3,266 Hoosiers.

Nurse treating a young burn victim, image courtesy of Visiting Nurse Archives.

By 1919, a nurse named Dixon had reached a salary of $100.00 a month. League expenditures in 1920 stood at $1,300 annually and in 1922 the Community Chest offered its support.  Insurance companies began to hire nurses from local visiting nurse groups to assess policyholders who were ill, and paid the League seventy-five cents a visit.  By 1923, the League reorganized and served in an advisory, instructional health teaching capacity. The Great Depression wrought poor health conditions: eight nurses made over 29,000 visits to 4,477 patients.  One made 3,255 orthopedic visits to 104 crippled children, many of whom were victims of polio.  Sisters of Saint Joseph Hospital provided free hospitalization in the pediatric ward for those who could not pay.  In the 1940s, World War II increased demands for nursing schools to produce eligible Nurse Corps candidates.

In 1954, the agency changed its name to Visiting Nurse Service, Inc.  By 1956, it undertook a program that cared for stroke victims in their homes, which served to collect data on medication, exercise, loss of function and the need for expanded therapy service. By 1962, the agency’s director Eva Rosser introduced a State Board of Health-funded program that focused on treating the chronically ill in their homes, instead of a hospital or nursing home.  Later the group provided care as home health aides and the agency became certified for Medicare on July 1966.

Nurse visiting a patient, likely just after World War II, image courtesy of Visiting Nurse Archives.

With certification came additional paper work.  According to History of Visiting Nurse, by 1983, “a record number of visits for a single month occurred (2,200), due to earlier hospital releases and greater technology used in the home.” During this period, the glucometer was used for the first time, registered nurses were trained to perform phlebotomy services, and around-the-clock care was made available for all patients. In 1984, Medicare Hospice Benefit became available and Visiting Nurse Service merged with Hospice of Fort Wayne, Parkview, and Lutheran Hospices.  The agency introduced computerized billing and, by the end of the decade, services for the frail and disabled.  By 1990, Hospice service visits totaled 38,177, a forty percent increase over previous months.

History of Visiting Nurse noted that in 1990 the agency moved to the “Moellering Unit of the nearly vacant former Lutheran Hospital.” In 1995, the 1984 merger dissolved and Visiting Nurse Service and Hospice became a free standing agency. By February 2001, a new Hospice Home facility opened and in 2006 a building expansion added patient rooms. In 2011, nurse practitioners joined the staff and the “Watchful Passage” program began, in which trained volunteers remained at patient’s bedside during the last few days of life. In 2018, Visiting Nurse staff and volunteers can proudly stand tall celebrating 130 years of community service.

Bertita Carla Camille Leonarz de Harding: Jewels, War, and Writing in Indianapolis

Bertita Harding
“Bertita Harding Is Satisfied With Movie Based on Her Book,” Indianapolis News, June 5, 1939, accessed Newspapers.com

Before social media instantly familiarized people with new cultures, Bertita Harding endowed Americans, and specifically Hoosiers, in the 1930s and 40s with illuminating accounts of Europe’s and South America’s rich, sometimes volatile past and present. The Hungarian author spoke five languages, interviewed dictators, and witnessed the gleam of royal jewels. Her experiences compelled her to author more than a dozen lucrative books, mostly biographies. Indianapolis firm Bobbs-Merrill published most of her books. Bertita brought a fresh approach to biography, giving depth to royal figures, illuminating their motives, and endowing them with humanity. Her life was as interesting and tragic as the royal figures about which she so aptly wrote.

The “adopted Hoosier” was born in Hungary and moved to Mexico when her father was solicited to work as an engineer in Mexico City.  As a child, she grew intrigued with the story of ill-fated Carlotta and Maximilian, Emperor and Empress of Mexico. The story is worthy of a Shakespearean quarto:

Austrian archduke Ferdinand Maximilian Joseph accepted the offer of the Mexican throne in 1863, having been assured that the Mexican people voted for his governance. However, he was installed into power through the collusion of Mexican conservatives and the French emperor, against the wishes of many Mexicans. He and his beloved wife Carlotta traveled to Mexico, where the liberal-minded emperor tried to rule with “paternal benevolence,” working to abolish the peonage system. When French troops pulled out of Mexico, and former Mexican president Benito Juarez returned, Carlotta fled to Europe to fruitlessly plead for support of her husband. Unwilling to abandon the impoverished people he had advocated for, Maximilian refused to abdicate the throne. He was executed near Queretaro, devastating his wife who remained in Europe. She fell into a debilitating depression and never recovered, refusing to acknowledge his death.

Chapultepec castle, courtesy of the National History Museum.

Bertita’s house was adjacent to the city’s Chapultepec castle, where the royal couple lived. The Indianapolis Star noted that “Each night as she went to bed she saw from her nursery window a light gleaming on the terrace of the somber castle, and she learned that there the beautiful Empress and her imperial husband had walked on starry nights.”

In 1909, Bertita, along with her mother and two brothers, journeyed to Vienna with a “mysterious black trunk.” Emperor Maximilian’s brother Frans-Joseph received the trunk, revealing to Bertita’s mother the jewels and insignia worn by the tragic royal couple. For returning the goods to the House of Hapsburg, Frans-Joseph bestowed Bertita’s mother with the signum laudis award for service to the crown. Bertita’s brushes with royalty proved to be the inspiration for many of her works.

Bertita traveled to the United States for school, training to be a pianist at the University of Wisconsin, where she met her husband Jack Harding. The couple moved to Indianapolis, where he worked as an executive at Harding Advertising Company. Eventually, the pair applied their literary gifts to writing film scripts in Hollywood. The Indianapolis News recalled in 1957, that Bertita “espoused the role of a young Hoosier wife and blithely entered local activities . . . She had a rare gift for being folksy and fabulous, cozy and continental at the same time.” Here, they participated in the Lambs Club, Athenaeum, and Players Club.

In a 1958 Anderson Herald article, Bertita stated that after her children were killed in an accident her husband encouraged her to write, an endeavor she found more convenient than practicing the piano. She mused “‘I’ve put a cake in the oven and gone over in my desk to write. If the cake burned, the chapter turned out to be a masterpiece. If the chapter was bad, the cake was delicious. And many times both turned out just right.'”

Ill-fated royal couple Empress Carlota and Emperor Maximilian, photographic print on carte de visite mount, created ca. 1864-1880, courtesy of the Library of Congress.

In 1934, Bobbs-Merrill published her literary jewel, Phantom Crown: The Story of Maximilian and Carlotta of Mexico. At a talk for the Women’s Club in Richmond, Indiana in 1934, Harding stated that as a little girl in Mexico City she interrogated former ladies-in-waiting for the royal couple about their fates. The adopted Hoosier added “I could visualize how they felt-transplanted Europeans, somewhat bewildered.” Harding penned the impeccably-researched biography in her Indianapolis apartment, writing methodically from 9 a.m. to 4 p.m. She recalled “As I wrote the book sometimes I would laugh at my own jokes, and sometimes I would cry with sympathy for them, and I loved to think my own book could arouse such sympathy in myself.”

With the success of Phantom Crown, Harding cemented her place in the Hoosier literary canon, residing among a prolific list of Indiana poets, playwrights, novelists, travel writers, and journalists. These included novelist Booth Tarkington, author Gene Stratton-Porter, and poet James Whitcomb Riley. The book she described as “manifest destiny” created a demand for Bertita’s unique perspective. She went on the lecture circuit, speaking to clubs around the country about her experiences. The Muncie Evening Press noted in 1935 that with these lectures she took audiences on a vivid tour through Mexico and Europe, showing them “‘the small out-of-the way, pieces of art and works of beauty to be found in such travel.'” Listeners traveled down the Danube into Hungary and then Vienna, where they experienced picturesque domes and woodcarvings, before arriving at French convents. Of Germany, she remarked it “‘is too far advanced, with far too much intellect as well as sentiment, to provide the obscure forms of art . . . Their great capacity is for work.'”

Juarez promotional material, accessed IMDb.

By 1939, the story of the ill-fated lovers proved so popular that Warner Brothers adapted Harding’s book into a film called “Juarez,” starring Bette Davis. According to the Indianapolis News, Harding threatened to sue the studio for failing to give her screen credit, but the parties came to an agreement and Harding described “Juarez” as a “‘beautiful picture.'” Harding noted that the film’s theme had been adapted to “fit modern conditions” and that, during a time of Hitler-led German aggression, Warner Brothers was advocating for “America and the Constitution right now, so ‘Juarez’ just had to fit in.” Harding contended that “Juarez” was obviously made in the vein of anti-fascist film Confessions of a Nazi Spy.

Harding followed Phantom Crown with additional biographies about the House of Hapsburg, such as  Golden Fleece: The Story of Franz-Joseph and Elizabeth of Austria and Imperial Twilight: The Story of Karl and Zita of Hungary. The Indianapolis Recorder, an African-American newspaper, praised Harding’s writing, noting “Stiff, regal figures become understandable, human-beings. Royal mazes are unraveled. Motives for strange actions grow lucid.” The newspaper added that “A flawless instinct for drama makes the utmost of every event without the slightest strain.”

    

Harding’s life and books seemed to place her on the perimeter of political and military upheaval. In October 1940, she traveled to Brazil to gather material for a forthcoming book. By this time, Nazi Germany had captured France, and the Allied Powers feared that Brazil, which had been fairly politically neutral, could be susceptible to Nazi attack. Harding interviewed Brazilian dictator President Getulio Vargas, concluding that although Vargas was a dictator, Brazilians would never permit a European dictatorship. According to the Indianapolis Star, Harding asserted “I am convinced that, for reasons both sentimental and practical, Brazilians would resist any attempt to give either Naziism or Fascism a foothold in their country.'”

Jack Harding
Lt. Col. Jack Harding, Indianapolis News, August 10, 1944, accessed Newspapers.com.

By 1944, Bertita and her husband Lieutenant Colonel Jack Harding, an executive officer of public relations, were fully entrenched in the war effort. That year, the Indianapolis News reported on Jack’s work in England, noting that as an intelligence officer he briefed and interrogated combat crews and laid out the operational plan for air force public relations for the D-Day invasion. In a letter published by the Indianapolis News,  the lieutenant colonel illuminated for Americans the sacrifices made by soldiers in France on D-Day.

He wrote stirringly “it is still true that aircraft, artillery, warships and other auxiliary arms all radiate from a common center, one little man with one little gun. This day belongs to the infantryman, may God protect him.” Following the pivotal invasion, Jack accompanied war correspondents on a journey through France. They witnessed the fall of Cherbourg, where “Street fighting, snipers, artillery attacks, as well as a ride through crossfire, added up to part of the night’s work.” While her husband wrote about “those kids of ours,” Bertita helped sell war bonds through a literary group.

She continued to do what she did best–write about royal exiles. Harding published Lost Waltz in 1944, centering around Austria’s Leopold Salvator and his family of ten. The Indianapolis News praised her ability to “place for us these Hapsburgs in the broad movement of our own eventful times, her unusual ability to recreate past scenes and make them live again with the verve and sparkle of fiction, though she never deviates from sober fact.” Other books written by Harding after the war include Magic Fire: Scenes around Richard Wagner and The Land Columbus Loved: The Dominican Republic.

After the death of her beloved first husband, she married Count Josef Radetsky in Vienna in 1957, an ancestor of Austrian nobility. The Indianapolis News reported that the Count’s family estates had been “reduced to poverty” when Communists seized Czechoslovakia in 1948 and that he was working as a taxi driver in Vienna when he met Harding. By 1958, Bertita had made such a name for herself that the Orlando Executives Club nominated her to speak, among other nominees such as FBI Director J. Edgar Hoover. In 1958, her life took another somber twist when a Vienna court found Radetsky guilty of trying to defraud her, sentencing him to eighteen months in an Austrian prison.

Adamant that “age cannot wither you,” Bertita began work on a book about German musician Clara Schumann, which Bobbs-Merrill published in 1961. Bertita passed away in Mexico in 1971, having fulfilled her 1935 dictum that “‘Life comes before letters . . . If life results in writing, that is good: but writing without living is worthless.”

Maurine Dallas Watkins: Sob Sisters, Pretty Demons, and All That Jazz

Movie poster for “Chicago” (2002), courtesy of Miramax.com.

“Yes, it was me! I shot him and I’m damned glad I did! And I’d do it again-,” cried Roxie Hart, the achingly beautiful murderess conjured up by reporter-turned-playwright Maurine Dallas Watkins. Inspired by crimes she covered for the Chicago Tribune in the 1920s, Watkin’s 1926 play “Chicago” became an instant hit and has been continuously reinterpreted, from Bob Fosse’s 1970s production to the Oscar-winning 2002 Miramax film. The Crawfordsville, Indiana native’s take on women murderers, who employed charm and theatrics to convince sympathetic male jurors of their innocence, earned the praise of critics and theater-goers. The Los Angeles Times noted that year “critics claim that the play is without a counterpart in the history of the American stage.” In an era of instant, often fleeting social media-derived celebrity, Watkins’ fame-obsessed murderesses who kept the press enraptured seem more relevant than ever.

Maurine Dallas Watkins
Maurine Watkins, News-Journal (Mansfield, Ohio), December 14, 1928, accessed Newspapers.com.

Born July 27, 1896 in Louisville, Kentucky, Watkins moved with her family to Indiana and attended Crawfordsville High School. According to a 1928 Indianapolis Star article, she started writing dramas from a young age. At 11-years-old, the Ladies’ Aid Society of the Crawfordsville Christian Church presented her “Hearts of Gold,” which generated $45. The St. Louis Star and Times described Watkins in 1928 as “simply dressed, with big, innocent-looking blue eyes and an exceedingly shy manner.”

After studying at Butler University in Indianapolis and Hamilton College in Lexington, Kentucky, she sought experiences about which she could write and contacted the city editor of the Chicago Tribune. The newspaper, convinced by Watkin’s zeal, hired her to write about the city’s crimes from a “woman’s angle.” Her eight month stint as a “sob sister,” or women journalists who wrote about female criminals and were often sympathetic to their crimes (although not in Watkins’ case), inspired her to write “Chicago.” She described the piece as “‘a composite of many different happenings, while Roxy the heroine, was drawn from one of our leading ‘lady murderesses’-the loveliest thing in the world, who looked like a pre-Raphaelite angel, and who shot her lover because he was leaving her'” (Ind. Star).

Beulah Annan
Beulah Annan in a Chicago jail cell immediately following her arrest for the murder of her lover, courtesy of the Indianapolis Star, April 29, 1928. Watkins covered the 1924 trial for the Chicago Tribune and served as inspired for her play, accessed Newspapers.com.

This murderess was one Mrs. Beulah Annan of Chicago, who confessed to killing her lover Harry Kalstedt. She was pronounced not guilty by a jury, swayed by her innocent persona and “man-taming eyes.” While Annan served as the inspiration for “Chicago,” the name of the play’s protagonist Roxie Hart was likely borrowed from a 1913 murder in Crawfordsville involving the lover of the deceased Walter Runyan. Like Annan, this lover was also praised for her captivating eyes and delicate features.

The St. Louis Star and Times noted that Watkins enjoyed this work for a period of time “because the psychological reactions interested her.” With literary inspiration in hand, she moved to New York and worked as a movie critic for the American Yearbook. She attended Professor George Pierce Baker’s playwriting class “47” at Yale University, drafting “A Brave Little Woman.” According to The Best Plays of 1926-27, upon completing the play Watkins, “being a thorough feminist,” approached play broker Laura Wilck, who “promptly bought it for herself and announced an intention of producing it. But before she got around to this the men interfered.” Well-known producer Sam Harris soon bought and changed the play’s name to “Chicago.” Best Plays attributed the piece’s success to Watkin’s “freshness of viewpoint,” “natural gift for writing,” and “interview with a lady murderess.” The Roaring Twenties provided the perfect canvas for Watkin’s literary skills and, as the Abilene (Texas) Reporter-News noted in 1927, “No period ever left itself wider open to lampooning than this in which the absurd antics of bootlegging, publicitizing, exploitation, crime and all the rest are commonplaces.”

Clark Gable, Chicago, Maurine Watkins
Actor Clark Gable (far left) portraying a reporter in “Chicago,” courtesy of Gable Archives, accessed Clark Gable, in Pictures: Candid Images of the Actor’s Life.

The play achieved immediate stage success. According to a 1997 Chicago Tribune article, it ran for 172 Broadway performances. Its debut generated widespread anticipation and the Los Angeles Times reported in March 1927 that preparations were being made at the city’s Music Box Theater, “with stage and screen stars, literary prominents, civic officials and society leaders in attendance, the opening promises to develop into a social event.” The showing featured an undiscovered Clark Gable (who later married Hoosier actress Carole Lombard), portraying “Jake the reporter.”

Ad, Harrisburg Sunday Courier (Pennsylvania), April 29, 1928, accessed Newspapers.com.

A review published by the Pittsburgh Daily Post noted that “Chicago’s” text was “so packed with knowledge and seasoned irony that any one could picture for himself the kind of toughened old buzzard of a sob-sister who would have knocked about enough to know how to write it.” The Arizona Republic published one of the more colorful and insightful reviews of the play’s impact on the public, noting that Watkins filled her “drama with comedy of terrific realty and, with never a word of preachment . . . and sends the audiences home converted to a skepticism that can hardly fail to have important results when enough people have seen the play.” As the scintillating third act concluded, the “audience staggers home, laughed out, yet somehow sadder and wiser, and realizing with tragic wonder that tomorrow the headlines will brazen forth some new female criminal.”

The Republic suggested that Watkin’s drama could change the public’s perception about these “pretty demons.” It added that her work was a “tremendous denunciation of the sacrilege by which the juryman, who should be the wisest and sanest of our guardians, is easily turned into a blithering come-on.” And, “best of all,” the satire was written by a woman “on the folly of men in their false homage to woman, their silly efforts to protect her while she dupes them.”

Maurine Dallas Watkins, father George
Maurine with her father on a return visit to Indiana. She stayed with her parents at their farm in Clermont, Indianapolis Star, January 6, 1928, accessed Newspapers.com.

The Indianapolis Star reported that the reverend’s daughter still considered Indiana home, despite moving to New York following the success of her play. She recalled upon a return visit “‘I love it out in the country-life’s terribly complicated! You count the rings of the telephone to see if it is your number, and you have to go and meet the postman.'” The woman who wrote about a “flashy negligee of blue Georgette with imitation lace,” kept her hair “unbobbed” due to her father’s dislike of short hair.

Following the success of “Chicago,” Watkins continued to write, but never achieved the same level of literary acclaim. She was commissioned to dramatize Samuel Hopkins Adams’ novel Revelry, about the Harding administration’s Ohio Gang, for which she conducted research at the White House. In April 1927, the newspaper hired her to cover the trial of Ruth Snyder, who murdered her husband. The paper noted that Watkins, a sobless sister, would “deal with facts, without tears, in a notable author’s inimitable way, from her place at the trial table in Queens courtroom.” She reportedly moved to Hollywood, writing screenplays and articles for Cosmopolitan magazine. The author later settled in Florida, where she died of lung cancer in 1969. Watkin’s three act play cemented her legacy among the pantheon of accomplished Hoosier writers such as Pulitzer Prize-winner Booth Tarkington, I Love Lucy‘s Madelyn Pugh Davis, and Crawfordsville colleague Lew Wallace.

Indiana State Fair Highlights: Velocipedes, Lady Aviators, and “Better” Babies

Map of the 1852 Indiana State Fairgrounds. The first State Fair was held in what is today Military Park in downtown Indianapolis. Photo courtesy of “Indiana’s Best: An Illustrated Celebration of the Indiana State Fairgrounds.”

Indiana is, and always has been, an agricultural state. Nearly 50% of men were listed as farmers on the 1850 census and nearly thirteen million acres of farmland stretched across the Hoosier state. In order to foster the advancement of agricultural techniques, Governor Joseph Wright urged the Indiana General Assembly to establish the State Board of Agriculture, which it did in 1852. “An Act for the Encouragement of Agriculture” was approved on February 17, 1852 and read, in part:

“Be It Enacted by the General Assembly of the State of Indiana…that it shall be the duty [of the societies formed under the provisions of this act] to offer and award premiums for the improvement of soils, tillage, crops, manures, improvements, stock, articles of domestic industry, and such other articles, productions and improvements, as they may deem proper…”

In order to “offer and award premiums,” the board needed to establish somewhere for farmers across the state to gather and display both their skills and the products of their skills. To this end, the first Indiana State Fair was held from October 20 to October 22, 1852. While the fair was established for the advancement of agriculture, many other attractions have graced state fair bulletins in the 165 years since that first state fair. Here, we explore just a few.

Velocipedestrianism

Illustration demonstrating the various forms of velocipedes in the late 19th and early 20th century. Image from Brockhaus’ Conversations-Lexikon: allegemeine deutsche, Volume 16. Accessed google books.

In 1869, one of the attractions found on the fairgrounds was “Velocipedestrianism.” A velocipede is any human-powered vehicle with wheels. Today, we might call them bicycles, though there were velocipedes with anywhere from one to five wheels. Early forms required the rider to propel the vehicle with their feet, but in the 1860s pedals were added, making them faster. There were nine entries in the “Mile Trial” at the 1869 state fair. The winner, W.V. Hoddy of Terre Haute, finished in 8 minutes, 45 seconds and took home a $50 premium for his efforts. There was also a competition for the “Most Artistic Management of [a] Velocipede” which only had three entries. Unfortunately, there is no mention of what made Willie Domm’s management of his velocipede so exceedingly artistic.

Illustration of 1860s Velocipede. The Plymouth Democrat, January 28, 1869, page 4, accessed Newspapers.com.

Mr. McGowan’s High Diving Horses

Advertisement for “World’s Famous” high diving horses. The Indianapolis Journal, June 1, 1901, page 6. Accessed Newspapers.com.

“Mr. E. J. McGowan was present and presented a bill for extra expense in connection with the diving horses contract.” This is the only hint found in the State Board of Agriculture Report of one spectacle which occurred at the 1904 Indiana State Fair: high diving horses. Newspapers give the story a bit more color; local business man Hugh McGowan bought two horses, named King and Queen, who had been trained to dive from a forty-five foot platform into a pool of water.

According to one article, “the method of training the animals was unique. When sucking colts, each was placed on a bluff overlooking a pond, on the other side of which were placed their mothers. At dining times, they were glad enough to make the leap and they have had to keep up the practice ever since.” The horses were a regular attraction at Fairview Park in Indianapolis as early as 1901 and were still doing regular dives as late at 1907.

Example of high diving horses. While this photo was not taken at the State Fair, the set-up was similar to that of the 1904 fair. Photo courtesy of the Daily Mail.

Ruth Law: “Lady Aviator”

Newspapers announced the arrival of Ruth Law, an early American aviator, for the 1915 state fair with headlines like “Ruth Law, Lawless Skimmer of the Sky.” Most articles concentrated on her gender, noting that “she is just an ambitious, darling, feminine little slip . . . ” Unarguably ambitious, Law was one of only two female pilots in 1915 and had earned her flying certificate less than ten years after the Wright brother’s famed first flight. In fact, she bought her first biplane from Orville Wright himself. At the 1915 fair, she put on a grand show, performing “loop-to-loops,” daring dives, and buzzing the audience. She brought with her George Mayland, the “miraculous human fly,” who would accompany her on her flights to jump from the plane at a height of 2,000 feet and float to the ground on a parachute, to the amazement of the crowd. Law went on to break several flying records in her career, challenging gender stereotypes and encouraging a new generation of women to take to the skies.

Newspaper announcement of Ruth Law’s presence at the Indiana State Fair. The Brookville Democrat, August 12, 1915, page 7, accessed Newspapers.com.

“Better” Babies for Indiana

Better Babies Building on the Indiana State Fairgrounds. Today the building houses Hook’s Historic Drug Store and Pharmacy Museum. Photo courtesy of IUPUI.

The state fair of the 1920s facilitated the Better Babies Contest, overseen by the Board of Health and managed by Dr. Ada Schweitzer. These were not the baby contests of today, where babies are judged on their personalities and appearance. Rather, they were meticulously scored based on health and hygiene criteria. In her 2007 article “’We Cannot Make a Silk Purse Out of a Sow’s Ear’ Eugenics in the Heartland,” Alexandra Minna Stern described the contests:

“Before the event, infants were separated into groups based on age (12-24 months or 24-36 months), sex, and place of residence. Those categorized as city babies lived in places with 10,000 inhabitants or more, and those remaining were rural entrants. Once their children were registered, parents-usually mothers-came to the contest building at a designated time. As the mothers entered the building they handed their enrollment form to an attendant, who recorded their names. Then the baby was whisked to the next booth, where its overall health history was taken by a nurse. Mental tests designed for each age group followed, as psychologists observed if infants could stand, walk, speak, how they manipulated blocks and balls, and responded to questions such as “How does the doggie do?” and “Who is the baby in the mirror?” Mental tests completed, the babies were then undressed and their clothes placed in a paper bag and tagged. Identically robed in shaker flannel togas, each toddler was now weighed and measured. From here the baby was examined by an optometrist, a pediatrician, and an otolaryngologist, then weighed and measured a second time, and lastly, presented with a bronze medal on a blue ribbon, courtesy of the Indianapolis News.”

Doctors complete the physical examination of prospective better babies, 1931. Photo courtesy of Indiana Archives.

The scoring was scrupulous; each baby began the process with 1000 points and along the way, points were deducted for “physical defects” such as scaly skin, delayed teething, and abnormal ear size. Awards were given to those babies who scored the highest. Most “best babies” scored over 990. The highest score ever given was to Alma Louise Strohmeyer in 1923; she scored a whopping 999.92813.

Better Baby Contest advertisement, 1930. Courtesy of the Indiana State Library, accessed Indiana Memory.

On the surface, Dr. Schweitzer and the Indiana State Board of Health had admirable goals: to “lower infant and maternal death rates and to convince Indianans of the importance of scientific motherhood and child rearing.” However, underlying implications are less admirable. Through these contests, Dr. Schweitzer hoped to “breed” a new, better generation of Hoosiers. Many of her ideas came directly from the eugenics movement, which was popular across America in the early 20th century. The exclusion of African American and immigrant babies from the contests endorsed the widespread nativist and xenophobic ideas of the time. The assumption that socioeconomic standing was determined by genetics, and not environment, was central to sterilization laws implemented in the state. While Better Baby Contests ended in 1933, the eugenics movement persisted in the state for decades; Indiana’s last compulsory sterilization law was not repealed until 1974.

For more snippets of Indiana State Fair history, check out Episode 6 of Talking Hoosier History, “Stories from the Indiana State Fair.” In it, we explore five fair occurrences: when farmers gathered in 1852 to learn about the latest innovations and compete for prizes; the Victorian moral controversy behind treating people like objects via sideshows; the 1964 Beatles performance; Jessop’s Butterscotch Corn and the young woman who built the business out of the back of a wagon; and Hook’s Drug Store Museum.

Reeling in the Legend: A Quick Dive into the Creek Chub Bait Company

The Wiggler. The Pikie. The Darter. The Injured Minnow. These are just a few of the popular lures crafted by the Creek Chub Bait Company during the twentieth century. Established in Garrett, DeKalb County, Indiana in 1916, the Creek Chub Bait Company became one of the country’s leading manufacturers of artificial fishing lures.

Creek Chub Wiggler. Courtesy Fin & Flame Vintage Fishing Tackle.
#2009 Creek Chub Darter in Greenback. Courtesy Dr. Harold E. Smith, Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 73.

Each lure was a work of art, featuring the finest craftsmanship and attention to detail. From the company’s onset, owners Henry Dills, Carl Heinzerling, and George Schulthess placed an emphasis on quality for their products. Dills wanted the lures to be attractive to fishermen and fish alike, and worked alongside others within the company to ensure that they had a lifelike appearance and motion to help attract fish.

Creek Chub’s famous #700 Pikie, first introduced in 1920. Courtesy Dr. Harold E. Smith, Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 65.

As early as December 1915, before the company officially began producing lures, Dills filed an application to patent new improvements in fish baits by adding a metal lip, or mouthpiece, attached to the front of the lure. According to the patent, the addition would help produce ripples, throw spray, wriggle, and dive similar to the way a minnow would, thereby attracting fish. The patent (1,352,054) was approved September 7, 1920.

Dills’ 1915 patent application featuring the addition of a metal lip to fishing lures. Courtesy United States Patent Office via Google Patents.

Creek Chub’s Wiggler, introduced in 1916, was among the first to feature the metal lip. According to Dr. Harold E. Smith in his Collector’s Encyclopedia of Creek Chub Lures & Collectibles, the company’s 1922 catalog advertised the Wiggler as “‘three baits in one.’ With the lip in the standard position, it was a diving, wiggling bait. In the reversed position, it became a water-splashing surface lure. Take the lip off and it was a darting surface lure.” Dixie Carroll also described the added movement to the lure in “Fishing, Tackle and Kits” in 1919, noting: “A small metal plate in the mouth of the chub gives a fine bunch of wiggles and wobbles and by moving the plate and reversing it you have a surface splatter lure . . .”

Dills’ 1918 patent application for the addition of imitation scales to improve the appearance of artificial lures. Courtesy United States Patent Office via Google Patents.

In July 1918, Dills filed another patent application to improve the lures by adding a scale-like appearance on their surface that would imitate a natural minnow. According to the patent (Patent 1,323,458), the lures would feature “a cigar-shaped wooden body, to which various coatings of coloring material are applied.” Employees used a non-lustrous color for the background body of the lure and then proceeded to wrap a cloth netting around it and spray a lustrous coloring material through the netting to form the scale-like pattern.

The scale finish evolved over time and helped revolutionize the industry by resembling natural food for fish. Advertisements in popular publications like Outing praised the lures, noting: “Accurately represents a minnow down to the silvery scales. Wonderful lifelike movements. Convertible.” Fishermen from around the country agreed, often writing to the company to boast of the record-size fish they caught using these lures.

Image: Dr. Harold E. Smith’s Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 279. In 1932, George Perry caught the world record largemouth bass in Lake Montgomery, Georgia using Creek Chub’s Perch Scale Wigglefish. The record stood for over seventy-five years. On July 2, 2009, Manabu Kurita caught a largemouth bass in Lake Biwa (Japan) tying Perry’s record of 22 lbs. 4 oz. According to articles in the Indianapolis Star in 2014, the International Game Fish Association took six months to verify the record. It became official on January 8, 2010.
Hunter Trader Trapper, June 1922, page 123. Courtesy Google Books.
Zoomed in letter from George McWilliams submitted to Hunter Trader Trapper, June 1922, page 123.

By the time a Creek Chub lure was completed and ready to ship to a customer, it often featured as many as fourteen or fifteen coats of primer, paint, and lacquer. Even the wood used early on for the bodies – white cedar – was of the highest quality. Over time, the designs and range of colors expanded greatly. The company also made specialty colors and custom orders upon request. In 1936, the Garrett Clipper noted that the patents for the natural scale finish and the mouthpiece were among the most important patents ever issued in the tackle industry.

Employees apply a scale finish to the lure bodies by spray painting through netting. Courtesy Dr. Harold E. Smith,  Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 27.

From its earliest years, Creek Chub featured a largely female workforce. Some attributed this to the delicate nature of the lures and the work they entailed, which they believed women were better suited to perform. Dr. Harold E. Smith writes that “women were selected preferentially over men because management felt they were . . . ‘endowed with a better appreciation of color and detail.’”

Wanted ads in the Garrett Clipper frequently promoted jobs for girls and young ladies at the company, and articles often referenced the “girls” employed in the finishing departments, and sanding and dipping rooms.

Painting eyes on Creek Chub lures. Courtesy Dr. Harold E. Smith, Collector’s Encyclopedia of Creek Chub Lures & Collectibles, 2002, page 28.

By the 1920s, Creek Chub was shipping its lures all over the United States and Europe. Between January and July 1925, the Garrett Clipper published several pieces on international sales. For example, on March 19, 1925, it reported that Creek Chub had recently received orders for 180 dozen bait from Stockholm, Sweden, 178 dozen from Finland, and 31 dozen from Toronto, Canada. In April, the paper recorded orders from Waines, Hawaii (Hawaii did not become a U.S. state until 1959) and Bombay, India, and in July, it reported that the company had shipped 24 dozen lures to Reddich, England.

Creek Chub Bait Company in Garrett, Indiana. Courtesy the Garrett Historical Society.

On January 20, 1936, the Garrett Clipper provided a summary of the company and described its continued growth since its founding in 1916:

Since then sales have increased from year to year and are made not only in this country and Canada, but lures are sent to 48 foreign countries, France and Sweden receiving the largest shipments. The sales demand in Canada is so large that a Canadian branch has been established, the work being conducted by Allcock, Laight & Westwood company, Toronto, Ont. Although in its infancy, the plant has been doing a large business and the prospects for its growth are fine.

1931 Creek Chub catalog. Courtesy Old Fishing Lure.

In 1939, as war clouds gathered over Europe, business at Creek Chub Bait Co. reached a new peak. Production and sales were up and employment remained steady. Despite its success though, the company was already beginning to feel the effects of the conflict abroad. Finland and England had been Creek Chub’s top buyers prior to the war, but both markets quickly closed as each country became engaged in the conflict. The company also purchased many of its treble hooks, which it used on its lures, from Norway and England.

By August 1941, Creek Chub experienced great difficulty acquiring the necessary hooks and other supplies for its famous lures, as materials were reserved for defense industries. Supply markets from Norway were shut off and an embargo on trade between the United States and Japan stopped the shipments of hooks from that country as well. On August 21, 1941, the Clipper warned about the future of Creek Chub, writing:

. . . unless there is some early change in the world situation the business of the company will be greatly restricted, if not entirely stopped.

Creek Chub Victory Bomber lure introduced in 1942. Courtesy Fin and Flame Vintage Fishing Tackle.

The outlook for the company became bleaker throughout 1942 following orders from the War Production Board curtailing the manufacture of fishing lures. On May 8, 1942, the Angola Herald reported that Creek Chub would cease production on May 31, in accordance with government orders. In response, Creek Chub petitioned the War Production

Board to allow it to use the metal it had on hand, which it estimated at approximately six months’ supply. By early June, the War Production Board gave the company permission to continue manufacturing lures during the month, and throughout the summer it granted temporary extensions that allowed Creek Chub to continue production, albeit at a much reduced rate. On January 28, 1943, the Garrett Clipper noted that Creek Chub employed thirty people, two to three times less than it had before the war. Employment decreased again slightly the following year, but the company remained open, using the limited materials it had on hand to produce lures.

Popular Mechanics, May 1962, p. 204. Courtesy Google Books.

By January 1945, employment began to increase as more materials became available and in September 1945, Creek Chub received its first shipment of steel hooks from Norway since the beginning of the war. Business was slowly getting back on track. Wanted ads for female employees began populating the local newspaper’s pages once again as the company sought additional employees to meet production goals and fill the backlog of orders that had accumulated during the war. By late December 1946, Creek Chub announced that it had leased a hotel building in nearby Ashley, north of Garrett, and it soon established a branch factory there to expand operations. The added facilities allowed business to double from 1947 to 1948, and within the next two years the company caught up on its backlog of orders.

Courtesy Russell Lewis, Classic Fishing Lures: Identification and Price Guide, 2005, page 38, via Google Books.

Creek Chub continued to look for ways to improve and diversify its product line in the 1950s and 1960s. This included entering the plastic bait field, developing new saltwater lures, and offering new color combinations. The company’s future looked bright, but by the late 1970s declining sales and questions regarding future leadership of the company began to weigh on Creek Chub.

[Muncie] Star Press, April 6, 1979. Courtesy Newspaper.com.
On December 24, 1978, the Des Moines [Iowa] Register reported that Lazy Ike Corp. of Des Moines had purchased the Creek Chub Bait Company. Reporter Bob Barnet confirmed the sale in the [Muncie] Star Press in April 1979, writing “. . . Hoosier-owned Creek Chub Bait Co., one of the nation’s oldest and most respected manufacturers of artificial lures, has been sold.” Lazy Ike, which was also in the lure industry, would continue to manufacture and market Creek Chub lures.

[Des Moines] Register, September 16, 1979. Courtesy Newspapers.com.
Unfortunately, within just a few months of the purchase, Lazy Ike filed for Chapter 11 bankruptcy. Dura-Pak Corp. of South Sioux City, Nebraska acquired Lazy Ike Corp. and another fishing tackle manufacturer out of Vancouver, Washington in the early 1980s. Today, PRADCO owns the Creek Chub name.

Although the company closed in the late 1970s, Creek Chub lures continue to remain popular among collectors, a testament to their enduring quality.

Courtesy Traces of Indiana and Midwestern History (Summer 2002), page 20.

Edna Stillwell and the “Real Making of Red”

Edna Stillwell working with comedian husband Red Skelton
Edna Stillwell working with comedian husband Red Skelton, The Times (Shreveport, LA), December 16, 1941, 6, accessed Newspapers.com.

Guzzler’s Gin, Dunking Donuts, “I dood it!:” Red Skelton’s iconic characters and quips would not exist without the influence of his first wife Edna Stillwell. In fact, a Rochester, NY newspaper reported that Skelton insisted “he’d be a bum” without her.  Through Stillwell’s comedic and management muscle, Skelton went from an unknown circus performer to one of the most lauded comedians in television and film history.

Stillwell was born in Missouri on May 25, 1915. As a teenager she was attracted to show business and the Rochester Democrat and Chronicle reported that she was head usherette at Pantages Theatre in Kansas City, where seventeen-year-old Skelton performed. Skelton recalled that she took an immediate disliking to him. At his next job, he served as master of ceremonies at a walkathon, where Stillwell happened to be working as cashier. He eventually convinced her to go on a date with him. Skelton cemented her affections when he chose her to kiss in a photoshoot. He recalled “‘I grabbed her and kissed her and it made me dizzy. This was it. This was love. I guess we both were dizzy. We got married.'”

Stillwell’s and Skelton’s marriage license, 1932, accessed Ancestry Library.

The entertainer, at the time, was so poor that Stillwell had to pay for their marriage license. After the wedding she assumed the role of business manager, a duty she would continue to fill even after their 1944 divorce. According to the Democrat and Chronicle, the manager of a walkathon in St. Louis wanted to cut Skelton’s salary, prompting Stillwell to approach him and successfully demand more money. Skelton noted, “‘I told her I’d handle my own affairs. Only she shut me up with the news that I’d get $100 a week. She also tossed the boss into doing my dry cleaning.'” She eventually negotiated his walkathon pay up to $500 per week and invested his money in real estate. She also forced Skelton, a high school drop-out, to study and earn his high school degree. He admitted “‘pretty soon I didn’t feel like such a fool when I was in a room full of people talking about something besides burlesque.'”

Stillwell was just as formidable when it came to comedy writing. According to the Indianapolis Star, Skelton’s vaudeville run in Montreal was nearly cancelled after his first performance, so:

Red went back to his own individual style, which had put him over in vaudeville. And his wife in a moment of contempt for the old routines they were doing, said, ‘I could write better stuff than that,’ Red’s answer was “Why don’t you?’ also in sarcasm. But she did, and she has written his material ever since.

In a 1941 article, The Tennessean observed that “from several years of watching what tripe came down the pike on the old Pan circuit, Edna got some pretty definite ideas about what to avoid in a vaudeville skit.”

Edna and Red at their California home, accessed Wikipedia.

A newspaper piece by Ted Gill noted that soon after marrying, Stillwell dreamed up Skelton’s famous “Junior” character. When the couple strolled past stores Red could never “resist the urge to buy things” and if “Edna attempted to talk him out of it, he’d lie down on the sidewalk, kick his heels and make such a scene that he soon had scores of passersby in near-convulsions.” From then on Stillwell considered herself “Mommie” to his “Junior.” According to a 1942 Indianapolis Star article, Stillwell’s “Junior” sketch catapulted Skelton’s career forward and as she “schemed out that screamingly funny little boy burlesque-topped off by those three precious words, ‘I dood it!’-the name of Skelton fairly leaped from the bottom to the top of various radio comedian polls.” The article also mentioned that she helped mastermind Skelton’s “$50,000 doughnut dunking act,” after the couple dined at a Montreal cafe. The article stated that Stillwell and Skelton,

then playing together in small-time vaudeville, watched a diner as he slyly held his hat over his hand while he dunked, furtively looked around and then popped the soaked sinker into his mouth. The Skeltons doped out the outline of the act before they left the restaurant, polished it  up in their hotel room that afternoon and presented it the same evening at the theater. It was an instantaneous hit and established Skelton as a top-line variety performer.

Accessed gettyimages.co.uk.

Writing material and coaching her husband from theater wings proved to be the steady hand Skelton needed to succeed in his career. Skelton’s biographer Wes Gehring contended that “Stillwell’s mid-1930s donut routine and other reality-based writing helped Skelton segue his skills into vaudeville, the next rung on the entertainment ladder.” He noted that “Working, performing, and traveling together as nomadic vaudevillians in the 1930s, the Skeltons were a team to reckon with.” By the late 1930s, the couple moved to Hollywood, where Skelton earned a notable $2,000 for appearing in the film Having Wonderful Time, alongside Ginger Rogers and Douglas Fairbanks Jr.

Script, courtesy of the Edna and Red Skelton Collection, M1000, Box 2, Folder 16, Indiana Historical Society.

In order to make money between films Skelton returned to the stage. Stillwell demanded he refuse any offer under $1,000, causing them to go without food for days. But staying the course paid off, as the Democrat and Chronicle reported, because Skelton “got a coast-to-coast radio program and soon he was clicking in vaudeville-and at Edna’s price.” Stillwell wrote for and appeared on Skelton’s popular radio show and had performed with him on Rudy Vallee‘s program. His national NBC show (featuring renowned radio and television pair Ozzie and Harriet Nelson), in tandem with his film Whistling in the Dark, catapulted Skelton to national fame in 1941. Gehring concluded that Stillwell also had a hand in his film success, stating that “True to Stillwell’s good instincts for her husband, she was the first to recognize just how effective he would be” in Whistling. The Indianapolis Star informed readers that year that “At his disposal at present are some 500 comedy routines all written by himself or his wife, with which he has been throwing Hollywood audiences, both on and off the screen, into hysterics.”

Edna Stillwell, 1943 press photo, accessed outlet.historicimages.com.

At the end of 1942, newspapers across the country announced that Stillwell had filed for divorce from her partner in comedy. The Dixon [Illinois] Evening Telegraph noted that she filed suit, “charging cruelty, but plans to continue to write the wit that has made his radio act famous,” which she did after the court finalized the divorce. The former couple even performed their original vaudeville routines at army camp shows in WWII to popular reception. Their professional relationship continued until 1952, one year after Skelton was given his own, groundbreaking television show. Gehring contended that their post-divorce work was “a mixed bag-a rousing success professionally, but a stressful distraction for each of their subsequent marriages.” Skelton married actress Georgia Maureen Davis and Stillwell married Hollywood film director Frank Borzage, who had directed Skelton in films like Flight Command.

Stillwell died in Los Angeles on November 15, 1982. Without “Mommie’s” aptitude and intuition, Skelton likely would never have “dood it!” Learn more about the funny man with our newest historical marker, located in Vincennes.