Criminals, Indianapolis, Pop Culture, Sports

John Dillinger the ballplayer.

John “Jack Rabbit” Dillinger and the Mooresville “AC’s”

Original publish date:  April 8, 2021

Despite John Dillinger’s meteoric rise to infamy and spectacular headline grabbing death, his Indianapolis boyhood was unexceptional. He attended public schools for eight years in the Circle City and was a typical student. His teachers recalled that he liked working with his hands, was good with all things mechanical and liked reading better than math. He liked hunting, fishing, playing marbles, the Chicago Cubs and playing baseball. He was energetic and got along well with others (although he often bullied younger children), was cocky and quick witted. Dillinger quit school at age 16, not due to any trouble, but because he was bored and wanted to make money on his own.
During World War I, Dillinger tried to get a job at Link Belt in the city but was rejected because he was too young. Instead, he took a job as an apprentice machinist at James P. Burcham’s Reliance Specialty Company on the southwest side of Indianapolis and worked nights and weekends as an errand boy for the Indianapolis Board of Trade. All the while, Dillinger played second base on the company baseball team. One slot on Dillinger’s resume included a four day stint with the Indianapolis Power & Light Company drawing the hefty sum of 30 cents an hour. Just long enough for the “ringer” to help the IPL team win a league title.
In his spare time, Dillinger hung out at the local pool hall where he drank and smoked with the older men and cavorted with the local prostitutes. One of the regulars later recalled, “John would come in, hang up his hat and play pool at a quarter a game. He wasn’t very good, and he frequently lost. When he would lose two dollars, he’d put back the cue, get his cap, and walk out without a word. Never gave anyone any trouble and never said much.”

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In 1920, his father, John Dillinger Sr., believing that the city was corrupting his son, sold his eastside Indianapolis Maywood grocery store property and moved his family to Mooresville. For the next 3 years, young Dillinger split his time between Moorseville, Martinsville and Indianapolis, traveling by interurban or motorcycle nearly every day. The athletic Dillinger quickly caught on with the semipro Mooresville Athletic Club’s “Athletics” baseball team. His reputation on the local sandlots and his quick speed earned him the nickname “The Jackrabbit”.
The 5-foot-7, 150 pound middle infielder batted leadoff and led the Athletics in hitting, for which the team’s sponsor, the Old Hickory Furniture Company, gave him a $25 reward on their way to the 1924 league championship. His game was so tight that other local teams began to pay him to play ball for them and throughout that summer the cash poured in.

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Dillinger’s younger sister Frances, who passed away in 2015, insisted that her brother was good enough to draw Major League scouts to tiny Martinsville just to watch him play. Flush with confidence and blinded by the glare of an obviously bright future, Dillinger married Beryl Ethel Hovious in Mooresville on April 12, 1924. The couple moved into his father’s farm house but within a few weeks of the wedding, the groom was arrested for stealing 41 Buff Orpington chickens from Omer A. Zook’s farm on the Millersville Road.
Though his father was able to work out a deal to keep the case out of court, it further strained his relationship between them. Dillinger and Beryl moved out of their cramped bedroom and into Beryl’s parents’ home in Martinsville. There Dillinger got a job in an upholstery shop. All the while, Dillinger continued to play baseball. In between calling balls and strikes during AC Athletics games, umpire Ed Singleton (a web-fingered local drunk and pool shark 11-years his senior) was in the young shortstop’s ear. Singleton said he knew an old man, Frank Morgan, who carried loads of cash in his pockets around the streets of Mooresville.

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Beryl Hovius and John Dillinger


On September 24, 1924, the young and impressionable Dillinger accompanied Singleton on what turned out to be a botched stick-up. After ambushing Morgan with a heavy iron bolt wrapped in a cotton handkerchief and knocking him unconscious, Dillinger fled the scene, thinking he had killed his victim. Turns out the bolt was not heavy enough to render an unconscious blow so Dillinger pistol whipped the old man in the face. The gun went off, firing harmlessly into the ground, unbeknownst to the young hoodlum. The robbery netted just $50 ($750 in today’s money).
Upon hearing the gunshot, Singleton panicked and drove away with the getaway car, stranding Dillinger, who ducked into a pool hall a few blocks away. Dillinger was arrested the next day at his father’s farm and held in the county jail in Martinsville. His father visited him there and told “Junior”, “Johnnie if you did this thing, the only way is to own up to it. They’ll go easy on you and you’ll get a new start.” Dillinger, who did not have a lawyer, pled guilty and received a 10-year prison sentence. His accomplice Ed Singleton hired a lawyer and received just 5 years. John Dillinger had launched himself into the big leagues of professional crime. But again, baseball would play a pivotal role in the young outlaw’s life.z pendleton
While incarcerated at the Indiana Reformatory in Pendleton, Prison officials recognized his superior ball playing skills and quickly recruited him for the prison ball club. On July 22, 1959, the 25th anniversary of Dillinger’s death, the Indianapolis News ran an article on Dillinger the ballplayer by “Outdoor Columnist” Tubby Toms. “His play was marvelous, both in the field and at bat… He might have been a Major League shortstop the caliber of a Pee Wee Reese or a Phil Rizzuto.” Tubby further mentioned an interaction between Governor Harry G. Leslie and Dillinger. Leslie, who has been detailed in a couple of my past columns, was a legendary athlete at Purdue University. Leslie always made it a point to stop and linger on visits to watch the prison ballplayers in action.
Tubby, who was the News Statehouse reporter at the time, recalls a 1932 visit to the prison with Governor Leslie when both men watched the reformatory’s baseball team take on a local semipro club. The two men couldn’t take their eyes off the shortstop whom fellow inmates were calling “jackrabbit”. Governor Leslie strongly believed in the rehabilitative power of organized competition and took a keen interest in inmates who applied themselves and excelled. So it wasn’t unusual that Dillinger captured his attention.

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Governor Harry Leslie


Later that day, as fate would have it, Governor Leslie presided over Dillinger’s parole hearing. After Dillinger was once again denied parole, the dejected outlaw asked a question of the board. “I wonder if it would be possible to transfer me to the State Prison up at Michigan City? They’ve got a REAL ball team up there.” The Governor then said, “Gentlemen, I saw this lad play baseball this afternoon, and let me tell you, he’s got major league stuff in him. What reason can there be for denying him this request? It may play an important part in his reformation.” His request was granted and to this day, his official records state that he was sent to the big house “so he can play baseball.” It was at Michigan City where John Dillinger, under the tutelage of more seasoned cons, learned how to be a bank robber.
On May 22, 1933, Governor Paul McNutt released Dillinger from State Prison. Within a month, he held up the manager of a thread factory in Monticello, Illinois. A month after that, he held up a drugstore in Irvington. From there, he graduated to robbing banks. Dillinger followed his beloved Cubbies for the rest of his short life. Legend states that he even attended a few games at Wrigley Field while perched atop J. Edgar Hoover’s most wanted list. In fact, while playing toss in the outfield before a game in August of 1933, the bank robber was pointed out to outfielder Babe Herman as he sat with a group in the left field box seats. Cubs Hall of Fame catcher Gabby Hartnett often recalled how Chicago police routinely knew that Dillinger was in the crowd of Cubby faithful at Wrigley Field but never turned him into the G-men. Cubs all-star Woody English was once stopped on his way to the ballpark because he drove the same model of car as the outlaw did.
In a letter to his niece Mary, with whom he used to play catch, Dillinger said he was going to try and head east to see the Giants play the Senators in the 1933 World Series. Unfortunately, he was arrested on Sept. 22, 11 days before the start of the Fall Classic. He did, however, make money betting on the Giants, who won the series in five games. The 1933-1934 hot stove season was a busy one for Dillinger. He busted out of two jails and on June 22, 1934, J. Edgar Hoover’s FBI officially dubbed him Public Enemy No. 1. Dillinger responded by hiding out in plain sight in the city of big shoulders. He went to movies, partied at night clubs, toured the Chicago World’s Fair (more than once), and took in several Cubs games.Dillinger almanac


After a near fatal, botched plastic surgery in May of 1934, Dillinger dyed his hair, grew a mustache, and sported dark sunglasses to attend games at Wrigley to test out his new look out. One of Dillinger’s known hideouts in Chicago was an apartment at 901 W. Addison St., just two blocks east of Wrigley Field. On June 8th, Dillinger watched as his Cubs witness from the season before, Babe Herman, hit a 2-run homer in a loss to Cincinnati 4-3. In a story that made newspapers nation-wide, Dillinger watched from the upper deck as again Babe Herman drove in a pair of runs during a June 26th game as the Cubs defeated the Brooklyn Dodgers 5-2.
Mailman Robert Volk, who was in the garage in Crown Point on March 3, 1934 when Dillinger broke out of jail, instantly recognized the arch-criminal and the robber recognized him too. The outlaw got up and sat down next to the terrified man. After sitting in chilled silence for a while, Volk shakily said “this is getting to be a habit”, to which America’s most wanted bank robber replied “it certainly is.” Dillinger smiled and shook the mailman’s hand, introduced himself as “Jimmy Lawrence”, and left during the 7th inning stretch.

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Despite this close call, Dillinger returned to Wrigley again on July 8th to watch the Pirates get pounded by his Cubbies 12-3 (for the sake of continuity, Babe Herman went 1 for 5 in this one). After the blowout, the Cubs left on an extended road trip. They were still on the road against the Phillies on July 22 when Dillinger decided to catch a movie at the Biograph Theatre. The White Sox were in town that afternoon playing a double-header against the Yankees. The Bronx Bombers ‘moidered” the north-siders in both contests. Had Dillinger been a White Sox fan he might have avoided his date with destiny and lived to die another day. He might have been in the bleachers to catch Babe Ruth’s 16th homer that day. Instead he caught a hail of bullets in a damp Chicago alleyway. According to the Cook County coroner, the jackrabbit was only three pounds above his old playing weight.

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Music, Pop Culture, The Beatles

The Beatles, John Lennon, WIFE… and Irvington. Part I

Original publish date:  May 6, 2021

Last Winter, I was contacted by Irvingtonian Bill Price with a story idea. Bill is journalist Nelson Price’s cousin. Nelson is a good friend and host of the Hoosier History Live radio show that airs live from noon to 1 p.m. each Saturday on WICR 88.7 FM in Indianapolis. I have been on Nelson’s show many times over the years as have several Irvingtonians active in the literary and history communities. So I was happy to learn of our shared connection and even happier to find an Irvington connection to this story.
Bil Price lives on Graham Avenue right in the heart of Irvington, just back of the Methodist church and behind Jockomo’s. Price relates, “I was born at 16th and Ritter, but really grew up on the westside. Nelson and my grandparents lived on 9th Street over by Ellenberger Park. I moved over here after college in the late 80s. Lived by Howe for 14 years and then bought this house on Graham around 18 or 19 years ago.”

Price reveals, “In the John Lennon film “Imagine” from quite a few years back, and the documentary about him recording the Imagine album, there’s a scene where a young hippie / vagabond type of man who is apparently a shell-shocked Vietnam vet shows up at Lennon’s house. Lennon is patient and talks with him and even invites him in to eat some food. Recently, another film “Above Us Only Sky” has been released about Lennon and has the same footage. While watching this clip, I noticed something peculiar. There is a car parked outside Lennon’s house that has a WIFE Good Guys radio sticker on the back window! I am wondering how in the world did a sticker from a local Indianapolis radio station end up on a car in John Lennon’s driveway in England? I’ve asked a couple local musician buddies of mine who seem to know a lot about local music / radio and The Beatles, etc., but they have no idea of any Indianapolis connection to John Lennon at that time.”
Well, Bill, you are absolutely correct, that sticker is most certainly from Indianapolis. The sticker, which features a bearded B&W beatnik smiley faced character holding up a bright yellow sign reading “WIFE Good Guy”, appears on the left side of the rear window of Lennon’s Circa-1971 Mini Cooper. Indeed, the clip from the documentary features a scene in which a young man named Curt Claudio shows up at Lennon’s house “just to see him.” The house, actually an estate mansion known as Tittenhurst Park, is located in Berkshire, near the town Ascot in England.


In the scene, which can be easily found on Netflix, John is leaning against the pillars of the mansion that date back to 1830, Yoko stands nearby her husband. The disheveled young man, his long hair flowing over the Shearling fur collar of a ragged sheepskin coat, carries on a lengthy, disjointed conversation with his hero from just a few feet away. Given that the scene was filmed mere months after the Manson family murdered Sharon Tate, Jay Sebring and several others under supposed orders from The Beatles White Album and knowing the way Lennon’s life ended less than a decade later, the scene is eerie to behold.
The young man had written several letters, one of which apparently stated, “I’m coming and I just need to look into your eyes and I’ll know.” Apparently Claudio had been secretly living in the rough on Lennon’s 72 acre estate for days. London police wanted to arrest the troubled fan but Lennon wouldn’t allow it, instead opting to gently talk to him face-to-face. Claudio apparently believed that some songs were speaking directly to him. Lennon does his best to dissuade that notion by asking how that could be possible since the two were strangers and stressing, “I’m just a guy who writes songs. Don’t confuse the songs with your own life. I mean, they might have relevance to your own life, but a lot of things do. So we met, you know, I’m just a guy. I write songs.”

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As Claudio starts to quote the star’s lyrics, determined that the words were about him, John gently counters: “I was just having fun with words. It was literally a nonsense song. I mean Dylan does that… you just take words and you stick them together and you see if they have any meaning. Some of them do, some of them don’t.” Claudio replies: “You weren’t thinking of anyone in particular when you were singing that song?” To which Lennon replies, “How could I be? How could I be thinking of you, man? I’m thinking of me, and at best Yoko if it’s a love song. I’m singing about me and my life, and if it’s relevant about other people’s lives, then yeah, that’s alright.” Claudio looks devastated and his eyes drop to the ground. John then says: “Are you hungry?” gesturing to his friends he adds: “Let’s give him something to eat.” At which point Claudio is invited into the house and is seated at the dining room table with John and Yoko and they all eat a meal together.
For years, there was some confusion as to exactly who Curt Claudio was. Most accounts pegged him as a Vietnam War Vet. Others a hippy strung out on heroin. Still others claimed he was a deranged patient from a San Francisco mental hospital. According to the website “thedailybeatles”, Curt Claudio was born Cesare Curtis Claudio in Alameda, California on August 28, 1948. He graduated with the class of 1966 at Kennedy High School in Richmond, CA. He died in a plane crash in Fremont, CA. on December 22, 1981, a year and two weeks after Lennon’s murder. Part of Claudio’s legend states that he was so devastated by Lennon’s death that he deliberately crashed his own plane to end the pain.

Curt Claudio and Yoko Ono


Curt’s older brother Ernie cleared up the mystery, “Curt was never in the military. He was a straight “A” student in high school and earned a scholarship to the University of California in Davis, CA. Then he started using drugs and dropped out of school. He spent most of his life working on farms. We worked at Ford Motors in Milpitas, California until they closed the factory. Ford gave their employees $12,000 so they could re-train for another job. I asked Curt,” What are you going to do with your $12,000?” Curt said, “I’m either going to buy a Harley or an ultra-light airplane.” He bought the ultra-light, and that’s what killed him. He was flying too low and too slow and the plane stalled. The plane came down, bounced off a carport roof, and landed in a tree, six feet off the ground. The high impact caused his aorta to separate from the heart. Death was instantaneous.”
In 1973, John Lennon sold Tittenhurst Park to his former bandmate Ringo Starr, since Lennon had decided to live long-term in the United States and move to the Dakota (where he died). In 1988, Sheikh Zayed bin Sultan Al Nahyan – President of the United Arab Emirates and former ruler of Abu Dhabi – purchased Tittenhurst Park from Ringo Starr for 5 million pounds. Renovations took place in 1989-1990, during which many elements pertaining to Lennon’s, Ono’s and Starr’s time still on the property were removed. Astonishingly, during those renovations, wall paintings by Lennon were destroyed.


But what about that sticker? The one from the WIFE Good Guys in Indianapolis? Where on earth did that thing come from? Well, I found the just the guy to solve the mystery. And he lives right here in Irvington.

Abe Lincoln, Civil War, Gettysburg, Museums, Pop Culture, Presidents, Travel

Statuary Myths and Urban Legends. John Rogers.

Part II

Original publish date:  October 1, 2020

If you are a fan of Victorian decor, or if, like me, you find yourself haunting antique malls and shops, you’re probably familiar with the work of sculptor John Rogers. Commonly known as “Groups” for their routine use of more than one subject per sculpture, Rogers’ work is distinctive for many reasons: historical themes, uncommon accuracy and exquisite detail. Rogers was the first American sculptor to be classified as a “pop artist”, scorned by art critics but beloved by the average American. His themes included literary themes, Civil War soldiers, ordinary citizens, animals, sports and luminaries from the pages of history. For Irvingtonians, his works depicting namesake Washington Irving’s Rip Van Winkle are particularly prized.

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John Rogers Rip Van Winkle Series.

I have a few in my office and one of my favorite places to eat, the “Back 40 Junction” in Decatur, is decorated with many John Rogers groups throughout their restaurant.
John Rogers was born in Salem, Massachusetts, on October 30, 1829, how can Halloween fans not love him already? His father, an unsuccessful but well-connected Boston merchant, felt that an artist’s life was no better than a vagabond and discouraged his artistic son from pursuing art as a profession. So, Rogers confined his love of drawing, painting and modeling in clay to his spare time. In 1856 Rogers ran away to Mark Twain’s Hannibal, Missouri where he worked as a railroad mechanic. Two years later, he moved to Europe to attain a formal education in sculpting. His first group, in 1859, he titled “The Slave Auction”. It depicts a white auctioneer as he gavels down the sale of a defiant black man, posed arms crossed, with his weeping wife and babies cowering at the side. Rogers, a strong abolitionist, was making a statement against slavery but New York shopkeepers refused to display his work in their windows for fear that the controversial subject matter would drive customers away. So Rogers hired a black salesman to peddle the statue from door-to-door and in a short time, Rogers’ statue, described as “Uncle Tom’s Cabin in plaster” became a best seller.

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Sculptor John Rogers.

That same year, Rogers went to Chicago, where he entered his next statue, titled “The Checker Players” in a charity event, which won a $75.00 prize and attracted much attention. Rogers soon began rapidly producing very popular, relatively inexpensive figurines to satiate the average Gilded Age citizen’s thirst for art. Over the next quarter century, a total of 100,000 copies of nearly 90 different Rogers Groups were sold across the United States and abroad. Unsurprisingly, the next few years were filled with Rogers groups depicting scenes from the Civil War to honor their soldier boys serving far from home. These statues would remain popular with veterans after the war as well.
Gettysburg Longstreet monument sculptor Gary Casteel remarked, “Rogers is very well known as an American sculptor. More for his collection of small group settings rather than large public works. Both are excellent in detail and representation. His collection of CW related plaster cast pieces are quite well know and continually sought after by collectors to this day.” Rogers’ work was innovative, preferring to create his statuary based on every day, ordinary scenes from life. While Rogers’ work rarely made its way into art museums, it did grace the parlors, libraries and offices of Victorian homes around the world. However, there is one work that stands out among the rest, for subject matter, realism, and controversy.

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                                                         Rogers’ Council of War.

“The Council of War”, created in 1868, stands 24 inches tall and, like all of Rogers’ groups, was designed to fit perfectly on a round oak “ball and claw” footed parlor table. It depicts Abraham Lincoln seated in a chair, studying a map held in both hands, as General Ulysses S. Grant and Secretary of War Edwin Stanton confer over his shoulders. The June 1872 issue of the “American Historical Record” describes the scene: “The time is supposed to be early in March, 1864, just after Grant was appointed a Lieutenant-General and entrusted by Congress with the largess and discriminatory power as General-in-Chief of all the armies. The occasion was the Council at which the campaign of 1864 was determined upon, which was followed by Grant’s order on the 1st of May for the advance of the great armies of the Republic against the principal forces of the Confederates.”

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Gettysburg Sculptor Gary Casteel.

Both Robert Todd Lincoln and Edwin Stanton proclaimed this version of the President to be the best likeness of the man either had ever seen. Secretary Stanton wrote to the sculptor in May of 1872 stating, “I am highly gratified with the genius and artistic skill you have displayed. I think you were especially fortunate in your execution of the figure of President Lincoln. In form and feature it surpasses any effort to embody the expression of that great man which I have seen. The whole group is very natural and the work, like others from the same hand, well represents interesting incidents of the time.” Although the two surviving subjects received the piece positively, the public allegedly saw it differently: quite literally.
The controversy surrounding the pose arose based upon the positioning of Stanton behind Lincoln. Stanton, is posed polishing his spectacles, held in both hands, directly behind the President’s left ear approximately where Booth’s bullet entered Mr. Lincoln’s head. The pose is thought to have aroused the ire of collectors who believed the awkward positioning somehow stirred memories of the assassination. Hence, John Rogers made three versions of this particular group to appease those sympathies. Although the depictions of Grant and Lincoln remained the same in all three, Stanton’s hands were emptied and placed at his side in the second version and then changed back to polishing his glasses, this time forward of Lincoln’s head, in the third version. Some historians surmise the changes were affected due to the alleged theory of Stanton’s involvement in Lincoln’s murder that were circulating at the time. On the other hand, art historians claim the change was made for purely structural purposes and ease of casting to prevent breakage.
Modern day sculptors like Gary Casteel utilize many of the same methods as Rogers did a century-and-a-half ago, just as Rogers used those techniques he learned about while studying in Europe. Casteel, who like Rogers, also studied sculpture in Europe, says, “Every sculptor has his own way of sculpture production. However, there are probably similarities. I do a lot of detail as he did just simply because it’s my natural style.” The advantage that Gary Casteel has is the internet. Gary has a website and blog (Casteel Sculptures, LLC / Valley Arts Publishing) that walks his “fans” through the process of wood, wire & clay step-by-step. If you have an interest in the process, I highly recommend you subscribe to Gary’s blog. Watching Gary’s scale sculptures of the ornately detailed monuments of Gettysburg might better explain that Rogers’ changes in his Council of War group may not have been all about myth and urban legends after all.
At the height of their popularity, Rogers’ figurines graced the parlors of homes in the United States and around the world. Most sold for $15 apiece (about $450 in 2020 dollars), the figurines were affordable to the middle class. Instead of working in bronze and marble, he sculpted in more affordable plaster, painted the color of putty to hide dust. Rogers was inspired by popular novels, poems and prints as well as the scenes he saw around him. By the 1880s, it seemed that families who did not have a John Rogers Group were not conforming to the times. Even Abraham Lincoln owned a John Rogers Group. My favorite account of a typical Rogers statue encounter comes from the Great American West. Libby Custer mentions in her book “Boots and Saddles” that her husband, General George Armstrong Custer, carried two prized John Rogers groups (“One More Shot” and “Mail Day”, both depicting Civil War soldiers) from post-to-post on the Western frontier including the couples’ final Indian outpost before the “Last Stand.”
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Libby and George Armstrong Custer.

Libby states, “Comparatively modern art was represented by two of the Rogers statuettes that we had carried about with us for years. Transportation for necessary household articles was often so limited it was sometimes a question whether anything that was not absolutely needed for the preservation of life should be taken with us, but our attachment for those little figures and the associations connected with them, made us study out a way always to carry them. At the end of each journey, we unboxed them ourselves, and sifted the sawdust through our fingers carefully, for the figures were invariably dismembered. My husband’s first occupation was to hang the few pictures and mend the statuettes. He glued on the broken portions and moulded (sic) putty in the crevices where the biscuit had crumbled. Sometimes he had to replace a bit that was lost… On one occasion we found the head of the figure entirely severed from the trunk. Nothing daunted, he fell to patching it up again… The distorted throat, made of unwieldy putty, gave the formally erect, soldierly neck a decided appearance of goiter. My laughter discouraged the impromptu artist, who for one moment felt that a “restoration” is not quite equal to the original. He declared that he would put a coat of gray paint overall, so that in a dim corner they might pass for new. I insisted that it should be a very dark corner!”
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Another article, this one from the January 1926 issue of “Antiques” magazine, encapsulates the love-hate relationship for Rogers’ work: “The fact that Rogers groups are fragile has made them rare enough to arouse the interest of collectors, although I doubt that they will ever be widely collected or will ever acquire high values. They are too large to be comfortably collected in quantity. Nevertheless there might be some slight activity in Rogers groups among collectors of American antiques and it is to be hoped that existing examples will be preserved for the sake of what they express of life some forty years since.”
In 1878 Rogers opened a small studio at 13 Oenoke Ridge in New Canaan, Connecticut. By the 1890s, his work had largely fallen out of favor. Poor health forced his retirement in 1893. Rogers died at his New Canaan home on July 26, 1904. His studio was designated a U.S. National Historic Landmark in 1965. Rogers sculpted what he saw, drawing his inspiration from the everyday beauty observed by his own eye or that created by his mind’s eye while interpreting the literary works he valued most. Although he died in relative obscurity, his works live on as perfect representations of Victorian Era life at the crossroads of the Gilded Age and the Second Industrial Revolution.

Civil War, Gettysburg, Museums, Pop Culture, Travel

Statuary Myths and Urban Legends. Gettysburg.

Part I

Original publish date:  September 24, 2020

I find myself hanging around statues all the time. On Battlefields. In Museums. Visiting cemeteries. My office. I truly love looking at statues & sculptures of every sort, heck, I even find myself admiring the old fonts on those statues and plaques. Not too crazy about the recent trend of “Cairns” (aka rock stacking) sprouting up in creeks and rivers and along trails in parks, but that’s another story. I do love statues and admire the artists that created them.
As many of you know, I spend a lot of time in Gettysburg- 2 to 3 trips a year. Part of the attraction of Gettysburg, to many, are the monuments and statues located on every part of the 6,000 acre park; some 1,300 at last count. As all devotees of the battlefield know, there is a legend that circulates around the eight equestrian statues found on the field. It has become known colloquially as the “hoof code” and until recently, solely by coincidence, it held true.
The tradition stated that the position of the horse hoofs on the statue dictated the fate of it’s rider. All four hoofs down: the rider survived the battle unscathed. One hoof up: the rider was wounded during the battle and survived. Two hoofs up: the rider was killed during the battle. According to the National Park Service, aside from the myths that the Rebels stumbled into the battle of Gettysburg while searching for shoes for footsore soldiers or that Lincoln wrote the Gettysburg address on the back of an envelope on the train to Gettysburg, the horse code legend is most enduring.

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It appears that the stories were simply created by those early battlefield guides as a convenient way to get guests to remember the fates of the rider. Although harmless, it nearly drove the park brass crazy trying to explain the fallacy to guests, dignitaries and letter-writers for over a century. One letter found in the NPS archives from October of 1931, written by then superintendent E. B. Davis, addresses the issue bluntly, “The story that the posture of the horse in equestrian statues on this battlefield indicates whether the rider was killed, wounded, or unhurt seems to be one of those myths which grow up around historical places and are almost impossible to destroy. Sculptors whom I have consulted assure me there is no such convention connected with the art. This office does not countenance the story. On the contrary, invariably discourages it. It seems, however, to appeal to some imaginations among both guides and tourists. If you are in position to supply the name of your guide or the number of his cap, I can possibly stop one from further reciting the myth.” So, not only did it drive the NPS crazy, the sculptors weren’t too happy about it either.
z Screenshot (175)The statues on the field represent Union Generals Meade, Reynolds, Hancock, Howard, Slocum, and Sedgwick, and Confederates, Lee, atop the Virginia Memorial, and James Longstreet. According to the NPS, “Meade and Hancock were the first on June 5, 1896. They were followed by Reynolds, July 1, 1899, Slocum, September 19, 1902, Sedgwick, June 19, 1913, and Howard, November 12, 1932. The Virginia Memorial was dedicated on June 8, 1917. Longstreet did not come along until 1998 and by this time the myth was firmly established.”
The Longstreet statue, created by artist Gary Casteel, was dedicated on July 3, 1998. Located in Pitzer Woods on West Confederate Avenue in the Gettysburg National Military Park, Gary’s statue is unique because it rests on the ground, not on a pedestal. “I wanted people to be able to walk right up to it; see it, touch it.” says the sculptor. Gary, whose studio is located near the entrance of the National Cemetery and the iconic landmark Evergreen Cemetery gatehouse in the old “Hall of Presidents” wax museum, is still busy practicing his craft within site of the Hancock monument across the Baltimore Pike.
Sculptor Frank Edwin Elwell’s larger-than-life bronze figure of Hancock astride “a horse” depicts the general extending a reassuring hand toward unseen Union soldiers. The horse “Hancock the Superb” straddles was not his own. On July 3, 1863, Gettysburg saw the greatest artillery barrage in the history of North America warfare. The earth rattling blasts of over 100 Confederate cannons and the thunderous roar of Union guns in reply, spooked Hancock’s horse, and it froze, refusing to move. Hancock dismounted, borrowed the horse of a nearby surgeon, and embarked on his ride, one of the most famous in the history of the Civil War. Hancock, fully exposed to enemy fire, rode up and down the line to bolster the morale of his troops who lay behind the stone wall. When aides begged the General to dismount, his reply was, “There are times when a Corps Commander’s life does not matter.” He was wounded grievously and his equestrian statue reflects that wound with one hoof up.
The placement of Hancock’s statue on East Cemetery Hill required the dismantling of a precarious looking wooden observation tower that stood on the hill from 1878 until 1896. But what about that horse? What was his name? Historians have studied that question for years to no avail. Every Civil War buff knows Lee’s horse at Gettysburg was “Traveller”, Meade’s horse: “Old Baldy”. We even know the name of Meade’s (he had two) and Lee’s back-up horses, “Blackie” & “Gertie” and “Lucy Long” respectively.
Reynolds horse: “Fancy”, his secondary horse was called “Prince”. Sedgwick’s horse was named “Rambler”, his two back-ups; “Cornwall” and “Handsome Joe”. General Henry Slocum’s horse was named “Charlie” and General Longstreet’s horse was “Hero”. BTW, in case you’re wondering, General Joshua Lawrence Chamberlain’s horse was named “Charlemagne” but he did not get it until the autumn of 1863, after Gettysburg. The horse, a small brown Morgan horse with scars and sores from pack-service had been captured from the Confederates. Chamberlain has no monument, equestrian or otherwise, on the field except for that of the 20th Maine on Little Round Top.
z slocum s-l1600But Hancock’s horse at Gettysburg? No one knows. Likewise, General O.O. Howard’s horse remains nameless (he had at least two shot out from under him and himself was wounded twice in battle) but the sternly pious one-armed General’s nickname of “Uh Oh” survives. So named by soldiers because when the General showed up, one way or another, there was gonna be a fight (he was awarded the Medal of Honor for actions at Gettysburg). Look up at his statue the next time you’re walking the field and you’ll see the empty flap of his right arm (shot off at the Battle of Seven Pines a year earlier) pinned neatly to his coat.
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Sculptor Gary Casteel and the author in Casteel’s Gettysburg shop.

Which brings me back to sculptor Gary Casteel. Gary’s statue of General Longstreet is featured on his horse with one foot raised, even though Longstreet was not wounded in that battle. However, he was seriously wounded in the Wilderness battle the following year. The hoof is depicted in an upraised position, making it the perfect place for visitors to place coins, lucky four-leaf clovers and other mementos atop it. Casteel’s equestrian statue, the most recent general officer monument on the field, may settle the “hoof code” urban legend once and for all. Should you ever find yourself in Gettysburg, stop in Gary Casteel’s studio at 789 Baltimore Street and ask him yourself. Asked for comment on the myth, Mr. Casteel answered, “The “code” only works at Gettysburg and over the years it has become “law” thus challenging those who wish to question or break it, like me!” after which he jokingly adds, “It took a Confederate to challenge Yankee rule once again!” Yes, if you find yourself in Gettysburg, a visit to Casteel Sculptures is a must see. Most visitors fail to realize the rare opportunity afforded them with just such a visit. You can walk to battlefield and gaze at statues innumerable, but you can only talk to one sculptor: Gary Casteel.
That brings me to another statuary myth, one that I have been enamored with since I was a small boy. It involves the first American “pop sculptor”, the Civil War, the Abraham Lincoln assassination and George Armstrong Custer. Next week in part II of “Statuary Myths and Urban Legends.”

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Indianapolis, Pop Culture

“Monopoly: the Hoosier Connection. Part II”

Lizzie Magie.

Original publish date:  July 26, 2013 Reissue date: September 17, 2020

The game of Monopoly was patented 80 years ago this week on July 30, 1933. The official Parker Brothers line is that the popular board game was solely created by an unemployed salesman and heating engineer named Charles Darrow. Last week in part I, we learned that Hoosier Dan Layman claimed to have developed the game in the late 1920s while a student at Williams College in Reading, Pennsylvania. From Indianapolis the game traveled back to the East Coast through friends of Layman.
Ruth Hoskins brought the monopoly folk game to the Atlantic City after taking a teaching job at the Friends School. Although contrary to the “Monopoly” legend, she and Layman never met, Ruth was introduced to it by one of his friends. In 1929 Ruth Hoskins began playing Monopoly in Indianapolis with her brother James and his friend Robert Frost “Pete” Daggett Jr., who was a close friend of Dan Layman. Her story is appealing if only for the sweet religious reasoning that may have cost her a fortune.

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Ruth Hoskins was a core member of Quaker “Friends” meeting group which changed Layman’s capitalistic folk game to a Quaker based game she too called “Monopoly.” In October of 1929, ironically very near the date of the “Black Sunday” stock market crash, Ruth Hoskins began teaching her version of Monopoly to other teachers, students, and Quaker acquaintances. Layman’s manufactured game, Finance, was not yet on the market and certainly not available on the East Coast at that time. Though slight differences appeared in her regional version of the game, Ruth’s game was remarkably similar to the modern incarnation of Monopoly.
Ruth first change to Layman’s game was to purchase properties rather than auctioning them, as the Quakers did not believe in auctions. Apparently the Quakers, who, according to their original tenant, were required to avoid “impudent noisy indecent behaviour in Markets and other publick” simply didn’t like the noise of the auctioneering. Ruth’s most significant claim to authorship of Monopoly as we know it today is that after she relocated to her seaside New Jersey home, she changed Layman’s Indianapolis street names (one of which was “LaSalle Street”) to those of streets found in her adopted Atlantic City hometown. Eugene and Ruth Raiford, friends of Hoskins, showed the game to Charles E. Todd, a hotel manager in Germantown, Pennsylvania. Todd introduced Charles and Esther Darrow to the game. The Darrows were occasional hotel guests; Esther was Todd’s former neighbor.
Charles Todd claims that sometimes in 1931: “The first people we taught it to after learning it from the Raifords was Darrow and his wife Esther … It was entirely new to them. They had never seen anything like it before and showed a great deal of interest in it… Darrow asked me if I would write up the rules and regulations and I wrote them up and checked with Raiford to see if they were right and gave them to Darrow – he wanted two or three copies of the rules, which I gave him and gave Raiford and kept some myself.”

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Ruth Hoskins said, while testifying during the same 1974 trial as Dan Layman, in her pretrial deposition. “To the Harveys [Cyril and his wife Dorothy], who introduced it to the Raifords [Eugene and his wife Ruth, Jesse and his wife Dorothea] … Everybody made their own [board] … We asked everybody we knew that could to come play it, because it was such fun.” Since Ruth’s entire circle of friends consisted mainly of scrupulously moral Quakers, whenever the subject of commercializing the game arose, it was rejected.
“We weren’t business people,” Hoskins explained. “We were school teachers. It was a good game the way it was.” She went on to say that since the game was being played in Atlantic City, it no longer made any sense to have properties named after places in Indianapolis or parts of Pennsylvania. The discussion came up that the names were for the most part unknown to us … Why not use Atlantic City names? … We named them out in honor of people who belonged to our group. For instance, well, Boardwalk was first. Everybody knows that, Boardwalk. But the Jones’s were living on Park Place and the Claridge was being built across the street and the Marlborough Blenheim was right there. That was obviously a very expensive part of the town and one that we wanted to honor.

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“We were living on Pennsylvania Avenue … The Copes lived on Virginia Avenue at the Morton Hotel … So it developed gradually. “… I know that there were the utilities and I know that the four railroads were there … We had ‘Free Parking’ and we had ‘Go to Jail’ and we had tickets to get out of jail and you got $200 as you passed ‘Go’.” The lawyers made a point to meticulously document Ruth’s story, street-by-street, because Parker Brothers’ last defense is that Charles Darrow put the Atlantic City streets on the board and therefore his game is different from other versions of Monopoly. Hoskins also suggested Connecticut, Vermont and Oriental Avenues. “All these I made up and then we discussed it with the group.” Other members of the group added New York Ave., Community Chest and Marven Gardens “because although it wasn’t a street, there was somebody living there”.
In spite of this evidence, Parker Brothers chose to promote the Charles Darrow version of the game, even though they knew that it was not Mr. Darrow’s creation. Parker Brothers officially sanctioned story claimed that “Charles Darrow as an unemployed salesman and inventor living in Germantown, Pennsylvania, who was struggling with odd jobs to support his family in the years following the great stock market crash of 1929. Charles Darrow remembering his summers spent in Atlantic City, New Jersey, spent his spare time drawing the streets of Atlantic City on his kitchen tablecloth, and using pieces of material and bits of paints, wood etc. contributed by local merchants for game pieces. A game was already forming in his mind as he built little hotels, houses and other tokens to go along with his painted streets.”
One glaring mistake pointed to as evidence of the theft of intellectual property can be seen in Darrow’s version to this day. Ruth’s original Marven Gardens designation, named for a residential area near Atlantic City, was misspelled by Darrow as Marvin Gardens. This, combined with the other similarities mentioned above, make it highly unlikely that Darrow’s claim to authorship of Monopoly is authentic. He seems to have simply been in the right place at the right time.
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Charles Darrow.

Although it is clear Charles Darrow was not the sole inventor of Monopoly, the game he patented was quickly becoming a best seller for Parker Brothers. Within one month of signing an agreement with Darrow in 1935, Parker Brothers started producing over 20,000 copies of the game per week, a game that Charles Darrow claimed was his “brainchild.” Parker Brothers most likely discovered the existence of other Monopoly games after buying the patent from Darrow, but by that time, it was evident that the game was going to be a huge success. According to the Parker Brothers, their best move was “to secure patents and copyrights.” Parker Brothers simply did what Rockefeller, Carnegie, Hearst and Edison did before them, they bought out, developed and published the acknowledged forerunners if Monopoly: The Landlord’s Game, Finance, Fortune, as well as Finance and Fortune.
Much of the true history of “Monopoly” remains a mystery, but what is known for certain is that Charles Darrow sold his ‘rights’ to Parker Brothers at age 46. And that’s a fact. The royalties from Monopoly made Charles Darrow a millionaire, the first game inventor to make that much money. In 1970, a few years after Darrow’s death, Atlantic City erected a commemorative plaque in his honor. It stands on the Boardwalk, near the corner of Park Place.
The city of Indianapolis is a mere footnote in the history of the board game Monopoly. You won’t find the names of Hoosier Dan Layman or Hoosier transplant Ruth Hoskins written in any history of the Parker Brothers company. But the next time you’re cursing the skies for the rotten luck of landing on Boardwalk with four houses AGAIN, you can now shake your fist in the air and personally thank the Hoosier men and women who put you there.