Visit the ultra-sleek website of the industrial design firm TEAGUE and you will see the echoes of company founder and namesake Walter Dorwin Teague. TEAGUE touts “we design experiences for people and things in motion.” This could easily have been declared in 1939 when Teague applied his experience as an industrial designer to the New York World’s Fair “World of Tomorrow.”
Walter Dorwin Teague’s story starts in the house of a Methodist circuit-riding preacher in Decatur, Indiana. Here, Walter was born on December 18, 1883, the youngest of six children to Reverend M.A. Teague and Hettie Teague. By late 1889, the family had settled in Pendleton, where Teague graduated high school in 1902. Teague credits his time in Pendleton, and particularly a book on the history of architecture from the Pendleton High School library, with setting him on the path that would eventually lead him to become a dominant force in American industrial design.
Soon after his graduation, Teague moved to New York City to study at The Art Students League of New York. However, it wasn’t until the late 1920s that Teague discovered his life’s passion: industrial design. He was early to the game – in the decade after Teague scored his first major contract with Eastman Kodak in 1928, mentions of the phrase “industrial designer” in printed material increased 40 fold. Many sources consider Walter Dorwin Teague to be one of the five founders of industrial design in the United States, along with Henry Dreyfuss, Donald Deskey, Raymond Loewy, and Norman Bel Geddes.
In the decade after his first contract with Kodak, Teague designed for the likes of Boeing, Texaco, the Marmon Motor Company, and Ford Motor Company. He built lasting business relationships with many of these companies, and in some cases those relationships went beyond the designing of products. In the early 1930s, Henry Ford turned to Walter Dorwin Teague to design a cutting-edge exhibit hall for the 1934 re-opening of the Chicago World’s Fair, themed “Century of Progress.” The exhibition featured a wide array of elements, including a museum, industrial barn, and gardens tied together by–what else–design.
According to historian Roland Marchand, the 1934 Chicago Century of Progress:
ushered in a period of striking convergence between an increasing corporate sensitivity to public relations and the applications of designers’ expertise to display strategies. More than ever before, the great fairs became arenas for the public dramatization of corporate identities.
Gone were the sales-driven exhibits of the past, in which company representatives pitched the latest and greatest Ford products. With Teague at the helm, salesmen were replaced by young, affable college students. Product demonstrations were replaced by art, dioramas, and museums. Pressure to buywas replaced with entertainment, as well as information about the concepts behind and benefits of featured products. These innovations made the exhibit a hit of the fair and Walter Dorwin Teague a highly sought after exhibition hall designer.
In the wake of the successful Ford project, Teague designed exhibits for a number of regional fairs. He designed for Ford in San Diego (1935), Dallas (1936) and Cleveland (1936), and for Du Pont and Texaco in Dallas (1936). These smaller exhibits were a trial of sorts for the 1939 New York World’s Fair, which would become Teague’s crowning achievement in the realm of exhibit design.
For the New York World’s Fair, which was themed “The World of Tomorrow,” Teague designed the exhibition halls for heavy-hitters like Ford, U.S. Steel, Du Pont, National Cash Register (NCR), Consolidated Edison Company, Eastman Kodak, A.B. Dick, Bryany Heater Company, and parts of the United States Government Building. In addition, Teague served on the official Design Board, the lone industrial designer among a group of architects.
One might assume that with so much on his plate, Teague would have moved towards a more hands-off approach at the 1939 fair.However, he was deeply involved in the conceptualization process.While on previous projects he had simply put the finishing touches on an already developed idea or perhaps added design elements around an existing exhibit plan, by 1939, Teague was involved in “the fundamental work of determining what [the] exhibit should be.” Employing lessons learned at the 1934 Century of Progress, Teague determined that exhibits should include animation and audience participation whenever possible. He and his team also began using phrases such as “visual dramatization” and “industrial showmanship” to describe their work. The resulting 1939 New York World’s Fair exhibits reflected the evolution of his design approach.
Du Pont, the company responsible for developments such as Kevlar, Teflon, neoprene, and Freon, had high expectations for their exhibit. In the November 1938 issue of The Du Pont Magazine, the company promised, “a panorama of man’s triumphs over his environment, of the progress he has made in building a new nation and a new civilization, of the hopes and plans he has for creating a better world in the future” and to illustrate “chemistry’s part in making the United States more self-sufficient.”
The resulting exhibition building, featuring a 120-foot “Tower of Research” inspired by test tubes, literally towered over passersby. The essential element of animation was incorporated through lights and bubbles that flowed through the test tubes and brought the structure to life. Inside the building were a variety of displays that highlighted the role of chemistry in the modern world–and painted a picture of what the “World of Tomorrow” could look like with further investments in the sciences. Displays followed the production process from raw materials to laboratory testing, and finally to manufacturing. Still other exhibits featured technicians weaving rayon, making cellophane, and demonstrating various techniques used in producing Du Pont materials. From the Tower of Research to fully functional displays to a plethora of dioramas, every aspect of Teague’s design employed the tenets of visual dramatization, industrial showmanship, and educational entertainment.
The same tenets were present in Teague’s development of the Ford building. Whereas a tower drew visitor’s eyes towards the Du Pont building, a metallic sculpture of the Roman god Mercury–symbolizing “fleet, effortless travel”–attracted exhibit-goers. Inside the exhibition hall, a 70-foot-high moving mural made of automobile parts, planned by Teague and designed by Henry Billings, welcomed visitors to the Ford building. The theme, “From Earth to Ford V-8,” was depicted in the “Cycle of Production,” a massive revolving wedding cake-like structure with three tiers. On the bottom tier, small animated figures harvested raw materials such as cotton, wool, and wood. On the next tier, figures processed those raw materials into cloth and boards. Finally, on the top tier, those products were incorporated into the final product – the wildly popular 1939 Ford V-8, a finished version of which adorned the top of the turntable. Surrounding the “Cycle of Production” were live demonstrations of the production process depicted in the display.
Even more so than in the Du Pont exhibition, Teague incorporated a plethora of entertainment elements into the Ford pavilion. The same figures from the Cycle of Production were featured in a Technicolor film, telling the story of Ford production. Visitors watched the history of transportation unfold in the form of a live musical drama and ballet. They also watched race car drivers demonstrating the abilities of Ford cars on an outdoor track. Teague united these seemingly disparate parts through design to tell the story of Ford’s impact on the world–whether that be in job creation, technological advancement, or simply as an amusing diversion.
The features seen in these two exhibition buildings could be found to varying degrees in Teague’s other designs at the fair. The U.S. Steel building consisted of a 66-foot-high stainless steel hemisphere, an early example of a building designed to highlight, rather than mask, its steel structural supports. The National Cash Register exhibit was perhaps the least innovative, yet most striking of Teague’s 1939 World’s Fair designs–it was simply a gigantic, working cash register which displayed the fair attendance numbers. Inside, various models of NCR registers were shown being used in exotic locals around the world. For Consolidated Edison’s “The City of Light” display, Teague recreated New York City by building 4,000 scale buildings. The diorama came to life to depict a day in the city–the printing press of the Brooklyn Eagle whirred, a family lounged on a porch listening to the radio, and a six-car subway sped through the display. These innovative features developed by the industrious Hoosier and his design firm would be the central design elements in exhibition halls for decades to come.
Walter Dorwin Teague is best remembered as the “Dean of Industrial Design.” His impact on corporate exhibitions has largely been forgotten with the diminishing role of exhibits in modern life. But at the 1939 New York World’s Fair, the impact of this industrious Hoosier was impossible to ignore.
Today, we expect presidential candidates to come to us. They speak on the capitol steps, at memorials, and in high school gyms. They shake hands, meet local leaders, and in Indiana at least, make sure they’re seen eating a homemade pie or pork tenderloin of local renown. Beyond these appearances, however, campaign ads, emails, and social media posts bring candidates into our living rooms, our inboxes, and our daily lives.
This was not always the case, however. In fact, for much of U.S. history, such active campaigning was seen as power hungry, uncouth, and beneath the dignity of the office. While they didn’t hit the campaign trail, the candidates were still working hard to win over voters with events and promotional material. If we start our story in Indianapolis, Indiana, in 1888 and close it twenty years later in Brook, Indiana, we see a sea change in Republican Party campaign tactics. And believe it or not, our modern barrage of presidential politicking owes a lot to the 1908 presidential campaign of William Howard Taft.
Republican Politics from the Front Porch
During the 1888 presidential campaign, Hoosier candidate Benjamin Harrison and incumbent President Grover Cleveland mostly stayed home. That’s not to say they weren’t politicking. Harrison ran a “front porch” campaign, speaking to crowds that gathered at his Indianapolis home and the reporters he invited to cover the event. Political organizations produced “posters, political cartoons, speeches, rallies, parades, brass bands, and torchlight demonstrations” in support of their candidates (Miller Center). And while Harrison stayed in Indianapolis, his supporters took the campaign on the road for him with a memorable publicity stunt. Inspired by a gimmick used for his grandfather William Henry Harrison‘s successful 1840 campaign, a Maryland supporter built a steel and canvas ball and rolled it 5,000 miles across the country to Benjamin Harrison’s home. In an attempt to draw comparisons between the two Harrisons, the campaign slogan became, inevitably, “Keep the Ball Rolling.” Harrison won the presidency, losing the popular vote, but carrying the electoral college. During the rematch in 1892, Cleveland declined to campaign out of respect for Harrison’s wife’s illness and Harrison made only a few public appearances. However, the Republican Party only tenuously backed Harrison because of “his failure to resolve three national issues,” and Cleveland won easily in 1892. (more here: Miller Center).
In 1896, the Democrats, with the support of the Populist Party, ran former U.S. Representative William Jennings Bryan for president. (Remember him; he’ll be back later). Bryan was a dynamic speaker and hit the campaign trail with enthusiasm, covering 18,000 miles in three months. Still, the Republican candidate and former Governor of Ohio William McKinley stayed home. Having raised four million dollars mainly from business and banking interests, the party organization dumped money into the printing and distribution of campaign pamphlets. Meanwhile, McKinley delivered 350 speeches to 750,000 people – all from his front porch- resulting in his election. McKinley won easily again in 1900, bringing New York Governor Theodore Roosevelt with him to the White House as his vice president. (Miller Center)
After McKinley was assassinated in 1901, Roosevelt served out McKinley’s presidential term and was the clear choice of the Republican Party to run in 1904. (Roosevelt picked Indiana Senator Charles W. Fairbanks as his running mate.) The Democrats selected New York Supreme Court Judge Alton B. Parker as a safe choice for presidential candidate, appealing to those who opposed TR’s progressive domestic politics and expanding foreign agenda. Parker refrained from campaigning as was the norm, but heavily criticized his opponent in the press. TR made a thirty day tour of Western states after his nomination was announced, but also refrained from actively campaigning for election. By the summer of 1904 he began speaking from his Sagamore Hill front porch at Oyster Bay, New York. Like McKinley, large campaign donations helped TR secure the presidential office. (Miller Center)
Taft V. Bryan: The Game Changer
William Howard Taft doesn’t get a lot of love as a president. He was indecisive, easily railroaded by Congress, and never wanted the office as badly as his wife or TR wanted it for him. However, the strategy crafted by Taft and his advisers to win the 1908 election was brilliant and the fierce showdown of the two major party candidates changed campaigning forever. And for the Republicans, it started just outside tiny Brook, Indiana.
Taft was TR’s handpicked successor to the presidency and thus had the backing of a beloved president and the powerful Republican political machine. He easily won the nomination at the June 1908 Republican National Convention in Chicago. However, Taft had an image problem – one that could lose him the essential votes of farmers, laborers, and African Americans. As an U.S. Circuit Court of Appeals judge, he made several anti-labor decisions. In 1894, Taft had ruled against the railroad workers of the Chicago Pullman Strike. Taft’s Democratic opponent William Jennings Bryan, (remember him?) on the other hand, was a Populist who appealed to laborers and farmers by promising to protect their interest from the Republicans, who were backed by exploitative big business.
During the 1908 campaign, Bryan, now on his third presidential run, again stormed the U.S. like an evangelist, talking directly to the people and criticizing Taft’s anti-labor record. This time, it seemed, the Republican candidate was not going to be able to stay home. Taft needed to defend his record, assure workers that the Republican Party backed their interests, and smile and shake as many hands as possible.
Bryan should really get credit for launching the whistle stop campaigning that became standard practice. He had been touring the country for some time advocating for the silver standard. However, it wasn’t until Taft began actively campaigning on the road – in order to rehabilitate his image and make himself likable to voters, as opposed to simply spreading an educational message – that we get the kind of spectacle politics we recognize today. [Bourdon, 115-6.]
The campaign was strikingly modern in other ways too. Speeches by presidential candidates were traditionally quite long – an hour of expounding on the party platform was not unusual. However, Taft kept it short, speaking for thirty minutes at major events, but sometimes spending only five minutes joking with crowds on train platforms. Bryan, known for lengthy rhetoric, was not to be outdone. He recorded a series of two minute speeches on a wax cylinder for Thomas Edison’s National Phonograph Company. Of course, Taft then had to do the same. Thus, we get the modern sound bite. [Listen here: NPR]
George Ade: Reluctant Republican Ringleader
Meanwhile, in Indiana, the Republican Party was in danger of being torn apart over temperance (prohibition versus local option). Leaders thought that a visit from a national candidate could unify the party at least for long enough to push through a Republican state ticket. Charles S. Hernly, Chairman of Indiana’s State Republican Committee, could see that the base needed a flamboyant event to generate enthusiasm for the Party. Recalling a promising conversation from the previous spring, he formed a plan. It involved George Ade, a native of Newton County, a beloved Indiana author, and a dabbler in local politics.
By this time, Ade had achieved financial success as the writer of clever and observant fictional stories for books and newspapers. He gained fame as the wit behind several popular comedic Broadway plays. Ade was known for using humor and rustic, slangy language and was often compared to Mark Twain. He had done well for himself and wisely trusted his brother William to invest his money in real estate.
In 1902, William secured 417 acres near the small town of Brook for his brother to build a cottage as a writer’s retreat. George named the estate “Hazelden.” By 1904, when he began to stay at Hazelden more regularly, “it had grown into an Elizabethan manor house . . . complete with cow barn, greenhouse, caretaker’s cottage, dance pavilion, several smaller outbuildings, swimming pool, softball diamond, and forty foot water tower,” plus extravagant landscaped gardens. (Indiana Magazine of History)
When Ade awoke at Hazelden the morning of August 20, 1908 and settled in to read the day’s Indianapolis Star, he received somewhat of a shock. The front page headline read, “Ade’s Farm Rally Will be Big Event.” Ade later wrote that he recalled a casual conversation with Chairman Charles Hernly about the possibility of a political picnic. However, they had not had formally planned any kind of function, let alone one that Hernly described to reporters as “the biggest Republican event Indiana will see this campaign.”
Hernly had colorfully expounded on the day’s details for reporters. He listed the names of prominent state and national politicians who would likely speak, “all the big guns,” and promised a meal of “roast beef, potatoes, bread and butter and coffee” for the Midwestern farmers who were invited to attend. Hernly emphasized that Ade was “enthusiastic in his support of the Republican ticket,” and the reader assumed, the event to take place at his estate. “The only thing that is bothering Mr. Ade is the fact that it is going to take forty of his best beef cattle to satisfy the hunger of the crowd,” Hernly claimed.
Ade was now in an impossible position. He would have liked to “have headed off the barbecue idea,” but was also an enthusiastic Republican who wanted to help his party. [Indiana Magazine of History] He had served as a visible delegate to the Republican National Convention where Taft was nominated – a fact that made headlines even in the New York Times – and as a member of the notification committee that formally told Taft of his nomination. Ade was a respected figurehead for the party. If he were to refuse to host this now public event, he risked further demoralizing the already troubled Indiana Republican Party. If Hernly meant to force Ade’s hand, it worked. The “biggest Republican rally of the coming campaign” would be held in George Ade’s backyard.
The Taft Special to Ade Station
Through the summer Taft was hanging back, assessing the political climate, trying to determine how best to campaign. By September 1908, however, it was clear that he was going to have to defend his labor record from Bryan’s attacks. Taft needed to align himself with the more progressive agenda of the Republican Party as announced at the June convention. He had also been briefed on the tenuous situation in Indiana and knew he needed to appeal directly to Hoosier farmers if he wanted to win the state. The rally planned at Ade’s farm was an opportunity the candidate could not pass up. Taft accepted the invitation sent to him by Chairman Hernly.
On September 16, the Taft campaign announced the tour itinerary. The candidate would leave Cincinnati the morning of September 23 to travel though Indiana, Illinois, Wisconsin, Minnesota, the Dakotas, Iowa, Nebraska, Colorado, and Kansas over several weeks. The New York Times reported:
Judge Taft’s first address on his Western speaking tour will be made at Brook, Ind., on Sept. 23. It will be at a big Republican rally on the farm of George Ade, the Hoosier humorist and politician.
Notably, the newspaper reported that Taft would be following the route that William Jennings Bryan had undertaken in his campaign.
The morning of September 23, Taft and his staff boarded a five car train dubbed “The Taft Special” and headed for Indiana. The train stopped briefly in Indianapolis, where Taft shook hands with local politicians and waved to the approximately 200 people gathered to greet him. He joked with the crowd, forgoing a formal speech. The Taft Special stopped again briefly in Lafayette and switched tracks at Sheff before arriving at Ade station just west of Brook. Ade and a welcome committee arrived in a six car caravan to take Taft, staff, and guests to Hazelden.
As the caravan drove through Brook, a large sign made of evergreen reading “Welcome” framed in marigolds and goldenrod greeted them. “Triumphal arches” also made of evergreen spanned the main street and supported large pictures of Taft and the other Republican candidates. Newspapers around the country described the scene in detail. The New York Times reported:
All forenoon, from miles around the countryside, buggies, family carryalls, hay racks, and farm vehicles of every description crowded the roads leading to Hazelden, the country home of George Ade. When the candidate, seated in the humorist’s automobile, reached the farm he was driven through a veritable gauntlet of vehicles hitched to telephone poles, fence posts, trees, or anything else calculated to restrain the horses.
The Indianapolis News described the scene that greeted Taft upon his arrival at Ade’s estate:
Before the arrival of the Taft party there was a concert by the Brook Band and later by the Purdue Military band, followed by short speeches from some of the local statesmen. At noon the Second Regiment Band, of Chicago, gave a great display of daylight Japanese fireworks. When the Taft party appeared in sight down the road, a dozen bombs were hurled in the air —the explosions resembled a salute by a gun squad and the air was filled with smoke as if from a battle.
The spectacle of this political theater was not lost on the Indianapolis News. The newspaper referred to the rally as a clever “stunt” and a “big play” put on by Ade. It continued to draw comparisons between the playwright’s craft and the political event:
The frameup of Ade’s latest act was all that could be desired. It was elaborately staged, and the scenery was all that nature could do for one of the prettiest places in northern Indiana, and the actors were of a pedigree out of the ordinary.
Upon arrival, the official party had lunch in the Ade home while the crowd purchased “full dinner pails,” a reference to the 1900 Republican slogan that appealed to the labor vote and helped William McKinley defeat William Jennings Bryan. At 1:15 p.m., Ade and Taft appeared on the decorated speaker’s platform. Ade introduced the candidate, and Taft officially kicked off his campaign.
Taft had not only remembered Ade from the notification committee, he was a fan of the writer’s work, “The Sultan of Sulu,” which was set in the Philippines. Taft had presided over the U.S. commission overseeing the new U.S. protectorate of Philippines under McKinley and spent a great deal of time there. National newspapers reported that Taft referred to Ade as “the Indiana Sultan of Sulu” and stated that “the Philippine original had no advantage over Ade.” Then, Taft got down to brass tacks.
He looked out at the faces of the farmers, the constituents that brought him to Indiana, and addressed them directly. He wanted this point to hit home, stating:
I was told if I came here I should have the privilege of meeting 10,000 farmers of the State of Harrison and [former Indiana Governor Oliver P.] Morton, and I seized the opportunity to break my journey to Chicago to look into your faces and to ask you the question whether your experience as farmers with Mr. Bryan and your recollection of his course since 1892 is such as to command him to you as the person into whose hands you wish to put the executive power over the destinies of this nation for four years.
In other words, Taft implied: I came here to talk to you directly and honestly, unlike Bryan, who didn’t stop between big cities and doesn’t have your interests in mind. Taft continued to attack Bryan’s record in the House as a supporter of tariff bills that hurt the working man and policies that prevented democratic discussion of amendments to such legislation. And, Taft continued, when these tariffs negatively affected the economy, what did Bryan do to fix it? Taft claimed that Bryan toured around the country advocating for the silver standard and ignored the needs of “the farmers of the country, who were groaning under a very heavy weight of obligations.” Thankfully, Taft continued, Bryan was defeated and gold remained the standard, something that helped the farmers return to prosperity. [More here on gold versus silver standard, if that’s your thing.]
Taft then espoused the progressive policies of the Republican administration that had directly improved farmers’ lives. He especially focused on the administration’s introduction of free rural mail delivery, which helped to connect farmers to new ideas, keep them up-to-date on news, and reduce the feeling of isolation from which many rural people suffered.
Taft’s direct appeal to the farmers worked. The Brook Reporter could scarcely believe that “Mr. Taft would notice a small town like Brook.” The Indianapolis News ran the headline: “Brook Now On The Map, Thanks To George Ade.” In November, Hoosier farmers went to the polls. And while the split in the Indiana Republican Party proved fatal to the state ticket, Hoosiers chose Taft by over 10,000 votes. Taft was inaugurated March 4, 1909 as the twenty-seventh President of the United States.
Taft’s Indiana stop marked a sea change in campaign strategy. At Hazleden, Taft introduced the political tactics into his repertoire that he would hone through the rest of his tour and helped win him the election. He promoted the Republican platform as a progressive agenda that would benefit farmers and laborers. He crafted a likable, jovial, and personable image by speaking casually and humorously with crowds, while still seriously addressing their concerns. He went on the offense against his opponent in a manner the Baltimore Sun called “aggressive,” stopping in many places where Bryan had recently spoken in order to rebut his opponent’s statements. And perhaps, most importantly, he shook hands and flashed that unbeatable Taft smile at as many voters as his schedule would allow. Through sheer spectacle and tenacity, the man who had squashed labor strikes as a judge was now the candidate of the working man. A little support from Teddy didn’t hurt either, but Taft’s tour of the Midwest shaped him as a speaker and directly led to his election. And the 1908 election became the first where the Republican and Democratic candidates campaigned actively – an irreversible break with convention, as we see each election season through social media, a steady stream of ads, and even late night shows. It’s enough to make you nostalgic for the ol’ front porch.
Newspapers on the Rally
“George Ade’s Rally at Hazelden Farm,” Indianapolis News, September 23, 1908, 1; “George Ade As Sultan,” Buffalo Mourning Express and Illustrated Buffalo Express, September 24, 1908, 3; “Brook Now On The Map, Thanks To George Ade,” Indianapolis News, September 24, 1908, 4; “Taft Appeals To Labor,” Baltimore Sun, September 24, 1908, 2; “Taft Defends His Record On Labor,” New York Times, September 24, 1908, 3, accessed TimesMachine; “Taft at Brook,” Brook Reporter, September 25, 1908, 1, accessed Newspapers.com.
Peri E. Arnold, “William Taft,” Miller Center of Public Affairs, University of Virginia, https://millercenter.org/president/taft.
Jeffrey Bourdon, “‘Just Call Me Bill:’ William Taft Brings Spectacle Politics to the Midwest,” Studies in Midwestern History 2, no. 10 (October 2016): 113-138, accessed Grand Valley State University.
Howard F. McMains, “The Road to George Ade’s Farm: Origins of Taft’s First Campaign Rally, September, 1908,” Indiana Magazine of History 67, no. 4 (December 1971): 318-334, accessed Indiana University.
On September 7, 1982, U.S. Representative Adam Benjamin (D-Indiana), a Gary native, was found dead of a heart attack in his Washington, D.C. apartment. Gary Mayor Richard Hatcher, the first African American mayor in the State of Indiana, was tasked with selecting a candidate to run in a special election to complete the last few months of Benjamin’s term. After some intra-party debate, Mayor Hatcher chose Indiana State Senator Katie Hall to serve out the remainder of Benjamin’s term in the U.S. House of Representatives. In November, Hall was elected to Indiana’s first congressional district seat, becoming the first African American to represent Indiana in Congress. When Hall arrived in Washington, D.C., she served as chairwoman of the Subcommittee on Census and Population, which was responsible for holidays. Her leadership in this subcommittee would successfully build on a years-long struggle to create a federal holiday honoring the civil rights legacy of the late Dr. Martin Luther King, Jr. on his birthday.
Each year since Dr. King’s assassination in 1968, U.S. Representative John Conyers (D-Michigan) had introduced a bill to make Dr. King’s January 15 birthday a national holiday. Over the years, many became involved in the growing push to commemorate Dr. King with a holiday. Musician Stevie Wonder was one of the most active in support of Conyers’s efforts. He led rallies on the Washington Mall and used his concerts to generate public support. In 1980, Wonder released a song titled “Happy Birthday” in honor of Dr. King’s birthday. The following year, Wonder funded a Washington, D.C. lobbying organization, which, together with The King Center, lobbied for the holiday’s establishment. Coretta Scott King, Dr. King’s widow, ran The King Center and was also heavily involved in pushing for the holiday, testifying multiple times before the Subcommittee on Census and Population. In 1982, Mrs. King and Wonder delivered a petition to the Speaker of the House bearing more than six million signatures in favor of the holiday. For Dr. King’s birthday in 1983, Mrs. King urged a boycott, asking Americans to not spend any money on January 15.
Opponents objected to the proposed holiday for various reasons. North Carolina Republican Senator Jesse Helms led the opposition, citing a high cost to the federal government. He claimed it would cost four to twelve billion dollars; however, the Congressional Budget Office estimated the cost to be eighteen million dollars. Furthermore, a King holiday would bring the number of federal holidays to ten, and detractors thought that to be too many. President Ronald Reagan’s initial opposition to the holiday also centered on concern over the cost; later, his position was that holidays in honor of an individual ought to be reserved for “the Washingtons and Lincolns.”
Earlier in October, Senator Helms had filibustered the holiday bill, but, on October 18, the Senate once again took the bill up for consideration. A distinguished reporter for Time, Neil MacNeil described Helms’s unpopular antics that day. Helms had prepared an inch-thick packet for each senator condemning Dr. King as a “near-communist.” It included:
‘a sampling of the 65,000 documents on [K]ing recently released by the FBI, just about all purporting the FBI’s dark suspicions of commie conspiracy by this ‘scoundrel,’ as one of the FBI’s own referred to King.’
Helms’s claims infuriated Senator Edward Kennedy (D-Massachusetts) because they relied on invoking the memory of Senator Kennedy’s deceased brothers—former President John Kennedy and former U.S. Attorney General Robert Kennedy—against King. Kennedy was “appalled at [Helms’] attempt to misappropriate the memory” of his brothers and “misuse it as part of this smear campaign.” Senator Bill Bradley (D- New Jersey) joined Kennedy’s rebuttal by calling out Helms’s racism on the floor of the Senate and contending that Helms and others who opposed the King holiday bill “are playing up to Old Jim Crow and all of us know it.” Helms’s dramatic performance in the Senate against the holiday bill had the opposite effect from what he had intended. In fact, Southern senators together ended up voting for the bill in a higher percentage than the Senate overall.
The next day, at an October 19 press conference, Reagan further explained his reluctance to support the bill. Asked if he agreed with Senator Helms’s accusations that Dr. King was a Communist sympathizer, Reagan responded, “We’ll know in about 35 years, won’t we?” His comment referred to a judge’s 1977 order to keep wiretap records of Dr. King sealed. Wiretaps of Dr. King had first been approved twenty years prior by Robert Kennedy when he was U.S. Attorney General. U.S. District Judge John Lewis Smith, Jr. ruled that the records would remain sealed, not until 2018 as Reagan mistakenly claimed, but until 2027 for a total of fifty years. However, President Reagan acknowledged in a private letter to former New Hampshire Governor Meldrim Thomson in early October that he retained reservations about King’s alleged Communist ties, and wrote that regarding King, “the perception of too many people is based on an image, not reality.”
After fifteen years of struggling to commemorate King with a federal holiday, why did the effort finally succeed in 1983? It was the culmination of several factors that together resulted in sufficient pressure on the Washington establishment. Wonder’s wildly successful “Happy Birthday” pulled a lot of weight to raise the public profile of the holiday demand. Mrs. King’s perennial work advocating for the holiday kept the issue in the public eye.
Support was gaining ground around the country; by 1983 eighteen states had enacted some form of holiday in honor of Dr. King. Politicians could see the tide of public support turning in favor of the holiday, and their positions on the holiday became something of a litmus test for a politician’s support of civil rights.
After Helms’s acrimonious presentation in late October, Mrs. King gave an interview, published in the Alexandria, Louisiana Town Talk, saying that it was obvious since Reagan’s election that:
‘he has systematically ignored the concerns of black people . . . These conservatives try to dress up what they’re doing [by attempting to block the King holiday bill] . . . They are against equal rights for black people. The motivation behind this is certainly strongly racial.’
Town Talk noted that “Mrs. King said she suspects Helms’s actions prompted a number of opposed senators to vote for the bill for fear of being allied with him.” Some editorials and letters-to-the-editor alleged that Reagan ultimately supported and signed the King holiday bill to secure African American votes in his 1984 reelection campaign. In August 1983, Mrs. King had helped organize a rally at the National Mall in Washington, D.C. in celebration of the twentieth anniversary of the 1963 March on Washington, at which King gave his famous “I Have a Dream” speech. Between 250,000 and 500,000 Americans attended; all speakers called on Reagan to sign the MLKJ Day bill.
Hall was busy building support among her colleagues for the holiday; she spent the summer of 1983 on the phone with legislators to whip votes. As chair of the House Subcommittee on Census and Population, Hall led several hearings called to measure Americans’ support of a holiday in memory of King’s legacy. According to the Indianapolis Recorder, “among those who testified in favor of the holiday were House Speaker Thomas ‘Tip’ O’Neill, Rep. John Conyers Jr. (D-Mich.), Sen. Edward Kennedy (D.-Mass.), singer Stevie Wonder and Coretta Scott King.” Additionally, a change in the bill potentially helped its chances by addressing a key concern of its opponents—the cost of opening government offices twice in one week. At some point between when Conyers introduced the bill in January 1981 and when Hall introduced the bill in the summer of 1983, the bill text was changed to propose that the holiday be celebrated every third Monday in January, rather than on King’s birth date of January 15.
After the House passed the bill on August 2, Hall was quoted in the Indianapolis News with an insight about her motivation:
‘The time is before us to show what we believe— that justice and equality must continue to prevail, not only as individuals, but as the greatest nation in this world.’
For Hall, the King holiday bill was about affirming America’s commitment to King’s mission of civil rights. It would be another two and a half months of political debate before the Senate passed the bill.
The new holiday was slated to be officially celebrated for the first time in 1986. However, Hall and other invested parties wanted to ensure that the country’s first federal Martin Luther King Jr. Day would be suitably celebrated. To that end, Hall introduced legislation in 1984 to establish a commission that would “work to encourage appropriate ceremonies and activities.” The legislation passed, but Hall lost her reelection campaign that year and was unable to fully participate on the committee. Regardless, in part because of Hall’s initiative, that first observance in 1986 was successful.
In Hall’s district, Gary held a celebration called “The Dream that Lives” at the Genesis Convention Center. Some state capitals, including Indianapolis, held commemorative marches and rallies. Officials unveiled a new statue of Dr. King in Birmingham, Alabama, where the leader was arrested in 1963 for marching in protest against the treatment of African Americans. In Washington, D.C., Wonder led a reception at the Kennedy Center with other musicians. Reverend Jesse Jackson spoke to congregants in Atlanta where Dr. King was minister, and then led a vigil at Dr. King’s grave. Mrs. King led a reception at the Martin Luther King, Jr., Center, also in Atlanta.
Representative Hall knew the value of the Civil Rights Movement first hand. Born in Mississippi in 1938, Hall was barred from voting under Jim Crow laws. She moved her family to Gary, Indiana in 1960, seeking better opportunities. Her first vote ever cast was for John F. Kennedy during the presidential race that year. Hall was trained as a school teacher at Indiana University and she taught social studies in Gary public schools. As a politically engaged citizen, Hall campaigned to elect Mayor Hatcher and ran a successful campaign herself when in 1974 she won a seat in the Indiana House of Representatives. Two years later, she ran for Indiana Senate and won. Hall and Julia Carson, elected at the same time, were the first Black women elected to the state senate. While in the Indiana General Assembly, Hall supported education measures, healthcare reform, labor interests, and protections for women, such as sponsoring a measure to “fund emergency hospital treatment for rape victims,” including those who could not afford to pay.
Hall was still serving as Indiana state senator in 1982 when Representative Benjamin passed away and Mayor Hatcher nominated her to complete Benjamin’s term. She made history in November 1982, when in the same election she won the campaign to complete Benjamin’s term, as well as being elected to her own two year term, becoming the first African American to represent Indiana in Congress. However, Hall lost her bid for reelection during the 1984 primaries to Peter Visclosky, a former aide of Rep. Benjamin who still holds the seat today. Hall ran for Congress again in 1986, this time with the endorsement of Mrs. King. Although she failed to regain the congressional seat, Hall remained active in politics. In 1987, Hall was elected Gary city clerk, a position she held until 2003 when she resigned amid scandal after an indictment on mail fraud, extortion, and racketeering charges. In June 1989, Dr. King’s son Martin King III wrote to Hall supporting her consideration of running again for Congress.
Hall passed away in Gary in 2012.The establishment of the federal Martin Luther King, Jr. holiday law was Hall’s crowning achievement. Her success built upon a fifteen-year-long struggle to establish a national holiday in honor of Dr. King. The Indiana General Assembly passed a state law in mid-1989 establishing the Dr. King holiday for state workers, but it was not until 2000 that all fifty states instituted a holiday in memory of Dr. King for state employees.
The Martin Luther King, Jr. holiday has endured despite the struggle to create it. In 1994, President Bill Clinton signed a bill sponsored by Senator Harris Wofford (D-Pennsylvania) and Representative John Lewis (D-Georgia) that established Martin Luther King Day as a day of service, encouraging wide participation in volunteer activities. Inspired by King’s words that “everyone can be great because everyone can serve,” the change was envisioned as a way to honor King’s legacy with service to others. Today, Martin Luther King Day is celebrated across the country and politicians’ 1983 votes on it continue to serve as a civil rights litmus test.
Mark your calendars for the April 2019 dedication ceremony of a state historical marker in Gary commemorating Representative Hall and the origins of Martin Luther King, Jr. Day.
Click here for a bibliography of sources used in this post and the forthcoming historical marker.
In 1833, an enslaved African American man named Samuel Barkshire received his freedom in Boone County, Kentucky, manumitted (or legally freed) by slaveholder Joseph Hawkins for the cost of one dollar. He would go on to become the patriarch of a group of Underground Railroad (UGRR) activists who helped freedom seekers along the Ohio River for over thirty years. What makes his story distinctive, is that he was joined in this cause by his family and their own former slaveholder.
The Ohio River acted as a boundary between slavery and freedom. For nearly 40 miles, it forms the northern border of Boone County, separating it from neighbors in Indiana and Ohio. This proximity to freedom caused local slaveholders to become hyper-vigilant for signs of pending escapes. The county’s riverfront was under near-constant scrutiny of patrollers and slave hunters. In the event of an escape, the first to come under suspicion were any free African Americans living in the area. With the exception of the elderly and infirm, most formerly enslaved people left for friendlier communities immediately after manumission.
Samuel Barkshire chose to stay in Boone County, perhaps because his family was still enslaved there. He bought a 100-acre farm bordering the land of his former slaveholder, Joseph Hawkins. The land once owned by Samuel’s first slaveholder, Dickey Barkshire, was also nearby. Part of the land Samuel once owned runs along a ridgeline overlooking the Ohio River. The ridges near the river were often used by freedom seekers as safe routes leading to several crossing points from Boone County to free states. In addition to the heirs of slaveholders Joseph Hawkins and Dickey Barkshire, Samuel’s neighbors also included the Universalist Church and some of its anti-slavery members. This placement put Samuel in a position to help freedom seekers while still living in a slave state. This was a dangerous endeavor, but a strong possibility, considering his level of involvement in the UGRR in Rising Sun.
When Joseph Hawkins died in 1836, his widow Nancy was his only heir. Little is known about Nancy’s early life, but she appeared in Joseph’s life sometime around 1817, and they had no children. Hawkins’ will is a simple document; he left all of his land and property to Nancy. There was no inventory taken of the estate, but tax lists of the year of his death show he was the owner of ten enslaved people and about two hundred acres of land.
Before her marriage to Joseph, Nancy was the consort of Dickey Barkshire for a period of years following his first wife’s death. Though this relationship is referenced in her probate, no marriage document has surfaced; she may have been Dickey’s wife in name only. This connection to the Barkshires indicates she knew Samuel Barkshire for years before marrying Joseph. Nancy’s relationship with Samuel and his family was very close, so it’s likely she asked her new husband to acquire ownership of the man, in order to free him. This also may have been the case with Violet, a woman once listed as a slave of Hawkins, who was later freed. Violet and Nancy were baptized together upon joining Middle Creek Baptist Church, and lived either in the same home or nearby one another until Nancy’s death in 1854.
Two days after the probate of Joseph Hawkins’ estate, Nancy purchased a home in Rising Sun. The Barkshire family, Violet and several other bondsmen moved across the river at the same time. Nancy, now living in a free state, began to manumit the enslaved people she had brought from Kentucky. Nancy seemed cognizant of the dangers faced by African Americans, even those legally manumitted and living on free soil. They could be kidnapped and sold back into slavery, or bound as an indentured servant, if debt or need came into play. If the former slave was not yet of age, and had no guardian, one would be assigned by the courts, without consent of the minor. In order to avoid these pitfalls, Nancy Hawkins filed manumissions only after there was some sort of protection in place, should something happen either to her or to Samuel and his wife.
This fall marks the 180th and 170th anniversaries of two rounds of manumissions filed by Nancy Hawkins in Indiana. In August, 1838, the first group: Harriet Frances Barkshire (Samuel’s wife), a man named Sandy and Mariah Hawkins (listed together), and a woman named Catherine were manumitted by deed. All were adults, but the manumission did not get filed until after Catherine was married in Dearborn County. This is important, a single woman would have been more vulnerable than the married women in the group. The second round of manumissions was filed in September of 1848, and included the Barkshire children: Arthur, Garrett, Matilda, Emily, Woodford and Minerva. One curious detail of their manumission papers was that each person’s exact birthdate was given. At the time of their manumissions, the two eldest boys, Arthur and Garrett, were both over 21 years old, and could therefore act as guardians for the younger children if something were to happen to their parents or to Nancy Hawkins. This was no light concern, considering the involvement of the family in UGRR activity in the area.
Samuel Barkshire acted as a coordinator and point of contact for Rising Sun’s UGRR network. He was well-known to local anti-slavery activists, and was acquainted with Levi Coffin, the “President of the Underground Railroad.” His participation is also mentioned in the memoirs of abolitionist Laura Smith Haviland, who sought his help in freeing a Boone County family who were enslaved in Rabbit Hash.
The three Barkshire sons acted as conductors, both on the river and over land. Their reach stretched from New Orleans all the way to Ontario, with Rising Sun serving as their base of operations. The three daughters’ involvement is not clear, but their parents and Nancy Hawkins, (with whom they sometimes lived), ran “stations” or temporary hiding places. The clandestine nature of this work would require both the help and complicity of the three girls.
Though Nancy’s involvement was not discovered during her lifetime, it was later revealed in a remembrance printed in the newspaper. As a well-heeled widow and former slaveholder herself, it was likely she wasn’t suspected by slave hunters. The author of the newspaper piece written in the 1880s, describes in great detail an episode in which five freedom seekers were kept hidden in Nancy’s home for days on end, unbeknownst to their Boone County slaveholders just across the river. It’s probable that this event was not an anomaly; she may have helped many times over.
Violet’s participation may have been comparable to that of the Barkshire daughters. She lived either with or next door to Nancy in Rising Sun over the years. Sandy Hawkins, who was freed along with Mariah, moved to New Orleans after his manumission. In 1851, he was accused of harboring a fugitive slave in his New Orleans home. Like many UGRR conductors, he also worked on riverboats, traveling from slave territory to free states regularly. Joseph Edrington, the man Catherine married in Rising Sun shortly before her manumission, was also named in Laura Smith Haviland’s memoir, as an agent of the UGRR.
The relationship between Nancy Hawkins, her friend Violet and the Barkshire family is clear in the will she left in 1854. The entirety of her household possessions were divided between the three Barkshire girls, and Violet received personal items and money. The three Barkshire sons were to share in the profit from the sale of her house, which they promptly bought back at auction. Though an unusual group, these Rising Sun activists did much to further the cause of freedom from bondage.
In an era when African Americans, especially women, were often professionally sidelined, Vivian Carter forced herself onto the field. Through her ingenuity and personal popularity, the musical “matriarch” became a business owner and record producer. Her company, Vee Jay Records, recorded and popularized many successful musicians of the mid-20th century, ranging from Rhythm-and-Blues to Pop Rock, Doo-Wop, Gospel, Soul, and Jazz artists. Although music had been strictly segregated along racial lines, Vee Jay introduced both black and white artists to mixed crowds of local teenagers first, and then to a national audience between 1953 and 1966. The company released recordings of some of the nation’s most prolific musicians, including Little Richard, The Beatles, Jimi Hendrix, and The Four Seasons.
Born in 1921 in Tunica, Mississippi, Vivian Carter moved with her brother and parents to Gary at age 6. As a child and teenager, she was competitive, outgoing, and self-confident. These qualities helped her win a 1948 contest for the “best girl disc jockey in Chicago,” which was the beginning of Vivian’s radio career. Eventually, Vivian had a five-hour nightly radio program in Gary, called “Livin’ With Vivian,” referring to female listeners as “Powder Puffs” and male callers “Sponges.” The “hostest who brings you the mostest” played music by black artists and much of what she played was not available on commercial records. Since Vivian owned a record store in the heart of Gary, along with her future husband Jimmy Bracken, she knew that recordings of this music would sell.
Teenagers of all races from several Calumet Region schools would gather after school to watch Vivian through the glass store window while loudspeakers broadcast her favorite Rhythm and Blues recordings, as recalled by Jerry Locasto, a future radio executive who was one of those kids. While the records played, Vivian would come out and mingle with the kids to find out what they liked or disliked about each one. Kids could request songs, and she would play them. In 1953, Vivian and Jimmy started their own record label, called Vee Jay Records from the initials of “Vivian” and “Jimmy,” to record the music of local black artists.
Their first group was the Spaniels, a group of crooners from Gary Roosevelt High School, Vivian’s alma mater. The boys walked into the record shop after winning a talent contest at school, to ask if Vivian knew how they could get a recording made. Vivian listened to the group, then gave the impoverished boys a place to practice – her mother’s garage –and arranged to record them at Chance Records, a studio in Chicago. She later bought suits for their publicity photos and a station wagon for their travels.
Best Years of Vee Jay Records
The Spaniels’ first record, “Baby, It’s You” reached #10 on the Rhythm and Blues charts. Then the Spaniels hit #5 with their second record, “Goodnite, Sweetheart, Goodnite.” The record “crossed over” from the Race Records category to become a hit with white purchasers as well. But Vivian was disappointed when the McGuire Sisters, a “white girl trio,” sold more copies with their “cover” of the same song. She asked her brother, Calvin, to put more of a white-sounding background on the future records, to appeal to broader audiences. And the young company learned to print and register publishing rights to all their performers’ original songs, so they still made money when other performers covered them.
In 1954, Vee Jay moved to Chicago and eventually opened on Michigan Avenue’s “Record Row.” Vivian, Calvin, and her husband Jimmy remained the heads of the company. But according to Bob Kostanczuk of the Gary Post-Tribune, Vivian was always “viewed as the company’s matriarch and driving force.” They hired the knowledgeable Ewart Abner, accountant for the former Chance Records, after Chance went out of business. Abner started as manager and eventually worked his way up to president.
In the next ten years, Vee Jay Records released successful recordings of black and white performers, including hits like The Four Seasons’s “Big Girls Don’t Cry,” The Dells “Oh, What a Night,” and The Beatles’s “Love Me Do” and “Twist and Shout.” Since radio stations wouldn’t play several records from one company label in the same time slot, Vee Jay also recorded under the labels Falcon, Conrad, Tollie, and Abner, from the middle names of the company’s principals. Vee Jay opened a Los Angeles studio, and Vivian and Jimmy soon drove around in luxury convertibles and fur coats.
The Beginning of the End
Vee Jay’s best (and worst) luck came in 1962 when they tried to buy distribution rights for Australian singer Frank Ifield’s European hit single “I Remember You.” The Gary Post-Tribune on August 23, 1998, noted that the British agent insisted they also take a quartet named The Beatles, unknown at that time in the United States. Vee Jay released several Beatles singles and their first U. S. album, to lukewarm success until the group appeared on the nationwide Ed Sullivan Show.
Then Beatles’ sales skyrocketed. Capitol Records, who had earlier turned down the Beatles, started filing lawsuits against Vee Jay to get the group back, as reported by Mike Callahan in “The Vee Jay Story” in Goldmine (May 1981). The cost of defending the lawsuits, in addition to Ewart Abner’s poor financial management and gambling habit, wiped out Vee Jay’s money and credit, and put the company out of business.
In a life story that Vivian called “rags to riches to rags,” Vivian and Jimmy lost everything, even their little record store, and divorced. Jimmy died and Vivian worked days at the county trustee’s office and hosted a late-night radio program in Gary from 1967 to 1982. According to Dr. James B. Lane’s Traces of Indiana and Midwestern History article, when her best friend from high school, Yjean Chambers, asked how Vivian felt about the spectacular rise and fall of her recording business, Vivian replied that she had “learned too late the art of looking over the shoulder of those who work for you.” Then Vivian added, “But I don’t miss a thing. That’s all behind me now.”
After several years of illness, Vivian died of complications from diabetes and hypertension in 1989. Lane says one of Vivian’s last visitors was James “Pookie” Hudson, her first recording artist, who sang Vivian to sleep with his hit song, “Goodnite, Sweetheart, Goodnite.”
In May of 1861, as men throughout the state answered Governor Oliver P. Morton’s call for volunteers to suppress the rebellion, well-known abolitionist and evangelical speaker Sojourner Truth visited Indiana to speak in support of the war. This would ultimately lead to her arrest. The reformer was born a slave in Ulster County, New York, sometime in the late 1790s, and named Isabella. She became free in 1827 under New York’s gradual emancipation law, and took the name Isabella Van Wagenen, after her last master. That year, she had a religious conversion experience and became a Methodist. In June, Isabella Van Wagenen was inspired to change her name to Sojourner Truth and became an itinerant preacher. She settled among the Northampton Association and for the remainder of her life spoke widely on behalf of spiritual, anti-slavery, feminist, and temperance causes.
Sojourner Truth first visited northeastern Indiana in 1858, probably because it was not far from her new home in the Harmonia community near Battle Creek, Michigan. By setting foot in Indiana she broke the law, as Article 13 of Indiana’s 1851 Constitution provided that “No negro or mulatto shall come into or settle in the State, after the adoption of this Constitution.” This was of no concern for a woman of her ideals and determination. It was at the small town of Silver Lake in Kosciusko County that a hostile crowd insisted that she was really a man in disguise. Challenged to reveal her breasts to women of the audience, she uncovered her breasts for the entire audience, saying that she “had suckled many a white babe.” Accounts of this “symbolic rape,” as modern scholars describe it, were published both locally and in the nation’s leading abolitionist newspaper, William Lloyd Garrison’s The Liberator.
Her 1861 appearance at the Steuben County courthouse in Angola was, according to abolitionist accounts, disrupted by a drunken mob, which pushed and cursed her, threatening tar and feathers or even worse. Reports noted that she made a dramatic figure: unusually tall (some said nearly six feet), thin, very dark complexioned, and dressed for this occasion in red, white, and blue. According to the Steuben Republican, “Sojourn Truth” did speak, although her words were not recorded. Local residents were divided on her right to speak, but the Republican said nothing about a mob or threats of violence. Its seven headlines tell a story of confusion in five distinct typefaces:
A BLOODLESS VICTORY.
Free Speech Tolerated in Angola.
GRAND MILITARY DISPLAY!
NEGROES NOT TOLERATED IN INDIANA.
Arrest for Harboring Negroes.
Arrest and Trial of Sojourn Truth.
ANGOLA BECOMING HERSELF AGAIN.
Apparently many local Republicans were reluctant to allow Sojourner Truth to speak, although they were equally opposed to allowing anti-abolitionist Democrats to prevent her from speaking. The Republican seemed to be more concerned with the community’s reputation for law and order than for printing a clear account of what actually happened:
Although the freedom of speech had not been questioned here, yet the free speech of colored persons was not thought advisable at this time and under the excited state of the country, which met with opposition by some and encouragement by others, which resulted in favor of free speech, although but of short duration.
Sojourner Truth was arrested “by her would be friends on a charge of being in the State contrary to the laws of the State,” tried before a friendly justice of the peace, and set free. Other local residents, dissatisfied by this “mock trial,” had her arrested again and taken before a less-friendly justice, whereupon her friends won a change of venue to a court ten miles to the north in Jamestown, very near the state line. As she told the story afterward, she and her white companion Josephine Griffing were called before the courts on six occasions, but she was never convicted. A local abolitionist named Horatio Roby was arrested and bound over to the circuit court “for harboring a negro.” He was released on bail set at $500, but there is no record that he was ever brought to trial.
Sojourner Truth remained for about a month during her 1861 visit, and she certainly spoke at a number of places in northeastern Indiana, not only in favor of the war itself, which was not a matter of great controversy in that part of the state, but also on the evils of slavery and the necessity for its destruction. Abolition did not become government policy until President Abraham Lincoln’s preliminary Emancipation Proclamation of September 22, 1862.
Sojourner Truth’s visit emphasizes how divided was public opinion in Indiana in the late spring of 1861. Most Hoosiers were enthusiastically in favor of preserving the Union, far fewer favored the abolition of slavery, and few of those would have welcomed freed slaves to live in Indiana. Although it was unenforceable during and after the Civil War, Article 13 was not formally repealed until 1881. Nevertheless, despite accusations of intimidation by a drunken mob published by the abolitionist press, Sojourner Truth did speak publicly in Steuben County. She was threatened but not injured, she was protected by armed members of the Scott Township Home Guard, and she was never convicted for the crime of entering the state although obviously guilty of the charge. The Steuben Republican believed that “Negro excitement has run very high in Angola for the last ten days, very much to the discredit of the town.” Those who invited, sheltered and defended Sojourner Truth on her visits to Indiana held a much different opinion.
The author wishes to acknowledge the generous assistance of Peg Dilbone of Angola, independent researcher and Steuben County Historian.
Painter, Nell Irvin, editor, Narrative of Sojourner Truth. New York: Penguin Books, 1998.
Painter, Nell Irvin, Sojourner Truth: A Life, a Symbol. New York: W.W. Norton, 1996.
Steuben Republican [Angola, Indiana].
Thornbrough, Emma Lou. Indiana in the Civil War Era, 1850-1880. Indianapolis: Indiana Historical Bureau and Indiana Historical Society, 1965.
Thornbrough, Emma Lou,The Negro in Indiana: A Study of a Minority. Indianapolis: Indiana Historical Bureau, 1957.
Washington, Margaret, Sojourner Truth’s America. Urbana: University of Illinois Press, 2009.
After investigating over 4,000 incidents of “racial terrorism” that took place in the United States between 1877 and 1950 in the form of lynchings, the Equal Justice Initiative realized the trauma left in their wake had never been properly confronted by the nation. The EJI sought to remedy this and opened the Memorial for Peace and Justice in Montgomery, Alabama on April 26, 2018. Memorial visitors first encounter sculptures of chained slaves before experiencing memorial square, an exhibition of 800 6-foot monuments that represent lynchings in each of the counties where they took place. The memorial concludes with a bronze sculpture that examines “contemporary issues of police violence and racially biased criminal justice.”
Woven into the fabric of racially-motivated violence in America is a summer night in Marion, Indiana in 1930. On August 7, black teenagers Tom Shipp, Abe Smith, and James Cameron were held in the Marion jail for the murder of Claude Deeter and rape of Mary Ball. Before they could stand trial, a mob comprised of white residents tore the young men from their cells and brutally beat them, mutilating and hanging Shipp and Smith from a tree on the courthouse lawn. They intended to send a message to other African American residents, one which Marion NAACP leader Katherine “Flossie” Bailey scrambled to prevent.
Local photographer Lawrence Beitler took a photograph of the swinging bodies, capturing a white crowd that looked on in a mixture of satisfaction, hostility, amusement, and bewilderment. This photo was reproduced on postcards and circulated by the thousands. NPR noted that in the late 1930s white poet, activist, and Bronx school teacher Abel Meeropol remained haunted by the image of “strange fruit hanging from the poplar trees” and penned a poem about the lynching, published by the teacher’s union. Inspired by Meeropol’s words, artists like Billie Holiday, Diana Ross, Sting, Kanye West, and Nina Simone have performed their own versions of “Strange Fruit.”
Historian Dr. James Madison contends that the Marion lynching continues to command attention because it took place outside of the Deep South and occurred after the Ku Klux Klan-prompted lynchings of the 1920s. The East Tennessee News noted weeks after the lynching that the “deplorable affair” confirmed the notion that “mob law” can break “forth in all its furry [sic] in North as readily as in the south.” The paper added that only the enactment of a federal law would “serve to discourage the tendency of irresponsible hoodlums who are inclined to take the law into their own hands.” Prior to August 7, 1930, it is believed that the last lynching in Indiana took place in 1902 in Sullivan County and the resurgence sent shockwaves through Indiana and around the nation.
As white residents gathered on the afternoon of the 7th, formidable NAACP state president Flossie Bailey mobilized. Born in Kokomo, Bailey was described as a “hotrod,” “born leader,” and “superb organizer” for her tireless work with the NAACP. She established the Marion branch in 1918 and built it up, despite encountering apathy created by Great Depression conditions. She became head of the Indiana NAACP and offered her house as headquarters when Marion’s Spencer Hotel refused to accommodate black guests.
As the restless crowd hoisted Claude Deeter’s blood-stained shirt from the window of the Marion City building, Bailey called Sheriff Jacob Campbell to alert him to the mob’s plan to lynch the prisoners. According to NAACP acting secretary Walter White, upon Bailey’s phone call, Sherriff Campbell checked the jail’s garage and found that gasoline had been removed from the cars and the tires flattened, preventing transportation of the endangered prisoners. He made no attempt to procure working cars, despite three hours passing until the lynching. Bailey also called on Governor Harry G. Leslie’s secretary, operating in his absence, to dispatch troops to the restless city. He abruptly hung up on her.
As Bailey tried to intervene, Mary Ball’s father, Hoot Ball, entered the jail to speak with Sheriff Campbell and, upon failing, the crowd broke into violence and stormed the jail. The Muncie Evening Press estimated that of the thousands gathered around the jail “only about 75 men actually took part in the rioting,” encouraged by the shouts of onlookers. The mob penetrated the front and side of the jail using crowbars and hammers. Officials inside tried to stop rioters with tear bombs, one of which was lobbed back into the jail and exploded among nearly fifty prisoners.
Walter White declared the lynching of Shipp and Smith to be the “most horrible and brutal in the whole history of lynching.” He stated that Smith was taken first and lynched from the jail bars and “When first pulled up he held on to the rope, preventing strangulation.” Shipp “fought furiously for his life, burying his teeth in the arm of one of the lynchers. In order to make him loosen his teeth his skull was crushed in with a crow-bar and a knife plunged into his heart.”
The rancorous mass took Smith’s life by dragging him to the courthouse square and hung him from a tree before a crowd that included children, an act witnessed and recounted by Muncie podiatrist Dr. E. Frank Turner. He saw the “ghastly spectacle” around 8 p.m. and, hearing that water would be used to disperse the crowd, “felt that everything would be alright, and went away.” When he returned around 10 o’clock, he saw the mob drag Shipp and Smith to the courthouse lawn. Lynchers utilized shadows created by tree branches to obscure their identities. Dr. Turner recalled that:
The body went up, dangling on the rope, and a demoniacal yell surged from the crowd. It was hideous! That mob sounded like wild wolves, the yells were more like vicious snarls. Some even clapped their hands.
Not all observers cheered, he recalled. Some wept and others condemned the crowd.
Cameron, the youngest of the three accused men, was ripped from his cell and nearly hanged before someone in the crowd shouted that he was not involved in the crime. Muncie policeman Earl Doolittle noted that when Indianapolis officers finally arrived in their “big touring car” they were “greeted with boos and catcalls” from the crowd, lingering to prevent the coroner from removing the bodies. This was the same crowd that had left the jail “ravaged,” with “gaping holes in the walls” and the “twisted remains of broken locks.” Reportedly by midnight, an “indignation meeting” formed in Johnstown, the Marion neighborhood where African Americans lived. Hundreds of black residents listened to speeches about the sheriff’s unwillingness to order officers to shoot at the mob. Officers broke up the meeting, which prevented further violence. An Illinois newspaper reported that about 200 black residents fled Marion for Weaver, a historic black community in Grant County, out of fear of escalating violence.
At the time of the lynching, the state militia was training in Kentucky and, therefore, the “lawless element” controlled the scene of the lynching for over half a day. After Sheriff Campbell removed the bodies the following day, the crowd used penknives to cut buttons and shreds of fabric from the victims’ clothes as “souvenirs.” Shipp’s and Smith’s bodies were then taken to Shaffer Chapel African Methodist Episcopal Church in Muncie because Marion lacked a black mortician.
Echoing editor George Dale‘s 1920s skewering of the Ku Klux Klan via the Muncie Post-Democrat, the Muncie Evening Press condemned the act, stating “Not alone Marion but the state of Indiana stands today disgraced in the eyes of the world as a result of the lynching of two Negroes in that city last night. As for Marion herself she will be regarded abroad as a city of barbarians.” The paper believed that Marion could be partially redeemed only by indicting rioters on murder charges. The article noted “This ought not to be difficult.”
Flossie Bailey knew otherwise. According to James Madison, after the crime Bailey convinced Walter White to investigate the lynching. Fearing her phone calls were being monitored, she traveled back to Kokomo to communicate with NAACP leaders in Indianapolis and Marion. She received threatening phone calls, Madison noted, and drivers “deliberately backfired their cars as they cruised past her house.” Despite these threats, Bailey worked diligently to hold the perpetrators accountable. She joined a delegation of ten African American citizens from Marion and Indianapolis that met with Governor Leslie, including prominent pastors and Walker Manufacturing Company attorney Robert L. Brokenburr. In a formal resolution presented by Bailey, the group demanded that Governor Leslie ask for Sheriff Campbell’s resignation and promise protection for those who would testify about the identity of the lynchers. According to The Kokomo Tribune, Governor Leslie responded by claiming that “rumors had come to him that negroes in Marion were equipped with dynamite and were threatening to blow up the county jail.”
Bailey countered this rumor directly in a letter-to-the-editor for the Pittsburgh Courier, one of the leading African American newspapers in the country. The Courier previously printed a story about plans for retaliation by Marion’s black residents. Bailey noted that this was a “LIE,” one absolutely not perpetuated by the city’s black pastors, as the Courier had claimed. She stated that because of the rumors she and her husband “are daily receiving anonymous letters of a threatening nature” and alleged that “The Negroes who start rumors of this sort are the ones who will not help in anything constructive.” She concluded her letter “A few of us refused to be intimidated and do all we can in the name of the Association [NAACP] to bring law and justice again to Marion.”
The county grand jury began its investigation into the lynching in September. Bailey testified that she warned Sheriff Campbell of the formation of the mob just before 5 p.m., countering Campbell’s statement that it was made after 7 p.m. When questioned about his lack of action, he stated he feared hitting a woman or child with a stray bullet. Ultimately, the jury decided that Sheriff Campbell handled the mob in a “prudent manner” and exonerated him of any responsibility for the deaths of Shipp and Smith.
Unable to extricate Campbell from office, Bailey and her husband focused their efforts on prosecuting the lynchers. Historian Emma Lou Thornbrough noted that they led the effort to gather names from witnesses at “considerable personal risk.” White sent a list of twenty-seven alleged participants, along with evidence of their involvement, to Governor Leslie and Indiana Attorney General James M. Ogden. According to Thornbrough, only seven men were arrested, two tried, and both acquitted. She noted that at the trial of the second man, antagonism “against the blacks who attended it was described by a representative of the national NAACP as ‘appalling.’ Most of the whites who packed the courtroom were jubilant when the accused man was acquitted.” The New York Age noted of Bailey that “A high tribute is paid her courage and energy in working to restore order in Marion and to bring the lynchers to justice.” The NAACP awarded Bailey with the Madam C.J. Walker Medal for her refusal to be intimidated in her quest to bring the perpetrators to justice.
While Bailey’s efforts were ultimately unfruitful, she used the Marion lynchings as a springboard to enact anti-lynching legislation in Indiana. House Democrats introduced a bill in February 1931, for which Bailey organized statewide meetings, and convinced African Americans to contact their legislators. Her legwork paid off. Governor Leslie signed the bill into law in March, which allowed for the dismissal of sheriffs whose prisoners were lynched. The law also permitted the families of lynching victims to sue for damages. The Indianapolis Recorder, one of state’s preeminent African American newspapers, praised the law. The paper stated, “Indiana has automatically retrieved its high status as a safe place to live.” It added that without the law, Indiana “would be a hellish state of insecurity to our group, which is on record as the most susceptible victims of mob violence.” Although the newspaper praised Governor Leslie, it credited a “small group which stood by until the bill became a law.”
Using this momentum, Bailey and her NAACP colleagues worked to pass a similar bill on a federal level. Madison noted that she tried to change national lynching laws by publishing editorials, wiring President Franklin D. Roosevelt, and distributing educational materials to Kiwanis clubs. Although these efforts were unsuccessful, Bailey fought for the rights and safety of African American citizens until her death in 1952, challenging discrimination at IU’s Robert W. Long Hospital, speaking against school segregation, and suing a Marion theater for denying Bailey and her husband admittance based on their race.
The Memorial for Peace and Justice has made tangible the tragic events of August 7, 1930. Perhaps one day the American landscape will represent Flossie Bailey and other individuals who tried to prevent racial terrorism at considerable personal risk. Learn how to apply for a state historical markervia the Indiana Historical Bureau.
“Marion and Indiana Are Disgraced,” “Negro Killers Hanged in Courthouse Yard After Big Mob Storms Jail; Trio Accused of Attacking White Girl,” “Muncie Man is Lynching Witness,” and “Police Tell of Scenes at Marion,” Muncie Evening Press, August 8, 1930, accessed Newspapers.com.
Perhaps one of the most heroic soldiers of World War I, Samuel Woodfill is largely forgotten today. He would have preferred it that way. Modest and a skilled marksman, Woodfill was born in Jefferson County, near Madison, in January 1883. Growing up, he watched his father and older brothers use guns to hunt, observing how they shot. By the age of ten, he was secretly taking a gun out to hunt squirrels and telling his mother the squirrels were from a neighbor. When he was caught, his veteran father (John Woodfill served in the Mexican-American War and the Civil War), was so impressed with Woodfill’s marksmanship he was allowed to take the gun whenever he pleased.
At 15, Woodfill tried to enlist during the Spanish-American War. He was turned down, but enlisted in 1901 at the age of 18. He served in the Philippines until 1904, and returned home for only a few months before he volunteered to be stationed at Fort Egbert in Alaska. It was in Alaska that Woodfill worked on his marksmanship, hunting caribou, moose, and brown bears in the snowy landscape of the Last Frontier until 1912. Upon his return to Fort Thomas, Kentucky, Woodfill was promoted to sergeant due to his impeccable record. In 1914, he was sent to defend the Mexican border until his return to Fort Thomas in 1917. While Woodfill showed great discipline and marksmanship as a soldier, World War I would prove how exceptional he really was.
In April 1917, Woodfill was promoted to Second Lieutenant and he prepared to go to Europe to fight on the front. Before leaving, he married his longtime sweetheart, Lorena “Blossom” Wiltshire, of Covington, Kentucky. Woodfill was part of the American Expeditionary Forces (A.E.F.), Company M, 60th Infantry, 5th Division and was promoted to First Lieutenant while in Europe.
Woodfill’s most defining moment, and one that brought him international fame, occurred on October 12, 1918 near Cunel, France during the Meuse-Argonne Offensive. Leading his men through enemy territory, Woodfill’s company was attacked by German soldiers. Not wanting to put any of his men in danger, Woodfill proceeded ahead alone to face the enemy. Using his marksman skills, he identified the probable locations for German nests, and took out several snipers and their replacements. As he moved forward, his men managed to keep up with him and together they braced themselves for the shelling that would continue throughout the afternoon. When it finally stopped, Woodfill went back to retrieve the pack he had left behind, discovering that the jar of strawberry jam he had been saving was gone. Hearing Woodfill grumble about the “yellow-bellied son of a sea cook” who stole it, the company cook gave Woodfill a fresh apple pie. Remembering the pie years later, Woodfill said “I don’t think any medal I ever got pleased me half as much as that apple pie.” Woodfill spent ten weeks in the hospital, recovering from the mustard gas he breathed in while taking out the German snipers.
Woodfill received the Medal of Honor for his actions in January 1919 before returning home to Kentucky. Several other medals followed, including the Croix de Guerre with palm (France, 1919), and the Croce di Guerra (Italy, 1921).
He left the Army in November 1919, but quickly realized that after such a long time in the forces, finding a job would be difficult. Three weeks later, he reenlisted as a sergeant, losing his rank of captain he had achieved during the war. But as long as Woodfill was in the Army and living a quiet life, he was happy. Soon, his heroic actions during the war were forgotten by the public. This changed in 1921 when Woodfill was chosen to be a pallbearer to the Unknown Soldier by General Pershing. Upon seeing Woodfill’s name on the list to choose from, he exclaimed,
“Why, I have already picked that man as the greatest single hero in the American forces.”
Interest in Woodfill and his story gained popularity, and the fact that he had lost his rank as captain bothered many. Appeals as to his rank would appear in the Senate, but proved fruitless. Woodfill’s rank did not bother him, but the pay did. He wanted to provide for anything his wife wanted, and could not do that on a sergeant’s pay. In 1922, he took a three months’ leave from the Army and worked as a carpenter on a dam in Silver Grove to make enough money to pay the mortgage. By 1923, Woodfill was able to retire from the Army with a pension. Author Lowell Thomas took an interest in Woodfill and published a biography titled Woodfill of the Regulars in 1929 in an attempt to help Woodfill pay his mortgage. Framed as Woodfill telling the story of his life, Thomas had to add an epilogue to include the prestigious honors he received because Woodfill only included the Medal of Honor.
In 1942, the War Department reenlisted Woodfill and Sergeant Alvin York, another WWI hero. Having lost his wife a few months earlier, Woodfill sold everything he owned and went off to serve in WWII. Woodfill passed most of the entrance exams, but had to be given special clearance because he did not have the minimum number of teeth required to serve. (Check back to learn about Hoosier dentist Dr. Otto U. King, who, through the National Council of Defense, mobilized dentists to treat military recruits rejected due to dental issues during World War I). At 59 years old, Woodfill was still an excellent marksman, hitting “bull’s-eye after bull’s-eye” on a rifle range in Fort Benning, Georgia. He did not serve long, as he hit the mandatory retirement age of 60 in 1943.
Rather than returning to Kentucky, Woodfill settled in an apartment in Vevay, Indiana. He spent his remaining years in solitude, enjoying the anonymity that he had craved throughout his career. He died on August 10, 1951 and was buried in a cemetery between Madison and Vevay. In 1955, Woodfill’s story resurfaced and a push to honor the WWI hero resulted in Woodfill’s body moving to Arlington National Cemetery. He was buried near General Pershing with full military honors in October 1955.
Woodfill did not enjoy the spotlight, but after taking on the enemy singlehandedly in the midst of a battle, he deserved it. He worked hard throughout his life with little expectation of recognition for his great accomplishments.
Before social media instantly familiarized people with new cultures, Bertita Harding endowed Americans, and specifically Hoosiers, in the 1930s and 40s with illuminating accounts of Europe’s and South America’s rich, sometimes volatile past and present. The Hungarian author spoke five languages, interviewed dictators, and witnessed the gleam of royal jewels. Her experiences compelled her to author more than a dozen lucrative books, mostly biographies. Indianapolis firm Bobbs-Merrill published most of her books. Bertita brought a fresh approach to biography, giving depth to royal figures, illuminating their motives, and endowing them with humanity. Her life was as interesting and tragic as the royal figures about which she so aptly wrote.
The “adopted Hoosier” was born in Hungary and moved to Mexico when her father was solicited to work as an engineer in Mexico City. As a child, she grew intrigued with the story of ill-fated Carlotta and Maximilian, Emperor and Empress of Mexico. The story is worthy of a Shakespearean quarto:
Austrian archduke Ferdinand Maximilian Joseph accepted the offer of the Mexican throne in 1863, having been assured that the Mexican people voted for his governance. However, he was installed into power through the collusion of Mexican conservatives and the French emperor, against the wishes of many Mexicans. He and his beloved wife Carlotta traveled to Mexico, where the liberal-minded emperor tried to rule with “paternal benevolence,” working to abolish the peonage system. When French troops pulled out of Mexico, and former Mexican president Benito Juarez returned, Carlotta fled to Europe to fruitlessly plead for support of her husband. Unwilling to abandon the impoverished people he had advocated for, Maximilian refused to abdicate the throne. He was executed near Queretaro, devastating his wife who remained in Europe. She fell into a debilitating depression and never recovered, refusing to acknowledge his death.
Bertita’s house was adjacent to the city’s Chapultepec castle, where the royal couple lived. The Indianapolis Star noted that “Each night as she went to bed she saw from her nursery window a light gleaming on the terrace of the somber castle, and she learned that there the beautiful Empress and her imperial husband had walked on starry nights.”
In 1909, Bertita, along with her mother and two brothers, journeyed to Vienna with a “mysterious black trunk.” Emperor Maximilian’s brother Frans-Joseph received the trunk, revealing to Bertita’s mother the jewels and insignia worn by the tragic royal couple. For returning the goods to the House of Hapsburg, Frans-Joseph bestowed Bertita’s mother with the signum laudis award for service to the crown. Bertita’s brushes with royalty proved to be the inspiration for many of her works.
Bertita traveled to the United States for school, training to be a pianist at the University of Wisconsin, where she met her husband Jack Harding. The couple moved to Indianapolis, where he worked as an executive at Harding Advertising Company. Eventually, the pair applied their literary gifts to writing film scripts in Hollywood. The Indianapolis News recalled in 1957, that Bertita “espoused the role of a young Hoosier wife and blithely entered local activities . . . She had a rare gift for being folksy and fabulous, cozy and continental at the same time.” Here, they participated in the Lambs Club, Athenaeum, and Players Club.
In a 1958 Anderson Herald article, Bertita stated that after her children were killed in an accident her husband encouraged her to write, an endeavor she found more convenient than practicing the piano. She mused “‘I’ve put a cake in the oven and gone over in my desk to write. If the cake burned, the chapter turned out to be a masterpiece. If the chapter was bad, the cake was delicious. And many times both turned out just right.'”
In 1934, Bobbs-Merrill published her literary jewel, Phantom Crown: The Story of Maximilian and Carlotta of Mexico. At a talk for the Women’s Club in Richmond, Indiana in 1934, Harding stated that as a little girl in Mexico City she interrogated former ladies-in-waiting for the royal couple about their fates. The adopted Hoosier added “I could visualize how they felt-transplanted Europeans, somewhat bewildered.” Harding penned the impeccably-researched biography in her Indianapolis apartment, writing methodically from 9 a.m. to 4 p.m. She recalled “As I wrote the book sometimes I would laugh at my own jokes, and sometimes I would cry with sympathy for them, and I loved to think my own book could arouse such sympathy in myself.”
With the success of Phantom Crown, Harding cemented her place in the Hoosier literary canon, residing among a prolific list of Indiana poets, playwrights, novelists, travel writers, and journalists. These included novelist Booth Tarkington, author Gene Stratton-Porter, and poet James Whitcomb Riley. The book she described as “manifest destiny” created a demand for Bertita’s unique perspective. She went on the lecture circuit, speaking to clubs around the country about her experiences. The Muncie Evening Press noted in 1935 that with these lectures she took audiences on a vivid tour through Mexico and Europe, showing them “‘the small out-of-the way, pieces of art and works of beauty to be found in such travel.'” Listeners traveled down the Danube into Hungary and then Vienna, where they experienced picturesque domes and woodcarvings, before arriving at French convents. Of Germany, she remarked it “‘is too far advanced, with far too much intellect as well as sentiment, to provide the obscure forms of art . . . Their great capacity is for work.'”
By 1939, the story of the ill-fated lovers proved so popular that Warner Brothers adapted Harding’s book into a film called “Juarez,” starring Bette Davis. According to the Indianapolis News, Harding threatened to sue the studio for failing to give her screen credit, but the parties came to an agreement and Harding described “Juarez” as a “‘beautiful picture.'” Harding noted that the film’s theme had been adapted to “fit modern conditions” and that, during a time of Hitler-led German aggression, Warner Brothers was advocating for “America and the Constitution right now, so ‘Juarez’ just had to fit in.” Harding contended that “Juarez” was obviously made in the vein of anti-fascist film Confessions of a Nazi Spy.
Harding followed Phantom Crown with additional biographies about theHouse of Hapsburg, such as Golden Fleece: The Story of Franz-Joseph and Elizabeth of Austria and Imperial Twilight: The Story of Karl and Zita of Hungary. The Indianapolis Recorder, an African-American newspaper, praised Harding’s writing, noting “Stiff, regal figures become understandable, human-beings. Royal mazes are unraveled. Motives for strange actions grow lucid.” The newspaper added that “A flawless instinct for drama makes the utmost of every event without the slightest strain.”
Harding’s life and books seemed to place her on the perimeter of political and military upheaval. In October 1940, she traveled to Brazil to gather material for a forthcoming book. By this time, Nazi Germany had captured France, and the Allied Powers feared that Brazil, which had been fairly politically neutral, could be susceptible to Nazi attack. Harding interviewed Brazilian dictator President Getulio Vargas, concluding that although Vargas was a dictator, Brazilians would never permit a European dictatorship. According to the Indianapolis Star, Harding asserted “I am convinced that, for reasons both sentimental and practical, Brazilians would resist any attempt to give either Naziism or Fascism a foothold in their country.'”
By 1944, Bertita and her husband Lieutenant Colonel Jack Harding, an executive officer of public relations, were fully entrenched in the war effort. That year, the Indianapolis News reported on Jack’s work in England, noting that as an intelligence officer he briefed and interrogated combat crews and laid out the operational plan for air force public relations for the D-Day invasion. In a letter published by the Indianapolis News, the lieutenant colonel illuminated for Americans the sacrifices made by soldiers in France on D-Day.
He wrote stirringly “it is still true that aircraft, artillery, warships and other auxiliary arms all radiate from a common center, one little man with one little gun. This day belongs to the infantryman, may God protect him.” Following the pivotal invasion, Jack accompanied war correspondents on a journey through France. They witnessed the fall of Cherbourg, where “Street fighting, snipers, artillery attacks, as well as a ride through crossfire, added up to part of the night’s work.” While her husband wrote about “those kids of ours,” Bertita helped sell war bonds through a literary group.
She continued to do what she did best–write about royal exiles. Harding published Lost Waltz in 1944, centering around Austria’s Leopold Salvator and his family of ten. The Indianapolis News praised her ability to “place for us these Hapsburgs in the broad movement of our own eventful times, her unusual ability to recreate past scenes and make them live again with the verve and sparkle of fiction, though she never deviates from sober fact.” Other books written by Harding after the war include Magic Fire: Scenes around Richard Wagner and The Land Columbus Loved: The Dominican Republic.
After the death of her beloved first husband, she married Count Josef Radetsky in Vienna in 1957, an ancestor of Austrian nobility. The Indianapolis News reported that the Count’s family estates had been “reduced to poverty” when Communists seized Czechoslovakia in 1948 and that he was working as a taxi driver in Vienna when he met Harding. By 1958, Bertita had made such a name for herself that the Orlando Executives Club nominated her to speak, among other nominees such as FBI Director J. Edgar Hoover. In 1958, her life took another somber twist when a Vienna court found Radetsky guilty of trying to defraud her, sentencing him to eighteen months in an Austrian prison.
Adamant that “age cannot wither you,” Bertita began work on a book about German musician Clara Schumann, which Bobbs-Merrill published in 1961. Bertita passed away in Mexico in 1971, having fulfilled her 1935 dictum that “‘Life comes before letters . . . If life results in writing, that is good: but writing without living is worthless.”
The unified efforts of the Civil Rights Movement began to fracture when in 1966 a new strategy and ideology emerged, known as the Black Power Movement. This new movement also influenced the development of the Black Arts Movement. According to historian Ann Chambers, the Black Arts Movement did not speak for the entire black community; however, the movement gave a “new sense of racial pride to many young African-American artists.” One African-American writer and actor who opposed the Black Arts Movement was Pulitzer Prize winning playwright, Charles Gordone.
Gordone was born Charles Fleming in Cleveland, Ohio, on October 12, 1925. In 1927, his mother moved with her children to Elkhart, Indiana. By 1931, she married, changing Charles Fleming’s name to Charles Gordon. He attended Elkhart High School and, although popular at school, faced racial discrimination while living in Indiana because of the divide between white and African-American children. According to Gordon, both races rejected him. White children avoided him because he was black, and the town’s African-American community shunned him because his family “lived on the other side of the tracks and . . . thought we [the Gordons] were trying to be white.”
After serving in the US Army Air Corps, he enrolled in Los Angeles City College, and graduated in 1952. Gordon stated that he majored in performing arts because “I couldn’t keep myself away from the drama department.” His experiences in college influenced his outlook on race in America. Gordon stated “I was always cast in subservient or stereotypical roles,” and he began wondering why he was not given prominent parts in Shakespeare, Ibsen, Strindberg, Pirandello plays. After graduation, Gordon moved to New York City. Once on the east-coast, Charles Gordon added an “e” to the end of his name, and became Charles Gordone when he joined Actor’s Equity Association; a labor union for theater actors and stage managers.
Two months after Gordone’s arrival in New York, he performed in Moss Hart’s Broadway play, The Climate of Eden, the “first of many Broadway and off-Broadway productions” for Gordone. He soon realized that black actors had a hard time earning a living in the entertainment business, and he claimed he “began to get really intense” about the lack of acting jobs for African Americans. He started conversing with many “young black actors,” and soon started picketing theaters on Broadway for better job opportunities. Similarly, fellow Hoosier actor William Walker, who portrayed Reverend Sykes in the film version of To Kill a Mockingbird, became a fierce civil rights advocate in Hollywood after being relegated to roles as a domestic servant because of his race. Walker worked with actor and future president Ronald Reagan to obtain more roles for African Americans.
Around 1963, Gordone became the chairman of the Committee for Employment of Negro Performers (CENP). Gordone claimed in 1962 and 1963 that television producers feared the withdrawal of corporate sponsorship if they “put Negroes in their shows” and that “discrimination took more forms in the entertainment field than in any other industry.”
Although the Civil Rights Movement had made extensive strides toward improving equality among the races, civil rights laws did not deter de facto segregation, or forms of segregation not “codified in law but practiced through unwritten custom.” In most of America, social norms excluded African Americans from decent schools, exclusive clubs, suburban housing divisions, and “all but the most menial jobs.” Federal laws also did not address the various factors causing urban black poverty. As racial tension mounted throughout the United States, Gordone struggled to survive in New York City. During the last half of the 1950s, out of work and broke, Gordone took a job as a waiter for Johnny Romero in the first African-American owned bar in Greenwich Village. His experiences there inspired his play No Place to Be Somebody, which he began scripting in 1960.
During the next seven years writing his play, Gordone sporadically worked in the theater industry. He was an original member of the cast for Jean Genet’s The Blacks: A Clown Show. The playwright, a white man, intended the play for an all African-American cast and a white audience. He states in his script that “One evening an actor asked me to write a play for an all-black cast. But what exactly is a black? First of all, what’s his color?”
In The Blacks: A Clown Show, African Americans wage war against the “white power structure,” and the oppressed evolve into the oppressor. Warner noted that Genet’s play put Gordone “in touch with his black anger.” In 1969, Gordone claimed that his experience as part of the cast changed his life because the play dealt with problems about race, enabled him to confront the “hatred and fear I [Gordone] had inside me about being black,” and introduced a talented group of African-American actors to the entertainment media including James Earl Jones and Maya Angelou.
Gordone finished his own play, No Place to Be Somebody, in 1967. The plot of the play revolves around an African-American bar owner named Johnny Williams. Other characters include a mixed-race actor, a black homosexual dancer, a Jewish strumpet, a black prostitute, an Irish hipster, an aging black hustler, a member of the Italian mafia, an influential white judge, and the judge’s idealistic daughter. Johnny Williams, is a tavern-owner, pimp and wannabe racketeer. His foil, Gabriel, also an African-American, is an intellectual struggling to be accepted as a legitimate actor.
According to a New York Times reviewer, the characters are forced to try and survive in a society controlled by white standards. Johnny Williams possesses a desire to become “somebody” in Italian-run organized crime; Gabriel fails in his attempts to be cast in African American roles because he is light-skinned. The characters’ actions in No Place to Be Somebody are influenced by racial and cultural pressures directed towards characters of opposing races. According to Gordone, “It [the play] is the story of power, about somebody who is stifled who was born in a subculture and feels the only out is through the subculture.” By the end of the play, most of the characters fail in obtaining their goals because they have all set their “ambitions in excess of their immediate limitations.”
Gordone originally offered the play to the Negro Ensemble Company (NEC); an acting group rooted in the Black Arts Movement. He claimed the co-founder, Robert Hooks, turned it down because the NEC did not allow white actors in their theater troupe. Gordone and Warner produced a “showcase version” of the play at the Sheridan Square Playhouse in 1967, but “the response wasn’t too good.” Gordone and Warner lost all their money in the venture. But in 1969, the play was accepted for the “Other Stage Workshop,” in Joseph Papp’s Public Theater, at the New York Shakespeare Festival.
No Place to Be Somebody opened on May 4, 1969 to mixed reviews. New York Times reviewer, Walter Kerr, compared Gordone’s work to Edward Albee’s masterpiece, Who’s Afraid of Virginia Woolf? Other reviews called the play “engrossing,” “powerful,” and hailed it as one of the “unique” plays of 1969. On the contrary, influential African-American critic, Clayton Riley, blasted the play’s poor production and directorial choices. Riley also questioned Gordone’s “incomprehensible” dialogue, depiction of “self-hatred,” “contempt for Black people,” and his “desire to say too much.” Yet, Riley did state that Gordone possessed “splendid talents.” According to Gordone, Riley’s review “hurt Riley more than me [Gordone] … brother Clayton is uptight. He can’t face it that The [white] Man is helping one of his brothers.”
After the play’s opening, No Place to Be Somebody quickly moved to the Anspacher Theater for an extended period of time and opened for a limited run on Broadway in the ANTA Theater. Exactly one year after the play opened at the Shakespeare Festival, May 4, 1970, Gordone won the Pulitzer Prize for Drama. The play was the first off-Broadway winner, and Gordone became known as the first African-American playwright to win the award. Yet he did not appreciate being categorized as a member of “black theater” or the Black Arts Movement, unlike Indianapolis poet Etheridge Knight.
According to a 1982 interview, Gordone’s views on race “alienated many blacks.” Gordone argued, in a 1970 New York Times editorial piece, that writers like LeRoi Jones (Amiri Baraka) should write about more than “how badly the black man is treated and how angry he is.” Gordone believed such theater intensified the split amongst the races, and he questioned “Is black really ‘beautiful’? Or is that beauty always hidden underneath the anger and resentment?” According to Gordone, Jones’ writing was “egotistical, smug, angry (never violent), frightened, and damning of every white man in the world,” and Gordone took offense that Jones was “attempting to speak for all people of color in this country.”
According to Mance Williams, Gordone opposed the Black Arts Movement’s notion that the “Black Experience is a singular and unique phenomenon.” Gordone believed that African-American culture was one part of the larger American Culture, reasoning that without the “white experience,” there cannot be a “black experience.” Williams states that Gordone believed the races were interrelated, and helped create the unique qualities that defined the “white” and “black” races. In a 1992 interview, Gordone said “We need to redefine multiculturalism. There’s only one culture—the American culture, and we have many ethnic groups who contribute.”
One possible explanation for Gordone’s belief in multiculturalism is the fact that he claimed his ancestral makeup consisted of “part Indian, part French, part Irish, and part nigger,” and he jokingly called himself “a North American mestizo.” Williams claims the playwright deemed the “color problem” could only be resolved through cooperation between the races, and that is why Gordone shied away from any radical political movements that could further divide the races. However, according to Gordone, his exclusion from the Black Arts Movement left him “Dazed, hurt, confused, and filled with self-pity.”
Gordone claimed his professional success put tremendous pressure on him. Winning the Pulitzer Prize made Gordone unhappy because he was acclaimed as a writer, rather than a director. According to Gordone, “every time you sit down at a typewriter, you’re writing a Pulitzer Prize. You’re always competing with yourself and you have to write something that’s as good or better.” In 1969, he began drinking heavily, hoping “get the muse out of the bottle” after the “long struggle.” During Gordone’s battle with alcoholism, he still worked in the theater industry. He got involved with a group called Cell Block Theater, which used theater as therapy as part of an inmate rehabilitation program.
In 1981, Gordone met Susan Kouyomjian and in 1982 they founded The American Stage, an organization devoted to casting minorities into non-traditional roles, in Berkeley, California. The American Stage productions included A Streetcar Named Desire with a Creole actor playing Stanley; Of Mice and Men with two Mexican-American actors playing George and Lenny; and The Night of the Iguana with an African American actor in the lead role of Shannon. According to Gordone, he and Kouyomjian never overtly wanted to provide more opportunities for “black, Hispanic and Asian actors,” but Gordone said “it is now very much my thing.” Their goal was to logically cast actors “so that you don’t insult the work’s integrity.” Gordone believed “innovative casting enhances the plays,” and makes them so exciting that “it’s almost like you’re seeing them for the first time.”
In a 1988 interview, Gordone continued commenting about the portrayal of race in contemporary literature and theater. Susan Harris Smith asked if theater critics viewed Gordone as “black first and a writer second?” He replied “Yes” and commented the practice was “racist.” He claimed he was a playwright trying to “write about all people . . . and to say I [Gordone] have a black point of view is putting me in a corner.” He believed African-American critics finally reached a “significant realization” about the theme of No Place to Be Somebody, that “if blacks walk willingly into the mainstream without scrutiny their identity will die or they will go mad.”
In 1987, Texas A&M University hired Gordone to teach in the English and Speech Communications Department. There, Gordone began embracing the American-western lifestyle or “cowboy culture.” The playwright stated, “The West had always represented a welcoming place for those in search of a new life,” and he found a “spirit of newfound personal freedom” within the American West. Gordone remained in Texas until his death on November 16, 1995. Friends and family scattered his ashes in a “traditional cowboy ceremony, with a riderless horse” near Spring Creek Ranch, Texas.