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.
The Wiggler. The Pikie. The Darter. The Injured Minnow. These are just a few of the popular lures crafted by the Creek Chub Bait Company during the twentieth century. Established in Garrett, DeKalb County, Indiana in 1916, the Creek Chub Bait Company became one of the country’s leading manufacturers of artificial fishing lures.
Each lure was a work of art, featuring the finest craftsmanship and attention to detail. From the company’s onset, owners Henry Dills, Carl Heinzerling, and George Schulthess placed an emphasis on quality for their products. Dills wanted the lures to be attractive to fishermen and fish alike, and worked alongside others within the company to ensure that they had a lifelike appearance and motion to help attract fish.
As early as December 1915, before the company officially began producing lures, Dills filed an application to patent new improvements in fish baits by adding a metal lip, or mouthpiece, attached to the front of the lure. According to the patent, the addition would help produce ripples, throw spray, wriggle, and dive similar to the way a minnow would, thereby attracting fish. The patent (1,352,054) was approved September 7, 1920.
Creek Chub’s Wiggler, introduced in 1916, was among the first to feature the metal lip. According to Dr. Harold E. Smith in his Collector’s Encyclopedia of Creek Chub Lures & Collectibles, the company’s 1922 catalog advertised the Wiggler as “‘three baits in one.’ With the lip in the standard position, it was a diving, wiggling bait. In the reversed position, it became a water-splashing surface lure. Take the lip off and it was a darting surface lure.” Dixie Carroll also described the added movement to the lure in “Fishing, Tackle and Kits” in 1919, noting: “A small metal plate in the mouth of the chub gives a fine bunch of wiggles and wobbles and by moving the plate and reversing it you have a surface splatter lure . . .”
In July 1918, Dills filed another patent application to improve the lures by adding a scale-like appearance on their surface that would imitate a natural minnow. According to the patent (Patent 1,323,458), the lures would feature “a cigar-shaped wooden body, to which various coatings of coloring material are applied.” Employees used a non-lustrous color for the background body of the lure and then proceeded to wrap a cloth netting around it and spray a lustrous coloring material through the netting to form the scale-like pattern.
The scale finish evolved over time and helped revolutionize the industry by resembling natural food for fish. Advertisements in popular publications like Outing praised the lures, noting: “Accurately represents a minnow down to the silvery scales. Wonderful lifelike movements. Convertible.” Fishermen from around the country agreed, often writing to the company to boast of the record-size fish they caught using these lures.
By the time a Creek Chub lure was completed and ready to ship to a customer, it often featured as many as fourteen or fifteen coats of primer, paint, and lacquer. Even the wood used early on for the bodies – white cedar – was of the highest quality. Over time, the designs and range of colors expanded greatly. The company also made specialty colors and custom orders upon request. In 1936, the Garrett Clipper noted that the patents for the natural scale finish and the mouthpiece were among the most important patents ever issued in the tackle industry.
From its earliest years, Creek Chub featured a largely female workforce. Some attributed this to the delicate nature of the lures and the work they entailed, which they believed women were better suited to perform. Dr. Harold E. Smith writes that “women were selected preferentially over men because management felt they were . . . ‘endowed with a better appreciation of color and detail.’”
Wanted ads in the Garrett Clipper frequently promoted jobs for girls and young ladies at the company, and articles often referenced the “girls” employed in the finishing departments, and sanding and dipping rooms.
By the 1920s, Creek Chub was shipping its lures all over the United States and Europe. Between January and July 1925, the Garrett Clipper published several pieces on international sales. For example, on March 19, 1925, it reported that Creek Chub had recently received orders for 180 dozen bait from Stockholm, Sweden, 178 dozen from Finland, and 31 dozen from Toronto, Canada. In April, the paper recorded orders from Waines, Hawaii (Hawaii did not become a U.S. state until 1959) and Bombay, India, and in July, it reported that the company had shipped 24 dozen lures to Reddich, England.
On January 20, 1936, the Garrett Clipper provided a summary of the company and described its continued growth since its founding in 1916:
Since then sales have increased from year to year and are made not only in this country and Canada, but lures are sent to 48 foreign countries, France and Sweden receiving the largest shipments. The sales demand in Canada is so large that a Canadian branch has been established, the work being conducted by Allcock, Laight & Westwood company, Toronto, Ont. Although in its infancy, the plant has been doing a large business and the prospects for its growth are fine.
In 1939, as war clouds gathered over Europe, business at Creek Chub Bait Co. reached a new peak. Production and sales were up and employment remained steady. Despite its success though, the company was already beginning to feel the effects of the conflict abroad. Finland and England had been Creek Chub’s top buyers prior to the war, but both markets quickly closed as each country became engaged in the conflict. The company also purchased many of its treble hooks, which it used on its lures, from Norway and England.
By August 1941, Creek Chub experienced great difficulty acquiring the necessary hooks and other supplies for its famous lures, as materials were reserved for defense industries. Supply markets from Norway were shut off and an embargo on trade between the United States and Japan stopped the shipments of hooks from that country as well. On August 21, 1941, the Clipper warned about the future of Creek Chub, writing:
. . . unless there is some early change in the world situation the business of the company will be greatly restricted, if not entirely stopped.
The outlook for the company became bleaker throughout 1942 following orders from the War Production Board curtailing the manufacture of fishing lures. On May 8, 1942, the Angola Herald reported that Creek Chub would cease production on May 31, in accordance with government orders. In response, Creek Chub petitioned the War Production
Board to allow it to use the metal it had on hand, which it estimated at approximately six months’ supply. By early June, the War Production Board gave the company permission to continue manufacturing lures during the month, and throughout the summer it granted temporary extensions that allowed Creek Chub to continue production, albeit at a much reduced rate. On January 28, 1943, the Garrett Clipper noted that Creek Chub employed thirty people, two to three times less than it had before the war. Employment decreased again slightly the following year, but the company remained open, using the limited materials it had on hand to produce lures.
By January 1945, employment began to increase as more materials became available and in September 1945, Creek Chub received its first shipment of steel hooks from Norway since the beginning of the war. Business was slowly getting back on track. Wanted ads for female employees began populating the local newspaper’s pages once again as the company sought additional employees to meet production goals and fill the backlog of orders that had accumulated during the war. By late December 1946, Creek Chub announced that it had leased a hotel building in nearby Ashley, north of Garrett, and it soon established a branch factory there to expand operations. The added facilities allowed business to double from 1947 to 1948, and within the next two years the company caught up on its backlog of orders.
Creek Chub continued to look for ways to improve and diversify its product line in the 1950s and 1960s. This included entering the plastic bait field, developing new saltwater lures, and offering new color combinations. The company’s future looked bright, but by the late 1970s declining sales and questions regarding future leadership of the company began to weigh on Creek Chub.
On December 24, 1978, the Des Moines [Iowa] Register reported that Lazy Ike Corp. of Des Moines had purchased the Creek Chub Bait Company. Reporter Bob Barnet confirmed the sale in the [Muncie] Star Press in April 1979, writing “. . . Hoosier-owned Creek Chub Bait Co., one of the nation’s oldest and most respected manufacturers of artificial lures, has been sold.” Lazy Ike, which was also in the lure industry, would continue to manufacture and market Creek Chub lures.
Unfortunately, within just a few months of the purchase, Lazy Ike filed for Chapter 11 bankruptcy. Dura-Pak Corp. of South Sioux City, Nebraska acquired Lazy Ike Corp. and another fishing tackle manufacturer out of Vancouver, Washington in the early 1980s. Today, PRADCO owns the Creek Chub name.
Although the company closed in the late 1970s, Creek Chub lures continue to remain popular among collectors, a testament to their enduring quality.
In 1945, at Freeman Field officers of the African American 477th Bombardment Group challenged the unlawful exclusion of blacks from officers’ club, resulting in their arrest. The uprising immediately gained the attention of the War Department, NAACP, and lawmakers such as Senator Arthur H. Vandenberg. The refusal of more than 100 black officer’s to comply with “Jim Crow” policies underlined the broader push for civil rights in the World War II era.
America’s involvement in WWII exposed the great disparity between the fight for freedom abroad and the treatment of African Americans at home. In 1945, The Pittsburgh Courier alleged that it was difficult to understand how President Harry S. Truman’s administration “can claim to be prosecuting a war to bring democracy to all of the world when it will not enforce its own orders supposedly establishing democracy in its own country.” Similarly, Hoosier businessman and Republican presidential nominee Wendell Willkie expressed concern with the treatment of African Americans in the Armed Forces. In his 1944 article “Citizens of Negro Blood” for Collier’s Magazine, Willkie stated that World War II “has made us conscious of the contradictions between our treatment of our Negro minority and the ideals for which we are fighting. The equitable treatment of racial minorities in America is basic to our chance for a just and lasting peace.” Roberta West Nicholson, Indiana state legislator and daughter-in-law of Hoosier author Meredith Nicholson, worked with the Indianapolis Servicemen’s Center during WWII and observed the same type of discrimination at Camp Atterbury. She successfully fought for black servicemen’s rights to utilize the exact same amenities and recreational facilities as their white counterparts, lamenting “It’s difficult to believe, but this is true; because the Army itself was segregated.”
Discrimination forced African Americans to fight to even be admitted to the Army Air Corps, which was an exclusively white organization until the late 1930s. According to James Allison’s “Mutiny at Freeman Field,” with the outbreak of global war, the Army revised its policy and recruited black units, but kept them segregated from white counterparts. The Air Corps sponsored flight schools for African Americans due to pressure from Congress and NAACP leaders, but accepted none of their graduates, despite exemplary records. Allison noted that “Countervailing pressures from politicians seeking the black vote and enterprising blacks who threatened to sue resulted in an Air Corps decision to form an African American fighter squadron” in 1941. The squadron, designated the “Tuskegee Airmen,” was trained at Alabama’s Tuskegee Field and produced a formidable combat record.
Unlike the Tuskegee squadron, the 477th Bombardment Group was trained at a base in Seymour, Indiana that included white servicemen. The group was first established at Selfridge Field near Detroit, under the command of white officer Colonel Robert W. Selway. The group was transferred to Kentucky’s Godman Field as the result of racial tension and protest similar to that which later occurred at Freeman Field. The 477th was then moved to the Freeman Field air base in March 1945 to train with better facilities. The Indianapolis Recorder noted in April that:
Arrival of the group here stimulated open hostility on the part of tradesmen in the nearby town of Seymour . . . Most of the trades people announced they would furnish no service or sell commodities to the new arrivals at Freeman Field. Negro residents of Seymour, less than 100 in number, are striving valiantly to meet the needs of the soldiers.
These men, many of whom were awarded the Distinguished Flying Cross and Purple Heart, encountered racial discrimination from white servicemen at Freeman Field. Little had changed regarding their treatment since WWI, during which African American entrepreneur Madam C.J. Walker and her sales agents wrote a letter to President Woodrow Wilson officially condemning the mistreatment of black troops. According to the Recorder, African American officers at Freeman were denied entry into the air base’s tennis courts, swimming pool, and “swanky” officer’s club after 5 p.m. by Officer Selway, who created a “superficial classification that prevented their enjoyment of facilities established for commissioned personnel.” This classification violated Army Regulation 210-10, which prohibited the racial segregation of officers at army camps. According to Allison, black officers mobilized to challenge the discriminatory action, meeting in hangars to plan a peaceful protest.
On April 5, 1945, Selway learned of the plan and ordered a provost marshal to guard the club and turn away black servicemen. At the end of the night, 61 officers were arrested for attempting to enter the club, three of whom faced a jury in July for “jostling a provost marshall [sic].” On the 7th and 8th, more officers were arrested for attempted entry of the club. In a move that could further institutionalize segregation, Selway pressured black officers to “sign a statement that attested to their understanding of the order that had established one club for trainees and the other for supervisory personnel” (Allison). Officers were read an Article of War threatening death for failure to obey command and then issued a direct order to sign. Undeterred, 101 officers refused to sign and were subsequently arrested and sent back to Godman Field. According to Historian Emma Lou Thornbrough, a commander of a local black American Legion Post asserted “Blacks must wage two wars-one against the Axis powers, the other for full citizenship at home.” The Freeman Field officers did just that.
First Lieutenant Quentin P. Smith was among those who refused to sign and recalled “‘I thought, ‘Oh my God this can’t be happening . . . He had given me a direct order to sign. I had finished college and all I had to do was just stay alive and I’ll be a general. I had no voice then'” (1992, Merrillville Times). After refusing to sign, he was escorted to his barracks at gunpoint and held under arrest for twelve days. In a document endorsed by Smith on April 25, he contended “The cited regulation appeared and still appears to be a ‘Jim Crow’ regulation” and that he:
could not, and cannot understand how Medical Officers, qualified as Flight Surgeons and having completed all required Army medical training and having completed years of private medical practice could have been classified as ‘trainee’ personnel unless the distinction were solely one of color.
He added he wished to indicate “his unshakeable belief that racial bias is Fascistic, un-American, and directly contrary to the ideas for which he is willing to fight and die.”
The Recorder reported that “The mass arrest which is believed unprecedented in the history of the Army has this post in an uproar and has disrupted the entire training program of the 477th Bombardment group.” By the 26th, it appeared that the uprising was beginning to influence Army policy, as the newspaper noted that “Officials of the Public Regulations Bureau of the department in Washington admitted momentous changes are being considered as result of an investigation of conditions surrounding” the incident. On April 28, The Pittsburgh Courier called for the immediate release and “return to duty” of the arrested men and that “Anything less will be a travesty on justice.”
Following public outcry and the efforts of the NAACP, all were released and served with an administrative reprimand, with the exception of three men. The Recorder noted on June 30, that Selway had been replaced with African American Colonel B.O. Davis Jr. However, the three men arrested for “jostling” an officer continued to be confined and were prohibited from obtaining counsel. In July, a jury acquitted Lt. Marsden A. Thompson and Lt. Shirley R. Clinton of “disobedience of a direct order,” along with Lt. Roger C. Terry, although he was found guilty of “jostling” an officer and forced to pay $150. In 1995, the Air Force set aside Terry’s conviction. In an Indianapolis Star article, Terry declared that this removed the weight he had been carrying since the ordeal and that “What came off my back was that all my hatred went away. All of it.”
Although their military records remained tarnished until the 1990s, non-violent protests, as well as the violence against returning black servicemen, likely influenced President Truman’s decision to desegregate the armed forces on July 26, 1948. In negating Terry’s conviction, former assistant secretary of the Air Force concluded that the Freeman mutiny was crucial to military integration and a “‘giant step for equality.'”
Guzzler’s Gin, Dunking Donuts, “I dood it!:” Red Skelton’s iconic characters and quips would not exist without the influence of his first wife Edna Stillwell. In fact, a Rochester, NY newspaper reported that Skelton insisted “he’d be a bum” without her Through Stillwell’s comedic and management muscle, Skelton went from an unknown circus performer to one of the most lauded comedians in television and film history.
Stillwell was born in Missouri on May 25, 1915. As a teenager she was attracted to show business and the Rochester Democrat and Chronicle reported that she was head usherette at Pantages Theatre in Kansas City, where seventeen-year-old Skelton performed. Skelton recalled that she took an immediate disliking to him. At his next job, he served as master of ceremonies at a walkathon, where Stillwell happened to be working as cashier. He eventually convinced her to go on a date with him. Skelton cemented her affections when he chose her to kiss in a photoshoot. He recalled “‘I grabbed her and kissed her and it made me dizzy. This was it. This was love. I guess we both were dizzy. We got married.'”
The entertainer, at the time, was so poor that Stillwell had to pay for their marriage license. After the wedding she assumed the role of business manager, a duty she would continue to fill even after their 1944 divorce. According to the Democrat and Chronicle, the manager of a walkathon in St. Louis wanted to cut Skelton’s salary, prompting Stillwell to approach him and successfully demand more money. Skelton noted, “‘I told her I’d handle my own affairs. Only she shut me up with the news that I’d get $100 a week. She also tossed the boss into doing my dry cleaning.'” She eventually negotiated his walkathon pay up to $500 per week and invested his money in real estate. She also forced Skelton, a high school drop-out, to study and earn his high school degree. He admitted “‘pretty soon I didn’t feel like such a fool when I was in a room full of people talking about something besides burlesque.'”
Stillwell was just as formidable when it came to comedy writing. According to the Indianapolis Star, Skelton’s vaudeville run in Montreal was nearly cancelled after his first performance, so:
Red went back to his own individual style, which had put him over in vaudeville. And his wife in a moment of contempt for the old routines they were doing, said, ‘I could write better stuff than that,’ Red’s answer was “Why don’t you?’ also in sarcasm. But she did, and she has written his material ever since.
In a 1941 article, The Tennessean observed that “from several years of watching what tripe came down the pike on the old Pan circuit, Edna got some pretty definite ideas about what to avoid in a vaudeville skit.”
A newspaper piece by Ted Gill noted that soon after marrying, Stillwell dreamed up Skelton’s famous “Junior” character. When the couple strolled past stores Red could never “resist the urge to buy things” and if “Edna attempted to talk him out of it, he’d lie down on the sidewalk, kick his heels and make such a scene that he soon had scores of passersby in near-convulsions.” From then on Stillwell considered herself “Mommie” to his “Junior.” According to a 1942 Indianapolis Star article, Stillwell’s “Junior” sketch catapulted Skelton’s career forward and as she “schemed out that screamingly funny little boy burlesque-topped off by those three precious words, ‘I dood it!’-the name of Skelton fairly leaped from the bottom to the top of various radio comedian polls.” The article also mentioned that she helped mastermind Skelton’s “$50,000 doughnut dunking act,” after the couple dined at a Montreal cafe. The article stated that Stillwell and Skelton,
then playing together in small-time vaudeville, watched a diner as he slyly held his hat over his hand while he dunked, furtively looked around and then popped the soaked sinker into his mouth. The Skeltons doped out the outline of the act before they left the restaurant, polished it up in their hotel room that afternoon and presented it the same evening at the theater. It was an instantaneous hit and established Skelton as a top-line variety performer.
Writing material and coaching her husband from theater wings proved to be the steady hand Skelton needed to succeed in his career. Skelton’s biographer Wes Gehring contended that “Stillwell’s mid-1930s donut routine and other reality-based writing helped Skelton segue his skills into vaudeville, the next rung on the entertainment ladder.” He noted that “Working, performing, and traveling together as nomadic vaudevillians in the 1930s, the Skeltons were a team to reckon with.” By the late 1930s, the couple moved to Hollywood, where Skelton earned a notable $2,000 for appearing in the film Having Wonderful Time, alongside Ginger Rogers and Douglas Fairbanks Jr.
In order to make money between films Skelton returned to the stage. Stillwell demanded he refuse any offer under $1,000, causing them to go without food for days. But staying the course paid off, as the Democrat and Chronicle reported, because Skelton “got a coast-to-coast radio program and soon he was clicking in vaudeville-and at Edna’s price.” Stillwell wrote for and appeared on Skelton’s popular radio show and had performed with him on Rudy Vallee‘s program. His national NBC show (featuring renowned radio and television pair Ozzie and Harriet Nelson), in tandem with his film Whistling in the Dark, catapulted Skelton to national fame in 1941. Gehring concluded that Stillwell also had a hand in his film success, stating that “True to Stillwell’s good instincts for her husband, she was the first to recognize just how effective he would be” in Whistling. The Indianapolis Star informed readers that year that “At his disposal at present are some 500 comedy routines all written by himself or his wife, with which he has been throwing Hollywood audiences, both on and off the screen, into hysterics.”
At the end of 1942, newspapers across the country announced that Stillwell had filed for divorce from her partner in comedy. The Dixon [Illinois] Evening Telegraph noted that she filed suit, “charging cruelty, but plans to continue to write the wit that has made his radio act famous,” which she did after the court finalized the divorce. The former couple even performed their original vaudeville routines at army camp shows in WWII to popular reception. Their professional relationship continued until 1952, one year after Skelton was given his own, groundbreaking television show. Gehring contended that their post-divorce work was “a mixed bag-a rousing success professionally, but a stressful distraction for each of their subsequent marriages.” Skelton married actress Georgia Maureen Davis and Stillwell married Hollywood film director Frank Borzage, who had directed Skelton in films like Flight Command.
Stillwell died in Los Angeles on November 15, 1982. Without “Mommie’s” aptitude and intuition, Skelton likely would never have “dood it!” Learn more about the funny man with our newest historical marker, located in Vincennes.