PhillyHistory Blog – Page 54 – Discoveries from the City Archives

Mapping the Sesquicentennial

Post author By Mary
Post date December 2, 2008

Many of the photographs in the Philadelphia Department of Records City Archives’ collection are associated with a particular location. As photographers from the City’s Photography Unit traveled around Philadelphia capturing images of construction projects, school yards, busy commercial districts, and residential areas, they often noted the address or intersection where the photograph was taken. The other collections available on PhillyHistory.org- the photographs from the Philadelphia Water Department, the property maps from the Department of Records, and the historic maps from the Free Library- are also very geographic in nature and usually connected to a specific place in the city. Using the address or intersection associated with an image, a photo can be geocoded (mapped) to that location. Once a photograph has been geocoded in PhillyHistory.org, it can be found using the address or neighborhood search, making it convenient to view photos or maps based on the location where they were taken.Like the other photographs and maps on PhillyHistory.org, the collection of photographs from the Sesquicentennial International Exposition has a geographic element. The majority of the photographs were taken on the Sesquicentennial grounds in the area around the intersection of Broad Street and Pattison Avenue by present-day FDR Park and the stadiums. Many of the photographs depict buildings, attractions, or exhibits at the Sesquicentennial but do not give specific addresses or intersections where these places were located. Thanks to the staff at the City Archives, a copy of the Sesqui-Centennial International Exposition General Plan was located (also available in the “Sesquicentennial Exposition” article on Wikipedia). This plan, published in the Sesquicentennial Promotional Booklet 1926, provided a map of many of the buildings on the Sesquicentennial grounds and showed the main roads that ran through the area- Broad Street, Pattison Avenue, Packer Avenue, and Moyamensing Avenue.While those four streets have remained the same, the rest of the area had changed considerably from the time of the Sesquicentennial in 1926 to the present. Streets that were created for the Sesquicentennial no longer exist, and areas that were open land in 1926 are now filled with roads and buildings. Using the Sesquicentennial General Plan, it was easy to see where the buildings existed in 1926, but the changing landscape made it much trickier to match those 84 year old locations with a Philadelphia street map from 2008. Since the geocoding system uses current street maps, it was necessary to find some way to sync the older map with the newer map in order to accurately geocode the photographs.

The solution to the problem came in the form of a piece of Geographic Information Systems (GIS) mapping software. One of the PhillyHistory.org software developers used the software to overlay the historic Sesquicentennial map with a current Philadelphia street map. To ensure that the maps had the same orientation, he found several points that were in the same location on both maps- the intersections of Oregon Avenue and Moyamensing Avenue, Broad Street and Packer Avenue, and Broad Street and Pattison Avenue. By lining up the two maps using these three intersections, a reliable composite map of the two images was made. To download a copy of the map, visit Azavea Commons. Azavea is the software company who created PhillyHistory.org for the Philadelphia Department of Records.

This two-layer map proved to be a valuable tool for geocoding the Sesquicentennial photographs. Using the historic map, PhillyHistory.org staff could see that the Nuremberg section of the Exposition was located south of Packer Avenue and several blocks west of Broad Street but could not determine a more accurate location. With the two-layer map, however, it was easy to see that the Nuremberg area was located precisely at what is now the intersection of 18^th Street and Schley Street. Thanks to the assistance of the software developers and Archives staff, the PhillyHistory.org team was able to geocode a large number of Sesquicentennial photos, making them easy to locate on PhillyHistory.org and providing an illustration of how technology can help us relate the past to the present.

Historic Sites

From Shipways to Runways: the Transformation of Hog Island, Part Two

Post author By Christopher Dougherty
Post date November 25, 2008

Whether it was the poor conditions of the site or a tough winter or contractors’ graft, preparatory construction began to drag on interminably, leading Congress to investigate the goings on at Hog Island. By February of 1918, seven months after the issuance of Hog Island’s contract, a New York Times reporter touring the site was surprised to hear no sound of rivets on steel and only 12 of the planned 50 shipways completed.^[1] The Shipping Board’s chief constructor had investigated the site a month earlier and cynically announced that it would be a wonder if the yard produced a ship “at all” in 1918. Compounding the frustration was the mounting cost of doing nearly anything on Hog Island, mainly the result of the cost-plus-profit contract system that placed expediency before oversight. Initially, the American International Corporation estimated the cost of the yard at $35,000,000. By the time the first ship came off the ways on December 3, 1918—almost a month after the Armistice—the cost of constructing the site had ballooned to $66 million. In their defense, the officers of the American International Corporation began to take a long view of the utility of the site. Perhaps not of great service to the war effort, Hog Island would be a boon to Philadelphia. At a meeting of the Philadelphia Chamber of Commerce, the chairman of the American International Shipbuilding Corporation promised postwar employment for 100,000 Philadelphians. Hog Island, he argued, would make Philadelphia the greatest shipbuilding center in the world.^[2]

Despite the rancor surrounding the yard’s construction and operation, Hog Island only existed because of the backbreaking labor of nearly 30,000 workers laboring throughout the cold winter of 1917-1918. Before the canteens and the YMCA, there were rough accommodations and hardship. Steam injections softened the frozen ground before workers could excavate for sewer lines. Other workers waded into the cold Delaware to dig out the channels for the shipways. Simultaneous to the attention-grabbing headlines of mismanagement and corporate greed was the untold story of a unique identity forming among the “Hoggies”. They worked among their friends—blacks, Italians, Polish, Irish, and Germans—all under the glaring eyes of the foreman, the engineer, and the military policeman. And though they may have lived in barracks near where they worked, they brought their traditions, faith, and foods such as the bulky fortifying sandwich that took on the island’s name. On December 23, 1918, the boys band from St. Francis Xavier-Holy Name parishes played for a flag raising in the bitter cold. During their down time, the Hog Islanders squared off on the gridiron against the other military installations up and down the river. Much like the soldiers in the field, the “Hoggies” who worked the shipways during the war were forced to coexist and cooperate, drawing strength from the uniqueness of their difficult work.^[3]

Although massive preparation time meant that the $66 million Hog Island Yard failed to produce a single ship during wartime, the yard continued its contract assembling 122 ships from prefabricated parts. Most of these sturdy utilitarian Hog Islanders saw action in World War II but suffered high losses. Despite assurances that Hog Island would turn Philadelphia into the Clyde of America, the shipways went silent in 1921 and the timbering and piers beginning to rot, vegetation growing up through the corduroy roads. In 1925, the City purchased land near Hog Island for a municipal airfield to handle the growing traffic in passenger planes. Eyeing the derelict Hog Island property to the south with its rail lines and shipways still intact, members of the Philadelphia Business Progress Committee began advocating for an air-marine-rail terminal on the site of the old shipyard. In 1930, the City paid $3 million for the flat, well-prepared Hog Island site. As the airport expanded, its runways devoured the entire Hog Island shipyard—one monstrous technological machine consuming another.

[1] “Senate Committee to Go to Hog Island, Piez Shows Big Financial Affiliations of the Corporation’s Directors,” The New York Times, 16 February 1918.

[2] James J. Martin, “The Saga of Hog Island, 1917-1920: The Story of the First Great War Boondoggle,” The Saga of Hog Island: And Other Essays in Inconvenient History (Colorado Springs, Co: Ralph Myles, 1977). http://tmh.floonet.net/articles/hogisle.shtml

[3] “Hog Island,” Philadelphia Record Photograph Collection, Historical Society of Pennsylvania. Although there are contrary claims, linguist William Labov has demonstrated that the lexical root of the word “hoagie” was “hog-“ or “hogg” after World War I. See William Labov, “Pursuing the Cascade Model,” 25 November 2002, http://www.ling.upenn.edu/~wlabov/Papers/PCM.html. This is also borne out in Eames, Edwin and Howard Robboy. 1967. “The sociocultural context of an American dietary item.” The Cornell Journal of Social Relations 2:63-75, p. 4.

Historic Sites

From Shipways to Runways: the Transformation of Hog Island, Part One

Post author By Christopher Dougherty
Post date November 25, 2008

Soon after America declared war on Germany in April 1917, songwriter George M. Cohan released his jaunty, rousing call to arms “Over There”. But despite the popular fervor to take the fight to Europe, the U.S. did not possess the merchant fleet to make war “over there.” With only 430 cargo and passenger ships in its merchant marine, America relied on foreign ships for nearly 90 percent of its overseas trade.^[1] Successful German U-boat campaigns in the early months of the war exacerbated the shortage.

With a meager merchant fleet unprepared to serve its troops overseas, the Wilson administration turned to the private sector for assistance. Eventually the government would run 132 shipyards spending over $200 million on ship construction. But no yard was more ambitious and controversial than Hog Island, where the Philadelphia International Airport is presently located. On 31 July 1917, under the aegis of the Emergency Fleet Corporation, the government lavished a multimillion dollar contract on a nebulous conglomerate, the American International Corporation, to construct a massive shipyard on boggy land a company subsidiary had advantageously purchased two months earlier. Paying twenty times the assessed value for the land, the American International Shipbuilding Corporation set its dredges to work. Ceaselessly throughout the summer and fall of 1917, the dredges bolstered the flat island with millions of tons of Delaware River spoil.^[2]

From the perspective of the popular press, the process of turning the 860-acre tract “where formerly the song of the mosquito was the only sound to greet the ear of the surveyor or fisherman” into a teeming military industrial complex inspired the same pride in America as Cohan’s martial ditty. National Geographic called Hog Island a “wonderful industrial center” in September 1918. The Historical Outlook, a magazine for teachers published in Philadelphia noted where once was “a low lying unsanitary swamp—merely a strip of wasteland” stood forth the next summer “the greatest shipyard in the world.” In many ways, Hog Island was a projection of early 20^th century American idealism—capital, technology, and scientific management in the service of progress.

But in other ways, Hog Island was too big for its own good. The contractual obligation to supply “at least” 200 ships meant massive expenditures for site preparation and infrastructure were needed. Writers were fond of hyperbolic comparisons of the yard’s infrastructure to major American cities. Hog Island’s electrical power plant was sufficient to light the combined needs of Albany, NY and Richmond, VA. Its water system could deliver twice the capacity of the city of Atlanta. Its sewer system was equal to that of Minneapolis. With its 70 miles of rail lines sustaining twenty locomotives and 465 freight cars, 250 buildings, 3,000,000 feet of underground wiring, a hospital, trade school, 12 canteens and restaurants, hotel, 5 mess halls, and telephone traffic equal to a town of 140,000, comparisons to a small city were apt.^[3]

[1] “Ugly Ducklings,” Time, 13 January 1941.

[3] Ralph A. Graves, “Ships for the Seven Seas: The story of America’s Maritime Needs, Her Capabilities, and Her Achievements,” The National Geographic Magazine, Vol. XXXIV, No. 3, September, 1918.

“A Few Facts About Hog Island: the Greatest Shipyard in the World,” the American International Shipbuilding Corporation, 5 August 1918.

Historic Sites

Recreating the Philadelphia of 1776

Post author By Mary
Post date November 13, 2008

The preparations for the Sesquicentennial as well as all the events, activities, and buildings that were a part of the celebration required a large amount of organization and management. The administration of the Sesquicentennial was performed by a Board of Directors, an Executive Committee, and a variety of individual committees (including the Automobile Traffic Committee, Music Committee, and Publicity Committee) that managed specific areas of the Exposition.

Although the Board of Directors and various committees included female members, a separate Women’s Committee was also formed on October 16, 1925. The group originally included one hundred members appointed by Mayor W. Freeland Kendrick, the Mayor of Philadelphia and President of the Sesquicentennial, with Mrs. J. Willis Martin serving as leader of the Women’s Board. On February 8, 1926, the group decided to become a large general committee. This committee would eventually have over two thousands members and include over forty sub-committees.^[1]

Among their many contributions, the Women’s Committee promoted the Sesquicentennial across the country, served as hostesses and greeters at several Exposition buildings, and established and maintained information booths at hotels, railroad stations, and other locations across Philadelphia.^[2] The Women’s Committee, as well as many members of the Board of Directors and visitors to the Exposition, considered their greatest contribution to be the construction and management of High Street, a recreation of High Street (later known as Market Street) in Philadelphia in 1776 that included 20 houses, the Market Place, the Town Hall, and several gardens. Each house such as the Girard Counting House, Franklin Print Shoppe, and Jefferson House was maintained by a different women’s organization and decorated in a style consistent with the Revolutionary period.^[3] Activities on the street included appearances by the town crier, daily marionette performances, and weekly pageants. High Street saw a large amount of visitors during the Sesquicentennial and one newspaper reporter wrote that “here is another place to linger, and many do linger.”^[4]

While High Street attracted many visitors, it also presented an idealized view of American history. Dirt, lawlessness, discord, and injustice did not exist in the reconstructed High Street. One hostess who spoke with visitors on High Street saw the reconstruction as a way to demonstrate that the country’s beginnings were dignified rather than chaotic and tawdry.^[5] High Street at the Sesquicentennial was one of several living history museums and parks that were formed beginning in the 1920s. These institutions, such as Colonial Williamsburg and Greenfield Village, would prove popular among visitors but also become the object of debate regarding the accuracy of their representations of history.

As an attraction at the Sesquicentennial, High Street showed the commitment of large numbers of women and women’s organizations to the Exposition. Although the Sesquicentennial did not achieve financial success and suffered from disorganization and low attendance, High Street proved to be a popular attraction according to the fair’s organizers who stated that it “was a source of renewed confidence in the deep foundations of American life, and as such it undoubtedly had a lasting effect on the millions who visited it.”^[6]

[1] Austin, E.L. and Odell Hauser, Editors. The Sesqui-Centennial International Exposition: A Record Based on Official Data and Departmental Reports. Philadelphia: Current Publications, Inc., 1929, p. 153.

[2] Ibid., 157-158.

[3] Ibid., 161-162.

[4] The New York Times. “Sesquicentennial is Now Complete.” August 22, 1926.

[5] Conn, Steven. Museums and American Intellectual Life: 1876-1926. Chicago: University of Chicago Press, 1998, 241.

[6] Austin, E.L. and Odell Hauser, Editors. The Sesqui-Centennial International Exposition: A Record Based on Official Data and Departmental Reports. Philadelphia: Current Publications, Inc., 1929, p. 20.

Events and People

Lillian Copeland: Sesquicentennial Athletic Star

Post author By Mary
Post date October 28, 2008

Among the many events and activities at the Sesquicentennial were several athletic competitions held at the Municipal Stadium at the intersection of Broad Street and Pattison Avenue. These competitions included everything from track and field meets to the world heavy-weight boxing championship between Jack Dempsey and Gene Tunney to a lacrosse match between the Caughnawaga Indians of Canada and the Onondaga Tribe of Syracuse.^[1]

In early July 1926, National and Olympic caliber athletes traveled to Philadelphia to compete in the women’s, senior men’s, and junior men’s American Athletic Union (A.A.U.) National Track and Field Championships. During the competition, the athletes faced extreme heat mixed with rain, conditions which prevented many spectators from attending the meets. Despite the weather conditions, world, American, and meet records were broken by the athletes.^[2]

Lillian Copeland, one of the world record breakers, was a star of the 1926 Women’s National Track and Field Championships held at the Sesquicentennial. A member of the Pasadena (CA) Athletic Club, Copeland broke the world record in javelin with a throw of 112 feet 5.5 inches. On that same day, July 10, 1926, she also won both the discus and shot put competitions to become the only triple winner of the day.^[3]During her career, Copeland won a total of nine AAU National Championships- five in shot put, two in javelin, and two in discus. She is often considered to be one of the first great female American weight throwers.^[4] The 1926 competition in Philadelphia was the only championship in which she won all three weights events.

Copeland’s skill also made her competitive on an international level. At the 1928 Olympics in Amsterdam, Copeland won a silver medal in discus with a throw of 121 feet 8 inches.^[5] In 1932 at the Los Angeles Olympics, she won gold in discus with a world-record setting throw of 133 feet 2 inches.^[6] Copeland was the only American woman to win an Olympic gold medal in discus until the 2008 Beijing Olympics when American Stephanie Brown-Trafton won gold with a throw of 212 feet 5 inches.^[7]

After her success in the 1932 Olympics, Copeland competed in the second Maccabiah Games in 1935, a competition for Jewish athletes, where she won gold. The next year Copeland joined several other Jewish athletes in a boycott of the 1936 Olympics in Berlin, making the Maccabiah Games her last major competition.^[8] After her athletic career, Copeland worked for the Los Angeles County Sheriff’s Department as a juvenile officer. She passed away on July 7, 1964 and was inducted into the U.S. Track and Field Hall of Fame in 1994.

[2] Kelley, Robert F. “2 More Records Set in Women’s Meet.” The New York Times. July 11, 1926.

[3] Ibid.

[4] “Lillian Copeland.” Hall of Fame- USA Track and Field. http://www.usatf.org/halloffame/TF/showBio.asp?HOFIDs=34

[5] “Lillian Copeland.” International Jewish Sports Hall of Fame. http://www.jewishsports.net/biopages/LillianCopeland.htm

[6] Shaffer, George. “U.S. Wins 2 Olympic Titles; Records Fall.” The New York Times. August 3, 1932.

[7] Crumpacker, John. “U.S. Women’s 1^st Discus Gold Since ’32.” The San Francisco Chronicle. August 19, 2008.

[8] “Lillian Copeland.” International Jewish Sports Hall of Fame. http://www.jewishsports.net/biopages/LillianCopeland.htm

Events and People

USS Los Angeles: A Naval Dirigible

Post author By Mary
Post date October 20, 2008

With the Exposition grounds located adjacent to the Navy Yard at League Island, the U.S. Navy and the military in general were very involved in the Sesquicentennial Exposition. The Navy developed a Navy Historical Exhibit in one of the buildings in the yard, and several different types of ships were moored at the Reserve Basin near Navy Yard. Camp Anthony Wayne, a model Army camp, was created in League Island Park and Camp Samuel Nicholas, a model Marine camp, was located just outside the Navy Yard within the grounds of the Exposition.^[1]

The U.S. Navy’s contributions to the Sesquicentennial also included a visit from the Navy’s dirigible the Los Angeles. On Friday, September 10, the dirigible flew over Philadelphia, circled part of the Exposition several times, and then landed on the Exposition grounds with the help of a landing party of 200 sailors. Under the control of Commander Charles H. Rosendahl, the dirigible’s home port was located in Lakehurst, New Jersey. After the visit to the Sesquicentennial, the Los Angeles traveled to Stroudsburg, PA where the State American Legion was in session.^[2]

The golden age of dirigibles, also known as rigid airships and zeppelins, occurred from roughly 1900 until the 1930s. The first dirigible successfully lifted off on November 3, 1897 near Berlin, Germany. Although this dirigible crashed shortly after lift off, governments in several countries continued to investigate the use of dirigibles or rigid airships for military and transportation purposes. By the early twentieth century, the German company Luftschiffbau Zeppelin was the major manufacturer of rigid airships. These dirigibles would serve as both weapons and observational tools during World War I. Germany used dirigibles to drop bombs on Paris and London while both France and England used semi-rigid and non-rigid airships to patrol their coasts, provide convoy protection, and spot enemy submarines.^[3]

After World War I, mandates prevented Germany from building dirigibles. The United States government, however, allowed the Zeppelin company to build one airship that would be given to the United States by Germany as partial war reparations.^[4] As part of the agreement between the nations, the ship was to be used only for “civil” purposes. Built in Friedrichshafen, Germany, the rigid airship was 2,472,000 cubic feet and completed in August 1924.^[5] Known initially as the ZR-3, the ship flew across the Atlantic in mid-October 1924 and docked at its home port of Lakehurst, New Jersey. The airship flew to Washington D.C. on November 25 where it was christened the Los Angeles by Mrs. Calvin Coolidge, the wife of the president, and then placed into naval commission by Rear Admiral B.F. Hutchinson.^[6] During its career in the U.S. Navy, the Los Angeles performed flights to explore the use of rigid airships in the military. The airship also made several trips across the US and took part in research into the possibility of basing airplanes on board airships. In late 1932, the Los Angeles was decommissioned and put into storage at Lakehurst, New Jersey. From 1934 to 1937, the airship participated in non-flying experiments before finally being dismantled beginning in October 1939.^[7]

While little is known about the visit of the Los Angeles to the Sesquicentennial, its appearance at the Exposition provides an illustration of the growth of airship manufacturing in the early decades of the twentieth century. Along with the Los Angeles, the U.S. Navy operated other rigid airships including the Shenandoah (destroyed on September 3, 1925 in a storm over Ohio) and two ships built by the Goodyear Tire and Rubber Company- the Akron (lost in a storm over the Atlantic Ocean on April 4, 1933) and the Macon (crashed in the Pacific Ocean on February 12, 1935).^[8] After the 1930s and the Hindenburg disaster on May 9, 1937, interest in rigid airships declined in favor of further investigation into a variety of airplanes and aircraft carriers.

[2] Ibid., p. 303.

[3] Rumerman, Judy. “The Era of the Dirigible.” U.S. Centennial of Flight Commission. http://www.centennialofflight.gov/essay/Lighter_than_air/dirigibles/LTA9.htm

[4] Ibid.

[5] “USS Los Angeles (ZR-3), Airship 1924-1939.” Department of the Navy- Naval Historical Center. http://www.history.navy.mil/photos/ac-usn22/z-types/zr3.htm

[6] The Washington Post. “ZR-3 is Christened ‘Los Angeles’ and Dedicated to Peace.” November 26, 1924.

[7] “USS Los Angeles (ZR-3), Airship 1924-1939.” Department of the Navy- Naval Historical Center. http://www.history.navy.mil/photos/ac-usn22/z-types/zr3.htm

[8] Rumerman, Judy. “The Era of the Dirigible.” U.S. Centennial of Flight Commission. http://www.centennialofflight.gov/essay/Lighter_than_air/dirigibles/LTA9.htm

Events and People

A Royal Visit to the Sesquicentennial

Post author By Mary
Post date October 13, 2008

In an effort to draw additional visitors to the Sesquicentennial Exposition, special days were set aside to celebrate and honor various countries, states, cities, and groups. These celebration days included Missouri Day, Finnish Day, National Puzzlers’ Day, Pittsburgh Day, and University of Michigan Alumni Day. Activities on each day often included special programs, luncheons, banquets, and visits from dignitaries and honorees.^[1]

Swedish Day on June 6 was one of the first celebration days to occur during the Sesquicentennial, taking place even before all of the landscaping and building on the grounds was completed. As part of the festivities, Crown Prince Gustavus Adolphus of Sweden and his wife princess Louise had visited the Exposition four days earlier on June 2, 1926. During their visit, the Crown Prince and Princess took part in two ceremonies- the dedication of the reproduction of the Wicaco Block House and the laying of the cornerstone for the John Morton Memorial Building.^[2] They also reviewed an infantry battalion and visited the Navy Yard.

Now known as the American Swedish Historical Museum, the John Morton Memorial Building is one of the few structures remaining from the Sesquicentennial. Although the cornerstone for the building was laid on June 2, 1926 and construction was almost completed by October 1927, the Great Depression and subsequent lack of funding prevented the exhibit halls from being completed until the mid-1930s. On June 28, 1938, an exhibition in honor of the tercentenary of the arrival of Swedes in the area was opened by Crown Prince Gustaf Adolf, who had also laid the cornerstone for the building back in 1926. This event effectively served as the public dedication of the building.^[3] Located at 1900 Pattison Avenue in FDR Park in the original building, the Museum remains open to the public and provides exhibits and educational programs that focus on Swedish heritage and the contributions of Swedish-Americans to the United States.

A stop at the Sesquicentennial to lay the cornerstone for the Morton Memorial Building was just one of many excursions planned for the Crown Prince and Princess during their trip to America. The Prince and Princess, along with a large entourage, arrived in New York City on Thursday, May 27, 1926. After greeting Mayor Walker at City Hall and providing reporters with an interview, the group traveled to Washington D.C. where they met with President Calvin Coolidge. During their time in Washington, the Crown Prince spoke at the unveiling of a monument to John Ericsson, the designer of the Union warship Monitor; attended Memorial Day services at the Tomb of the Unknown Soldier; and toured sights in the city.^[4] From Washington D.C., the group travelled back to New York and then to Philadelphia where they took part in the Sesquicentennial celebrations. After their visit to Philadelphia, the royal couple toured America until August 1, including visits to Boston, Niagara Falls, Chicago, Minneapolis, Yellowstone National Park, the Grand Canyon, Zion National Park, and San Francisco. The trip through the United States was just part of a world tour; from San Francisco, the Crown Prince and Princess set sail for Asia.^[5]

While the Sesquicentennial did not have as much international participation as previous world’s fairs in Chicago and St. Louis, foreign dignitaries such as the delegation from Sweden did take part in activities on specific celebration days. Often, though, these dignitaries were the ministers or ambassadors from their country to the United States rather than the actual foreign leader. For example, Polish Day on September 5 included a visit from Jan Ciechanowski, Minister of Poland, and Peruvian Day on July 28 saw a visit from Dr. Hernan Velarde, the Peruvian Ambassador to the United States.^[6] Despite their efforts to encourage attendance, the Sesquicentennial Exposition did not attract foreign leaders in large numbers.

[2] Ibid., 193.

[3] American Swedish Historical Museum. “History of the Museum.” http://www.americanswedish.org/frames.htm

[4]New York Times. “Swedish Royalty Due Here Thursday.” May 25, 1926.

[5] Ibid.

[6] Austin and Hauser. The Sesqui-Centennial International Exposition, p. 382-388.

Entertainment

Cowgirls and Calf Roping at the Sesquicentennial

Post author By Mary
Post date September 29, 2008

Not all of the entertainment that took place at the Municipal Stadium during the Sesquicentennial Exposition of 1926 focused on pageantry, theater, and music. The Stadium, located near the intersection of Broad Street and Pattison Avenue, was built to serve both as a gathering and performing area during the Sesquicentennial and as a venue for outdoor and athletic events in Philadelphia after the Sesquicentennial was finished. 710 feet wide and 721 feet long, the Stadium had a seating capacity of 100,000 with 73,830 of those seats being permanent and the remainder being movable as necessary.[1] During the Sesquicentennial, the Stadium hosted parades, concerts, speeches, athletic events, and races and continued to serve as a sporting venue for decades after the Exposition closed.

One of the events hosted at the Municipal Stadium during the Sesquicentennial was a rodeo. The photos of the rodeo feature calf roping, bull riding, cowgirls, and rodeo hands and show a crowd enjoying the festivities. Unfortunately, there is little further documentation regarding the event.

Although rodeo competitions had existed since the late 1800s, the 1920s saw a huge rise in the popularity of rodeos. As the economy boomed and radio, automobiles, and motion pictures became more readily available, Americans had extra money and the desire to spend that money on various forms of entertainment. Rodeos became more accessible when annual indoor rodeos began to be staged in cities such as Chicago, St. Louis, Philadelphia, and New York.^[2] Although rodeo promoters feared that urban audiences would not pay to see such contests, the Madison Square Garden rodeo became so popular it quickly became an annual event and additional rodeos were scheduled throughout the East Coast.^[3] Fred Beebe, a rodeo promoter and producer, is featured in several photographs taken at the Sesquicentennial rodeo. Beebe staged the 1926 and 1927 rodeos at Madison Square Garden and additional contests in Philadelphia, Kansas City, and St. Louis during the 1920s and 1930s.^[4]

The 1910s and 1920s also presented more opportunities for cowgirls as rodeos began to feature more events and prizes for women. One well-known cowgirl of the 1920s and 1930s was Ruth Roach of Fort Worth, Texas. Roach’s portrait was taken by a photographer at the Sesquicentennial, indicating that she may have participated in the rodeo. In 1926, Roach finished second in the all-round cowgirls competition at Madison Square Garden. Seven years later, Roach would be trampled by her house and suffer a broken leg after an 8 second ride on a bucking bronco as part of the 1933 World Series Rodeo in Madison Square Garden.^[5] She premiered as a rodeo cowgirl at the 1917 Fort Worth Roundup and became known for competing while wearing giant hair bows. Born in 1896, Roach passed away in 1986 and was inducted into the National Cowgirl Museum and Hall of Fame in 1989.^[6]

Although there are few details regarding the rodeo held at the Sesquicentennial in 1926, the event provides an illustration of the change from rodeo competitions held only outdoors in the West to those held in stadiums and arenas around the United States and the world. Some groups resisted the spread of rodeos; the American Society for the Prevention of Cruelty to Animals protested the rodeo held in Madison Square Garden from November 4-13, 1926.^[7] Despite these protests, rodeo competitions would continue to draw crowds of spectators throughout the 1920s.

[2] LeCompte, Mary Lou. Cowgirls of the Rodeo: Pioneer Professional Athletes. Champaign, IL: University of Illinois Press, 1993, p. 70.

[3] Ibid., p. 83-86.

[4] Ibid., p. 86.

[5] New York Times. “Cowgirl is Hurt in Rodeo Mishap.” October 13, 1933, p. 24.

[6] “Ruth Roach Salmon.” National Cowgirl Museum and Hall of Fame. http://www.cowgirl.net/honorees/Ruth_Roach_Salmon.aspx

[7] New York Times. “Champion Cowboys Arrive for Rodeo.” October 24, 1926.

Events and People

DeWolf Hopper: Sesquicentennial Actor and the Voice of “Casey at the Bat”

Post author By Mary
Post date September 22, 2008

In an attempt to draw large crowds to the Sesquicentennial, organizers of the event allocated funds for a pageant entitled “Freedom” to be held at the Stadium near the intersection of Broad Street and Pattison Avenue. Although the pageant was to open on July 3, 1926 and be performed on Tuesday, Thursday, and Saturday evenings until October 2, heavy rains caused the cancellation of many performances and the decision was made to hold the final staging of the pageant on Saturday, September 11.^[1]

While “Freedom” would not be the financial success hoped for by the Sesquicentennial administrators, it did provide viewers with an opportunity to see a major actor of the late nineteenth and early twentieth centuries. R.H. Burnside, a producer from New York formerly in charge of the New York Hippodrome, was contracted by Sesquicentennial officials to stage the pageant. Immediately upon accepting the contract in the spring of 1926, he began gathering together a cast of 1500 participants from a variety of theatrical companies.^[2] One of those actors was DeWolf Hopper, a well-known performer of the late nineteenth and early twentieth centuries, who was given the role of William Penn in the production and also appeared in several scenes depicting ancient Rome.^[3]

Born on March 30, 1858 in New York City, DeWolf Hopper pursued a career in theater and became known for his comic timing and loud bass singing voice, two traits that led to many musical theater roles. He performed in dozens of Broadway musicals including Lorraine in 1887, H.M.S. Pinafore in 1911, The Mikado in 1912, Erminie in 1921, and White Lilacs in 1928.^[4] By the time he appeared at the Sesquicentennial, Hopper had a reputation as a comic musical actor, a baseball fanatic, and a man with five divorces who would marry his sixth wife that year.

Early in his career, Hopper became well-known for his recitation of the famous baseball poem “Casey at the Bat” by Ernest Lawrence Thayer. First published in The San Francisco Examiner on June 3, 1888, the poem tells the story of the hero of Mudville and his crucial time at bat. On August 14, 1888, DeWolf Hopper would bring wide-spread attention to the poem when he recited it at the Warrick Theater in New York in front of an audience that included baseball players from the New York Giants and Chicago White Stockings teams.^[5] The crowd reacted enthusiastically to both the poem and the recitation, and DeWolf Hopper became for many people the unofficial voice of “Casey at the Bat.”

Hopper estimated that he recited the poem over 10,000 times at various events. The advent of radio allowed Hopper’s recitation to reach even greater audiences, who had apparently not tired of the poem. The New York Times on May 18, 1926 advertises an hour long radio special with DeWolf Hopper during which he would talk about his musical career, sing songs from various musicals, and “delight with one of his inimitable curtain speeches and ‘Casey at the Bat.’”^[6] In 1922, a film recording using an early sound-on-film process was made showing Hopper standing and reciting the poem.

The documentation on the Sesquicentennial does not give further details regarding Hopper’s involvement in the “Freedom” pageant, perhaps because of the many performances canceled due to the weather. After his appearance in “Freedom” in 1926, Hopper acted on Broadway in White Lilacs in 1928 and The Monster in 1933. He died on September 23, 1935 at age 77.

^[1] Austin, E.L. and Odell Hauser, Editors. The Sesqui-Centennial International Exposition: A Record Based on Official Data and Departmental Reports. Philadelphia: Current Publications, Inc., 1929, p. 240-244.

^[2] Ibid., p. 241-243.

^[3] The New York Times, “Theatrical Notes.” June 15, 1926.

^[4] “DeWolf Hopper.” Internet Broadway Database. http://www.ibdb.com/person.php?id=67842

^[5] Okrent, Daniel and Steve Wulf. Baseball Anecdotes. New York: Oxford University Press, US, 1989, p. 23-24.

^[6] The New York Times. “DeWolf Hopper- Himself Tonight.” May 18, 1926.

Entertainment

Pageantry at the Sesquicentennial

Post author By Mary
Post date September 15, 2008

In an attempt to attract large numbers of visitors, the Sesquicentennial Exposition offered a variety of activities and events. Visitors could tour nearly a million square feet of exhibit space and dozens of different amusements and see everything from a military camp to monkeys to a house displaying nothing but different types of wallpaper.

Along with these other attractions, Sesquicentennial officials staged various pageants, choruses, and performances. Perhaps two of the largest performances were the “Freedom” pageant and the “America” pageant, both held at the Municipal Stadium located near the intersection of Broad Street and Pattison Avenue. Performed at different times during the six months of the Sesquicentennial, the pageants were intended to draw additional visitors to the Exposition grounds.

“Freedom” and “America” differed in focus but both included tableaux (small dramatic scenes) and thousands of participants. With 10,000 actors in the tableau, a 5,000 member chorus, a 1,500 piece band, and a 200 member symphony orchestra, “America” was a large production that traced the history of America from the arrival of Christopher Columbus to the present events of the Sesquicentennial.^[1] Although the pageant was initially scheduled for June 23, heavy rain caused the performance to be rescheduled for Thursday, June 24. On Thursday, it began raining just as the performers took their positions although the program proceeded when the rain stopped later that evening. “America” was finally presented uninterrupted on the following Sunday evening. Reserved seats were given to those who had purchased tickets for the Wednesday or Thursday performances while the rest of the stadium was opened to the public at no charge.^[2]

While “America” was intended to be performed only once, the Sesquicentennial administrators wanted the “Freedom” pageant to be staged a few times a week for several months. The Exposition officials hired R.H. Burnside, a producer from New York, to direct “Freedom.” He calculated that for a cost of $650,000 (the amount allocated by the Sesquicentennial administrators) the pageant could be first performed on Saturday, July 3, and then held three nights each week for the following twelve weeks.^[3] Divided into three parts, the pageant focused on historical events and concepts connected to freedom from the Stone Age to the twentieth century, with specific emphasis placed on the Revolutionary War and founding of the United States.

On opening night, July 3, the performance of “Freedom” was canceled due to heavy rains. Rain also caused the second scheduled performance on July 5 to be canceled. The weather continued to be problematic and roughly half of the remaining performances were canceled. The final performance of “Freedom” was given on Saturday, September 11, although administrators had planned for the pageant to be staged through October 2.^[4] The Sesquicentennial continued to be plagued by inclement weather throughout the summer and fall. When questioned about the poor financial state of the Exposition, Erastus Austin, the general director, would blame some of the difficulties on the extreme amount of wind and rain.^[5]

While “Freedom” and “America” were two of the larger pageants at the Sesquicentennial, there were dozens of smaller choruses, musicals, dramas, and parades. Many of these events were held in conjunction with specific days such as Italian Day, German Day, New Jersey Day, and Labor Day. By providing changing entertainment and specific events, the administrators of the Sesquicentennial hoped to encourage the public to repeatedly visit the Exposition.

[1] The Washington Post. “WIP to Broadcast Pageant at Sesqui.” June 20, 1926.

[2] Austin, E.L. and Odell Hauser, Editors. The Sesqui-Centennial International Exposition: A Record Based on Official Data and Departmental Reports. Philadelphia: Current Publications, Inc., 1929, p. 216-218

[3] Ibid., 239-240.

[4] Ibid., 244.

[5] The New York Times. “Philadelphia Loss on Fair is $206,987.” June 20, 1927.