Fort Wayne’s Charles Allen: Theatrical Ingenue & “Unsung Gay Hero”

Courtesy of the Fort Wayne News-Sentinel, caption: Pianist Charles Allen, left, and singer Steve Black were part of the entertainment scene in the late ’60s, when bars replaced coffeehouses as the centers of musical activity.

Legendary choreographer and “unsung gay hero” Charles Allen sat with a tape recorder in his Fort Wayne house, a veritable art museum awaiting curation. Sipping gin and orange juice from an empty peanut butter jar, he began to document his life. Notorious for self-mythologizing—once claiming to have killed a man using “voodoo and black magic”—some of the anecdotes he fed the tape no doubt were embellished.[1] These would prove unnecessary, however, as his legacy speaks for itself. Not only did Allen give “birth to generations of dancers and . . . change the way people looked at the world around him,” but he inspired and empowered LGBTQ+ Hoosiers, perhaps unintentionally. Upon Allen’s 1980 death, Jerry Jokay wrote in TROIS, Fort Wayne’s gay newsletter, that “Although he probably wouldn’t have seen it this way, one of his greatest contributions was that he was a gay hero. And he is a gay hero simply because his gayness was a trivial issue in his life even in spite of the oppression it caused him.”[2] Allen, on the other hand, would probably consider his greatest contributions to be advancing performing arts and instilling a love of storytelling and self-expression in Hoosiers.

Gene Stratton Porter, courtesy of the Indiana State Museum, courtesy of KPC News.

Born in 1912, Allen was likely raised by his aunt and uncle in Mongo, Indiana. Depictions of Allen’s childhood are characteristically colorful and include a traipse through Tamarack Swamp with famed author and naturalist Gene Stratton Porter in search of insects and plant specimens.[3] Allen “recalled dyeing his hair pinkish-brown as a child, catching blue racer snakes, putting them around his neck, and startling passersby on highway 20 near his home. A barefoot, innocent, wild-haired child of the swamp.”[4]  The spirited child attended school in Kendallville and spent free time in LaGrange, where he learned to play piano at Wigdon Theater. Fully enamored with artistic expression, he devoured performances delivered by a travelling company. The News-Sentinel reported “there was a troupe of four or five men, who did a two-reel silent movie, and set up an impromptu stage with an indian scene. There was singing, and two of the men did female impersonations. When he left the show, his life had changed. . . . He’d fallen in love.”

The production continued to call to him, long after the caravans departed. He left school, took a train to northern Michigan, where the travelling company had migrated, and became its new pianist. As despair deepened during the Great Depression, the public increasingly took solace in travelling shows. These provided Allen with opportunities to try his theatrical hand and hone his skills as a performer. The News-Sentinel noted, “People were doing almost anything for money. He fell in with a freak show,” dubbed the Palace of Wonders, for which he mesmerized crowds as the Human Pin Cushion. During this period, Allen learned how to perform the “half-man, half-woman” act, styling his feminine half after screen siren Marlene Dietrich. When he returned to Fort Wayne, he would perform this routine at local tavern, Henry’s, and played piano at bars like This Old House, Trolly Bar, and the Caboose.[5] Allen insisted that friends stay at his house once the bars closed down for the night, hating solitude.[6]

The eclectic career he had forged for himself was abruptly derailed by the conformist ethos of the 1940s. At a time of global upheaval, Americans held evermore sacrosanct heteronormativity. The News-Sentinel reported that during this “less enlightened age,” a judge sentenced Allen to six years in a Michigan City Prison after “an affair with a soldier led to a charge of sodomy.”[7] Allen recalled in the Fort Wayne Free Press that the judge declared ironically “we’re going to send you where you’ll be happy; locked up with a lot of men!”[8] This prediction proved correct, as he spent time with paramours in a makeshift room fashioned out of old pianos and curtains. On weekends, he played piano for the men waiting in line to watch a movie. While it played, a band mate would take his place at the piano, so that he could go hold hands with his companion. During his few years in prison, Allen made friends, assembled a band—for which he played the sousaphone—and learned how to dance.[9]

A sketch of Etheridge Knight in prison by Terrance Hayes, accessed theparisreview.org.

The News-Sentinel noted that in prison Allen “kept following his insatible [sic] desire to learn. Where he could find no one else to teach him, he taught himself. The creativity could never let him rest. It would be that way to the end of his life.”[10] This cultivation of self-expression paralleled the journey of African American poet, Etheridge Knight. While serving eight years at the Indiana State Prison in the 1960s, he discovered the restorative power of writing, culminating in his revolutionary Poems from Prison. Knight later stated that “Poetry and a few people in there trying to stay human saved me . . . I knew that I couldn’t just deaden all my feeling the way some people did.”[11]

So, too, did music and dance sustain Allen during his incarceration. Upon release, he returned to Fort Wayne, opening the Charles Allen Dance Studio.[12] According to the Journal-Gazette, he was the city’s only choreographer and, through his trips to New York and Chicago, “single-handedly” invigorated the city’s theater scene. Something of a cultural conduit, Allen traveled to Vera Cruz, Mexico to research indigenous dances. He studied dance at the University of Guatemala and the Palace of Fine Arts in Mexico, imbuing midwestern students with unique material and perspectives.[13]

In life and work, Allen gravitated towards those on the fringes, perhaps identifying with their struggles or the stigmatization they endured. He reportedly taught exotic dancers how to improve their performances and played piano at “houses of ill repute.”[14]  In his TROIS article, Springer wrote that Allen played piano and felt a “kinship” with Black Americans because “like him, they were among the outsiders of society.”[15] Though he was exacting and sometimes cruel, the News Sentinel reported that “he would work with beginners no one else had time for, work tirelessly because he felt a love of what he was doing.”[16] Janice Dyson recalled this experience, after her mom “scrimped grocery money to help pay” for lessons for her and her sister, Bernice. She recalled that Allen “was a real taskmaster. . . . Bernice was intimidated by him and quit after about a year. I wasn’t afraid of him, but I learned pretty quickly that when he said practice or else, he meant it.”[17] Perhaps he hoped to provoke the same grit he’d developed through surmounting the many hardships imposed by society.

While he worked with Fort Wayne performers, Allen reportedly knew the jazz greats, like Billie Holiday and Louis Armstrong, and one friend noted that “a lot of famous people used to come here and have him fix their acts. Polish the acts. Reblock them or rechoreograph them.'”[18] Legend has it that one winter Allen sold his horse to pay the train fare to see Holiday perform in New York City. Due to a snow storm, he was the only person to show up at the theater. The usher relayed his presence to Holiday, who performed only for him, after which they went out for a drink. She reportedly drove him to the train station and ran alongside the cars, waving as the train departed. Allen was so moved by the experience that he wept while watching the train station scene in “The Lady Sings the Blues.”[19]

Family Theatre Festival (1975-1976), OnStage On Campus Collection, mDON: mastodon Digital Object Network, Helmke Library, Purdue University Fort Wayne.

Purdue University Fort Wayne (PUFW) recognized the ingenue’s talent, hiring Allen to teach courses like Stage Movement.[20] He felt immense pride about being self-taught. A man who embodied resistance towards oppression and convention, his influence intersected fortuitously with the cultural revolution of the late 1960s and 1970s. Friends and colleagues seem to agree that he was not an activist in the traditional sense, but he always answered when called to provide insight about homosexuality or the burgeoning “homophile” movement. He recognized that, as one of few men in the area living openly, if he did not engage in public discourse that no one one would. When asked by WANE-TV to serve as one of five panelists about homosexuality Allen agreed, saying “‘I’m all right here, I don’t have any problems because I’m not scared. But a lot of people are scared; they’re scared they’ll get arrested.”[21] He appealed to dozens of people to serve as panelists, but only two agreed. Those who declined feared that their parents would disown them or that they would lose their job, as had one of Allen’s friends who served in World War II. Others claimed the panel was unnecessary or worried that it would upset the “status quo,” which had provided a modicum of safety. To this reasoning, Allen said, “‘I thought if everything is so fine, why can’t they get on the air and say it’s fine. It’s because it isn’t fine.”[22]

Allen spoke about homosexuality at PUFW campus teach-ins and college classes, and wrote editorials for the student paper, The Fort Wayne Free Press, under the pseudonym “Claude Hawk.”[23] He wanted audiences to understand that sexuality was not a choice, noting that “My own doctor tells me that one gene or chromosome determines sexual preference—not butchness, effeminancy, athleticism, not militancy, but whom you want to go to bed with.”[24] He added that this knowledge, while “comforting,” doesn’t help if you get fired or the “bartender breaks your glass after each drink, etc., etc.” His efforts shifted the perspectives of students like Linda Lamirand and Katharine Stout, who attended a teach-in with the “brave man” who “sat up there and told it like it is.”[25] The authors were enlightened by Allen’s revelations that he knew he was gay at the age of four and that scientific studies suggested that biology dictated sexual preference.

Courtesy of The Fort Wayne Free Press, 3, iss. 16 (July 27, 1972): 9, accessed mDON: mastadon Digital Object Network, Helmke Library, Purdue University Fort Wayne.

In one Free Press editorial, Allen addressed those who had come to terms with their sexuality, but faced the question “where do you go?” to meet someone. Of the dilemma, he wrote:

You can’t find someone at an office party or at a neighborhood bar because someone would ‘find out’. So you experiment. You drink too much or get so horny that, without experience, you get your teeth bashed in saying something dumb to to the wrong person; or the right-wrong person who relieves you of your watch, wallet, and rings. Or sometimes you are picked up by a nicelooking, intelligent, young man with long hair and bare feet, who turns out to be fuzz and you are entrapped, fined, and-or jailed.[26]

He advised readers to find a “gentle, gay” friend, who can help navigate the covert social world, or a relatively tolerant restaurant or bar. A “third salvation,” Allen noted, was to “know an art or theater crowd who don’t give a damn. Not about you, but about it.” The theater provided a world in which he did not have to explain himself or act as a local spokesperson for homosexuality. He wrote that the “freedom, acceptance, and love” afforded by the theater community created “a place to breathe in this pollution of brotherhood. Since one doesn’t have to hide, or lose his job in these fields, these are the more obvious” ones in which to work.[27] In fact, Allen noted that living as a gay man paralleled life in the performing arts, writing:

“You are forced to think and live like a male and play the game so well that you are never uncovered. And this becomes an art, gives you a facility for understanding objectively what’s going on. It’s like a play, and while others are doing it naturally you’re listening for clues, and if well rehearsed, arrive at a happy ending.”[28] 

The Fort Wayne Free Press 4, iss. 3 (January 25, 1973): 6, accessed mDON: mastadon Digital Object Network, Helmke Library, Purdue University Fort Wayne.

While TROIS writer Jerry Jokay considered Allen “Fort Wayne’s unsung gay hero,” he noted that “his fortitude laid in the fact that he didn’t dwell upon his difference . . . Allen was preoccupied with being so much more, as his best friends attest.”[29] Preoccupied, he was. Allen informed Free Press readers about his life, writing in 1971 that “I ran my own school, taught at Purdue, played piano in bars, was connected with Ft. Wayne Civic Theater, Kenosha Little Theater, Theater Alanta, had choreographed a Broadway show, was a Japanese paper folder, an Arabian knot tier.”[30] He had traveled the globe in search of inspiration and imbued new generations of performers with it. The News-Sentinel wrote that “he became unique, in a world of his own creation. His art became his life, his life his art.”[31]

His life, his art. Perhaps it was his cancer diagnosis that inspired him to detail them on tape, stories that writer Dan Luzadder suggested “may have been plucked from the intensity of his nether world.”[32] We don’t know what stories he told, as he ran out of time to complete the recordings,* but perhaps he described the demands of caring for his pet python or recited original sonnets, haikus, and Limericks, “both clean and questionable.”[33] We can be certain that his life and art profoundly influenced those around him. This is evidenced by the obituaries written upon his death in 1980 at the age of 68. Luzadder wrote in the Fort Wayne News-Sentinel:

There was loneliness and insecurity. There were things that drove him. And there was tremendous courage to live through the times of his life, to aspire to art, to survive with nothing more than intelligence and faith in himself, to go hungry, to be alone, to see the world in its intolerance and still love it.[34]

Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.

On March 21, hundreds of people from all walks of life—including actors, dancers, bartenders, city officials, and editors—stood shoulder-to-shoulder at the Performing Arts Center to pay their respects to the man “whose life had taught them the meaning of art.”[35] His memorial served as a final standing ovation, with Civic Director Richard Casey reading from “Hamlet,” poets performing spoken word, and dancers delivering a finale performance of “Mr. Bojangles.”[36]

Allen provides us with a window into the experiences of those who lived openly in Indiana prior to the liberating events of the 1980s and 1990s. Before a sense of community was fostered by the formation of groups like Fort Wayne Gay and Lesbian Organization (GLO), Pride Week celebrations, and the publication of gay newsletters, Allen drew upon a deep reservoir of self-assurance and creative impulse to fashion a fulfilling life.[37] In his 1980 tribute, Steve Springer described Allen as “an individualist. Society had its standards of behavior and Allen had his own.” And although he had suffered because of these standards, Springer insisted that “Long after Anita Bryant and her hordes of intolerants are forgotten, the legend of Charles Allen will live on.”[38]

* The author has been unable to locate these recordings. If you know of their location please contact npoletika @library.in.gov.

Sources:

All issues of The Fort Wayne Free Press were accessed via mDON Mastodon Digital Object Network, Helmke Library, Purdue University Fort Wayne.

[1] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, Indiana State Library (ISL) microfilm.

[2] Jerry Jokay, “Who Was Charles Allen?,” TROIS (Three Rivers’ One in Six) (March 1983), Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

[3] “Arts Center Site for Allen Service,” (Fort Wayne) News-Sentinel, March 20, 1980, ISL microfilm.

[4] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[5] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.

[6] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[7] Ibid.

[8] Claude Hawk, “Boys Will Be Girls!,” The Fort Wayne Free Press 2, iss. 1 (January 1, 1971): 3.

[9] Ibid.

[10] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[11] Nicole Poletika, “Etheridge Knight: ‘can there anything good come out of prison,'” May 3, 2017, accessed Indiana History Blog.

[12] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

[13] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.

[14] Ibid.; Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[15] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

[16] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[17] Janice Dyson, “Studio Marks 65 Years of Dancing,” KPC News, December 28, 2017, accessed kpcnews.com.

[18] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.

[19] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

[20] “Family Festival Slated,” Fort Wayne Journal-Gazette, April 28, 1976, 6C.

[21] “It Isn’t Fine,” The Fort Wayne Free Press 2, no. 17 (September 9-23, 1971).

[22] Ibid.

[23] Claude Hawk, “Wherever You Are!,” The Fort Wayne Free Press 1, iss. 10 (October 7-21, 1970): 4.; Claude Hawk, “Out of the Closet,” The Fort Wayne Free Press 1, iss. 11 (November 2-18, 1970): 3, 6.; “It Isn’t Fine,” The Fort Wayne Free Press 2, no. 17 (September 9-23, 1971).

[24] Claude Hawk, “Wherever You Are!,” The Fort Wayne Free Press 1, iss. 10 (October 7-21, 1970): 4.

[25] Linda Lamirand and Katharine Stout, “Dear Freep,” The Fort Wayne Free Press 2, iss. 7 (April 22-May 6, 1971): 10.

[26] Claude Hawk, “Wherever You Are!,” The Fort Wayne Free Press 1, iss. 10 (October 7-21, 1970): 4.

[27] Ibid.

[28] Claude Hawk, “God Love Us All,” The Fort Wayne Free Press 2, iss. 8 (May 6, 1971): 9.

[29] Jerry Jokay, “Who Was Charles Allen?,” TROIS (Three Rivers’ One in Six) (March 1983), Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

[30] Bob Ihrie and Charles Allen, “Holiday on Ice,” The Fort Wayne Free Press 2, iss. 2 (January 18-February 2, 1971): 3.

[31] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[32] Ibid.

[33] Dell Ford, “Artists’ Artist Charles Allen Dies,” Fort Wayne Journal-Gazette, March 20, 1980, 1C, 2C, ISL microfilm.

[34] Dan Luzadder, “Charles Allen: His Life and His Art Were his Epitaph,” (Fort Wayne) News-Sentinel, March 21, 1980, 7A, ISL microfilm.

[35] Dell Ford, “Funeral Celebrates Dance, Poetry, Drama, Music,” Fort Wayne Journal Gazette, March 22, 1980, C1, ISL microfilm.; Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

[36] Dell Ford, “Funeral Celebrates Dance, Poetry, Drama, Music,” Fort Wayne Journal Gazette, March 22, 1980, C1, ISL microfilm.

[37] Nicole Poletika, “From ‘Gay Knights’ to Celebration on the Circle: A History of Pride in Indianapolis,” October 5, 2021, accessed Indiana History Blog.

[38] Steve Springer, “Chas. Allen,” The Communicator, March 27, 1980, reprinted in TROIS (Three Rivers’ One in Six) (May 1980): 5, 7, Northeast Indiana Diversity Library Collection, accessed Indiana Memory.

“Washed Up:” A Discovered Artifact and the Rub-No-More Soap Company

At the Indiana Historical Bureau, we routinely get requests from researchers for assistance. Some of these are fairly simple, like helping with someone’s family history or determining the age of an antique they just bought. However, every once in a while, we get queries so interesting that they require a whole lot more research, and you never know what you might turn up.

Back in March, I received an email from a gentleman in California who recently found a unique item while metal-detecting on the beach. He needed help figuring out what it was and how old it might be. It was a weathered, rusted emblem with two elephants on the front and a name, “Rub-No-More.” On the back, it said, “some worry about wash day; others use Rub-No-More.”  He also knew it had an Indiana connection, as a quick internet search determined that the Rub-No-More brand was based out of Fort Wayne.

The Rub-No-More Watch Fob that washed up on the beach. Image: Kevin O’Brien.

It turns out that the item he found was a Rub-No-More watch fob, likely made sometime between 1905-1920. A watch fob was a decorative piece that accompanied a pocket watch, and helped keep the watch in a wearer’s pocket. A fob exactly like this one was recently sold at auction. Chicago’s F.H. Noble & Company, whose long history includes making trophies and urns for cremated remains, manufactured the fob. But what about the history of the company who commissioned it, the Rub-No-More Company? In learning more about this small, weathered piece of advertising, I discovered a history of one of Indiana’s most successful businesses at the turn of the twentieth century.

Rub-No-More watch fob recently sold at auction. Image: Hakes’s Auctions.

While its origins go back at least to 1880, the Summit City Soap Works of Fort Wayne (the Rub-No-More Company’s original name) was formally incorporated in May of 1885, with a capital stock of $25,000  for “manufactur[ing] laundry and other soaps,” according to the Indianapolis Sentinel. Their penchant for lavishing gifts on customers goes back almost to its founding. As the Wabash Express reported on May 27, 1886, Harry Mayel of the Summit City Soap Works came to Terre Haute and provided “over one hundred and fifty thousand dollars in beautiful and valuable presents” to purchasers of the company’s Ceylon Red Letter Soap. While this was a great deal for consumers, it appears it wasn’t as good for the company. By 1888, the Summit City Soap Works was insolvent, with $18,000 in debt and only $14,000 in assets, and a court-ordered receiver came in to clean up the mess. The difficulties didn’t end there. Two years later, as mentioned by the Crawfordsville Daily Journal, the company’s facilities on Glasgow Avenue burned to the ground, an estimated loss of $6,000. The company, sadly, had no insurance to cover these damages.

Clearly, it was time for new leadership, and it came in the form of the highly successful Berghoff family, German immigrants who became a mainstay of Fort Wayne’s business community. The Berghoffs ran a profitable brewery in the city, most known for its “Dortmunder Beer” brand. They parlayed this success into other ventures, including the Summit City Soap Works. Gustave A. Berghoff, a traveling salesman for the brewery, purchased the soap manufacturer in 1892, likely from his own brother, Hubert. The latter had purchased the firm a year earlier for a measly $5,000, and intended to revive the soap maker to “run day and night,” according to the Fort Wayne Sentinel.

Dortmunder Beer advertisement from Berghoff Brewing Company. Image: FortWayneBeer.com.

Gustave Berghoff and his team wasted no time getting the company back on its feet and profitable, betting its success on a brand new product, Rub-No-More. Introduced in 1895, Rub-No-More was a “labor saving compound” that “clean[ed] the working clothes of a mechanic as well as the finest linen of the household, without much rubbing,” the Fort Wayne News wrote in its May 30th issue. To kick off the new product, the company launched a massive advertising campaign that provided free samples of Rub-No-More to every family in Fort Wayne. Summit City Soap Works then sold it at five cents, in a package that would cover five washing weeks. Rub-No-More became a hit, greatly benefiting Berghoff and his company. As such, they continued their tradition of giveaways. For example, in 1898, Summit City Soap Works offered its customers a free children’s book or wall calendar in exchange for saved Rub-No-More coupons and Globe Soap wrappers.

Fort Wayne Daily News, November 4, 1898. Image: Newspapers.com.

The company completely reorganized in 1903, including a new incorporation and expansion of its facilities. After eighteen years as an incorporated company, the Summit City Soap Works saw its capital stock increase four fold, to $100,000. Its executive staff also evolved, with Gustave Berghoff retaining his position as president but appointing his brothers, Henry and Hubert Berghoff, along with J. W. Roach and Albert J. Jauch, to the board of directors. The Fort Wayne Journal-Gazette reported that Berghoff was “having built a large addition to his factory, which will double the plant’s capacity.” The paper also commented on the company’s success, writing that “the business has grown from a small beginning to large proportions, and the institution is now known all over the United States, and the output is used almost universally in this country.”

The company also expanded its marketing, filing for multiple trademarks in 1905. The first filing, from April 17, 1905, included its new logo for Rub-No-More as well as an emblem, one so iconic to the company that it inspired my research: the two elephants logo. Used for decades as the symbol of Rub-No-More, the trademark displays an adult elephant dressed as a washerwoman washing a child elephant with its trunk. The second filing, dated September 19, 1905, includes both the new logo for the company’s name as well as the two elephants symbol. These became the company’s go-to branding for both its products and promotional materials, and it served them well. Grocers at Kendallville purchased 14,000 pounds of soap from the company in April of 1909, as noted by the Fort Wayne Sentinel, which traveled “in a single shipment over the [city’s] interurban.” That year, the Summit City Soap Works continued its tradition of promotional giveaways. An advertisement in the Dayton Herald offered customers free gifts in exchange for some of their products’ packaging trademarks. They offered girls an embroidery set and boys a “very interesting game” suitable for thirteen people.

Rub-No-More trademark application, September 1905. Image: Google Books.

One incident in 1911 showed how Rub-No-More soap could lead to more than just fun giveaways. A young woman named Bessie Lauer, an employee of the Summit City Soap Works, wrote her name on the inside of a soap bar’s packaging. It made its way out west, where a “wealthy California orange grower” found it and sought out a courtship, perhaps even marriage. She turned down his offer, but the publicity it garnered led to a Hanford, California Sentinel article describing the whole affair. Apparently embarrassed by the incident, Lauer told the Sentinel that “this is the first time she has ever written her name on a soap wrapper, and she fervently states that it will be her last.”

After decades of operation under the Summit City Soap Works moniker, the company formally changed its name in 1912 to the Rub-No-More Company, solidifying the importance of their branded soap to the entire enterprise. (A notification of the name change was published in the January 18, 1912 issue of the Fort Wayne Daily News, but it wasn’t official until April 12, 1912, when articles of incorporation were filed, according to the Indianapolis News. Advertisements in newspapers as early as June of that year indicated the name change). Around this time, Gustave Berghoff, the company’s president, began serving on the board of directors of the German-American National Bank based in Fort Wayne, greatly increasing his stature within the local business community.

Rub-No-More Logo, Trade Mark News. 1911. Image: Google Books.

By 1917, sales of the Rub-No-More Company topped $3,000,000 a year, as referenced in a profile in the Fort Wayne Journal-Gazette celebrating its 25th anniversary under the ownership of Berghoff. The article noted the expansion of its production facilities, from “the old days [when the plant was] comprised [of] but a few shacks” with “equipment consisting mostly of crude apparatus[es],” to a plant comprising “thousands of square feet.” This machinery was “of the most modern design . . . the value of which totals near a million dollars.” Within two decades, Rub-No-More, the company’s flagship product, became a mainstay product for consumers, with “circulars, wrappers, etc. . . . reproduced 200,000,000 times a year,” bringing “both the institution and the city continually before the minds of millions of people residing in this and foreign countries.”

Terre Haute Daily Tribune, March 22 1918. Image: Hoosier State Chronicles.

An interesting modern parallel, the Rub-No-More Company encouraged sterilizing face masks during the influenza pandemic of 1918. A notice printed in the November 22, 1918 issue of the Indianapolis News instructed readers to “sterilize flu masks” by “thoroughly dissolv[ing] two tablespoonsful [sic] of Rub-No-More soap chips in one quart of boiling water” to “carefully wash masks.” As with today’s COVID-19 pandemic, soap companies have used their advertising to encourage people to wear masks and to keep them clean, something the Rub-No-More company did over 100 years ago.

Indianapolis News, November 22, 1918. Image: Hoosier State Chronicles.

Despite the Rub-No-More Company having a mostly positive reputation, it wasn’t without controversy. In 1918, the Indianapolis Star reported that the Rub-No-More Company was one of several companies charged with violating the federal child labor law. In a grand jury indictment against them, it was alleged that “three children were required to work ten and one-half hours a day” at their plant. Another issue the company faced came from its manufacturing process— one of “obnoxious odors.” The Indianapolis Times wrote in 1923 that the City of Fort Wayne was seeking a “permanent injunction” requiring the Rub-No-More Company to reconfigure their production process to alleviate the harsh smells that bothered the city’s east side residents.  It is unclear what the outcomes of these situations were, but violations of child labor laws and air quality, somewhat new to American industry in 1918, represented some of the lesser angels of industrialization.

Fort Wayne Journal-Gazette, November 4, 1917. Image: Newspapers.com.

After 35 years of success at the helm, Gustave Berghoff sold the Rub-No-More Company to Procter & Gamble and retired from the company in 1927. The company’s roughly 140 employees were transferred to other Procter & Gamble plants after a transitional period where Rub-No-More Company’s manufacturing stock was used. The Rub-No-More brand continued for many years under the Procter & Gamble umbrella, with advertisements for the product appearing in newspapers well into the early 1950s. Gustave Berghoff, the company’s former president, died on January 25, 1940 at the age of 76. He is buried in Catholic Cemetery in Fort Wayne.

The Rub-No-More Company exists in history as something of a Horatio Alger tale. A German immigrant, helped by his family, purchased a failing firm and turned it into one of the most successful soap companies of the early 20th century. Additionally, its innovative approach to marketing, promotions, and branding ensured its dominance in the marketplace. This story is also about how even a simple item, like a watch fob washing up on the beach in California, can lead to an understanding of one of northern Indiana’s industrial giants at the beginning of the American Century.

The Debate over “Decency:” How Hoosiers Challenged Anita Bryant’s Anti-Gay Rights Crusade

Advertisement, Indianapolis Star, October 1, 1977, 19, accessed Newspapers.com.

Pop singer, evangelical Christian, and Florida orange juice spokesperson Anita Bryant symbolized the contentious battle over American civil rights and national mores in 1977. Grounded in her religious convictions, she launched the “Save Our Children” campaign, which led to the repeal of a Dade County ordinance that would protect the rights of homosexual residents. That October, Bryant flew to Indianapolis to perform and spread her anti-gay rights message at the “Rally for Decency,” alongside controversial southern pastor Jerry Falwell Sr. and Indiana lawmaker Don Boys, who planned to introduce a bill at the 1978 legislative session that would criminalize sodomy.[1]

From the moment Bryant’s plane touched down to the second she departed the Indiana State Fairgrounds Coliseum, Hoosier journalists and activists pressed Bryant on her opposition to the employment of gay teachers and her advocacy of gay conversion therapy. Like in Indianapolis, her visits to Fort Wayne and South Bend later that month were met with protest, albeit characteristically polite in nature. One of the nation’s leading gay rights activists at the time, Bob Kunst, credited Anita Bryant’s 1977 crusade with forwarding the gay rights movement by normalizing discussions about homosexuality.[2]

Indeed, her efforts to keep gay individuals from obtaining their rights inspired organized resistance in Indiana. The Michiana Human Rights Coalition formed in direct response to her appearance in South Bend. Her visits to the Hoosier state also catalyzed support for gay rights from those outside of the queer community, many of whom may not have given much thought to the plight of this minority group previously. Catholic and cisgender University of Notre Dame Library employee Charles Early explained why he protested her performance on campus in The South Bend Tribune, noting “I joined in a demonstration opposing Anita Bryant on an issue which did not affect me personally because I believe that the spirit which she represents is ultimately a threat to everyone’s rights.”[3]

Here, we examine Hoosier protest to Bryant’s 1977 visits and how similar resistance across the country effectively ended her entertainment career, resulted in the loss of lucrative endorsement deals, and reflected changing national mores.


Schlafly at the Illinois State Capitol, June 19, 1978, photo: Bettman/Getty Images, accessed Town and Country.

It could be said that the conflicting movements of 1977 constituted a fight for the nation’s soul. Journalist Gloria Steinem, bearing her trademark aviator eyeglasses, mobilized feminists in support of women’s reproductive rights and long-awaited ratification of the Equal Rights Amendment (ERA), which would guarantee equal legal rights for women. Leading counter-protests, conservative activist Phyllis Schlafly, “STOP ERA” button dutifully pinned to her lapel, rallied “pro-family” troops at the White House.[4] Occupying the same battlefield as Schlafly was Anita Bryant, who shared her desire to quell the winds of cultural change and safeguard “traditional” American family values. Of this resistance, Early theorized “Many people today are frightened and disturbed by the unrest and rapid change in American society, and they want to go back to a time when things were simpler and more understandable.”[5]

While Steinem and Schlafly sparred over the role and rights of women, Bryant focused on safeguarding the American family by suppressing the rights of gay Americans. Fearing her children would be exposed to the “perversion” of gay teachers, she successfully led a movement to repeal a Dade County, Florida ordinance that would prohibit teachers from being fired due to their sexual orientation.[6]

The Works (May 1985), 31, accessed Chris Gonzalez GLBT Archives.

Anita and her husband Bob Green insisted that they loved gay individuals, so much so that they dedicated themselves to converting them to heterosexuality in order to save them from hell and the “sad” lifestyle they lived. Green recalled:

‘When we were kids, we used to say if a guy was a homosexual, all we had to do was fix him up with a girl and the next day he’d be heterosexual. . . . Well it’s not like that. Anita and I have led many, many homosexuals to the light. But it’s a slow process. It’s an area of sin Christians need to work on.’[7]

Feeling no love from the devout Christian couple was Ernest Rumbarger, an Indianapolis resident and gay contributor to The Works. He recalled that in the 1970s gay men “were finally learning how to communicate with each other in a social setting other than bars” and that “Gay businesses as such were beginning to flourish and, all in all, things seemed to be going rather well.”  That is, until Anita Bryant undertook her “Save Our Children” campaign. Indianapolis police officers arrested Rumbarger and two other men in 1977 for homosexual prostitution in Indianapolis. Rumbarger wrote that he and his partner were two of Bryant’s “better known local victims. We were taken from our home in the middle of the night and held for eight days in jail, incommunicado.” Despite receiving no assistance from the Indiana Civil Liberties Union or Gay People’s Union, a grand jury found Rumbarger not guilty and reportedly offered him an “unsolicited public apology.” The Hoosier wrote “On either coast we would have been carried through the streets and hailed as national heroes” for his triumph over persecution.[8]

The Daily Journal (Franklin, Ind.), October 8, 1977, 1, accessed Newspapers.com.

As Bryant’s campaign emboldened harassment of queer individuals, Hoosier allies mounted resistance to her October 7 visit to Indianapolis. The day before the “Rally for Decency,” the Indiana Coalition for Human Rights hosted a news conference, attended by representatives of the Metropolitan Community Church of Indianapolis, Gay People’s Union, and the Sex Information and Education Council of Indiana. Coalition spokesperson Mary Byrne told the press that allies would picket Bryant’s performance “because she represents a force for evil and persecution. She has inflamed irrational prejudices and fostered fear and hatred.” Attending the protest would be Baptist minister Rev. Jeanine C. Rae, who believed that fundamentalists’ attempts to legislate sexuality threatened the separation of church and state. She argued that withholding human rights from certain communities “‘limits the freedom of all persons-including white heterosexual Baptists.'”[9]

Immediately after arriving at the Indianapolis International Airport on the day of her performance, Anita participated in a press conference, looking, in the words of journalist Robert Reed, “very much like an aging but attractive president of the local PTA.” She and her husband fielded questions about her work to repeal the Dade County ordinance, which she felt afforded gay individuals “special privileges” and would allow them to flaunt homosexuality in the classroom.[10] She believed “God put homosexuals in the same category as murderers, thieves and drunks. Homosexuality is a sin and I’m against all sin. I’m also against laws that give respectability and sanction to these types of individuals.”[11] Her crusade against these laws, she alleged, incited a “national conspiracy” against her. She reported receiving bomb threats and the loss of product endorsements. Reed wrote that her statements were ill-received by journalists, who left the press conference while she was still talking.[12]

Protesters at the Fairgrounds, Indianapolis Star, October 8, 1977, 32, accessed Newspapers.com.

That night, the Indiana State Fairgrounds Coliseum thrummed with cheers and “Amens” as approximately 7,000 attendees absorbed the words of speakers who outlined their plans to “restore decency” in America. The Martinsville Reporter-Times noted that the event “took on the aura of a political rally and a Baptist revival.”[13] Local pastors emphasized the need to elect officials who supported causes like “Save Our Children,” some of whom sat in that very coliseum. Greenwood Rep. Donald Boys advocated for his anti-sodomy law, to be introduced the following year, and for lawmakers to expunge the Equal Rights Amendment. After his bill failed to pass in 1976, the persistent lawmaker wrote, “‘This is the day of equal rights unless you happen to be a Christian, conservative, white male, creationist.’”[14]

Outside of the coliseum, 500 protesters bore the rain, carrying dampened signs that read “Straights for gay rights” and “A day without human rights is a day without sunshine”— a play on the Florida Citrus Commission’s “Breakfast without orange juice is like a day without sunshine” slogan.[15] Protesters included Fritz Lieber, co-chairman of the Indiana Coalition for Human Rights, who lost his teaching position for being gay. Mary Hoffman, her husband, and three kids also attended the demonstration, believing that Bryant’s message “‘parallels McCarthyism, the Ku Klux Klan and Hitler.'” As protesters stoically made their presence known, Rev. Jerry Falwell quipped on the stage, “It’s a shame it’s raining. It might wash off their make up.”[16]

Bryant on stage at the Indiana State Fairgrounds, Indianapolis Star, October 8, 1977, 32, accessed Newspapers.com.

When at last Bryant took the stage, the audience was rapt, hanging onto every word she sang. She occasionally punctuated her religious and patriotic songs with oration—like warning the audience that “if parents don’t rise up and set standards for our children, the humanists, the ultra-liberals and the militant homosexuals will”—which inspired several standing ovations.[17] After her performance, the polarizing figure departed for Nashville, but the momentum generated at the rally carried over to the next day, when a parade of 500, led by U.S. Marine Cleve McClary, marched to Monument Circle. There, 2,000 Hoosiers joined them for an “encore” rally to “restore decency.” Local pastor Earl Lawson, who worked to reform homosexual individuals and sex workers, declared that he would organize similar rallies across the state.[18]

Opponents responded to the continued rallies through the press. Indianapolis newspapers printed an advertisement compiled by sixty-three clergy protesting “the crusade against persons with homosexual orientation.” A few days after the rally, Jerry Briscoe wrote to the Indianapolis News editor that Bryant’s judgment of others “has become devastating to their existence” and contradicted Christian theology. He stated, “God is our ultimate judge—that is, of course, before Anita Bryant came along.”[19]

Athletic and Convocation Center, University of Notre Dame, South Bend Tribune, October 28, 1977, 1, accessed Newspapers.com.

Hoosiers, joined by Cleveland and Chicago activists, again mounted resistance to Bryant when she returned to Indiana at the end of the month. The Michiana Human Rights Coalition formed ahead of her October 26th concert at the University of Notre Dame, with the motto that “All God’s Chillun Gotta Sing.” Protesters planned to march with signs bearing Bible verses and Shakespearean quotes reaffirming human rights.[20] That evening, only 500 of the arena’s 10,000 seats were occupied. The South Bend Tribune reported that Bryant, who led the audience in prayer for gay individuals, unwed couples living together, and divorced couples, “seemed lost in the vastness of the Athletic and Convocation Center.” The number of protesters, both in support of and opposition to Bryant, nearly matched that of concert-goers.[21]

About two weeks before her Notre Dame performance, a protester threw a pie at Bryant during a press conference in Des Moines, Iowa. Her face eclipsed by whipped cream, Bryant tried to pray for the man before breaking down into tears.[22] South Bend demonstrators determined to make their opinions known peacefully and by demonstrating love. They went so far as to invite Bryant to a “gay” reception in her honor, to which she declined. In lieu of pie, they gave her a bouquet of roses and dropped petals at the feet of counter-protesters.[23]

Charles Early, “Counter-protesters at Bryant Concert Warped by Hatred,” The South Bend Tribune, November 7, 1977, 15, accessed Newspapers.com.

According to Catholic Notre Dame employee Charles Early, the same kindness was not exhibited by counter-protesters, one of whom spat on the seven-year-old daughter of a Michiana Coalition leader. However, Early alleged the “fiasco” that was the concert showed a growing acceptance of the marginalized community.[24] Just three days later, demonstrators picketed Bryant’s performance at Fort Wayne’s Embassy Theater for the 60th anniversary celebration of the Brotherhood Mutual Insurance Co. Some carried signs saying “Gay is Okay” and “Anita Bryant is Proof Orange Juice Causes Brain Damage.”[25]

Bryant was met with similar protests across the country and nationwide boycotts of orange juice, endorsed by entertainment titans like Barbara Streisand, John Waters, and Mary Tyler Moore.[26] Gay bars swapped orange juice for apple in screwdriver cocktails. The backlash effectively ended her entertainment career and endorsement deals. She reportedly lost $500,000 in television contracts, was no longer booked for performances, and lost her years-long endorsement deal with the Florida Citrus Commission.[27] Bryant’s crusade ultimately backfired and activists credit her with bringing the issue of gay rights to the forefront. One South Bend Tribune editorial noted that she “stirred a reaction among those whose awareness of and sympathy with the problem previously was minimal but who automatically throw up mental defenses against extremism.” The author wrote that her campaign also prompted examination of the “psychological and physical complexity of homosexuality.”[28]

Bryant promoting Florida orange juice, accessed South Florida Gay News.

In Louisville, Bryant’s crusade inspired some gay and lesbian residents to cautiously come out of the closet.  The thought that “‘We’re all monsters'” inspired one man to be open about his sexuality.[29] Another man interviewed noted that “Anita has made gays aware of themselves.” Reflecting increasingly-tolerant attitudes, that November Harvey Milk became the first openly-gay elected official in California, when he won a seat on the San Francisco Board of Supervisors. He introduced a gay rights ordinance similar to that which officials repealed in Dade County.[30]

By 1980, Anita Bryant was divorced and financially depleted.[31] Five years earlier, she described the agony of choosing whether to prioritize her family and Christian faith over a career in entertainment.[32] Although she experienced “depressions and doubts, caused by the many sides of me coming into conflict,” prayer revealed to her that she must relinquish ambition and submit to a life of service to her family and Christ. Now shunned by Christian fundamentalists for leaving her marriage, perhaps she related to the lyrics of a song she performed in 1964:

The world is full of lonely people
I know because I’m one of them [33]


Celebrations resounded in courthouses across the country in 2015, when the U.S. Supreme Court struck down same-sex marriage bans in all states.[34] But the 2015 enactment of Indiana’s Religious Freedom Restoration Act, as well as the 2018 firing of a Roncalli High School guidance counselor upon discovery of her same-sex marriage, again set off passionate debate about religious and civil rights.[35] The events of October 1977 demonstrate that Hoosiers have historically participated in the debate and protested for what they believe is right.

Notes:
* All newspaper articles accessed via Newspapers.com.

[1] Mike Ellis, “‘Standards Must Be Set by Parents,'” Indianapolis News, October 8, 1977, 2.

[2] Interview, “Anita Bryant Confronted in 1977,” Who’s Who, accessed YouTube.

[3] Charles Early, “Counter-protesters at Bryant Concert Warped by Hatred,” South Bend Tribune, November 7, 1977, 15, accessed Newspapers.com.

[4] Karen Karbo, “How Gloria Steinem Became the ‘World’s Most Famous Feminist,'” March 25, 2019, accessed National Geographic.; Douglas Martin, “Phyllis Schlafly, ‘First Lady’ of a Political March to the Right, Dies at 92,” September 5, 2016, accessed New York Times.

[5] Early, “Counter-protesters at Bryant Concert Warped by Hatred.”

[6] Barney Seibert, “Perverts’ Hatred Makes Life Tough for Anita Bryant,” The Reporter-Times (Martinsville, IN), April 10, 1980, 5.

[7] Holly Miller, “‘Deliverance:’ Anita and Mate Tell Their Story,” Anderson Herald, October 8, 1977, 1.

[8] “3 Arrested in ’77 Freed of Charges,” Indianapolis Star, March 9, 1979, 20.; Editorial, E. Rumbarger, “What Do Hoosiers Have to Be Proud of?,” New Works News (June 1989), 4, accessed Chris Gonzalez GLBT Archives.

[9] “Anita to Face Pickets Here,” Indianapolis News, October 6, 1977, 3.;  Jan Carroll, “Groups Call Miss Bryant Evil Force,” Courier-Journal (Louisville, KY), October  7, 1977, 6.; “Protesters to Be on Hand to Picket Anti-Gay Rally,” Daily Journal (Franklin, IN), October 7, 1977, 5.

[10] Robert Reed, “Anita Bryant: She Draws Line for Hoosier Journalists,” Daily Journal (Franklin, IN), October 8, 1977, 2.

[11] Miller, “‘Deliverance:’ Anita and Mate Tell Their Story.”

[12] Reed, “Anita Bryant: She Draws Line for Hoosier Journalists.”

[13] “Protesters Picket Anita Bryant Decency Rally in Indianapolis,” Reporter-Times (Martinsville, IN), October 8, 1977, 1.

[14] Letter to the Editor, Donald Boys, State Representative, Reporter-Times (Martinsville, IN), June 9, 1977, 2.

[15] Ellis, “‘Standards Must Be Set by Parents.'”

[16] “Anita Stirs Emotions,” Journal and Courier (Lafayette, IN), October 9, 1977, 9.; Ellis, “‘Standards Must Be Set by Parents.'”

[17] Ellis, “‘Standards Must Be Set by Parents.'”

[18] “‘Save Our Society’ Circle Rally Held,” Indianapolis Star, October 9, 1977, 59.

[19] “Anita Stirs Emotions,” Journal and Courier.; Letter to the Editor, Jerry Briscoe, “On Peaceful Coexistence,” Indianapolis News, October 10, 1977, 9.

[20] “Support Grows for Gay Rights, Promoter Says,” South Bend Tribune, October 26, 1977, 14.

[21] Edmund Lawler, “Anita Bryant Revival Draws 500 into ACC,” South Bend Tribune, October 28, 1977, 1.

[22] William Simbro, “Pie Shoved in Anita Bryant’s Face by Homosexual—She Cries,” Des Moines Register, October 16, 1977, 3.

[23] “Support Grows for Gay Rights, Promoter Says,” South Bend Tribune.; Jeanne Derbeck, “‘Gay’ Tactic: Show of Kindness,'” South Bend Tribune, October 17, 1977, 1.; Lawler, “Anita Bryant Revival Draws 500 into ACC.”

[24] Early, “Counter-protesters at Bryant Concert Warped by Hatred.”

[25] “Anita Picketed in Fort Wayne,” Indianapolis News, October 29, 1977, 15.

[26] Fred Fejes, “Gay Rights and Moral Panic: The origins of America’s Debate of Homosexuality (New York: Palgrave Macmillan, 2008), accessed Springer Link.

[27] Seibert, “Perverts’ Hatred Makes Life Tough for Anita Bryant.”; N.R. Kleinfield,” Tarnished Images: Publicity’s Great—Up to a Point,” Press Democrat (Santa Rosa, CA), May 26, 1981, 36.

[28] Editorial, “Anita’s Woes,” South Bend Tribune, October 31, 1977, 14.

[29] “Anita Bryant has Opened Doors for Gays,” The Courier-Journal (Louisville), October 6, 1977, 1, 4.

[30] “Milestones in the American Gay Rights Movement,” American Experience, accessed PBS.org.

[31] Seibert, “Perverts’ Hatred Makes Life Tough for Anita Bryant.”; Barry Bearak, “Turmoil Within  Ministry: Bryant Hears ‘Anita . . . Please Repent,” Miami Herald, June 8, 1980, 1A, 33A.; Steve Rothaus, “Bob Green: Anita’s Ex Paid Dearly in the Fight,” Steve Rothaus’ Gay South Florida, June 9, 2007, accessed Miami Herald.

[32] Alan Ebert, “For Easter: Anita Bryant’s Painful Progress Toward God,” Anderson Daily Bulletin, March 29, 1975, 30.

[33] Lyrics, “The World of Lonely People,” 1964, accessed Genius.com.

[34] Ed Payne, “Indiana Religious Freedom Restoration Act: What You Need to Know,” CNN, March 31, 2015, accessed CNN.com.; Bill Chappell, “Supreme Court Declares Same-Sex Marriage Legal in All 50 States,” The Two-Way, June 26, 2015, accessed NPR.org.

[35] Arika Herron, “Shelly Fitzgerald, First Gay Guidance Counselor Suspended by Roncalli, Files Federal Suit,” IndyStar, October 22, 2019, accessed IndyStar.com.

The Fort Wayne Colored Giants

Larry Rubama, “Missing History Postcard Spurs Search For Forgotten Team,” Fort Wayne Journal Gazette, September 20, 1998, 1, courtesy of Perspectives.

The Fort Wayne Colored Giants was the only black baseball team to represent the city of Fort Wayne for forty-two years, from 1907 to 1949. In that time period, baseball was a segregated team sport, with black athletes playing only on all black teams. The Colored Giants team was one of the premier black teams in northeast Indiana in that period. Other black Fort Wayne teams included the Black Diamonds (1916-1917), Dupee’s All-Nations (1919), Riddle’s All- Stars (1920-1922), the Cadillac Colored Giants (1921-1922), and the Fort Wayne Colored Pirates (1926-30s). Indiana had over thirty-seven traveling black teams, extending from West Baden in the south to South Bend in the north, and Evansville in the west to Fort Wayne in the east.

Young men with outstanding baseball skills comprised the Fort Wayne Colored Giants. These young men developed their baseball prowess playing sandlot, church ball, “pickup” baseball, and community ball. Young men would come play baseball from as far away as Marion and other black communities in northeast Indiana.  Fort Wayne newspapers advertised player recruitment and notices for team competitions. It also provided notification of both games and team and league scores.

Cities large and small adopted black baseball teams when they could find players and afford to do so. The teams vitalized and energized their communities, both black and white.  The teams were self-sufficient and team members were paid scanty sums. Community teams typically passed a hat around during the game where patrons would contribute whatever they could to help defray costs. Teams struggled to maintain their budgets and keep their key players. Some teams were very wealthy, such as the Pittsburgh Crawfords of the National Negro League. Others just made ends meet and vanished after a season or two. The Fort Wayne Colored Giants did manage to provide a stipend for their players.

African-American Historical Society in Fort Wayne, courtesy of the Library of Congress.

Baseball was the cornerstone of many communities, both large and small. This was the heyday for black businesses and the black community.  Life revolved about church, neighborhoods, clubs, and organizations like the Phyllis Wheatly House, the former community center, which is now home to the Fort Wayne African African-American Museum.

The Giants’ home field was located in southeast Fort Wayne, where home and exhibition games took place. The team also played at Fort Wayne’s League Park, which was constructed in 1883, and in 1922 renamed Lincoln Life Field. The Fort Wayne Colored Giants played black teams such as the Toledo Mud Hens, the Indianapolis ABCs, the Chicago Giants, Saint Louis Stars, the Evansville White Sox, and Pittsburgh Homestead Grays of the Negro National League. The Giants team played ‘out of local area’ Indiana teams, including those from Lagrange, Decatur, Geneva, Uniondale, Marion, Huntertown, Evansville, La Otto, Ligonier, Hudson and North Manchester. They also played teams from Hicksville, Antwerp, Convoy, and Van Wert, Ohio.

The Colored Giants had standing rivalries with area white teams, such as the Fort Wayne Lincoln Lifers, the Columbia City Grays, the Roanoke Independents, the New Haven Visible Pumps, the Kendallville Reds, the Garrett K of Cs, and the Auburn Athletics.

Fort Wayne Sentinel, May 29, 1923, 9, accessed Newspapers.com.

The Colored Giants team had multiple owners and managers over the years and these include: (1909) Mr. Harry Ellis, both owner and manager; (1916) Mr. L.B. Dupee, owner and Mr. George Wilson, manager; (1919) Mr. Bob Jones bought out Mr. L.B. Dupee and retained Mr. George Wilson as manager; (1920-1921) Mr. Bob Jones, owner and Mr. Johnson, manager; (1921- 1922) Mr. Bob Jones, owner and Mr. T.E. Lewis, manager; (1923-192) Mr. Moses Taylor, owner manager; and (1930-1949) no information on owners or managers was available.  The information presented was obtained from Fort Wayne newspaper articles of the period.

Very little is known about the team’s owners and managers, but the Fort Wayne Journal Gazette Newspaper did feature one. That was Moses Taylor, the longest serving owner and manager of the Colored Giants (1923 to 1929). The story of black baseball in Fort Wayne is a story of a family involved in the community and in baseball.  It is a story of a man, a visionary and an entrepreneur, who became the catalyst for the creation of a strong baseball team. His dream generated passion within a community and among a group of young black men. He set the stage for solid baseball play with major teams, both semi pro and local.

After a team bus broke down in 1929 in Pittsburgh, Mr. Taylor stayed and found a job.  He moved the rest of his family to Pittsburgh around 1930. Mr. Taylor utilized his experience with the Fort Wayne Colored Giants to form the Pittsburgh Mystics, as reported by his daughter Mrs. Lucille Taylor Wooden of Cleveland, Ohio.  This team played against the Pittsburgh Homestead Grays of the National Negro League.

Fort Wayne Sentinel, September 3, 1920, 2, accessed Newspapers.com.

The Fort Wayne Colored Giants infused and energized the black community of Fort Wayne. The team established its mark in the city and in baseball.  The Fort Wayne Tincaps are the legacy of the Fort Wayne Colored Giants and the many white league teams of the era.  They all contributed to baseball history in Fort Wayne.  The Giants are one of the few Fort Wayne baseball teams, black or white, from that era (1907-1949) to be recognized in the 21st century via news media and with a plaque at Parkview Field.  They assume their proper place in the history of Fort Wayne as true contributors to the development of sports history in the Summit City.

The Indiana General Assembly (1826-1846): Surveying, the First Statehouse, and Financial Collapse

 

David Dale Owen, courtesy of Smithsonian Institution Archives, RU 7177, George P. Merrill Collection, accessed Evansville.edu.

* See Part One: Statehood, Slavery, and Constitution-Drafting (1815-1825)

Indiana’s Geological Survey

One of the more daunting tasks asked of the legislature was establishing a geologic survey of the state. Its origins date to 1830, when the General Assembly passed a resolution calling for the state’s first geologic survey connected with a professorship at Indiana University. This plan failed and the issue was not readdressed until 1836, when the General Assembly passed a new resolution calling for the creation of a geologic survey, led by twenty-seven year old David Dale Owen. Starting in 1837, Owen surveyed the state’s southern half and made his way northward. His primary task involved marking the delineation of coal and mineral deposits.[1]

Owen also perfected a method for determining the depth of coal deposits, which stipulated that once miners discovered limestone displaying specific fossils, no more coal was underneath. Owen’s reports to the General Assembly in 1837-39 gave legislators a wide range of information about the geologic properties of the state, including a topographical analysis and exact measurements of coal and mineral deposits. Due to his superb findings on the first geological survey, the General Assembly even consulted Owen on future geological projects up until his death in 1860. Owen’s dedication to science and exact methods inspired generations of geologists interested in Indiana and the Midwest.[2]

The First State House in Indianapolis

First Marion County Courthouse, sketched by artist Christian Schrader, courtesy of Historic Indianapolis.

While the current state house in Indianapolis remains a hub for visitors and legislators alike, it was not the city’s first permanent seat of state government. The first state house in Indianapolis was completed in 1835 and designed by New York architects Ithiel Town and Alexander Jackson Davis, whose designs won approval from the Indiana General Assembly in 1831. A year before, the General Assembly authorized the construction of a new state house, with funding supplied through the sale of land plots within the city.[3] Construction began in 1832 with an original cost of $58,000 but an accelerated schedule grew costs to $60,000.[4] The builders’ speed insured the state house’s opening in December 1835, just in time for the incoming session of the Indiana General Assembly.

Town and Davis’ derived inspiration from Greco-Roman architecture; the state houses’ design resembled a temple surrounded by Doric columns like that of the world-famous Parthenon. Above the temple stood a rotunda dome influenced by Italian Renaissance style.[5] The state house’s visage contradicted much of the architecture in early Indianapolis. One legislator noted the building’s “striking contrast with the log huts interspersed through the almost ‘boundless contiguity of shade’ which surrounds it.”[6] The state house ushered in a new era for Indianapolis, filled with architectural marvels and urban transformation.

Accessed Indiana Historical Bureau.

The state houses’ most notable visitor, Abraham Lincoln, also had humble roots in the Hoosier state. After his childhood years in Indiana, Lincoln visited the statehouse in 1861 as President-Elect of the United States and his body returned with a funeral procession after the assassination in April 1865.[7] The building’s poor materials, mostly of wood and stucco, brought the collapse of the roof in the summer of 1867. The building went through numerous repairs before the Indiana General Assembly approved the construction of a new state house in 1877. The original Indianapolis state house was demolished the same year.[8]

Internal Improvements and Financial Collapse

During the early years of the American republic, the policy that united most legislators and the public was “internal improvements,” which today we might call “infrastructure.” No state caught this fever quite like Indiana. Inspired by the successful opening of Fort Wayne’s Wabash and Erie Canal in July 1835, the General Assembly passed the Massive Internal Improvements Act of 1836.[9] The act, strengthened with over $10,000,000 through loans, proposed the creation of interconnected canals, turnpikes and railroads throughout the entire state. It was supposed to come under budget and take only ten years to finish.[10]

A state bond for the Wabash and Erie Canal. Bonds like this were issued to citizens and speculators for funding of the failed Internal Improvements Act of 1836, courtesy of the Indiana Historical Society.

The economic Panic of 1837 and the dissolution of the Second Bank of the United States left the country gripping with economic hardship. This hit the internal improvements plan in Indiana dramatically, with construction costs ballooning over $10,000,000 and leaving little to no funds for repair costs. By August, 1839, none of the railroad, canal, or turnpike projects were finished and implementation stopped when the state ran out of funds.[11] State bonds, sold to citizens after the state’s land sales left the plan short, could not be paid back. Indiana’s state debt increased to, “$13,148,453 of which $9,464,453 was on account of the internal improvement system.”[12] By 1846, the General Assembly passed the Butler Bill, which funded the state debt two ways: revenues from the successful Wabash and Erie Canal and raising tax revenues.[13] These massive tax increases were hard on citizens and left many in the state with ill feeling towards unmanageable government spending. The financial failure of the internal improvement system heavily influenced the new state constitution of 1851, which required strict limits on government expenditures and enforcement of tax collection.

Notable Legislators

  • John Finley
  • Courtesy of Waynet.org

    John Finley, the state’s first Poet-Legislator, served in the Indiana House of Representatives from 1828-1831. A newspaper editor by trade, Finley’s greatest contribution came with the publication of his poem “The Hoosier’s Nest” in 1833. Finley’s use of the term “Hoosier” in literature helped garner the term respect, rather than its traditionally pejorative meaning of “country backwoodsman.” He also owned and edited the Richmond Palladium from 1831-1834 and published a book of poems, including “The Hoosier’s Nest,” in 1860. He died in Richmond, Indiana in 1866.[14]

  • John Ewing
    • Born in Cork County, Ireland in 1789, John Ewing represented Vincennes and Knox County as a State Senator from 1825-1833 and again from 1842-1845. He was also a United States Representative from 1833-1839. Ewing’s success as politician came with equal scorn. His home was set on fire multiple times due to his staunch Whig party beliefs in an era of Democratic domination. His most valiant performance as a legislator came with his very public battle against State Representative Samuel Judah. Judah’s General Assembly bill re-chartering the financial benefits of then-defunct Vincennes University pushed Ewing to come home from the U.S. Congress, regain his State Senate seat, and defeat the bill though both legislation and through the courts. While his plans failed (he lost his seat in 1845 and his reforms did not pass), Ewing’s commitment to sound financial policy earned him respect and honor as one of the longest serving State Senators from his era.[15]

* See Part Three: A New Constitution and the Civil War (1850-1865)

[1] For a detailed account of David Dale Owen, see Walter B. Henderson, “David Dale Owen and Indiana’s First Geological Survey,” Indiana Magazine of History 36, no 1, 1-15, accessed October 9, http://scholarworks.iu.edu/journals/index.php/imh/article/view/7194/8101.

[2] Ibid.

[3] Justin E. Walsh, The Centennial History of the Indiana General Assembly, 1816-1978 (Indianapolis, Indiana Historical Bureau, 1987), 132.

[4] Dorothy Riker and Gayle Thornbrough, eds., Messages and Papers Relating to the Administration of Noah Noble, Governor of Indiana, 1831–1837 (Indiana Historical Collections, Vol. XXXVIII; Indianapolis, 1958), 351-352, accessed October 22, 2014, https://archive.org/stream/messagespapersre55nobl#page/350/mode/2up.

[5] James A. Glass, “The Architects Town and Davis and the Second Indiana Statehouse,” Indiana Magazine of History 80, no. 4 (December 1984), 335-337, accessed October 9, 2014, http://www.jstor.org/stable/27790832.

[6] Walsh, Centennial History, 132.

[7] For a detailed description of Lincoln’s visits to Indianapolis, see George S. Cottman, “Lincoln in Indianapolis,” Indiana Magazine of History 24 (March 1928), 1-14.

[8] Glass, “The Architects Town and Davis,” 337.

[9] Margaret Duden, “Internal Improvements in Indiana: 1818-1846,” Indiana Magazine of History 5, no. 4 (December 1909), accessed October 22, 2014, http://www.jstor.org/stable/view/27785234, 163.

[10] George S. Cottman, “The Internal Improvement System of Indiana,” Indiana Magazine of History 3, no. 3, accessed October 22, 2014, http://scholarworks.iu.edu/journals/index.php/imh/article/view/5612/4946, 119.

[11] James H. Madison, The Indiana Way: A State History (Bloomington and Indianapolis: Indiana University Press, 1986), 83.

[12] Margaret Duden, “Internal Improvements in Indiana,” 168.

[13] Ibid, 169.

[14] Walsh, Centennial History, 124. Calhoun, January, Shanahan-Shoemaker, and Shepherd, Biographical Directory, 126.

[15] Walsh, Centennial History, 126-129. For Ewing’s government positions and elections, see Charles W. Calhoun, Alan F. January, Elizabeth Shanahan-Shoemaker and Rebecca Shepherd, A Biographical Directory of the Indiana General Assembly, Volume 1: 1816-1899 (Indianapolis, Indiana Historical Bureau, 1980), 437-446.

The Indelible Ross Lockridges

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Ross Lockridge Sr. and Jr. camping, photographed by three-year-old Ernest (son of Sr.) in the summer of 1942, image courtesy of Evansville.edu.

Ross Lockridge Sr. and Jr. left an indelible mark on Indiana history through traditional history publications and fictional depiction. However, the father and son have yet to be cemented in the annals of state history. We hope to contribute to that reversal.

The senior Lockridge was born in Miami County, Indiana in 1877 and went on to graduate from Indiana University in 1900. He married and returned to his north central Hoosier home. He became the principal of Peru High School, and later earned a law degree from IU in 1907. Not long after, he moved to Fort Wayne and worked as employment manager and welfare director at Wayne Knitting Mills. He also served three years as executive secretary of the Citizen League of Indiana, which lobbied for a new state constitution and advocated for women’s suffrage.

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Wayne Knitting Mills, 1910, courtesy of History Center Notes & Queries.

While in Fort Wayne, Lockridge Sr. helped organize the Allen County Fort Wayne Historical Society. During this time his reputation grew as a writer of pioneer Indiana history. According to Larry Lockridge, his grandfather, Ross Sr.,”developed his own brand of ‘Historic Site Recital,’ combing public speaking, drama, and local history.” Between 1937 and 1950, Lockridge Sr. served as a director of IU Foundation’s Hoosier Historic Memorial Activities Agency. Some of his published works include: George Rogers Clark (1927),  A. Lincoln (1930), LaSalle (1931), The Old Fauntleroy Home (1939), and Labyrinth (1941), Theodore F. Thieme (1942). His The Story of Indiana (1951) was primarily used as a text in Indiana at the junior high school level.

The historian also wrote about Johnny Appleseed, the Underground Railroad, and Indiana’s trails, rivers, and canals. Another extended work, which continues to aid transportation history researchers, is Historic Hoosier Roadside Sites, commissioned in 1938 by the Indiana State Highway Association. He worked tirelessly to mark the state’s landscape with monuments and markers, preserve records, and execute historical pageants. His clear and concise writing style has added to Hoosier’s knowledge of their past.

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The Vidette-Messenger (Valparaiso, IN), March, 23, 1936, courtesy of Newspapers.com.

According to Larry Lockridge, his grandfather “didn’t exactly whitewash history,” but he “certainly edited it. He attempted to bind people to their own local history through heroic narrative.” After the tragic drowning of Ross Sr.’s 5-year-old son, Bruce, in Fort Wayne, his dedication to historical work intensified. Larry contends:

“Preaching history as resurrection of the worthy dead was his idealistic, nonmetaphysical challenge to time and mortality, grounded in the tragedies of his own life and the pettiness of the contemporary scene.”

Ross Jr. assisted his father with historical projects, but according to Larry was “not his father’s puppet at such performances” and “never approached his father’s ease of performance and lack of self-consciousness.”

Ross Jr. was born in Bloomington, Indiana and moved to Fort Wayne. When he was 9-years-old the family returned to Bloomington and his literary dreams took root.

According to an Indiana Public Media article (IPM), Junior attended Indiana University, where he was known as “A+ Lockridge,” graduating with the highest GPA ever awarded by the school (4.33). Scarlet fever precluded his plan to join IU’s English Department, leaving him bedridden for eight months. He was later accepted as at doctoral student at Harvard University, where he began his famed novel.

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Raintree County cover, courtesy of Goodreads // Ross Lockridge Jr. signing copies of Raintree County in Indiana, courtesy of Altered Book Arts.

According to an Altered Books Arts article, he withdrew from his studies and taught at a nearby college, so he could focus on his literary magnum opus. The IPM article reports that he studied abroad in Europe in 1934, where he “first had the vision of writing a novel that would draw upon the would-be literary heritage of his maternal grandfather, a schoolteacher and poet who had lived in Indiana’s Henry County.” This evolved into the character of John Shawnessy, who after losing his wife went on to fight in the Civil War, attempted to write the Great American Novel, and ended up in the fictional Raintree County.

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Photo of a raintree planted in honor of Ross Jr. behind the Lockridge house, image courtesy Larry Lockridge, accessed IPM.

Although Johnny had his successes, the character flashed back in memory wondering about the country’s future. He is influenced by several cultural concepts, one of which is to find the legendary Rain Tree, supposedly planted somewhere in the Raintree County by the celebrated Johnny Appleseed, who is buried in Allen County. The tree Lockridge sought to feature is based on a real Golden Rain Tree, which blooms in the summer with subtle yellow flowers that drop like a raining of yellow pollen dust.

In addition to Allen County, Monroe County is represented in the book. Larry noted, “We have county fairs and patriotic programs and outdoor sex and footraces and weddings and temperance dramas and rough talk . . . all of this he picked up in the culture of Bloomington” (IPM). Ross Jr.’s wife, Vernice, did the final typing of the novel, an 18 month endeavor and, unlike many writers, her husband gave her full credit for her help in constructing the 1060-page novel.

Altered Books Arts summarizes the novel’s themes, stating:

“In the course of its thousand pages philosophy, religion, sex, and history all flow together in a narrative that spans 40 years, recollected in a single day. In some ways it is an Indiana Ulysses, though Lockridge said that whereas Joyce wished to make the simple obscured, he wished to make the obscure simple. When it came out Thomas Wolfe and Walt Whitman were frequently cited for comparison, but it seems closer to in technique and feeling to the panoramic narrative of John Dos Passos’ U.S.A.

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Ross Lockridge Jr. by river, image courtesy of Larry Lockridge, accessed IPM.

Ross Jr.’s labor of love was met with much anticipation from his publisher, Houghton Mifflin. However, in order to win MGM’s high-profile contest for best new literary work, an award of $150,000, he was pressured to revise and cut several sections from his masterpiece. His likely selection as Book of the Month club winner, meant that he had to make many more extensive cuts. He conceded reluctantly and worked tirelessly to trim it for publication. His publisher Dorothy Hillyer wrote “Ross was quite capable of fussing eighteen hours a day over that manuscript. He was in love with it, almost sexually.” (He ended up cutting out a 356-page dream sequence, which is retained at Bloomington’s Lilly Library).

These compromises, the killing of his darlings, so to speak, and the completion of his life’s work plunged him into a deep depression. Despite generally rave reviews about the novel and winning MGM’s literary award, Lockridge’s depression worsened and he returned to Bloomington. His son regarded this as a mistake, “not because of Bloomington’s particular atmosphere but because it felt to him as if he had come full circle. . . . It was the symmetry of fate that he was returning home to die.”

Larry noted that his father began exhibiting bizarre behavior, inspecting knives in the kitchen and opening and closing cupboards, claiming he was “looking for a way out.” Public backlash about the book’s sexuality and irreverence, especially by his Bloomington neighbors, made him doubt the quality of his work and worsened his fragile state. (According to IPM, the publication of his neighbor Alfred Kinsey‘s Sexual Behavior in the Human Male promoted Lockridge to quip “It seems Mr. Kinsey and I have succeeded in making Bloomington the sex center of the universe”).

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The cover of Mary Jane Ward’s autobiographical novel about her own struggles with mental illness, image courtesy of IPM.

Ross Jr.’s father hoped to combat his son’s malaise with recitation, the memorization of the Declaration of Independence, hearkening back to their old historical endeavors. Ross Jr. reluctantly entertained his mother’s Christian Science ministrations, but remained in a debilitated state. Ross Jr. was not alone in his distress; his cousin Mary Jane Ward suffered from mental illness, which she depicted in her successful autobiographical novel The Snake Pit.

Witnessing her husband’s ongoing suffering, Vernice convinced him to seek treatment at Indianapolis’s Methodist Hospital, where he underwent electroshock convulsive therapy and insulin-induced coma. Further distressed and embarrassed by the procedures, he gave staff the impression he had recovered and was released.

According to Larry, his father tried to write a second novel, a “thinly disguised autobiography, from Fort Wayne days to the present.” He had planned to begin the story with his young brother’s tragic death and,

“the tranquil Avenue of Elms, Creighton Avenue in Fort Wayne, whose backdrop was the Great War. It is in this city that his brother Bruce drowns, that his house catches fire, that there is a great strike at the mill, that he falls in love with Alicia Carpenter, that he decides to become a writer, and that through ‘the brutality of fate’ his personality is set by the age of ten.”

He was never able to finish a second novel. On March 6, 1948, the day after Raintree County was declared a number one best seller, Ross Lockridge, Jr. took his own life at age 33 in Bloomington. Unable to locate her husband, Vernice went out to their garage. There she discovered his limp body in the running car, a vacuum cleaner hose piping exhaust into the car. The death of the new literary star stunned the nation, attracting over 2,000 to his funeral and prompting an obituary on the front page of the New York Times.

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Movie poster, courtesy of Imdb.com.

In 1957, MGM produced a big screen depiction of Raintree County, featuring Montgomery Clift, Elizabeth Taylor, and Eva Marie Saint.

Weeks after the death, Vernice found a note written by her husband, stating “‘Dearest, Have gone for early morning walk to clear head. Love, Ross.” On the back side he wrote:

“The purpose of Raintree County is to present life in its many-sided variety with idealism triumphant. An irreverent character in a book does not mean an irreverent book. In any event it is an old and good rule that every reader is entitled to his own opinion of a book.”

Surviving the death of a second son, Ross Sr. passed away a few years later in 1952.

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Henry County plaque, courtesy of IU Press Typepad.

Learn more about the remarkable Lockridges with Larry Lockridge’s 1994 Shade of the Raintree: The Life and Death of Ross Lockridge, Jr., author of Rain Tree County.

Babe Ruth: A Big Hit in Fort Wayne

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Bob Parker “cartoon” illustrating Babe Ruth blasting “a mighty 10th inning,” Michael C. Hawfield, Fort Wayne Sports Yesterday & Today (1994), p.18.

Legendary baseball player George “Babe” Ruth graced Fort Wayne with his presence during a personal visit on October 26, 1926. After putting on a show during at practice, he joined the Fort Wayne Lincoln Lifers, a semiprofessional team sponsored by Lincoln National Life Insurance Co., in a game against a very good Kips team. Ruth proceeded to put on a demonstration by playing every position except catcher. He topped the game off by hitting two balls out of the park. With the Bambino in their arsenal, the Lifers won 11 to 1.

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Lincoln Lifers “Pete” Dietrich and “Bud” Devilbiss, The Fort Wayne Sentinel, May 10, 1923, 10, accessed Newspapers.com.

Ruth returned to the Indiana town on May 6, 1927 with the New York Yankees to play an exhibition game against the Lifers. In his Fort Wayne Sports History, Blake Sebring wrote that the Yankees, who were in first place in the league, made the stop on their way to take on Chicago. The game took place at League Park, now called Headwaters Park, located between Calhoun and Clinton streets. A wooden structure was erected at the park in 1883. Rebuilt several times, the place received a major overhaul in 1908 with new grandstands and a grass infield. After the damage caused by the Great Flood of 1913, additional restoration was required. It was readied as a host park for semi-pro Central League teams, including the Lifers when they moved up to a minor league status.

That 1927 exhibition season, League Park’s grandstand was filled with more than 3,000 fans, occupying all sitting and standing room. Enthusiastic Fort Wayne fans streamed in, eager to witness high drama from Babe Ruth, Lou Gehrig and the other Yankee legends. The fans were not disappointed, as they sensed Babe’s charge into the annals of American history.

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League Park, courtesy of ARCH Fort Wayne.

The regulation 9 innings were played.  The Lifers held the Yankees to a 3–3 tie in the 10th, with two out and a runner on first when “The Sultan of Swat,” another of Ruth’s appellations, came to the plate. He took two strikes and then in classic style belted the next pitch over the center field wall, landing on the roof of one of the city utility barns across Clinton Street. The hit enable the Yankees to defeat the Lifers 5-3. The stands emptied and adoring fans mobbed Babe.

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Babe Ruth and Lou Gehrig in their 1927 barnstorming uniforms, courtesy of Sports Illustrated, accessed The Midwest League Traveler.

It has been said that the Bambino often referred to that blow as possibly the hardest hit ball of his career. According to John Ankenbruck, after citing the official long hits by Babe Ruth and Mickey Mantle, one sportswriter declared that, Ruth hit a longer one in Fort Wayne, according to the Bambino’s version.

After the 1927 season, Ruth went on a barn storming tour, playing again at League Park. He belted a ball over the left-centerfield fence and claimed that the ball landed in a freight car that was passing the park at the time. Local baseball historians are quick to note that, if true, the ball would have had to clear the fence then make a right angle, travel another 600 feet to land on the railroad tracks. Even so, 1927 was a banner year for Fort Wayne baseball and Babe Ruth was on hand to help make it a big hit.

Judge William Polke: Constitutional Convention Delegate and Conductor of the “Trail of Death”

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William Polke’s house, http://www.jimgrey.net/Roads/MichiganRoad/11_Fulton.htm

William Polke was born on September 19, 1775, in Brooke County, Virginia. As a boy in 1782, he was captured by raiding Native Americans, along with his mother and three sisters. Handed over to the British at Detroit, the family was held as prisoners for a year before being released in 1783 at the end of the American Revolutionary War.

Later the Polke family moved to Knox County, Indiana, and as an adult, William established a career in public service. He was with Anthony Wayne at the Battle of Fallen Timbers, helped build the original stronghold at Fort Wayne, and was wounded during the Battle of Tippecanoe. In 1814 he served as a Knox County associate circuit court judge and won election to the Territorial Legislature. Polke became one of 43 delegates to the Constitutional Convention responsible for writing Indiana’s first state constitution in 1816.

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Constitutional Elm, Corydon, Indiana, circa 1921-1925; Delegates to the 1816 constitutional convention worked under the shade of this tree, image courtesy of Indiana State Library blog.

He served two terms as the state senator of Knox County, but lost his bid for Lieutenant Governor in 1822, apparently ending his quest for elective office. From 1824 to 1825, Polke was a missionary teacher in Michigan among the Ottawa Indians. In 1830, he was appointed by an act of the Indiana General Assembly as one of the three commissioners for the construction of the Michigan Road. Polke served a critical role in the success of that project, which established a road extending from the Ohio River to Lake Michigan.

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Kee-Waw-Nay Potawatomi Village, council between Potawatomi leaders and U.S. government representatives in July 21, 1837 to settle details for the impending removal of the Potawatomi from northern Indiana. Painted by George Winter, image courtesy of Legends of America.

During 1838, Superintendent Emigration of Indians, Able C. Pepper, assigned Polke as a conductor of the Potawatomi peoples’ removal from their northern Indiana homeland on their grueling march to Kansas. Polke was instrumental in the removal of the Potawatmi in Indiana via a forced march of over 800, known as “The Trail of Death.” According to The History Museum, at Sandusky Point, Illinois command of the group of Native Americans was turned over to Polke. Along with “Father Petit, and an escort of fifteen men continued with the broken tribe to their destination on the Osage River in Kansas. The journey required about two months with the cost the lives at one-fifth of the tribe. A few Potawatomies remained in Indiana scattered on small reservations in various parts of the State.”

Paul Wallace Gates noted in The John Tipton Papers that Polke, “was convinced that his prompt action had prevented bloodshed between the two races. That he regretted the haste, the lack of preparation, and the suffering is equally clear. And once they reached Kansas he was certain the tribe would be protected . . . from the encroaching aggression.”

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Map courtesy Fulton County Historical Society, Rochester, Indiana, image courtesy of Legends of America.

In 1841 President William Henry Harrison, in recognition of patriotic services, appointed Polke to serve at Fort Wayne as register of the land office. When Polke died, his April 29, 1843 the Fort Wayne Sentinel obituary ends with these lines: “He was buried with military honors; and a large concourse of citizens followed his remains to their last camping ground.” However, the cemetery name is not mentioned, creating questions about the location of his remains.

In 1860, the interred in Fort Wayne’s Broadway Cemetery (present-day McCulloch Park) were to be removed and re-interred in Fort Wayne’s Lindenwood Cemetery. Today, only one grave from its days as a cemetery is marked in McCulloch Park and that is Indiana’s seventh Governor Samuel Bigger. For years, questions persisted as to whether or not all the burials were found, and surviving family members located for approval to conduct the graves’ transferred. Since there is no record of Polke having been removed to Lindenwood, it was thought he was interred in McCulloch Park.

However, during a research project conducted to identify the burial site of each of the Constitutional Convention delegates, Indiana State Archivist, Jim Corridan led an effort and identified Polke’s long forgotten grave located, “in an early Fort Wayne cemetery.” Through a diligent search of records in Polke’s estate filed at the County Clerk’s office by SuzAnn Runge, Corridan has been able to confirm that William Polke, in fact, is interred in the Old Broadway Cemetery.

Learn how to attend the Indiana Archives and Records Administration’s June 27 event, commemorating William Polke.

Carole Lombard: From Fort Wayne Flood to the Silver Screen

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Jane Alice Peters became one of America’s favorite movie stars of the 1930s as Carole Lombard. She was born in Fort Wayne in 1908 and spent the first six years of her life in the shingle-style house on Rockhill Street that was built about the year 1905. Her grandfather was John Clouse Peters, one of the founders of the Horton Washing Machine Company, and her mother, “Bess” Knight, was a vivacious and strong actress descended from “Gentleman Jim” Chaney, an associate of the notorious robber baron of the 1880s, Jay Gould.

Described as a tomboy in her youth, Jane Alice fondly remembered her young days in Fort Wayne, attending the Washington Elementary School a few blocks to the south and playing rough games with her brothers, “Fritz” and “Tootie.” While the actress is remembered for her WWII work promoting war bonds, her philanthropic efforts began in Fort Wayne during the Great Flood of 1913. Under the direction of her mother, Bess, her house became a rescue center for flood victims, among other reasons, because the family had one of the only telephones in the area. Jane Alice also remembered helping her mother collect supplies, run errands, and help care for those displaced by the rising waters.

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Flooding in Fort Wayne, 1913, image courtesy of The History Center, accessed Fort Wayne News Sentinel.

Jane Alice and her mother left Fort Wayne in 1914, eventually settling in Hollywood. At age 12, she made her film debut and by 1924 was a glamorous actress for Fox Studios. She changed her name to Carole Lombard, in recollection of an old family friend, Harry Lombard, a relative from Fort Wayne living in California. A 1940 Collier‘s article wrote about the move from Indiana life to early Hollywood stardom:

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Her dynamic Hollywood career was highlighted by roles in Mack Sennett films, steamy romances, marriage to William Powell, exotic parties, outstanding comedy roles in major movies opposite the best actors in the business, and, marriage to actor Clark Gable. She starred in films such as Mr. & Mrs. Smith, My Man Godfrey, and Nothing Sacred.

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Photo of Carole Lombard and Clark Gable courtesy of theredlist.com.

On January 15, 1942, Lombard revisited to her Hoosier roots for a war bond rally in Indianapolis. Approximately 12,000 turned out for the event on Ohio and New Jersey streets; millions others viewed the rally through newsreels. While in the city, Lombard attended tea at the governor’s mansion, a flag-raising ceremony at the Statehouse, and ribbon-cutting at an army recruiting office. According to the Indianapolis Star, Lombard exclaimed to the crowd:

“As a Hoosier, I am proud that Indiana led the nation in buying Liberty Bonds in the last war. I want to believe that Indiana will lead every other state again this time — and we will! We won the last war, and with your help we will win this war!”

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Lombard with Indiana Governor Henry Schricker, courtesy of caroleandco.wordpress.com; Hammond Times, January 16, 1942, accessed NewspaperArchive.org.

Lombard sold a record $2 million in bonds to Hoosiers. Tragically, the following day, her plane crashed in Las Vegas, where she lost her life at age 33. Twenty-two people were killed in the accident, including Lombard’s mother, young servicemen en route to war duty, and agent Otto Winkler, who had begged her to return to California by train.

The Indianapolis Star reports that following her death, Lombard was honored by “President Franklin D. Roosevelt, as a tribute to patriotic spirit, [who] declared Lombard the first woman killed in the line of duty during the war and posthumously awarded her the Presidential Medal of Freedom.”

Learn more about Lombard’s life and the devastating way in which husband Clark Gable found out about her death via Photoplay’s 1942 article.

Memorial Day Spotlight: Eliza “Mother” George

This post was adapted from a February 2007 article in Fort Wayne Magazine “Along the Heritage Trail with Tom Castaldi.”

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Some of us recall Decoration Day, when we tended the graves of soldiers, sailors, and our families’ burial places. The holiday was established to honor the nation’s Civil War dead by decorating their graves. It was first widely observed on May 30, 1868, by proclamation of General John A. Logan of the Grand Army of the Republic. On May 5th of that year, Logan declared in General Order No. 11 that, among other directives, the 30th of May, 1868, was to be designated for the purpose of strewing with flowers the graves of comrades who died in defense of their country during the late rebellion.

Indiana’s Eliza Hamilton George was among those lost in the Civil War. Born in Bridgeport, Vermont, in 1808, she married W. L. George before coming to Fort Wayne, Indiana sometime prior to 1850. In that year, one of her daughters, also named Eliza, married another young newcomer to the city, Sion Bass, who had arrived from Kentucky in 1849. Sion Bass joined the army in 1861 at the outbreak of the Civil War and helped to organize the 30th Regiment of Indiana Volunteers; he was chosen to be its first commander. At the battle of Shiloh in April 1862, Sion was killed leading a charge of his regiment against Confederate lines.

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Official seal of the United States Sanitary Commission, image courtesy of Wikipedia.org.

The loss of Eliza’s son-in-law and the news of the terrible suffering of Union soldiers everywhere made a great impression on Mrs. George. Early in 1863, at 54 years of age, she applied for duty in the Sanitary Commission, the forerunner of the Army Nurse Corps. Her value as a nurse was quickly realized in the rapidly overflowing hospitals in Memphis, her first duty station. Here she soon was commended enthusiastically by those for whom she worked, from the beleaguered doctors in the field to Indiana’s Governor Oliver P. Morton. Her special care of the soldiers caught the imagination of the Indiana press as well.

An Indianapolis newspaper, for example, told of the occasion she sat for twenty hours with a young frightened soldier, holding ice against his bleeding wound. Whenever she tried to have some one relieve her, the boy so painfully begged her to stay that, “she forgot her own weariness and applied the ice again.” When shells were falling in and around the hospital tent, she picked up the wounded and, one by one, in the face of enemy fire carried them in her arms to safety.

Eliza described her account of stepping off the hospital train in Kingston, Georgia, writing:

We arrived to witness one of the saddest sights I ever witnessed. An ambulance train brought in 1200 wounded men. A large number were slightly wounded or at least in hands and feet, and some with two fingers carried away, some through the hand, etc. There were 75 with amputated legs and arms some wounded in the head, in feet, in every form and manner.

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Nurse Annie Bell with patients in Tennessee after the Battle of Nashville, circa 1864. Mother George would have provided similar service to wounded soldiers. Image courtesy of U.S. Army Heritage & Education Center.

Eliza also lamented the plight of women on the Civil War home front, writing on December 8, 1864:

The wind is whistling round the house, the cannon booming in the distance and my heart is aching for the houseless, homeless, destitute women whose husbands are in the Union Army, fighting for their country’s life. Oh, my children, turn your thoughts away from every vain and superficial wish, that you may have at least a mite to give to the needy. Suffering is no name to apply to the many I see destitute of home and place to lay their head. You know how like a cool draught of water to a thirsty soul, is a letter to me from home; and you know I would write if I could but my time is not my own.

Near the end of the war, “Mother” George – as she had come to be called affectionately by the soldiers – was assigned to the army hospital in Wilmington, North Carolina. There, at the same time, came nearly eleven thousand newly freed Union prisoners of war. Mother George gave herself completely to relieve the suffering of these men, but in an outbreak of typhoid among the troops, the exhausted Mother George contracted the disease and died on May 9, 1865, scarcely a month after the end of the war.

Her body was brought back to Fort Wayne where she was buried with full military honors in Lindenwood Cemetery, the only woman to have been so honored there. Later that same year, the Indiana Sanitary Commission and the Fort Wayne Ladies Aid erected a monument in her memory in the cemetery. A weathered granite shaft with the simple inscription on its face that reads, “Mrs. George” still stands in a triangular space near her actual grave site across the way in the Col. Sion S. Bass family plot. Additionally, in 1965 the Fort Wayne Civil War Round Table placed a marker near the site of her first home in Fort Wayne.

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In 1971, Congress declared Memorial Day, commemorating all fallen men and women who served in the Armed Forces. This Memorial Day we will think of Mother George, who died unaware of her great fame or a legacy that placed her among the important women contributors of the Civil War.

Check out IHB’s markers commemorating Civil War hospitals and nurses. Learn how Indiana Civil War surgeon John Shaw Billings revolutionized medicine due, in part, to his field experience.