Tag Archives: History

Coincidence at Play (Again)

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This post originally appeared on April 3, 2016. A few weeks ago I predicted that I would be recycling more blog posts as the ongoing COVID-19 pandemic restricted real-world interaction, but I didn’t think that would be the case this week. I had a pre-canned series post selected when coincidence struck. I was trying to figure out when I had visited a particular museum and resorted to searching this website for some record. The museum is one with many Civil War artifacts so I used those words in the search and this post appeared in the results. I had all but forgotten it but a reread made me think that a repost might be appropriate. As I wrote four years ago, “there’s still plenty of crap going on.” I did, incidentally, read “To Kill a Mocking Bird” within a couple of weeks of seeing the play.

tcamb1I’ve yet to read To Kill a Mockingbird. I have seen the 1962 movie multiple times and now I’ve seen the play. I had hoped to read the book between learning that the play would be performed this season at Cincinnati Playhouse in the Park and actually seeing it but that didn’t work out.

The Friday night performance would be the biggest event of my week but I didn’t expect it to lead to a blog post. I anticipated that a canned Trip Peek would be published this morning. A Friday morning email got me to thinking differently.

The email was the April E-News from the Smithsonian. One of the topics was “The Scottsboro Boys” with this two sentence tease: “The case of the Scottsboro Boys, which lasted more than 80 years, helped to spur the civil rights movement. To Kill a Mockingbird, the Pulitzer Prize-winning novel by Harper Lee, is also loosely based on this case.”

I read the article referenced in the email and could easily see similarities between the 1931 real world incident and the fictional one Harper Lee set just a few years later. Both involved black men accused of imaginary crimes against white women and both occurred in a world where color mattered a whole lot more than truth. Later I read that in 2005 Harper Lee said this was not the incident she had in mind when writing To Kill a Mockingbird but that it served “the same purpose”. Despite there not being an official connection between the Scottsboro Boys and To Kill a Mockingbird, reading about the incident and its repercussions served a purpose for me, too. It provided an unpleasant picture of this country near the midpoint between the Civil War and today. The accuracy of that picture is reinforced by a contemporary pamphlet, They Shall Not Die!, referenced in the Smithsonian article.

tcamb2I took my seat on Friday with the Scottsboro story fresh in my mind. The stage was bare except for a single light bulb which would actually be removed at the play’s start although it would return later. The stage consists of a large circular center and a surrounding ring both of which rotate. Sometimes they rotate in opposite directions which can seem to expand the distance between actors or the distance they travel. Set Designer Laura Jellinek states that “our main goal was to eliminate any artifice between the audience and the story” and this set certainly accomplishes that. As one audience member observed during the discussion that followed the play, she briefly looked around for the jury during the courtroom scene before realizing that “we were the jury”. At its most crowded, the stage holds nine chairs for the key figures in that courtroom scene.

The discussion I mentioned happens after every performance. Anyone interested moves close to the stage to listen or participate. There were naturally questions about this specific production but there were also questions about the story. There is a sign in the lobby that I now wish I’d taken a picture of. “Don’t read books that think for you. Read books that make you think.” might not be 100% accurate but it’s close. Friday night’s discussion was evidence that this play is prompting some thinking and I’ve no reason to think that discussions following other performances are any different.

tcamb3There is also a set of blackboards in the lobby. As I assume is true at every performance, the blackboards started out empty except for a question at the top of each. By the time people started heading home, the boards were full. It’s pretty clear that some thinking is going on here, too.

It was the coincidence of the Smithsonian email showing up on the day I was set to see the play that nudged me towards making it a blog entry. There is another coincidence of sorts that I find interesting.  Each week, the blog This Cruel War publishes an article on lynchings. The article is published on Wednesdays but, since I subscribe via RSS and I seem to always be behind in my RSS reading, it is often a day or more after publication before I read a specific article. I read this week’s post the morning after my Playhouse visit. In it, the source of the series’ title, “This Disgraceful Evil”, is given. It comes from a 1918 Woodrow Wilson speech in which he calls upon America “…to make an end of this disgraceful evil.”

We don’t have to deal with actual lynchings now as much as in 1918 but there’s still plenty of crap going on. “It cannot live”, Wilson continues, “where the community does not countenance it.”

Originally scheduled to end today, April 3, To Kill a Mockingbird‘s run a Playhouse in the Park has been extended through April 9.

My Caboodles — Chapter 1
Corps of Discovery Forts

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With the “My Wheels” series coming to at least a temporary end, this series about collections of things I’ve visited is being launched to take its place as something to be posted when my real-time world fails to produce an article. The word “caboodle” occurred to me as I was brainstorming titles and I knew it was right the instant I checked the Merriam-Webster definition. The initial chapter concerns a very small caboodle that I didn’t even think of as a group until I had completed it. During its existence, the Corps of Discovery (a.k.a. Lewis & Clark Expedition) endured three winters hunkered down inside some fairly sturdy fortifications. It was while visiting my third, their second, that I realized I’d been to all of them. As the current list of potential subjects for this series is quite small, I’m hoping some memories or realizations will magically appear to lengthen it. Especially since it is being launched during a statewide Coronavirus related “stay at home” order that prevents most of the activities that usually spawn articles here.

1. All three Corps of Discovery winter encampments functioned as forts and that’s how two of the three were identified. The one that most closely matches our common concept of a frontier fort was not. The place where the corps spent the winter of 1803-4 was named Camp River Dubois. I’m guessing that the word “fort” was not used because the location was near Saint Louis in relatively civilized territory. It was here that they prepared for the journey that would begin in earnest in May of 1804. I visited the site less than a month after the two-hundredth anniversary of that beginning. This structure, as well as the others, is a modern recreation. The originals rotted away long ago.

2. In 2008, I found myself on the Oregon coast where the expedition spent its third and final winter away from home. Like many travelers today, Lewis and Clark would spend less time returning from their destination than reaching it and avoid a fourth winter lockdown. In their case, more downstream travel and less getting lost helped considerably. They had traveled as far west as they could and turned their footsteps to the east when they departed Fort Clatsop in the spring of 1806.

3. It was nearly eight years later when I unexpectedly realized that I was only about thirty miles from Fort Mandan and an associated Lewis & Clark Interpretive Center. I made the short detour, of course, and was able to look over an accurate reproduction of the expedition’s quarters during the winter of 1804-5. The explorers found the fort had been burned to the ground when they passed by here on their way home.

While studying a timeline of the expedition at the Fort Mandan site, it struck me that I had now visited all three of the Corps of Discovery’s wintering locations. Now, three-plus years later, when I needed a new supply of posts that could be made without regard for the date, I chose this set of visits, spread over a dozen years, as the subject for the first of the series. The actual visits are here (Camp River Dubois), here (Fort Clatsop), and here (Fort Mandan).

Trip Peek #94
Trip #69
Labor Day 2008

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This picture is from my 2008 Labor Day trip. Although the trip eventually included wonderful experiences in Point Pleasant, WV (Mothman), and Marietta, OH (Lafayette Hotel), the highlight of the trip occurred right at its beginning. I took the photo at right about fifteen miles from home at the Crabfest in Blanchester, OH. That’s Gene Sullivan landing next to the spike of a 68-foot horseshoe crab after jumping over its body and through the “flaming gates of Hell”. Crabfest is no more, and neither, apparently is the church that sponsored it. But Gene and the crab survive. The crab has been moved about twenty-five miles east to Hillsboro, and Gene, at 73, has, or at least had, a 50th anniversary “Jump for Jesus” tour planned for the summer of 2020. I could find no current information on the tour so do not know whether it has been canceled or postponed by the coronavirus pandemic or has been affected by something else.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.

Trip Peek #93
Trip #114
Battle of Lake Erie Bicentennial

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This picture is from my 2013 trip to the Battle of Lake Erie Bicentennial. Even though the anniversary of the battle was the trigger for the trip, it would be over and I would be back home before the date actually arrived. The battle took place on September 10, 1813. A reenactment occurred on September 2, 2013. Watching the reenactment required a ticket that I’d waited too long to buy so I did a “bicentennial light”. I took two ferry rides to Put-In-Bay checking out Perry’s Victory Monument on one trip and a reproduction of the Niagara, Perry’s flagship, on the other. Onboard for the second trip was a Commodore Perry reenactor who provided considerable history. There was a day between the rides which I spent exploring Sandusky, Ohio. The picture shows both the Niagra and the monument.

When I left Sandusky, I headed to Canada to explore some of the sites connected with the Battle of the Thames in which Tecumseh was killed less than a month after the Battle of Lake Erie. I returned to the states to cover the bits of Michigan’s Dixie Highway that remained undriven by me. All of that had been planned before I left home. The trip’s unplanned bonus (Every trip should have at least one.) was in Canada. I stayed at a very nice B & B near Buxton National Historic Site. That this was “A Terminus of the Underground Railroad” was cool enough, but the fact that the 90th annual reunion was taking place while I was there was an extraordinary piece of luck.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.

Book Review
Headley Inn and Cliff Rock House
Cyndie L. Gerken

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Cyndie Gerken’s third big helping of National Road knowledge was served up a bit more than a year ago, and I have no good excuse, or even enough bad ones, to account for waiting so long to take a look. Of course, once I did, the same accuracy and thoroughness that marked her earlier books were instantly apparent in this one. In 2015, she documented Ohio’s National Road mile markers with Marking the Miles Along the National Road Through Ohio.  In 2018, Taking the Tolls Along the National Road Through Ohio told of the toll gates that operated after the federal government rid itself of the highway by giving it to the states through which it passed. Both books took a deep and wide look at their subjects although that phrase did not occur to me until I was well into the current volume.

Those other books were geographically wide because they involved the whole state of Ohio, and they were also wide in the variety of information they included on their subjects. Depth came from the layers of time and degree of detail covered. Headley… isn’t nearly as wide geographically (The two buildings in the title are barely 300 feet apart.), but it does include the passing road and nearby towns, and the information variety is every bit as wide as in the first two offerings. The detail component of depth is at least equal to that of the earlier books and the time component is considerably greater. The period covered by all three begins at roughly the same time but the story of the two inns has yet to end.

Physically the latest book is much like the others. All are largish paperbacks printed in color. All include a brief overview of the history of the National Road that provides context for the rest of the book. Headley…‘s introduction also includes information on the surrounding area and the role of early roadside inns and taverns.

Both of the book’s subjects appeared almost immediately after the National Road passed by the land they would occupy. The first section of the Cliff Rock House was completed in 1830 and the Headley Inn’s first section in 1833. Other dates have appeared in articles and even on signs but Gerken sorts through the various claims and presents a solid case for these dates. Both structures have been enlarged and modified over the years. Despite their nearness to each other, the inns were constructed and operated independently by two separate families. That has not always been the case although it is again today.

It is generally thought that the Headley Inn initially served as a stagecoach stop while the larger Cliff Rock House catered more to drovers herding sheep and other animals to market. That sort of division was never iron clad, of course, but that kind of thinking does serve to justify the two businesses being so close.

The two periods of glory experienced by the two taverns naturally coincide with the glory days of the passing road. They prospered in the early eighteenth century doing what they were constructed for: serving travelers on the new National Road. Gerken digs deep into public records and family histories to tell the story of this period. Prosperity ended with the coming of the railroad.

Prosperity returned in the early part of the next century when traffic returned to the road out front. This time the customers were carried by automobiles. Alexander Smith, who had built the Cliff Rock House, added the Headley Inn to his holdings in 1857. In 1922, two of his granddaughters opened a restaurant and tearoom in the former stagecoach stop. The old National Road had become part of the National Old Trails Road. Its traffic, and the sisters’ culinary skills, made the tea room a nationally known success. Like they did elsewhere, the interstates of the last half of the twentieth century pulled traffic from the old road and might have ended this second round of glory if the sisters had not already ended it by retiring and closing the restaurant in 1961.

Gerken also uses public records to tell of the tearoom period but they form a much smaller part of the story. There is considerable family documentation available, including photographs, and, more significantly, she has access to quite a bit of living memory of the era. The most important source of that living memory is the son of one of those sisters, Alexander Smith Howard. He not only shared stories that appear throughout the book, he also wrote its foreword.

Living memory provides even more input to the post-tearoom era and here the living memory is sometimes Gerken’s own although it is more often her personal interviews with the short series of owners. The book is heavily illustrated with historical photos, maps, diagrams, newspaper clippings, and more. Modern photos include many taken by the author herself.

For the third time, an era of glory early in a new century is a definite possibility. Major restoration of the Headley Inn was accomplished by Stephen and Bernadine Brown during their 1989 to 2006 ownership. It continued under Alan and Patricia Chaffee until 2015. The current owners, Brian and Carrie Adams, along with their daughter Ashley, have added their own historically sensitive improvements and now operate a bed and breakfast with facilities for weddings and other gatherings. In 2018, Cliff Rock House was purchased by Otto and Sally Luburgh and restoration work is now underway there.

I know that this book’s true value lies in its collection of facts, photos, and carefully researched history. It is unequaled in that regard. Much of its readability, however, comes from the stories that fill the background and cluster around the edges. From the story of the Headly Inn’s original owner verbally abusing federal troops early in the Civil War, and tales of tearoom employees drawing straws to determine who had to brave snakes in the attic to retrieve supplies, to reports of elephants appearing — both expected and not — in front of the inn, there are plenty of human interest style anecdotes to balance the solid and valuable historical facts.

Headley Inn and Cliff Rock House: A Storied History of Two Taverns Along Ohio’s National Road, Cyndie L. Gerken, Independently published, March 20, 2019, 11 x 8.5 inches, 378 pages, ISBN 978-1790228089
Available through Amazon.

Book Review
Overground Railroad
Candacy Taylor

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“This is not a book about the history of road-tripping and black travel”, is the first sentence of the last paragraph of the introduction. That’s something I knew long before I read it. It was something Candacy Taylor said early in the presentation I attended in Indianapolis back in February. It may even have been something she said during another presentation of hers I attended back in 2016. I discovered Taylor the same way she discovered the Green Book. Well, not exactly the same way. She learned of the Green Book while doing research for a Moon Travel Guide on Route 66. I learned of Candacy Taylor as a mere attendee at a conference on the historic road. Research for the book was well underway when Taylor spoke at that conference in Los Angeles but Overground Railroad: The Green Book and the Roots of Black Travel in America was still a concept. It was a reality when she spoke in Indianapolis, and that’s where I acquired my copy.

Another phrase that caught my ear at the Indianapolis presentation and which I subsequently read in the book is this: “I wasn’t interested in presenting the Green Book as a historic time capsule.” Maybe the reason I noticed the phrase was that, without actually being aware of it, that is exactly how I saw the Green Book. The book, published between 1936 to 1967, identified businesses where Negro travelers were welcome. A too often true assumption was that they were not welcome in any place not listed. The Civil Rights Act of 1964 did not make racial discrimination disappear, but it did make it illegal. By the time I became aware of the book, it had not been published for decades and I figured it had been more or less the same throughout the time it was published. In my mind, the Green Book essentially was a historic time capsule.

The book was no doubt historic, but it was not a sealed capsule. If pressed, I would have known that the book must have grown over the years and that listings and advertisers would have come and gone. Taylor meant much more than that. There were changes in the book’s overall tone that were related to changes in society and vice versa. She uses changes in the Green Book as a timeline to frame changes in the world at large. It isn’t a hard link and the two certainly don’t move in lockstep. Societal changes just aren’t that tidy. But the editions of Victor Green’s book pace the chapters in Taylor’s.

One of the bigger Green Book changes Taylor covers occurred with its return at the end of the Second World War. The guide was not published during the war, and when it returned in 1946 it was bigger and better than ever. Not only was the book enlarged, its tone was changed a bit, too. Serious articles about the situation of blacks in American society appeared along with information, such as a listing of black colleges, not exactly associated with travel. In a chapter based on the 1946 and ’47 editions, Taylor says, “This comprehensive list of colleges elevated the Green Book from a travel guide to a political weapon.”

Another big step came in 1952 when the guide’s name was changed from the Negro Motorist Green Book to the Negro Travelers Green Book. Train travel by blacks had already been included starting in 1950. Travel by airplane and other means would be covered in the future.

In a chapter linked to the 1957 and ’58 editions, Taylor addresses what is almost certainly a big reason she felt the need to stress that, “This is not a book about the history of road-tripping.” The chapter is titled “The Roots of Route 66”, and she uses Route 66 examples to explain why blacks have virtually no nostalgia for the classic American road trip, but the story is essentially the same for every other highway, too. While it’s very much an understatement, the following line does sort of sum up the chapter: “[T]he experience of driving Route 66 was not the same for everyone.”

Overground Railroad is heavily illustrated. Taylor’s research for this project included cataloging and visiting businesses listed in the Green Book, and several of her photographs of sites that remain appear throughout the book. She also includes some personal photos. Numerous historic photos along with reproductions from the Green Book accompany the text. A section in the back of the book lists surviving “Green Book sites” and includes Taylor’s photos of many. It is followed by a section with reproductions of every known Green Book cover other than the very first edition of 1936.

Victor Green hoped that “There will be a day sometime in the near future when this guide will not have to be published.” That day came, technically, when the 1964 Civil Rights Act became law. There was just one more Green Book published before it shut down permanently. But reality has never quite matched the technical equality of the Civil Rights Act. The first chapter of Taylor’s book, in which she discusses the risks and difficulties of Negroes driving during the early years of the Green Book, is titled “Driving While Black”. It’s a title that could have come from yesterday’s newspaper. Maybe it did. In her introduction, Taylor asks the standard road trip question, “Are we there yet?” then answers with a whole book that tells of progress but ends up with a solid “No.” It is not, however, a hopeless “No”. The “Author’s Note” near the book’s end talks of the challenge and is followed by a “What We Can Do” list.

Overground Railroad: The Green Book and the Roots of Black Travel in America, Candacy Taylor, Harry N. Abrams, January 7, 2020, 9.8 x 7 inches, 360 pages, ISBN 978-1419738173
Available through Amazon.

Movie Review
King Kong
Radio Pictures

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No, I’m not really going to review an eighty-seven-year-old movie that just about everybody has seen multiple times. But I am going to review the experience of seeing it on the big screen for the first time ever. The original King Kong was released on April 7, 1933, so it’s not quite eighty-seven years old but it’s mighty close. My first glimpse — and it wasn’t a whole lot more than that — was sometime in the mid-1950s.

It was on TV, of course, on what was decidedly NOT a big screen. It was probably in 1957 when the movie made its national television debut. The timing likely wasn’t considered “late-night” then and certainly wouldn’t be now, but it was late enough that I had to beg for an exemption to my normal bedtime. Although I was successful, I did not get the exemption’s full benefit. I fell asleep before the movie started, woke up to watch a few scenes through bleary eyes, then dozed off again before the big ending. Today I can’t even remember what portions of the movie I saw. I remember that I saw all of the giant gorilla, not just his face or hand, and I remember it was dark. Seeing Kong in his entirety narrows it down some. The fact that it was dark does not. The entire film was darkened to obscure, reportedly, some of the bloodier scenes and some details of Fay Wray’s femininity. Fay Wray had lots of femininity.

Since then, there have been several viewings that I did manage to stay awake for. Although the screens were considerably larger and clearer than the one parked in our living room sixty-some years ago, all were on a TV. I think the movie became a favorite the instant I actually saw it all. The story was fairly creative but not particularly complex, and the acting was only a few steps removed from the silent film era. Neither was what attracted me to the film. I appreciated its craftsmanship and the window on history it provided. Stop-action animation and rear projection on matte paintings were not invented for King Kong but they had never been used anywhere near to this extent.

The window on history I mentioned exists largely because the movie was made as a window on, if not the future, the leading edge of the present. The film’s exciting finish features the Empire State Building which had just been completed in 1931. It was then the world’s tallest and would hold that title for almost forty years. The armed airplanes that attack the doomed giant were seen as “the most modern of weapons”. Some were models built for the film but some scenes show actual state-of-the-art military planes from a nearby U.S. Naval airfield. From two decades into the twenty-first century, those bi-planes look pretty primitive. Realizing that they represented the most advanced technology of the day definitely helps generate a real appreciation for the film’s special effects created with contemporary tools.

On Sunday, I finally got to see the big guy on the big screen. Fathom Events put together a one day showing at Regal Cinema. Something I’d recently learned was that King Kong was the first movie with a thematic score. This means it was written to coordinate with and enhance on-screen actions rather than just provide some background music. Sunday’s showing included the opening and closing overture which had naturally been cut from every time-constrained TV version I’d ever seen.

The experience was nearly everything I’d hoped it would be. The wall-filling Kong was more frightening than any smaller version I’d seen, and Wray was every bit as alluring as I remembered, and her screams, with an assist from the theater’s sound system, were even louder. That thematic score, which I paid a little more attention to than usual, benefited from the sound system, too. If I ignored the fact that I was sitting in a wide well-padded recliner with NBA sized legroom, I could almost imagine I was watching like it was 1933.

The experience was only “nearly everything I’d hoped” for one reason. In the lead up to Sunday, I’d read a review of the movie which was really a preview of a 2011 screening. It’s here. My anticipation grew when it talked of “seeing it in a packed theater on a big screen with an audience”. I got the big screen but I did not get the packed theater. There were less than twenty people at the 1:00 show. I know that old B&W movies just generally do not draw big crowds but there was more going on here. COVID19, the disease caused by a Coronavirus, was growing. Large gatherings had been banned and the NBA, NCAA, MLB, and other groups had canceled events. In Ohio, schools had already been closed by the governor and within a couple of hours of me leaving the theater, he would close all bars and restaurants. Many museums and other institutions have closed on their own.

That’s why Sunday’s experience was about as far from a packed theater as is possible. Yesterday (Tuesday) the theater itself was closed and so was the Empire State Building observation deck. I’ve only been to the top of the Empire State Building once. It was in the early ’70s when King Kong was no more than forty years old. In a narrow space on an inside wall. there was a heart with the words “King Kong loves Fay Wray”. I’d like to think it’s still there but probably not. 

Burr on Tap

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For 2020, the Cincinnati Museum Center is holding a series of after-hour events under the heading Museum on Tap. The first, “Space Gallery Pub Crawl”, was in January and associated with the Apollo 11 exhibit then in place. The second, “Aaron Burr: American Bastard”, happened on Thursday, and I was there.

The “on tap” in the series’ name comes from the fact that adult beverages are available. While there are no actual taps dispensing draft beer, there is beer in cans and bottles along with wine and spirits. These beverages were offered at four different locations including two in the Public Landing area. One reason the cobblestone street was fairly empty when I arrived was that many attendees were standing in lines at the other two service locations I’d passed on the way. Event literature admits that the Public Landing of the 1850s is somewhat more modern than the Cincinnati Mr. Burr would have seen but it’s a better fit than, say, the Hall of Dinosaurs.

The museum’s gathering was set in 1807 and, while Burr was not present himself, several of his friends, acquaintances, and accomplices were. Pictured, from left to right, are boat builder Leonard Armstrong, Senator John Smith, Charlotte Chambers Ludlow (widow of Cincinnati founder Israel Ludlow), and Mayor James Findlay. Smith aided Burr in his schemes, Findlay hindered him, and Armstrong and Ludlow were attentive observers.

This being my first Museum on Tap experience, I wasn’t sure exactly what to expect. I thought there might be some sort of presentation but that wasn’t the case this time. I can’t say whether or not that’s true of other events in the series. A handout supplied some background on Burr’s trial for treason and his relation with Cincinnatian John Smith. This was augmented by several posters that might have appeared on the streets of Cincinnati. Chatting with the folks in period dress added details. In conversation, Senator Smith put a modern twist on things by referring to reports of his wrongdoing as “fake news”. When I asked for a solo photo, there was no question of where he wanted to pose. He smugly stepped over to the poster with his name and the words “NOT GUILTY” while ignoring the question mark and the smaller print as only a practiced politician can.

I also spoke with Mayor Findlay, who was among those calling for Senator Smith to resign, and Mrs. Ludlow, who had met Burr only once and was clearly not impressed. Onboard the Queen of the West, Leonard Armstrong happily shared his knowledge of the flatboats he built for businessmen like Smith. From the forward deck, I could see the street becoming more crowded.

One thing happening on the street was artists from Music Resource Center performing original material. I briefly mentally questioned the presence of hip hop music in 1807 but quickly realized that the hip hop musical Hamilton is responsible for much of the current awareness of Alexander Hamilton and the man who shot him, Aaron Burr. In fact, singing karaoke versions of Hamilton tunes was one of the activities supported by the Music Resource Center but the signup sheet was still empty when I left. An area a little bit away from the landing was designated as dueling grounds and Nerf pistols were provided for anyone wanting to recreate the Hamilton-Burr encounter. Apparently, some did, as I found the pistols in various locations when I peeked in but I never caught an actual duel in progress.

Attendees could also increase their knowledge with trivia flip cards or a scavenger hunt-style bingo game and I saw quite a few people doing both. Questions on the flip cards were not Burr-specific but were generally focused on the early 1800s. Bingo game questions referred to various displays throughout the public landing area. I flipped a few cards but left the bingo competition to others. That’s why I still don’t know how much Hattie Calhoun paid to update her dress. 

Free? Advertising on the Dixie

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Seeing things like signs, banners, and menus for local businesses bearing the logo of some large corporation is quite common. Details vary but the basic model is that the big corporation shoulders some or all of the cost and the small business gets some advertising for little or nothing. The idea is hardly new and the concept has never been restricted to purely commercial enterprises. During the last half of the 1920s, a pairing of this sort existed between a major highway and an American hereditary association. The major highway was, of course, the Dixie Highway. The hereditary association was the United Daughters of the Confederacy (UDC).

The UDC was the “advertiser” in this instance. Between 1926 and 1935 the organization was responsible for at least ten plaques being erected beside the highway. It’s unclear whether or not the Dixie Highway Association was an active participant in this arrangement. Because the 1926 creation of the United States Numbered Highway System brought an end to all of the named auto trails, the DHA was not very active at this point.

Combined, the previous picture and the one at right show the ten plaques in north to south sequence. The northernmost marker is in Ohio, the southernmost is in Florida, the one preceding it is in South Carolina, and the others are in North Carolina. Except for the date erected, eight of the plaques are identical. The one in Florida contains the same text as those eight but has a different image of Lee. The one in South Carolina contains different text but has the same image as the bulk of the plaques.

The South Carolina plaque is the bigger oddity. All the others were erected in 1926, ’27, or ’28. It was erected in 1935. One of the differences in its text is its specific identification of the Greenville and Fort Sumter Chapters of the UDC as being responsible for erecting the marker. All others simply identify the overall UDC. The Florida marker was erected in 1927 ahead of at least three others. None of the other nine markers uses this image of General Lee.

Eight of the plaques essentially look just like this one which happens to be in Ohio. All plaques follow this general format even when some details vary. Approximately the top one-third is occupied by an image of General Lee on horseback. His name appears below the image in large letters. A bit farther down is the name of the auto trail. The letters in DIXIE HIGHWAY are larger than the general text but smaller than the letters in Lee’s name.

Maybe what I’ve written so far will help explain how I’m currently thinking about these markers. My first contact with the markers was in 2008 when I stumbled upon the one in Marshall, NC. After I learned there were others, I made a point of visiting them all and accomplished that in early 2015. At the time I thought of them as something similar to the Madonna of the Trail markers on the National Old Trails Road. That’s pretty much how I saw them until the summer of 2017.

Streets, parks, and statues honoring military and civilian leaders of the Confederate States of America had been drawing more and more attention. In August of 2017, the death of a counterprotester at a white supremacist rally in Charlottesville, VA, cranked that attention up several notches. There was now enough attention for some of it to fall on one of those UDC plaques less than twenty miles from my home. Within days of the events in Charlottesville, a group in Dayton, OH, announced plans for a protest at the plaque near Franklin, OH. Plans to protest the protesters formed almost as quickly. City officials made a preemptive strike by removing and hiding the marker in the middle of the night. It didn’t make anybody happy but it didn’t make anybody dead, either.

Some news crews and some of those not happy people made it to the site on the morning following the removal. I made it, too, in the role of curious bystander. I chatted casually with a couple of the reporters and tried to defend the Dixie Highway a bit. I’d been calling the plaques and their mountings Dixie-Lee markers. Everyone else was calling the Franklin marker a Robert E. Lee monument and occasionally mentioning that it was on the Dixie Highway. It slowly sunk in that, for the reasons above, they were right. The monuments were not primarily concerned with marking a road like the Madonnas of the Trail or the concrete posts along the Lincoln Highway. I found myself explaining that the Dixie Highway was not associated with the Confederacy and asking that they not tie it too closely to Lee. For the first time, I compared the markers to a big branded beer sign with “Bob’s Bar” at its bottom. Learning that the brand on the sign was run by crooks, doesn’t automatically mean that Bob is a crook.

The plaque has been pried from the stone at the NC-SC border. It is lost or possibly destroyed. The marker in downtown Asheville has been attacked and damaged twice. The Franklin, OH, marker is back at roadside but is now on private property. That’s it in the picture at left. It’s even been buffed up and polished a bit. I want all the markers to stay. I deplore the vandalism that has occurred in the Carolinas but I don’t consider it an attack on the Dixie Highway. I now see that those markers really are what others have called them, Robert E. Lee monuments that happen to be on the Dixie Highway.

This topic came to me as I was writing last week’s post about the name of the Dixie Highway. I initially thought of it as a paragraph or two tacked onto that post. The length of the Dixie name post left no room to tack on anything and it is now quite obvious that a paragraph or two wouldn’t have been nearly enough. But it’s also pretty obvious that the two belong together. Again, I want all the markers to stay. But I don’t want them to stay at the expense of the Dixie Highway. Controversy will continue to swirl around statues, flags, and other items legitimately tied to the Confederacy. The Dixie Highway should not be part of that. Saying, as I have, that neither the word Dixie nor the Dixie Highway is inherently racist loses some sincerity if defending the road includes defending these markers.

A Dixie by Any Other Name

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If something called a dixie existed, I have little doubt that we could refer to it differently without changing its aroma, but the word “dixie” doesn’t really identify anything. It is not, in other words, a common noun. As a proper noun — with a capital ‘D’ — it is used as both a surname and a given name and to identify a wide variety of things including a region of our country. People with a first, last, or nickname of Dixie surely outnumber things bearing the name but there are certainly plenty of those. It has been used to identify buildings, songs, currency, music groups, towns, counties, movies, beer, boats, ships, taverns, race tracks, waterways, restaurants, mountain ranges, athletic conferences, grocery stores, airports, schools, universities, and much more. With an ‘X’ made of a stylized flower, Dixie is a registered trademark of Georgia-Pacific for a brand of paper products.

In the 1960s, an all-girl singing group borrowed the name — without the flowery ‘X’ — of those familiar disposable cups and topped the charts with hits like “Chapel of Love” and “Iko Iko”. Near the end of the twentieth century, another all-girl group hit the charts with a name containing the word “dixie”. That group, the Dixie Chicks, generated some controversy, but it came from political statements and not from their name. I’m not aware of any controversy at all associated with the Dixie Cups, and I’m guessing that they didn’t consider the word “dixie” to be racist.

But recently the word has been associated with racism by some. The Dixie Highway has been included in some of these claims which naturally caused me to take notice. It is an outgrowth of the rise of controversy and confrontation over Confederate monuments and streets named after Confederate generals. If the move to change a roughly six-mile-long street from Hood to Hope was complicated, renaming a piece of the nearly 6,000-mile-long Dixie Highway must be at least three orders of magnitude more so.

The aforementioned Hood Street was in Hollywood, FL, where three streets (Hood, Lee, and Forest) were renamed (Hope, Liberty, and Freedom) in November 2017. In Riviera Beach, FL, a couple of miles of Old Dixie Highway were renamed President Barack Obama Highway in 2015. The picture at left was taken between the two, near Boyton Beach. Of course, the word “dixie” had nothing to do with the renamings in Hollywood. The generals after which the streets were named had clearly been chosen because of their roles in the Confederacy. The word didn’t have much to do with the name change in Riviera Beach, either. Residents cited the role of the street as a dividing line between black and white and the site of KKK cross burnings.

Although I’d have preferred it hadn’t happened, I have no serious objection to the Riviera Beach action. It was based on specific and painful memories. That doesn’t always appear to be the case when replacing the Dixie Highway name is proposed. Published reports of these proposals have occasionally prompted me to send emails to people connected with them. It is not done to protest but to inform. We road fans often comment — and sometimes laugh or cry — about people being completely oblivious to a major historic highway running right by their door. Knowing how common that is with “celebrities” like the Lincoln Highway and Route 66, we shouldn’t be surprised that it is even more often the case with the lesser known and more complex Dixie Highway. Not knowing just how important or far-reaching all the roads in your neighborhood once were is a pretty natural situation.

It seems that even we fans don’t always consider that “far-reaching” bit. It’s OK to be saddened by a name change, but there is no reason to verbally abuse, as I’ve seen too many times, those backing a change. Removing the name Dixie Highway from a few miles of Florida — or other — roadway is not going to affect all those other miles any more than Cheyenne, WY, (The first town to do so.) changing its Main Street to Lincoln Way impacted the rest of the continent crossing highway. The Dixie Highway, as well as every other named auto trail, was never labeled with its name in every jurisdiction it passed through. Numbered US and state highways utilize streets and roads with all sorts of names. Not one inch of US-66 officially exists at present yet people follow it every day. The Adairsville, GA, pavement in the picture at left is officially named and signed Main Street but that doesn’t change its past as a part of the Dixie Highway or prevent it being unofficially marked as such.

Most of the talk about renaming sections of the Dixie Highway has originated in Florida. In some sense, that’s ironic since the Dixie Highway was a major factor in the development of the state. On the other hand, development is rarely 100% beneficial to all and I’ve no doubt that many were negatively impacted by the development and the road that helped it along. Plus, as those Riviera Beach memories show, experiences generate stronger feelings than a name or a physical path ever could. About two weeks ago, the New York Times published an article based on discussions in Florida’s Miami-Dade County. Its audience was almost certainly wider than that of similar articles publishes by Florida based news organizations. One indication of that was a small but obvious two-day blip in visits to an eight-year-old Dixie Highway related post on this blog. Maybe that’s somehow fitting since I’ve often quoted the Times when trying to convey that the Dixie Highway is not inherently evil. In 1915, the paper referred to the route as “The Dixie Peaceway” when it reported the formation of the Dixie Highway Association. It described the road as “a monument to celebrate the half-century of peace within the Union”. Maybe that was hyperbole or maybe it really reflected the feelings of the time. If so, it seems extra sad that so many see it as something entirely different today.

Those people who found this site after reading the New York Times article didn’t learn a whole lot during their visit but they were obviously curious. They were brought by search engines which may have also taken them to other sites where they learned much more. Whether curiosity was their only reason for visiting or they were decision-makers gathering background, I’ll never know. Regardless, I suspect we will see a few more miles of Dixie Highway get renamed before it’s all over. That’s unfortunate but hardly a disaster. No matter the name, it will still smell like a rose — or maybe an orange blossom — with strong undertones of asphalt and Model T brake bands.

ADDENDUM 9-Feb-2020: Some thoughts on the markers placed along the Dixie Highway by the United Daughters of the Confederacy were considered for this post but have been given their own post instead. Free? Advertising on the Dixie