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Behind the Scenes Events and People Historic Sites Snapshots of History

The Butler Family Feud (Part III)

"Grumblethorpe," the Wister family home at 5267 Germantown Avenue, built by Owen's ancestor John Wister in the 1740s.
“Grumblethorpe,” the Wister family home at 5267 Germantown Avenue, built by Owen’s ancestor John Wister in the 1740s.


Part I and Part II

The Virginian was a tremendous success, selling 1.5 million copies during Wister’s lifetime, and became a template for countless Western novels and movies to follow.

Despite his newfound fame, Wister found subsequent literary success elusive. Like most authors, he did not want to become a one-hit wonder. Once he was back in Philadelphia–a city that he personally despised but never left–he probably let his insecurities and melancholia get the better of him.

Especially when grappling with the ghosts of his Butler ancestors.

His next book, Lady Baltimore of 1906, was an novel about South Carolina, the family seat of Wister’s Butler ancestors.  Named after a type of cake featured in the book, Lady Baltimore was Wister’s attempt at social history, but many critics found that the narrative descended into social snobbery.  Unlike The Virginian, there was comparatively little adventure and action. While the unnamed Wyoming cowboy was stoic and chivalric in his quest to win the hand of school teacher Molly Wood, the protagonist in Lady Baltimore –a Yankee named Augustus–was a comparatively insipid character on a rather different mission: to find royal lineage in his family, at the request of his imperious Aunt Carola back in New York.  Along the way, Augustus was smitten by Eliza La Heu of Kings Port (a stand-in for Charleston). A member of the plantation gentry, the effervescently beautiful Eliza had been reduced to working at a store, but her aristocratic manners (and empty bank account) stood in stark contrast to Gilded Age nouveau riche New Yorkers, exemplified by the character Hortense Rieppe (the consummate vulgarian in Wister’s plot).

Owen Wister at Yellowstone Park, Wyoming in the 1890s.  Source: Wyohistory.org.
Owen Wister at Yellowstone Park, Wyoming in the 1890s. Source: Wyohistory.org.

Yet it was Wister’s treatment of race in Lady Baltimore that shocked many readers of the day, even in the pre-Civil Rights era.  In Wister’s plot, the ultimate insult was that the South Carolinian John Mayrant, described by a contemporary reviewer from The Terre Haute Saturday Spectator as a “fine type of a thoroughbred, high-minded, proud southern young fellow,” has to work under an African-American boss at the customs house.   Mayrant and his relatives are unable to bear this insult to their dignity, and as a result, the reviewer continues, Mayrant must resign from his post, “without raising a scene, if he is true to his instincts as a southerner and a gentleman.”

President Theodore Roosevelt read Lady Baltimore and was reluctant to criticize his friend in public.  As a progressive at home and an imperialist abroad, Roosevelt had Social Darwinist views of his own, quite common among men of his class. The early 1900s was also a nadir in American race relations. The Republicans were still the party of Lincoln and hence of most African-Americans, but in the years since Union troops withdrew from the former Confederacy in 1877, Southern politicians did everything in their power to disenfranchise black voters and restore the plantation system in all but name. After reading his friend’s latest literary effort, the president privately wrote Wister to express admiration for his portrayal of Southern womanhood (after all, Roosevelt’s mother was the Southern belle Martha “Mitty” Bulloch, who refused to let her husband Theodore Roosevelt Sr. fight in the Union Army) and also to scold him for the novel’s descriptions of Northerners (“swine devils”) and African-Americans (“some of the laziest and dirtiest monkeys where we live”).

One chapter in particular, “The Girl Behind the Counter II,” must have irked the publicity-conscious president. In it, Eliza La Heu rants to Augustus about how the President of the United States (unnamed, but Theodore Roosevelt in 1906) had invited a black man (in real life, Booker T. Washington) to the White House for a formal dinner.  The actual dinner, which took place in October 1901, was controversial among both blacks and whites at the time.  One white Southern newspaper editor vented that it was, “the most damnable outrage which has ever been perpetrated by any citizen of the United States.” Senator Ben Tillman of Lady Baltimore’s South Carolina used even more violent language upon hearing of the dinner, threatening the deaths of a thousand blacks in the South…so that they would “learn their place again.”

Publication announcement for "Lady Baltimore," London 1906.
Publication announcement for “Lady Baltimore,” London 1906.

At the same time, many African-Americans activists felt that Booker T. Washington, president of the Tuskegee Institute, was an accommodationist stooge. Harvard graduate William Monroe Trotter, who in a decade would famously confront another president (Woodrow Wilson) about his re-segregation of the US civil service, wrote of Washington:  “a hypocrite who supports social segregation between blacks and whites while he himself dines at the White House.”

The matter became a sore subject for President Roosevelt, who never spoke of the dinner publicly afterward. Yet he declared that, “I’ll not lose my self-respect by fearing to have a man like Booker T. Washington to dinner, even if it costs me every political friend I’ve got.”

Now, five years later, Owen Wister had brought up the whole affair again– from the Southern point-of-view–in a dialogue between Augustus and Eliza La Heu:

If you mean that a gentleman cannot invite any respectable member of any race he pleases to dine privately in his house–‘  

‘His house,’ she was glowing now with it. ‘I think he is—I think he is–to have one of them–and even if he likes it, not to remember–I cannot speak about him!’ she wound up; ‘I should say unbecoming things.’ She had walked out, during these words, form behind the counter, and as she stood there in the middle of the long room you might have thought she was about to lead a cavalry charge.  Then, admirably, she put it all under, and spoke on with perfect self-control. ‘Why, can’t somebody explain to him? If I knew him, I would go to him myself, and I would say, ‘Mr. President, we need not discuss our different tastes as to dinner company. Nor need we discuss how much you benefit the colored race by an act which makes every member of it immediately think that he is fit to dine with any kind in the world. But you are staying in a house which is partly our house, ours, the South’s, for we, too, pay taxes, you know. And since you also know our deep feeling– you may even call it a prejudice, if it so pleases you–do you not think that, so long as you are residing in that house, you should not gratuitously shock our deep feeling?’  She swept a magnificent low curtsy at the air.

All a besotted Augustus could do was gush admiringly: “By Jove, Miss La Heu, you put it so that it’s rather hard to answer!”

[youtube http://www.youtube.com/watch?v=jtnOG7LPwjA&w=640&h=360]
Booker T. Washington meets President Roosevelt. PBS documentary “The Roosevelts: An Intimate History”

Small wonder that the sitting President of the United States took the time to write a 5,000 word letter of “advice” to Wister regarding this book.

For the Butler-Wister clan, it was a historical irony indeed. Wister’s own grandmother Fanny Kemble–who had fearlessly excoriated the slave system half a century earlier in Journal of a Residence on a Georgian Plantation in 1838-1839–would probably have been horrified to read Lady Baltimore.  To her, no one could have been more of a “swine-devil” than her slaveholding, libertine husband Pierce Butler II, who lived high on the hog from the unpaid labor of others.

Lady Baltimore sold well, but no where close to the blockbuster figures of The Virginian. Owen Wister himself was never able to muster up the strength to write another major book.  He continued to churn out minor works and articles, often in the paneled cocoon of the Philadelphia Club’s library.  Among them was Roosevelt: The Story of a Friendship, 1880-1919.

Yet as the 1900s progressed, Theodore Roosevelt grew more progressive and outspoken–lobbying for women’s suffrage and a graduated income tax in his 1912 Bull Moose party presidential run–while his friend Wister– who lived off family money and the royalties from The Virginian–grew ever more gloomy and conservative. One historian speculates that Roosevelt’s criticism of Lady Baltimore, however private, deflated the perpetually insecure Wister’s fragile ego. He toiled away at the manuscript of a novel about Philadelphia that he called Romney, but was never able to finish it.

Perhaps because it was about a subject Owen Wister loved to loathe: his native city.

The city is a shame. They’re proud of it, yet take no care of it. . . . The bad gas, the bad water, the nasty street-cars that tinkle torpidly through streets paved with big cobble-stones all seem to them quite right. . . . Their school buildings are filthy. I heard a teacher who spoke ungrammatically and pronounced like a gutter-snipe teaching the children English. . . . Isn’t it strange that such nice people should tolerate such a nasty state of things?

Before he died in 1938, Wister severed his family’s last ties with the Old South by selling the final remnants of his ancestor Senator Pierce Butler’s Georgia land–for a paltry $25,000.

Sources: 

Stephen W. Berry, ‘The Butler Family,” The New Georgia Encyclopedia, September 3, 2014, http://www.georgiaencyclopedia.org/articles/history-archaeology/butler-family, accessed November 18, 2015.

Nathaniel Burt, The Perennial Philadelphians: The Anatomy of an American Aristocracy (Philadelphia: University of Pennsylvania Press, 1993), p.385.

Malcolm Bell Jr. Major Butler’s Legacy: Five Generations of a Slaveholding Family (Athens: University of Georgia Press, 1987),  p.541.

Clarence Lusane, The Black History of the White House.  San Francisco: City Lights Publishers (January 23, 2013), p. 255.

James M. O’Neill, “Owen Wister’s Lost Tale of Phila Published,” The Philadelphia Inquirer, October 4, 2001, http://articles.philly.com/2001-10-04/news/25305723_1_owen-wister-romney-philadelphia-area-locales, accessed December 1, 2015.

Owen Wister, Lady Baltimore (New York: Hurst and Company, 1906), pp.90-91.

The Terre Haute Saturday Spectator, August 26, 1906.  From Yesterdish.com. http://www.yesterdish.com/2013/12/08/lady-baltimore-cake/, accessed December 1, 2015.

 

 

Categories
Events and People Snapshots of History

Pope John Paul II Visits Philadelphia

Just about everyone knows that Pope Francis is scheduled to visit our area this weekend on Saturday September 26th- Sunday September 27th. Security will be tight, bridges will be closed, as will major highways and public transportation via SEPTA will be severely limited as well. Though it will be a major inconvenience for many Philadelphians who live and/or work in the affected area, it is expected to bring in millions of visitors to the city. This isn’t the first time that a Pope has visited us, though. Back in 1979, Pope John Paul II came here right after he was inaugurated.

This was a much quicker visit than what is being planned for Pope Francis next month, though. He arrived mid-day on October 3, 1979 and left at 11 AM the next morning for Des Moines, IA. During the time that he was here, he visited two churches and led a mass at the old Civic Center site and the day before, he led a large mass that attracted 1.5 to 2 million visitors at Logan Circle.

pope1

 

 

Categories
Entertainment Snapshots of History

10th Anniversary of Live 8

Ten years ago this month, the Live 8 benefit concerts (organized by Live Aid founder Bob Geldof) were held in G8 countries around the world and one of the cities chosen for the concerts was Philadelphia. Here are several photos of Stevie Wonder performing on the Ben Franklin Parkway. In one of the photos, he is joined by Adam Levine of Maroon 5 and Rob Thomas of Matchbox 20. Will Smith and members of Maroon 5 and Matchbox 20, along with Dave Matthews Band, The Kaiser Chiefs, Kanye West and Destiny’s Child were among the other performers featured in Philadelphia.

The G8 concerts were held in conjunction with the UK’s Make Poverty History campaign and the Global Call for Action Against Poverty. The Philadelphia concert was one of ten simultaneous Live 8 concerts that was held on July 2nd, 2005. They were held with the goal that the G8 nations would increase their support for aid to Africa and on July 7th, the G8 nations agreed to double aid from $25 million to $50 million. The concerts were also held approximately 20 years after Live Aid and Philadelphia was one of the first cities chosen to participate since it had been one of the sites of the Live Aid concerts.Stevie Wonder

Stevie Wonder
Stevie Wonder with Adam Levine
Stevie Wonder with Adam Levine

 

 

Categories
Behind the Scenes Snapshots of History

The Wreck of the “Governor Ames”

A three masted lumber schooner docked at Race Street and Delaware Avenue, January 17, 1900.
A three masted lumber schooner docked at Race Street and Delaware Avenue, January 17, 1900. 

On December 9, 1909, the lumber schooner Governor Ames set sail from Brunswick, Georgia on a routine coasting voyage to New York. Onboard were 14 souls, including Captain King and his wife. Lashed onto her upper deck was a cargo of freshly cut railroad ties, most likely headed for the New York Central Railroad’s supply yard.

Captain King was in command of a unique vessel. When launched in 1888, the Governor Ames (named after Massachusetts governor Oliver Ames)  was the only five masted schooner in the world, and one of the largest cargo vessels afloat, grossing 1,600 tons and stretching 252 feet in length. She was also an expensive ship, costing $75,000. Her owners, the Atlantic Shipping Company of Somerset, Massachusetts, had built the Ames for short cargo runs up and down the Eastern Seaboard, as well as longer runs to South America. She was also swift, with a reputation of being “speedy and a good sea boat.”

Yet the Governor Ames got off to a bad start on her maiden voyage from Boston to Baltimore. In December 1888, she was dismasted off Cape Cod and ran aground on Georges Bank. As the wrecked ship groaned and wallowed in the Atlantic, the wet and shivering crew prayed for help before the Ames broke up. “Here we remained clearing up and waiting for assistance,” recounted J.F. Davis, the brother of the Ames’s captain. “Up to Sunday we saw but few vessels, and they passed at a distance. Sunday, the fishing schooner Ethel Maude of Gloucester ran up to us, and we made a bargain for a passage for myself and the two extra carpenters to Gloucester. The extent of the damage at the time I left the vessel was about $10,000 due to loss of spars.”

Miraculously, no lives were lost, and the maimed Ames did not break up. Help arrived, and she was re-floated and repaired by February of the following year. She departed New Haven, Connecticut for Buenos Aires, Argentina carrying 2,000,000 board feet of lumber, expected to sell for $15.50 per square foot. Three months later, she departed Portland, Maine, carrying a similar sized cargo of spruce, valued at nearly $30,000 and according to The New York Times, “the largest cargo, perhaps with one exception, ever taken by an American vessel.” Ill-luck continued to dog the Ames. She ran aground again in 1899, this time in the warm waters off Key West while en route from Philadelphia to Galveston. To refloat her, the crew had to throw 200 tons of coal overboard.  This time, she suffered minimal damage.

Governor Oliver Ames of Massachusetts (1831-1895), namesake of the schooner "Governor Ames." Source: Wikipedia.com
Governor Oliver Ames of Massachusetts (1831-1895), namesake of the schooner Governor Ames. Source: Wikipedia.com

After the Key West grounding, the curse on the Ames lifted. When Captain King guided his vessel up the stormy Atlantic Coast in December 1909, the Ames and been accident-free for almost a decade. She had even survived a few brutal trips around stormy Cape Horn, hauling New England lumber to Australia. Although the air was frigid and the iron seas menacing, this run to New York would be a routine trip by comparison to battling Cape Horn westerlies. The Governor Ames was a twenty year old veteran.

***

The sailing ship did not die out with the coming of the deep water steamer in the mid-19th century.  Well into the 1900s, soaring masts were a common sight along the Delaware River. Big, steam-powered craft did wipe out the clipper ships and North Atlantic packets on the ocean routes, but the versatile schooner remained popular for hauling  basic, low-cost bulk cargoes such as coal, timber, gravel, railroad ties, and ice, especially to and from smaller ports that did not have railroad access.

The name of this three-masted schooner depicted at Race Street and Delaware Avenue hast been lost to history.  There was little concept of tall ship “romance” when this photograph was taken. People took these ships for granted. It was only after the schooners vanished — supplanted first by the railroad and the Mack truck — did people lament their disappearance. As singer-songwriter Stan Rogers said about the Nova Scotian schooner Bluenose, she “knew hard work in her time. Hard work in every line.”

[youtube http://www.youtube.com/watch?v=mWUD_r6E4U8&w=480&h=360]
1930s footage of the Nova Scotia schooner “Bluenose” racing against her Gloucester, Massachusetts rival “Gertrude L. Thibault.” Set to the music of Stan Rogers.

A schooner has two or more masts, all of which are rigged with “fore-and-aft” sails.  The triangular sails allowed captains to sail their ships close to the wind, something that square riggers could not do.  They could also tack easily, making them maneuverable in coastal waters and remote ports. Most importantly, their lack of yards  — with exception of topsail schooners, which had one or two square sails on their foremasts — meant that the crew did not have to climb aloft to make or trim sail except in an emergency.  On a schooner, a crew almost always remained on deck to hoist and lower sail. By the late 19th century, steam-powered donkey engines on deck assisted the crews with the heavy-lifting on bigger schooners.

For the shipowner, the smaller crew drastically cut reduced a vessel’s operating cost.  For example: the big, square-rigged California clipper ships of the 1850s — the most famous of which was the Flying Cloud —  needed about 60 crew members to operate efficiently.  A comparably sized five masted schooner such as the Governor Ames of 1888, built for the lumber trade, required only 12 men to sail. Not having to buy and store coal for fuel also saved money, and freed up space for cargo.

For two centuries, the schooner was the served as the humble workhorse of the American mercantile marine, a common sight in big harbors and small ports all along the Eastern Seaboard.   They were relatively cheap to build out of abundant native timber, especially in Maine. According to naval historian Howard Chappelle, “in spite of the fact that ships and square riggers have monopolized certain important trades, such as the packet and East Indian, and though they handled large and valued cargoes individually, the total tonnage and value of such cargoes were small compared to that carried by the schooners engaged in the coasting and foreign trades.”

***

On December 25, 1909, as Philadelphians gathered in warm, pine-festooned churches to celebrate Christmas, a battered, badly-shaken Joseph Speering arrived in Philadelphia on the steamship Shawmut. He was the sole survivor of the Governor Ames, which had sunk off North Carolina’s Cape Hatteras in a gale twelve days earlier. He told the press that everyone else onboard had either been drowned or crushed to death by collapsing masts, including the captain’s wife, who the crew had lashed to the rigging in an attempt to protect her from the boiling seas crashing over the schooner’s bulwarks. As the Ames’s wooden keel bounced up and down against the rocky shoals, Speering jumped overboard and clung to a floating hatch cover. He then watched the Governor Ames break up and sink.

All alone, Speering clung to the hatch cover for over twelve hours before the crew of the passing Shawmut lowered a lifeboat and plucked him from the frigid seas.

Launch of the five masted schooner "Governor Ames" in Waldeboro, Maine. Source: Wikipedia.com
Launch of the five masted schooner Governor Ames in Waldeboro. Source: Wikipedia.com
The Governor Ames under sail. She was wrecked  Source: Wikipedia.com.
The Governor Ames under sail.  Source: Wikipedia.com.

Sources:

“A Big Lumber Schooner,” The New York Times, February 15, 1889.
http://query.nytimes.com/mem/archive-free/pdf?res=9F05E0D6153AE033A25755C1A9649C94689FD7CF

“The Five Masted Schooner Missing,” The Philadelphia North American, March 3, 1895.
http://query.nytimes.com/mem/archive-free/pdf?res=9905E3D61139E033A25750C0A9659C94649ED7CF

“A Large Cargo of Lumber,” The New York Times, April 30, 1889.
http://query.nytimes.com/mem/archive-free/pdf?res=9901E6D8123AE033A25752C0A9639C94689FD7CF

“An Unlucky Voyage: The New Schooner Governor Ames Badly Wrecked,” The New York Times, December 18, 1888.

Howard Irving Chapelle, The History of American Sailing Ships (New York, NY: Bonanza Books, 1935), p. 219.

Categories
Neighborhoods Snapshots of History

Philadelphia’s Sears Tower

When Americans are asked about the Sears Tower, they normally call to mind the recently renamed Willis Tower in Chicago, Illinois. However, if asked about a Sears Tower when in Philadelphia, you’re likely to get a different answer. In Northeast Philadelphia, where Adams Avenue meets Roosevelt Boulevard, the 14-story Sears clock tower stood for over 70 years.

Sears visible from Roosevelt Boulevard.
Sears visible from Roosevelt Boulevard.
Side of Sears building
Side of Sears building with the bottom section of tower visible.

In the 1900s, the Sears, Roebuck & Co. was still growing rapidly in the United States. With the company’s need to expand eastward from Chicago, Philadelphia was highlighted as a possible location for one of their mail-order houses and plants. With the city’s important railroad access, the Northeast Philadelphia section, along Roosevelt Boulevard was chosen as a location.

From 1919 to 1920, Sears, Roebuck & Co. constructed a large complex that consisted of a large 9-story building that included a 14-story clock tower. The neo-Gothic brick building was designed by George C. Nimmons, a Chicago-area architect who had worked for Sears, Roebuck & Co. previously, even designing the company president’s home.

The building opened October 18, 1920 even though parts of it were still unfinished. This was just one of the companies allowing the Northeast section of Philadelphia to grow. However, even with the success of the Roosevelt Boulevard building, the overall decline of mail-order shopping prompted the company to open up a nearby retail store there just a few years later, in 1925. It wouldn’t be the company’s only expansion as Sears would also add on an administration building and a power plant. They even paid for a miniature of their building, with its famous clock tower, to be constructed as a firehouse on a nearby block.

Engine Company Number 70 on 4800 Langdon Street.
Engine Company Number 70 on 4800 Langdon Street.

Through most of the 20th century, the Sears complex was a popular and well-known landmark in Northeast Philadelphia, It employed thousands of workers from the surrounding neighborhoods. In the 1960s, the area, still a popular hub, even had a subway station constructed. Although it was meant to be connected to the Broad Street Line, the plan never went through. Unfortunately, in the 1980s and 1990s, sales decreased and the building with its iconic tower was sold in 1993.

On October 31, 1994, the Sears Tower was imploded. It barely took 7 seconds for the building to go down, as seen in the 6ABC news broadcast from that day. 

[youtube http://www.youtube.com/watch?v=s-nvu4SlD54?rel=0]

 

With a 14-story tower and over 25 million square feet, the implosion was set to be the largest of its time.  Hundreds of Philadelphia residents came to watch as over 70 years of history was brought down in 7 seconds.

Today, the area is home to a shopping center full of different chain stores. However, it is also still home to the Sears power plant, which was visible in the above video and not imploded. Currently, the power plant building is not being utilized other than Home Depot advertising its logo on the smokestack. The power plant and the aforementioned firehouse are the only Sears buildings remaining in the area.

 

Miller, Bill. (1988, May 15). The Sears Tower. The Philadelphia Inquirer.

Sitton, Lea. 1994, October 24. An Explosive Finale For Giant Sears A Landmark Will Go As It Came: In Record-setting Fashion. The Philadelphia Inquirer. 

Phila PA Chronicles – Keeping Time By Sears Clocktower

 

 

Categories
Events and People Neighborhoods Snapshots of History

Say “Hallo” to Bart King, the Kingsessing Cricketer

The Belmont Cricket Club, which once stood at the intersection of 49th Street and Chester Avenue. The Kingsessing Recreational Center, built in 1918, now occupies the site. Source: Wikipedia Commons.
The Belmont Cricket Club, which once stood at the intersection of S. 50th Street and Chester Avenue. The Kingsessing Recreational Center, built in 1918, now occupies the site. Source: Wikipedia Commons.

A slice of England in West Philadelphia? There was once a “Sherwood Forest” — a grove of trees that stood at the intersection of 58th Street and Baltimore Avenue. Nearby was the Belmont Cricket Club at the intersection of  S. 50th Street and Chester Avenue, which for a few short years competed against the still-extant Germantown, Merion, and Philadelphia clubs.

On hot, hazy summer afternoons in the 1890s, the residents of the surrounding brick twin houses — porches bedecked with striped awnings — would stroll to Belmont Cricket and watch the local and international legend Bart King (1873-1965) play on the crease.

Bart King at bat at the Belmont Cricket Club in 1906. Source: Wikipedia Commons.
Bart King at bat at the Belmont Cricket Club in 1906. Source: Wikipedia Commons.

At the turn of the twentieth century, the “Gentlemen of Philadelphia” were a juggernaut that mowed down the best teams from England and her colonies.  The Associated Clubs of Philadelphia proudly declared that “with the vast improvement made in cricket at Philadelphia (and in fact everywhere in the country) since the last team visited England, there is every reason to expect very different showings this year.  Since the last time crossed the Atlantic, the representatives of the Quaker City have laid claim to more than ordinary honors.  In 1891, Lord Hawke’s team suffered a defeat at their hands. The following year the Gentlemen of Ireland had to lower their colors when they met the Philadelphians. In 1893, the Australian team of that year lost in Philadelphia. In 1894, Lord Hawke’s team was again beaten. The visiting Cambridge and Oxford teams lost to home players in 1985. ”

Leading the charge during cricket’s brief golden age was  Bart King.  A star bowler and a hitter, King would later be known as the “Bob Hope” of the cricketing world, for according to one account he, “told his impossible tales with such an air of conviction … that his audiences were always in doubt when to take him seriously. He made their task doubly difficult by sprinkling in a fair mixture of truth with his fiction.”  When King died in 1966, his obituary noted that, “his 344 for Belmont v Merion B stand as the North American record: he scored 39 centuries in his career and he topped 1,000 runs in a season six times, in 4 of them also taking over 100 wickets.”

"Sherwood Forest, 58th  Street and Baltimore Avenue, September 29, 1906.
“Sherwood Forest,” 58th Street and Baltimore Avenue, September 29, 1906. The Sherwood Cricket Club, located at 60th and Baltimore, was Belmont’s more rustic neighbor. For an image of the Sherwood Club, click here.

In those days, watching a cricket match was just as popular a past time as going to a Phillies game.  West Philadelphia’s Belmont was the scrappy sibling of Philadelphia’s league.  The haughty Pennsylvania Railroad built the Main Line and Chestnut Hill, while Peter Widener’s humbler trolley lines built the more democratic suburbs of West Philadelphia. The Belmont Club, founded in 1874, was prosperous, its grounds and buildings beautiful, but it did not put on aristocratic airs. Neither did Bart King. What John B. Kelly was to rowing, King was to the even more rarified world of cricket  Unlike most of his peers, the middle-class King had to work for a living.  In those days, a Philadelphia cricketer did not play for money.  To support his amateur habit, King worked in his father’s linen business — there were many textile mills in West Philadelphia at this time, which drew their power from Cobb’s Creek.  To preserve his status as a “gentleman amateur,” wealthy friends secured him a low-stress job at a Philadelphia insurance company.

By the early 1900s, America lagged behind England when it came to compensating its best players. In fact, King was surprised to learn that British cricketers actually got paid for their sport.

“Hallo Mr. King,” said an English professional who ran into King in London.

“Hallo, call me Bart,” King responded.

“But you’re a gentleman cricketer, sir?” the professional queried.

“Aren’t you a gentleman too?” King asked.

“Oh no sir, I’m a professional,” was the reply.

Despite its aristocratic associations, cricket in America had proletarian origins.  English textile workers from Nottingham brought the game to American in the early 19th century, and played six hour matches with gusto on their precious days off.  Spectators drank ale and freely placed bets.  Many cricketers also tried their hand at baseball, a faster American variant of the game (also with runs and innings) which gained traction during the Civil War.  By the 1880s, the well-heeled Wisters of Germantown and the Clarks of West Philadelphia — developers of the Spruce Hill neighborhood — took up the British sport and transformed the game of the millworkers workers into the past-time of the wealthy. The local, blue-collar cricket clubs such as Tioga — which King played for as a young man — and Frankford closed their doors, their creases and clubhouses replaced by blocks of row houses.

Belmont held out longer but succumbed on the eve of World War I. The surrounding neighborhood was populated by comfortable factory managers and small business owners  — like King’s family — who could not afford to be “gentleman amateurs” or attend games that lasted three to five days.  More importantly, the rise of professional baseball teams — with their big stadiums and open seating — were a more democratic way to spend an afternoon for the industrial city’s growing population.  Philadelphia formed its first official baseball team in 1883. Soon, the Phillies attracted bigger crowds. Spectators could cheer from the stadium bleachers when their favorite players scored runs, rather than demurely clap behind ropes at private clubs.  The rules of baseball were also much less arcane, and the  “seventh inning stretch” replaced leisurely breaks for lunch and tea.

Houses at 52nd and Springfield Avenue, near the site of the Belmont Cricket Club, March 21, 1960.
Victorian rowhouses at 52nd and Springfield Avenue, near the site of the Belmont Cricket Club, March 21, 1960.

Belmont Cricket Club closed its doors in 1914, but not before visiting English cricketer C. Percy Hurditch introduced its members to a more fast-paced field sport: soccer.  King saw which way the wind was blowing in West Philadelphia, and joined the Philadelphia Cricket Club in Chestnut Hill, two years before Belmont went defunct.  He continued to play and tour internationally until his death at age 92.   The London Times eulogized: “Had he been an Englishman or an Australian, he would have been even more famous than he was.”

The Belmont Cricket Club was torn down in 1918 and was replaced by the fields and buildings of the Kingsessing Recreation Center, which continues to serve the neighborhood’s athletic needs to this day.

The railroad overpass at the intersection of S.49th Street and Chester Avenue, near the site of the Belmont Cricket Club, February 20, 1960.
The railroad overpass at the intersection of S.49th Street and Chester Avenue, near the site of the Belmont Cricket Club, February 20, 1960.

Footage of the Colin Jodah Trophy Match at the Philadelphia Cricket Club, with a mention of Bart King.

[youtube http://www.youtube.com/watch?v=Dk1_q483Vvk&w=560&h=315]

Sources: 

Barker, Ralph (1967). Ten Great Bowlers. Chatto and Windus. pp. 124–155.

P. David Sentence, Cricket in America: 1710-2000 (Jefferson, NC: McFarland and Company, Inc., 2006),  pp. 93, .278 .

 

Categories
Snapshots of History

The Philadelphia Stars: Philadelphia’s Other Pro Football Team

When most people think of professional football in Philadelphia, the topic is usually The Philadelphia Eagles. Fair enough then, as they have been around since 1931 and since the NFL is by far the most prominent professional football league in all of sports. However, it should be noted that between 1984 and 1986, there was another prominent pro football team here. That team would be the Philadelphia Stars of the long-defunct USFL (United States Football League), who won the league championship in two of three seasons in which the league existed and appeared in all three championship games. Technically, though, they were only a Philadelphia-based team for 2 of those 3 seasons as after the 1985 season, they moved to Baltimore. Despite this, they kept their operations here in Philadelphia, though this led to them essentially playing every game on the road.

The Office of the City Representative photo collection at the Philadelphia City Archives includes a few images from the victory parade (see below). The victory parade was held in July 1984 after the Stars beat the Arizona Wranglers in the championship game of the USFL’s second season.  The game was held in Tampa, Florida’s Tampa Stadium, which was demolished in 1999.

Philadelphia Stars victory parade circa 1984.
Philadelphia Stars victory parade circa 1984.

The Stars had future NFL stars like Bart Oates and Sean Landeta (both future New York Giants player who won 5 Super Bowl rings between them) as part of the championship crew and others like Sam Mills, a future All-Pro for the New Orleans Saints were also on the roster. Their coach for all 3 seasons was Jim Mora, who later went on to successful NFL coaching career with The New Orleans Saints and Indianapolis Colts. Though largely forgotten now, a movie about the team and its role in the development of the USFL is currently in development.

 

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Behind the Scenes Historic Sites Neighborhoods Snapshots of History

“I Live the Life I Love” – Echoes from the Mask and Wig (Part II)

M and W 5.9.1962
The Mask and Wig Club at 310 S. Quince Street, May 9, 1962.

Note: this is a sequel to “Echoes from the Mask and Wig” published on May 2. 

Two weeks ago, I received a phone call from Don Fisher, who graduated from Penn in 1975 and was sort of a Tommy Lee Jones type: as an undergraduate, he balanced working on the Mask and Wig crew/ business staff with breaking through the opposing football team’s defensive line at Franklin Field.  The former president of Mask and Wig’s graduate club, he had read my piece “Echoes from the Mask and Wig,” and told me that he had more information about my step-grandfather Joe Follmann, who was pianist and music director for the collegiate song-and-dance troupe in the late 1920s.

“I believe Grandpa Joe was a scholarship student,” I told him. “And I know that today, the audition process for Mask and Wig is extremely difficult.”

“The Club was a lot harder to get into in those days,” Fisher told me. “And I will tell you this: he must have been hot stuff in his time.”

Untitled
The undergraduate members of the Mask and Wig Club, Joseph F. Follmann Jr. is in the center of the third row. The University of Pennsylvania Record, 1930. The Mask and Wig Club Archives.

Here’s what I did know: my grandfather  was an excellent pianist, equally at home playing Beethoven and jazz standards His parents were working class German-Americans from West Philadelphia — according to my mother (his step-daughter) his mother was a Bavarian Catholic and his father a Prussian Protestant who may have worked as a coal miner in his youth.  There’s a photograph in my parents’ house showing him around the age of 10, with long blonde hair and dressed in a sailor’s suit. He is standing at the knee of a grizzled looking old man reading a book —  most likely his own grandfather.

Grandpa Joe’s obsession with economy — served up with  stereotypical Teutonic severity  — continued into his adulthood, even after he had achieved financial stability.

Leaving the lights on in an empty room was a pet peeve.

Many of his fellow students at the Wharton School were being groomed for leadership in tightly-held businesses.  In those days, there were many such family concerns in Philadelphia, from manufacturers (Disston and Baldwin) to magazines (Curtis) to banks (Philadelphia Savings Fund Society) to railroads (the Pennsylvania).   In those heady years just before the stock market crash, Grandpa had no desk at a family business waiting for him after graduation.  Studying finance was a practical route; what he really wanted was to be a professional musician. Perhaps Grandpa was dreaming of following in the footsteps of Ted Weems, who had also graduated from West Philadelphia High and Penn seven years ahead of him and had cut a big figure in the American “collegiate” hot jazz scene during the booming Roaring Twenties.

Mask and Wig dorm undated
University of Pennsylvania quadrangle dormitories, designed by Cope and Stewardson, showing the Mask and Wig wing. 36th and Spruce Streets. undated.

The Mask and Wig — which so was so prosperous that it had donated money to build a quadrangle dormitory — was a particular preserve of the “Old Philadelphia” elite, who had the time and the funds to indulge in such musical skylarking.  Their show program books were chock full of advertisements from prominent — and now largely vanished — Philadelphia businesses. The clubhouse, a converted church a long trolley ride from campus, had been lavishly renovated by Philadelphia architect Wilson Eyre Jr. in the 1890s, and its first-floor bar adorned with murals by celebrated artist Maxfield Parrish.  In those days, one did not formally join the Mask and Wig Club until senior year,  after a year or two of working as a choral alternate…little more than a grunt. According to the show programs, Grandpa was listed as a choral alternate his sophomore and junior years, and he was not formally elected to full membership until his senior year.

Grandpa’s eagerness comes across in the photograph of The Mask and Wig undergraduate club in the 1930 University of Pennsylvania Record — amidst his stone-faced, bolt-upright compatriots, a fresh-faced Grandpa Joe looks alert as he leans jauntily to one side, his eyes sparkling.  His ears stick out from his head, just the way I remember them when he was older. He had made it, his hard work at the piano and at his composer’s desk had paid off, and he was proud.  He had been the music director and co-writer of that year’s show  John Faust, Ph.D, a comic spoof on the German legend popularized by Christopher Marlowe and Johann Wolfgang von Goethe.

faust cover
The program cover for “John Faust, Ph.D,” 1930. The Mask and Wig Club Archives.

This was a time when songs from Mask and Wig and other collegiate groups became national hits, covered by the likes of Benny Goodman, Tommy Dorsey, and Frank Sinatra.  Perhaps Grandpa hoped that one of his songs would hit the big time. Grandpa continued to contribute to the club well after graduation.  In fact, he contributed songs to Mask and Wig shows for the next two decades — most notably in the 1937  production Fifty/Fifty — and culminating in the show Doctor, Dear Doctor! of 1951.  By then, the Club’s roster of undergraduate members had diversified considerably from the blue-blooded old days. Grandpa conceived the book and produced the show,  basing it it on Jean-Baptiste Moliere’s 1666 play Le Médecin malgré lui (A Physician in Spite of Himself).  A photograph from the show’s program shows Grandpa Joe — looking a bit more as I knew him, balding and with more pronounced jowls — smiling with delight as he pours over a set of scenery mock ups with a colleague.

“You know those ancient bronze busts of Roman senators?”  my grandmother once said. “Well, he looks just like them.”

Click for Part III

Follmann show co writer 1951
Grandpa Joe (left) looking at scenery sketches for “Doctor, Dear Doctor.” The Mask and Wig Club Archives.

 

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Historic Sites Neighborhoods Snapshots of History Urban Planning

The History and Background Behind The World’s First Statue of Charles Dickens

Although I have lived in the West Philadelphia neighborhood of Cedar Park since 2006, I have not really given too much thought to the history of the Charles Dickens statue in the “Park A” part of Clark Park at 43rd Street and Baltimore Avenue. In fact, the statue is of not only Dickens but his character “Little Nell” (i.e. Nell Trent, a character from his 1841 novel The Old Curiosity Shop). I had heard that it is the world’s only statue of Dickens, but this is technically not true, as there is another one in Sydney, Australia and a very recently erected statue of his likeness in his birth city of Portsmouth. Still, I found it quite odd that of all the places on earth where a statue of Dickens could possibly exist, one was here in Philadelphia and not in London, which at least in theory would make much more sense. Thus, I decided to do some investigating.

Photo of statue of Charles Dickens and Little Nell in 1910.
Photo of statue of Charles Dickens and Little Nell in 1910.

As it turns out, the statue was commissioned in 1890 by Washington Post founder Stilson Hutchins to be completed by New York City-based artist Francis Edwin Elwell. Initially, the idea was that it would indeed be placed in London. When Hutchins backed out of the deal, Elwell finished it anyway. The statue was then shipped to London and put on display with the hope of finding a buyer. However, this was unsuccessful namely because Dickens expressed a strong desire to not be depicted in such form. In fact, his will does not allow any “monument, memorial or testimonial, whatever. I rest my claims to remembrance on my published works and to the remembrance of my friends upon their experiences of me.”

The statue of Charles Dickens and Little Nell in Clark Park circa 1959.
The statue of Charles Dickens and Little Nell in Clark Park circa 1959.

After Elwell shipped the statue across the Atlantic and back, it won two gold medals at the World’s Columbian Exposition of 1892-3. Despite the awards it received, the work failed to find a buyer and so it was then sent to languish in a Philadelphia warehouse.

Then in 1896, the organization that became the Association for Public Art (back then it was called the Fairmount Park Art Association) negotiated to keep the work in Philadelphia. In 1900, the FPAA purchased it for $7,500 (about $213,000 today) and in 1901, it was placed in its current location and it has stayed there since then despite numerous failed requests to move it to a more prominent location. In November 1989, the sculpture was vandalized but ultimately fully restored.

The entrance to Clark Park circa 1927.
The entrance to Clark Park circa 1927.

Every year in February, Dickens’ birthday is celebrated in Clark Park. In 2013, the celebration included Morris dancing, sampling of Victorian-era desserts, readings from his books and other events.

The statue of Dickens and Little Nell is the only statue that is placed in Clark Park and while we’re not exactly sure of how it got there in the first place, the likely answer is due to Clark Park’s namesake Clarence H. Clark himself. Clark was a wealthy financier and developer who sat on the artworks committee of the FPAA committee. Thus, it was purchased by the FPAA in 1900 and placed at 43rd and Chester in 1901.

In addition to the statue of Dickens and Little Nell, the park also contains a large stone from an area called Devil’s Den in the Gettysburg Battlefield during the Civil War. The stone was placed in the park in June of 1916 and was set up there to remember Union soldiers who were treated at the site, which was once Satterlee Hospital, and “services of the patriotic men and women” who cared for them.

Another example of public art in Clark Park is an initiative set up by the University City District called Heart and Soul. Last summer, 4 decorated pianos were set up all over the park with the goal being spontaneous, random piano performances by whoever wandered by and sat down to play.

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Behind the Scenes Historic Sites Snapshots of History

Echoes from the Mask and Wig Club

The Mask & Wig Club, 310 S. Quince Street, October 5, 1956.
The Mask & Wig Club, 310 S. Quince Street, October 5, 1958..

Many years ago, when I was helping my grandmother decide which records to donate to the New York Public Library from her extensive collection, I found a set of fragile shellac discs protected by  brown paper sleeves.  They were old dance records from the 1920s that had belonged to my grandfather Joseph Follmann Jr., who passed away in 1989.

The record of the 1927 production of "Hoot Mon."  Ujifusa family.
The record of the 1927 production of “Hoot Mon.” Ujifusa family.
A recording by the Mask & Wig pit orchestra of "I Live the Life I Love," probably with my grandfather conducting. Note the record label: the Pennsylvania Athletic Club Building is now the Parc Rittenhouse on the east side of Rittenhouse Square.  Ujifusa family.
A recording by the Mask & Wig pit orchestra of “I Live the Life I Love,” probably with my grandfather conducting. Note the record label: the Pennsylvania Athletic Club Building is now the Parc Rittenhouse on the east side of Rittenhouse Square. Ujifusa family.

These were 78s, and thus could fit only one song on a side.  The songs included “Say That You Love Me” by Fred Waring’s Pennsylvanians and “Old Man River” by Paul Whiteman and His Orchestra.  All were recorded at the Victor Studios in Camden, New Jersey.  Among them were two discs of songs from old Mask & Wig productions.

My grandmother had a 78 setting on her record player  — or as she called it, a “victrola.”  We put on a record of “Gems from ‘Hoot Mon,'” from the 39th annual production of the Mask & Wig Club, which included the foxtrot “We’ll Paddle Our Canoe” recorded by Nat Shilkret and the Victor Orchestra and the Mask & Wig Glee Chorus.  Then there was  “I Live the Life I Love” from a record labeled “50/50,” the name of the 1937 show. According to alumnus Don Fisher, my grandfather was credited as the conductor and rehearsal pianist — he loved the Club so much he came back seven years after graduation to assist with the show.

The sound was scratchy and thin, the voices high pitched and nasal.

We saved the records.

I was only ten when Grandpa died, yet I knew that he loved the Mask & Wig Club, that legendary theatrical troupe started by a group of University of Pennsylvania students in 1889 and whose song-and-dance antics have been delighting Philadelphia (and American) audiences ever since.  Among the group’s notable alumni was Bobby Troup, who composed the jazz standard “Route 66.”  

Among the pictures in my parents’ home is a photograph of Grandpa Joe seated with the West Philadelphia High School orchestra.  He was a pianist, so unlike the other members who are proudly holding their flutes, violins, and trumpets, he is sitting hands folded next to the portly, mustachioed conductor.  There is also a framed certificate of his election to the Club dated May 1, 1929, and his Club rosette sits in an old Penn shot glass.  “Made in France,” the rosette’s brass clasp reads.

West Philadelphia High School, 48th and Walnut Streets, from an architectural rendering date December 1910.
West Philadelphia High School, 48th and Walnut Streets, from an architectural rendering dated December 1910.

Grandpa served as music director of the Club his senior year, composing many of the songs and the pit band. In those days, the Club toured around the country in a special Pullman train, graciously provided by the Pennsylvania Railroad. He graduated from the Wharton School in 1930 with hopes of becoming a professional musician. According to family lore, he even played piano at the Folies Begere in Paris and recorded with dance bands such as Fred Waring and His Pennsylvanians, whose most famous song was “Collegiate,” a hot jazz riff on the carelessness of Roaring Twenties college life: “trousers, baggy, all our clothes look raggy, but we’re rough-and-ready. Yay. Rah Rah. Very, very, very, seldom in a hurry. Real collegiate are we.”

Members of the Mask & Wig Club rehearsing at 310 S. Quince Street in 1930, my grandfather's senior year.
Collegiate. Members of the Mask & Wig Club rehearsing at 310 S. Quince Street in 1930, my grandfather’s senior year. Source: Wikipedia.

Yet the life of a professional musician is always tough, and during the Depression it was nearly impossible to be  “seldom in a hurry” to make ends meet.  He went into the insurance business and married a stage actress, dividing his time between New York and Philadelphia.  He became close friends with a number of people in the Philadelphia arts scene through his involvement with the Hedgerow Theatre in Rose Valley, befriending actors such as Richard Basehart (who played Ishmael in the classic movie Moby Dick, starring Gregory Peck as Captain Ahab) and Eleanor “Siddy” Wilson (an actress and artistic polymath from the Wetherill paint family, who created abstract canvases well into her 90s).

Grandpa Joe lost his first wife to cancer in the 1950s, and took a cruise on the Holland-America liner Maasdam. It was onboard this ship that he met my grandmother, tragically widowed at a young age with two children — my uncle and mother. The two were married shortly afterward, and Grandpa Joe moved permanently to New Rochelle, New York.   Grandpa retired from his job as an insurance executive in the 1960s, taught as an adjunct at NYU’s Stern School of Business, wrote a few business books,  and continued to play the piano, both jazz and classical.

My brother Andrew and I spent a lot of time as young children at our grandparents’ Upper East Side apartment.  The piano was at the center of the living room, a 1926 Steinway that Grandma and Grandpa had purchased together. A two foot high statue of Beethoven, painted to look like bronze, sat on the piano case, along with two brass candlesticks.  Grandpa loved playing the Peter’s theme from Serge Prokofiev’s “Peter and the Wolf” for my brother and me, and we could not get enough of it. Sometimes, he would put my hands over his as he ran his fingers over the keys.

I never learned how to play.  I tried the oboe instead.  “That’s one difficult instrument,” Grandpa scoffed.  He was right.  After I had braces put on, I got lazy, stopped practicing, and that was the end of that.

In his early 80s, Grandpa Joe began suffering from memory problems.  One day, he sat down at the Steinway and started to play a piece he had composed many years ago, according to my grandmother a short “filler” piece for the Philadelphia Orchestra.  Yet he could not remember it.  My grandmother said he closed the piano, walked away, and never opened it again.  He died soon after from a heart attack.

The Mask & Wig records are now at my parents house, locked away in a case along with other records from Grandpa Joe’s extensive classical library that did not get donated to the New York Public Library.  Yet there is no turntable  to play them now, either at 33 or 78 RPM.

Beethoven is there too, standing with his arms folded amidst a forest of houseplants.  He did, after all, like taking afternoon walks in the Vienna woods.

Grandpa Joe's caricature at the Mask and Wig Club house, directly behind the piano in the ratskeller. Photograph by Steven Ujifusa.
Grandpa Joe’s caricature at the Mask and Wig Club house, directly behind the piano in the ratskeller. Photograph by Steven Ujifusa.