Some of the most illustrious artists of Urban Pop are on view a short distance from the mean streets of the city: The Gold Coast Arts Center has again chosen to showcase graffiti, street artists and media savants of urban culture in its exhibit, “URBAN POP,” on view through September 8. Fans had a chance to meet the five featured artists at an opening reception, May 20, at the Great Neck, Long Island gallery.
“The art scene has developed significantly since the 1970s with the introduction of using popular culture (pop art) as a source of inspiration,” writes exhibit curator and gallery director Jude Amsel. “Many contemporary artists have now merged other modern influences such as street art, graffiti, architecture and urban culture into their work.
Among the artists featured in Urban Pop, include Shiro, whose controversial work appeared on the murals at 5Pointz, a warehouse complex and graffiti mecca in Queens, and Luis “Zimad” Lamboy. Their work, along with several other artists, was subsequently destroyed when whitewashed by the property owner and was the subject of a prolonged court battle, ultimately decided in favor of the artists, awarding them $6.75 million. On hand at the reception was Jonathan “Meres One” Cohen, one of the most prominent graffiti artists and a leader at 5Pointz, who has painted sections of the arts center.
Shiro actually provided the theme for the show, gallery director and curator Jude Amsel said. “She is marking her 20th anniversary as a graffiti artist. She is like Lady Pink – one of the world’s most famous graffiti artists.”
Her paintings feature a consistent character – her alter ego.
“Since I was little, I have been deaf in one ear. I wasn’t communicating with people. My family kept moving for my father’s job. It was hard to make new friends, so I kept drawing a character – my imaginary friend. I wasn’t lonely with my friend. Now I travel all over world by myself – India, Brazil, China – 18 countries. I can travel by myself because I have my best friend,” says Shiro.
She leaves her images like an “I was here” stamp in the places she visits.
“People call me to do the murals, big murals, with my character, my best friend. I leave her on the wall in the country. I keep creating my character.”
She covers her face when I photograph her with her painting. “I don’t want to worry about how I look, I want people to see my art,” she says.
Shiro grew up in Tokyo and began her career as an aerosol artist in 1998. “As a young artist, I fell in love with hip-hop. In Japan, the only way to get information about hip-hop culture was to read books, watch videos, and listen to music. I used to go to clubs in Japan every weekend with friends and other artists to dance and paint, all the while imagining what it would be like to experience the movement in NYC at the time.”
She came to New York in 2002, inspired by a film, “Wild Style” to see the Bronx.
In celebration of her 20th anniversary as an aerosol artist, she began her “90’s project’” by painting walls internationally.
She’s been living in New York for the past four years, “the city I used to dream about.”
Luis “Zimad” Lamboy is showing pieces created for the show that draw upon his early career. “In the mid-80’s I discovered creating graffiti, collage and mixed media on paper which wasn’t being done at the time by any of my peers. It’s been awhile since I’ve gone back to doing this style of work. I felt it necessary in order to move forward in my career to look back and fine tune what I had started. The new works are vibrating with color and life and feel as it tells a story of walls I’ve done, characters I’ve created and the many people I’ve had the honor of meeting and calling brothers and sisters.
Michelle Carollo’s major work, “Steampunk Davis,” is a large-scale (8’ x 8’ x 4’) 3-D construction, inspired by 1930s modernist painter, Stuart Davis. “This is an homage to his work.” It’s constructed of the discarded junk she found around her Brooklyn studio.
You feel the power, a kinetic energy of the piece.
“My work explores gender, pop-culture, and domestic industry,” she writes. “It uses humor and color to capture the energy, power and tension in contemporary culture. By using a series of symbols, figures and built handicraft, my work blends the playful with the serious.
“I draw on multiple references from cartoons to graffiti and entertainment, as well as technology and the history of art. I find there is something completely ridiculous and pleasurable in making deceptively simple imagery. The result is a visual mash-up that remixes spontaneous information with a type of balanced order.”
The drawings are her studies for the larger piece to “help figure what color, patterns, shapes,” she says.
She also is exhibiting a quilt, demonstrating the versatility of the application of her kinetic scope. “I just started working with fabric.”
Carollo, who conquers “one white wall at a time,” has exhibited at MOMA PS1.
Lenny Achan’s style reflects his experiences growing up in New York City as a graffiti and street artist in the early 1990s. The works look as if origami were sucked into a canvas, but it is an illusion: he cuts New York City transit maps into precise shapes and assembles them, adding transparent spray paint as shadow to complete the illusion of 3-D.
“People looking at NYC transit maps likely means they are stressed out. I wanted to give people a reason to smile.”
Achan describes himself as “an artist and inventor, influenced by my time growing up in NYC” but embracing experiences outside of the traditional art world to enhance and influence his creative expression.
“I am a student of the laws of nature and sacred geometry and draw from the complexities of everyday life to create pieces that help audiences reflect on more simple times. My philosophy of modern art and the street art movement has been heavily influenced through studying and experiencing global disruption of various commercial and political industries. Art in all forms is a vehicle for innovation and communication. I used everything around me to create and share my view of the world.”
He says, “I wanted to use sacred geometry to mimic life. Geometry is sacred to the philosophy of origami – shapes, whether a person or a bumble bee – are shapes of geometry.
“It is formulaic – they mimic and respect the complexity of math, science, biology, while at same time” break down to simpler, essential shapes.
Achan clearly achieved his desired impact: a woman reflecting on his NYC Transit Map dog, “Cityboy,” exclaims how it brought her pure joy.
Will Power, a self-taught contemporary artist who was influenced by graffiti and hip-hop culture, describes the INV8DERS series of works in the exhibit as “a hybrid fusion of a New York City pigeon with spray paint can. The pigeon represents Graffiti and Street artists, the spray paint can head represents Contemporary Urban Art.” He is striving to make INV8ERS an iconic figure for urban art culture worldwide. He describes the vibrant colorful background as his foundation, his evolution from graffiti. “the ability to combine these various colors is a skill learned from many years of being a graffiti artist. The INV8DERS are a perfect amalgam of graffiti, street art and fine art.”
These artists “bring a myriad of visual cultural influences to their fine art practice,” said Gold Coast Arts Center’s Gallery Director and exhibit Curator Jude Amsel, Some hone their skills on the street, others working in the studio find their version of popular urban art, some having a unique language of their own not categorized within a specific movement. However, each one of the artists offers something unique and different as to their expression of Urban Pop.”
The Gold Coast Arts Center is a 501(c)(3) organization dedicated to promoting the arts through education, exhibition, performance and outreach. Located on the North Shore of Long Island, it has brought the arts to tens of thousands of people throughout the region for more than 20 years. Among the Center’s offerings are its School for the Arts, which holds year-round classes in visual and performing arts for students of all ages and abilities; a free public art gallery; a concert and lecture series; film screenings and discussions; the annual Gold Coast International Film Festival; and initiatives that focus on senior citizens and underserved communities. These initiatives include artist residencies, after-school programs, school assemblies, teacher-training workshops and parent-child workshops. The Gold Coast Arts Center is an affiliate of the John F. Kennedy Center for the Performing Arts Partners in Education program, and the National Gallery of Art in Washington, D.C.
Gold Coast Arts Center, 113 Middle Neck Road, Great Neck, NY 11021, 516-829-2570, www.goldcoastarts.org.
A highlight on Day 7 of Parks & Trails NY’s annual 8-day, 400-mile Cycle the Erie biketour from Buffalo to Albany is Schoharie Crossing State Historic Site. It looks fairly innocuous at first, a farm house along the canal, but here is the only place where you can see all three alignments of the Erie Canal – the 1825 “Clinton’s Ditch”, the 1836 expanded canal and the modern, 1918 “Barge Canal.” The house, now a visitor center, contains a fascinating exhibit and is adjacent to outlines of Fort Hunter, an 18th century fort and trading post, remarkably only discovered after Hurricane Irene in 2011.
The historic flooding caused the Schoharie Creek to breach its banks and destroyed the site’s parking lot. After the flood water receded, a number of stone walls and numerous artifacts associated with Fort Hunter emerged. Excavations revealed flat stone foundations upon which a fort wall and 24-foot square blockhouse would have been constructed.
After the archaeological work was completed, these original fort foundations were preserved by reburying them. Their exact locations are now represented on the surface with modern stone pavers. Artifacts recovered during excavation included a mix of domestic and military objects that represent the site’s Mohawk and British occupants. Dates associated with the artifacts suggest that the blockhouse saw greatest use from the 1740s to 1760.
Though you don’t really see anything of Fort Hunter, it points to how significant this area was in colonial times: Schoharie was a place of key interactions between Europeans and Indians, setting up a later clash of cultures.
During the 1600s, the British and French competed for control here. In the 1690s, the British forged an alliance with the Iroquois to establish a permanent structure – a fort/trading post – in order to solidify their standing.
The Indians at the time of the Revolutionary War were settled on farms and in towns. They employed European style farming techniques, lived in houses, and the gender roles started to shift away from the matriarchal society to male-dominated, copying the Europeans.
By the time of the Revolutionary War, there might have been about 10,000 Indians living in the area.
“They didn’t have a concept of property ownership. They were outnumbered early on” largely because of the diseases the Europeans brought that wiped out large numbers of the population, and over-trapping which pushed many further west.
“They were very good at diplomacy – well organized – and controlled access to the waterways. They played the European powers,” David Brooks, Education Coordinator says.
Most interesting at Schoharie Crossing is you can stand over the East Guard Lock – the original 1820s “Clinton Ditch” canal (now overgrown) – and see the same scene, minus water, as depicted in a historic photo.
Facing the other direction, standing beside the water, you can look over to what remains of the Schoharie Creek Aqueduct, built between 1835 and 1841 for the enlarged canal. This once grand 14-arch, 624-foot long aqueduct carried the canal above and apart from the Schoharie Creek (it enabled the canal to continue to function during flooding). The aqueduct was abandoned in 1917 when the Barge Canal opened on the Mohawk River, and over the years it declined so only six of the arches remain.
The initial appeal for me to join Parks & Trails NY’s annual Cycle the Erie bike tour was the exciting prospect of biking 400 miles, point to point, mostly without cars (and mostly on a flat trail), across New York State, with support services to carry our gear and host meals. But each and every day, I am pleasantly amazed at the array of sites to explore and discover. The Parks & Trails NY people who have designed the tour not only arrange visits at important sites along the way, but for morning and afternoon rest stops at interesting attractions that you might not have considered visiting on your own.
This is the case for our afternoon rest stop (at Mile 33.6), at the Mabee Farm Historic Site, which also houses the Schenectady Historical Society Museum.
Here, you can visit the Mabee’s 1705 Dutch-style Stone House, which was owned by the Mabee family until 1999.
This is one of the oldest homes in New York State and the oldest in the Mohawk Valley. It was first built in 1670 by Daniel Janse Van Antwerpen, who, it is believed, opened it as a fur-trading post. The property was sold to Jan Pieterse Mabee in 1705 and the house stayed in the Mabee family for a remarkable 288 years. It was given to the Schenectady County Historical Society in 1993 by George Franchere, the last descendant of the Mabee line, for the purpose of being a museum and education center.
It is a surprise to most who visit these colonial sites to learn that slavery was practiced here, beginning after Jan Mabee’s death in 1725 and ended 100 years later in 1827 with Jacob Mabee, his great grandson (when New York State abolished slavery). Among the 583 original documents from the farm are three bills of sale for slaves, wills giving slaves to children and a receipt from the Crown Point Expedition in 1755 when a trusted slave, Jack, was sent to Fort Edward and Lake George with supplies, two weeks before the Battle of Lake George.
“What is significant about the Mabee family is that they were ordinary,” the docent says.
Jan Mabee, born in Holland, bought the property from a neighbor in 1705, and lived in the cellar as he built the house. Jan and his wife Annette had 8 kids.
The house partly made out of stone; the wood beams are 1000 years old.
Jan was likely involved in the illegal trapping business. His wife was part Mohawk so they had a good relationship with the local Indians. The Dutch were tolerant and fair with the tribes (it was the British and French who cheated them).
Over the years, the house was turned into the Mabee Inn. Simon Mabee farmed the land and when he died, he left everything but the Inn to his son, Jacob; he left the inn to his two sisters.
It turns out that the Mabee farm is more than a history lesson, but a study of a dysfunctional family.
“Jacob was not a nice man. Jacob evicted them. He hired a carpenter and flipped the staircase around so they have no way to get up to the second floor. He built a new door. The sisters lived in one room. Jacob died 6 years later and the land passed to Margaret.”
Just outside the house is the family cemetery. You can visit the 1760s Nilsen Dutch Barn, see the beautiful Mohawk River flow alongside the site. Tied to the dock or parked behind the Dutch Barn is a reproduction 18th century bateaux, the De Sagar and the Bobbie G , which provides an idea of how goods were shipped up and down the river.
(Mabee Farm Historic Site, 100 Main St (Rte 5s), Rotterdam Junction, NY 12150, 518-887-5073, schenectadyhistorical.org/sites).
The Schenectady History Museum offers wonderful exhibits that follow the history of the county from the early settlers who traded with the Indians and farmed, to the 19th and 20th century. There is a collection of early American artifacts of the American Revolution era, the impact of the Erie Canal, and artifacts that show the role this area played in technological innovation and industrialization because of General Electric and the American Locomotive Company.
In Schenectady, they have arranged for us to leave our bikes in a “corral” so we can explore the city.
I spend my time riding through The Stockade District. The oldest neighborhood in Schenectady, the Stockade District has been continuously inhabited for over 300 years, and is New York State’s first Historic District (since 1962) with an amazing assortment of historic buildings with more than 40 pre-Revolutionary houses and architectural styles that include Dutch Colonial, Georgia, Federal and Victorian.(You can access a cell phone walking tour at www.historicstockade.com.)
I pull myself away to finish the ride to get to the Jewish Community Center at Niskayuna, a suburban neighborhood of Schenectady, where we camp. This is an incredible facility with a country-club like outdoor pool (indoor pool also). I get there in time to swim.
This is the last night of our journey – and what a journey it has been. They have an elaborate “gala” dinner starting with beer and wine and hors d’oeuves, a fantastic catered dinner, and a “No Talent” talent show and a fashion show put on by the van drivers and baggage handlers of all the stuff that is still in the Lost & Found. And awards: like the most bones broken; the most crashes (5); most flat tires (4); the youngest solo peddling cyclist (8), the oldest cyclist (84). Side-splitting fun.
Our last day, the eighth of our 400-mile journey which began in Buffalo, is a breeze. Just 31 miles from Niskayuna into downtown Albany where most of us have parked our cars to take the bus to Buffalo for the start of the tour. The weather is perfect – sunny, cool.
The highlight of today’s ride comes at Mile 12: Cohoes Falls, one of the most powerful falls east of the Rockies which posed a major challenge for the Erie Canal engineers. Some of our riders who started in Buffalo were able to visit Niagara Falls and now are ending with Cohoes Falls, outside of Albany. What a way to bookend this journey.
Just next to the falls are 19th century brick structures, built as factories that have been repurposed to apartments.
Our ride takes us onto Peebles Island State Park, Waterford, where our final rest stop of our journey is arranged at the Erie Canalway Visitor Center. During the Revolutionary War, American forces prepared defenses here to make a final stand against the British. (518-237-7000, www.eriecanalway.org).
We ride through city streets – notable for the American flags that are flying – neighborhoods that have seen better days but nonetheless evoke a folksy feel of Americana.
Now, we come to the Hudson River, a goal in itself. We ride along a beautiful paved trail beside the Hudson that takes us into downtown Albany, New York State’s 300-year-old capital, and finally, cross the finish line, 400 miles.
You realize you haven’t just traveled 400 miles, but 400 years of American history, back to its very founding. And you understand so much better, the trajectory from colonialism and the clash of cultures with Native Americans, the transition from an agrarian economy to the Industrial Revolution, the wave of immigration and innovation, the progressive movements that followed and precipitated the explosive changes in society: labor, Women’s Rights, abolition. Most interesting of all, is how all of these seeds still flower in contemporary culture and politics. All of this unfolds before our eyes, mile by mile.
Biking adds an extra dimension to sight-seeing. It’s physical participation, an endorphin rush, an immersion. It puts you into the scene rather than merely observing – a participant, a part of the scene, rather than apart from it.
The tour is meticulously planned, well organized and supported, and how we have such wonderful opportunities to meet people from around the country (36 states are represented) and around the world (travelers from a half-dozen countries are here). A gathering like this prompts such fascinating interactions as people share their backgrounds, perspectives.
All of us have been so impressed by how well organized the trip is – from the truck drivers who pick up and drop off our gear each day, to the people who set up our breakfast and dinners and the morning and afternoon rest stops, to the SAG drivers and the riders who are there to assist if we have a problem. To the lecturers, the massage therapist and bike mechanics who travel along with us like camp followers.
For those who prefer not to set up their own tent (or take advantage of “indoor camping”) there is Comfy Campers, the closest thing to “glamping”. You have the luxury of having someone set up tent so it’s ready when you arrive, especially if it is raining, where you get a remarkably comfortable air mattress to put your sleeping bag on (amazing what a difference this makes), and take the tent down in the morning so you can just hit the trail again. Not to mention a fresh towel each day! Also, they set up a separate comfortable sitting area under canvas with charging stations. Those who want can also pay for coffee in the morning.
We are told that the finish line right at the Albany visitor center closes at 2 pm; UPS is on hand for those who need to ship their bikes home; a shower is made available nearby at the North YMCA; the municipal parking lot where many of us have parked our car is just next door; our luggage is deposited in the parking lot behind the visitor center for us to claim; some of us will take the shuttle bus back to Buffalo.
This has been one of the best, most memorable trips I have ever taken because the end-to-end Cycle the Erie ride hits on all cylinders: physically active and challenging so you feel you have really accomplished something at the end; communal – being with like-minded people from all over the country and the world, rich in heritage, scenic, affording real exploration and enlightenment. It’s no wonder that so many of us (myself included) have done it multiple times. (On this trip, the oldest cyclist, 84-year old, has done the tour 12 times.)
Cycle the Erie is an annual event, but you can download the route and do it all, or do segments as you like. A novel way to do it is by houseboat through companies like Mid-Lakes Navigation Co., Ltd. (11 Jordan St., PO Box 61, Skaneateles, NY 13152, 315-685-8500, 800-545-4318, info@midlakesnav.com,www.midlakesnav.com, and take a bike onboard, providing a unique experience. (Be aware: they pull the plug on the Erie Canal – actually drain the water – from November through April).
The 20th Annual Cycle the Erie Canal ride is scheduled July 8 – 15, 2018 (www.ptny.org/canaltour). In the meantime, you can cycle the trail on your own – detailed info and interactive map is at the ptny.org site (www.ptny.org/bikecanal), including suggested lodgings. For more information on Cycle the Erie Canal, contact Parks & Trails New York at 518-434-1583 or visit www.ptny.org.
The entire Erie Canal corridor has been designated the Erie Canalway National Heritage Corridor, Waterford, NY 12188, 518-237-7000, www.eriecanalway.org.
More information about traveling on the Erie Canal is available from New York State Canal Corporation, www.canals.ny.gov.
It’s Day 6 of our 8-day, 400-mile Parks & Trails NY’s annual Buffalo to Albany Cycle the Erie bike tour following the Erie Canalway. I was lucky last night when the deluge we had while biking stopped just as I came into the campsite and I was able to set up my tent on the grassy area surrounding Fort Stanwix, in Rome. This morning, I am awakened at 4:15 am to another massive downpour. I check weather.com app on my cellphone which says the rain would stop by 5:45 am. So I get up at 5:45 am (which is not unusual for the Erie Canal cyclists) and sure enough, the rain has stopped. I take advantage of the dry spell to organize my packing and take down the tent to avoid more rain.
Our breakfast – freshly prepared pancakes which we consume at long tables laid out with pretty placemats – is at the local YMCA before we head out onto the Canalway for our 63-mile ride to Canajoharie – the longest ride of our trip, there are actually three rest stops along the ride today, at mile 14, 41.5 and 52.5).
Yesterday’s rain has made the trail muddy, and when we go off the trail onto the road, there are serious headwinds and some significant hills, and my gears aren’t working properly.
We ride past the Remington Arms Factory housed in a massive 19th century complex of brick buildings (the factory opened in 1816 and employed hundreds of people from here, which helps explain the pro-gun voting sentiment in this part of upstate New York). Two years ago, on my first Cycle the Erie biketour, I visited the Remington Museum (a highlight was seeing how they branded and marketed the guns, making a promotion deal with the celebrated Annie Oakley, for example; and how the company also produced other things, like bridges and typewriters but guns were the cash cow). I was looking forward to visiting again but it is closed and the cyclists are clearly not invited anywhere near the premises. (News update: the Remington Arms company has filed for bankruptcy protection – and I am reminded of several other periods of financial woes in its history – but I’m betting it won’t actually go out of the business of manufacturing guns.)
I come upon Historic Fort Herkimer Church, built around 1767 which is thought to be the second-oldest surviving church. From my visits to Fort Stanwix last evening, I understand why General Herkimer is known as “the most important hero of the American Revolution that few have heard of “. General Herkimer led that ill-fated group of 800 volunteers who were ambushed at Oriskany on their way to reinforce Fort Stanwix. Oriskany turned out to be one of the bloodiest battles of the Revolutionary War, with 600 killed in the space of an hour, but by a weird chain of events, indirectly altered the course of the Revolutionary War which the Americans were losing. Herkimer died here. Later (at Mile 43.4), we pass directly in front of Herkimer’s mansion home that is literally along the Erie Canal Trail, so I take a few minutes to walk the grounds before continuing on my way, paying respects to an unsung hero.
The second rest stop is at a beautiful visitor center at the Little Falls Canal Park on the bank of the river where I buy a long-sleeve t-shirt for added warmth). The weather improves after, with 25 miles to go, and I don’t need to wear the extra shirt.
Just beyond our rest stop at mile 41.5 at the Little Falls Rotary Canal Park, at mile 42.6, we can explore the glacial potholes of Moss Island, a National Natural Landmark and Lock 17, the highest lift lock on the Erie Canal (located .8 miles off the route but you don’t have to go back up). The geology here is most impressive: Moss Island trails let you see prehistoric potholes, extensive growth of mosses and lichens and some of the oldest rocks in North America. The Mohawk River Valley, the marker says, is the only horizontal break in the Appalachian mountain chain, which is what made it possible for the Erie Canal to be built and provide a water route west for trade and settlement of the United States interior.
We pass German Flatts townpark, which you are unlikely to take note of, except that in Fort Stanwix, I had learned that German Flatts had been burned to the ground by Loyalists, part of the brutal scorched-earth strategy waged by both sides in the Revolutionary War.
This part of our ride immerses us in colonial-era America. At mile 52.5, we have an option of two routes to take into Canajoharie and consistent with my plan to do as much as possible differently from my first Erie Canal ride, I take the blue trail option along the road to three historic sites (I miss the first one, the Nellis Tavern built in 1747, which was serving travelers along this route well before the Erie Canal was opened, in 1825); I stop at Fort Klock, built in the 18th century where there is a 1750 farmhouse, a schoolhouse and a blacksmith shop); I see the Palatine church, built in 1770 by Palatine Lutherans, from across the busy road. But I also see Amish (or Mennonite) workers using a power saw, one gets into truck; an Amish horse and buggy passes by. I am happy with my decision.
One of the challenges of the entire 400-mile ride now faces us: the last mile is the steepest climb of the trip, up to the Canajoharie High School at the very top where we will camp. There is a t-shirt for anyone who makes the climb. (I almost make it but my gears fail me, and I give up.)
The Parks & Trails NY biketour organizers mercifully have arranged buses to take us back down into the town center to the Arkell Art Museum where we are being treated to a fantastic barbecue chicken dinner, and the museum is staying open for us until 7:30 pm (at a reduced fee of $5).
The Arkell Art Museum was established by the millionaire founder and first president of the Beech-Nut Packing Company. I hadn’t visited the museum the last time (when we also had a fantastic chicken barbeque dinner here), so I made a point of visiting this time.
Bartlett Arkell, built the original Canajoharie Gallery in 1927 based on galleries he had visited on his travels to Europe. A museum designed by Ann Beha and DesignLAB Architects was added in 2007 to the existing Canajoharie Library and Art Gallery to provide new space for exhibitions and programs.
“Almost all of the paintings in the permanent collection were purchased by Bartlett Arkell for the people of Canajoharie. The American painting collection includes 21 works by Winslow Homer, and significant paintings by many distinguished artists, including George Inness, William M. Chase, Childe Hassam, Mary Cassatt, Georgia O’Keeffe, Robert Henri, and other members of The Eight. Permanent and changing exhibitions also feature selections from the museum’s Mohawk Valley History collection as well as the Beech-Nut as the Beech-Nut archives of early twentieth-century advertising material.”
I am even more intrigued by the exhibit that tells the story of Arkell and the Beech-Nut company, which (at least the photos suggest) was the Google of its day in terms of providing a cafeteria for its workers and other employee niceties.
I learn that the key renovation that led to Beech-Nut’s success was the invention of the flour bag and that Beech-Nut began as a packaging enterprise; gum and candy came later (and used the peppermint oil from Hotchkiss Oil company in Lyons which we had visited).
You can see the old Beech-Nut factory (now shuttered) across the street; Beech-Nut was acquired by another company which has a new factory nearby.
From the village center, we see the old high school, a cold, gothic style structure, up on another hill. The new high school, where we are camping, is luxurious. We wander around the quaint village, which has some striking Victorian architecture as a tribute to its wealth, before taking the shuttle bus back up the hill to our campsite.
I get back to the school in time for a rock n’ roll concert in the auditorium.
Day 7: Canajoharie to Schenectady, 46 Miles
It is Day 7 of our 8-day ride and we are already feeling nostalgic that the end of our 400-mile journey from Buffalo to Albany is near. It’s a nice day for biking the 46 miles to Schenectady: perfect temperature, little wind, morning sun. The trail is nice, with a slight downhill tilt.
A fellow has stopped on the trail and I look to where he is looking and see “Big Nose & Little Nose” – where a glacier cut a path through Appalachians which is why this was always the place where the Erie Canal could be constructed (it’s hard to appreciate because of the overgrowth of trees).
A highlight of this day’s ride is the new pedestrian/bicycle bridge across the Mohawk River connecting to Amsterdam.
The bridge is fabulous, much like the Walkway over the Hudson in Poughkeepsie (now one of New York State’s most popular attractions). I meet Michelle Eggleston who is a good-will ambassador for the town of Amsterdam, who tells me, “The bridge gives the community a sense of place,” she tells me. “More people are enjoying the river. My daughter started a kayak business, Down by the River Kayak. There are more boats on the river.”
Amsterdam used to be a center of carpet manufacturing factories which shut down, bringing down with them the economy and living standard of the city. Now many of these buildings have been repurposed to business incubators; there is ballroom in the clock tower.
“New people are moving in. Two of my four kids bought houses in Amsterdam. They are seeing it as a great place to live – the waterfront, the bike trail, restaurants they can walk to. Other business are seeing that and that Amsterdam is a great place to be, and are coming in. We had the Albany Symphony here on July 4 – thousands of people on the bridge. I’ve lived in Montgomery County my whole life – I’ve never seen that before. We have been given a sense of place; people are proud of our town.”
In one fell swoop of the space of our bikeride, today, we have gone from colonial times to the Industrial Revolution, to the post-Industrial Revolution.
Next: Schoharie Crossing, Mabee Farm, Cohoes Falls and Finish Line of 8-Day, 400-Mile Cycle the Erie BikeTour
The 20th Annual Cycle the Erie Canal ride is scheduled July 8 – 15, 2018 (www.ptny.org/canaltour). In the meantime, you can cycle the trail on your own – detailed info and interactive map is at the ptny.org site (www.ptny.org/bikecanal), including suggested lodgings. For more information on Cycle the Erie Canal, contact Parks & Trails New York at 518-434-1583 or visit www.ptny.org.
The entire Erie Canal corridor has been designated the Erie Canalway National Heritage Corridor, Waterford, NY 12188, 518-237-7000, www.eriecanalway.org.
More information about traveling on the Erie Canal is available from New York State Canal Corporation, www.canals.ny.gov.
Fort Stanwix, in Rome, New York, is a revelation. Hardly anyone knows of it – it doesn’t even seem to merit a footnote in history – but it played a role in two incidents, one during French & Indian War and one during Revolutionary War, that proved pivotal for American history, like a tiny peg in the giant cogwheel of history.
A National Historic Site, Fort Stanwix also offers one of the best presentations of tribal Indians and European settlers in the colonial and Revolutionary War period. Indeed, the Erie Canal was built across what was the Oneida Carrying Place, vital to the earliest traders. This fort is where the British negotiated and signed the 1768 treaty with the Six Nations of the Iroquois Confederacy. I suspect this area is also where Melinda Gage drew upon what she learned of the Oneida Indian women to form key planks of women’s rights movement.
The presentation here (in contrast to how pitiful the Womens Rights National Site in Seneca Falls is) is fantastic, both in the exhibits and the commentary. Engaging, informative, dramatic, thoughtful. Also, the park rangers are in period dress so you really feel as if you have stepped back in history. You wind up speaking to these people as if it was 250 years ago.
This part of the eight-day Cycle the Erie bike tour, 400 miles from Buffalo to Albany organized annually through Parks & Trails NY, takes us back to the very beginning of the United States, to its native American origins, European colonization and its emergence as an independent nation. It is 400 miles and 400 years of history.
At Fort Stanwix National Monument in Rome (where the 750 of us actually camp out outside the fort, making it look like an army bivouac), we are put squarely into the drama of the American Revolution. Interpreters in period dress take on the roles of American soldiers and British prisoners in period dress – creating such realism that you appreciate so much more the context and the conditions. Most surprising, is that it also tells the story of the Native Peoples, almost entirely forgotten as having an equal stake in the Revolution. (It didn’t go well.)
The reconstruction of Fort Stanwix comes alive through the personal stories recounted inside the fort. You get to experience the American Revolution and the Siege of Fort Stanwix through the eyes of soldiers and their families, American Indians and traders. This is accomplished through the realistic recreations (especially of the fort), the costumed interpreters, outstanding markers, artifacts, the art, portraits and graphics, and superb videos. They create characters who are composites of actual people, and you hear their voices in a context.
It’s humbling to realize how little you actually know about Colonial America and the American Revolution.
The Fort puts the competing interests of the Patriots, Loyalists and Indian peoples into balance. You have empathy for each. (Especially the Native Americans, who were dragged into the fight, upsetting a long-standing peace among the Confederacy of Iroquois nations, found their whole society upended, and were literally screwed by every European and American they dealt with. George Washington, shockingly, even betrayed the Indians who were allied with the Patriots). But you also understand better the Loyalists, whose property was being seized by the Patriots, and the Patriots, who were not necessarily British subjects, but German and Dutch colonists – whose property was being burned by the Loyalists.
The National Park Service is keeping the fort open late for us and hosting tours, and is keeping the visitors center open all night (the indoor camping location, though, is off-site at a local YMCA).
We arrive at Fort Stanwix after biking 50 miles from Syracuse, a good chunk of our Day 5 ride in drenching rain. I set up my tent (fortunately, the rain stopped just as I came into Rome), grab a shower, and race over to the visitor center to join a guided tour. I am so lucky to attach myself to the same Park Ranger as I toured with two years ago, on my first Cycle the Erie tour.
Fort Stanwix as we see it today literally rose out of ash heap of history – reclaimed from earthly grave.
At one point, the fort was the reason Rome developed at all, but ultimately Rome grew up over its ruins, from fire and neglect. Then the city Rome went through a decline. But in 1960s, as part of urban renewal, planners wanted to redevelop the dilapidated downtown. A grassroots movement grew up to excavate the fort; meticulous archaeology unearthed some 400,000 artifacts. (Visitors can actually get a back-stage view of the archaeology being done during summer tours.)
The National Park Service was faced with a quandary – its mission at the time discouraged reproduction or re-creation of a historical site. But there were strong arguments in favor of reconstructing the fort: they found the original fireplace (the only part of the fort that remains of the original, which we get to see); had the original plans (obtained from British archives); plus papers and drawings so they could reproduce it accurately; and letters of soldiers so they had a better idea of what happened here.
The location of this fort is significant. It sits along “Six Miles that Changed the Course of America,” reads the National Park Service brochure. “For thousands of years, the ancient trail that connects the Mohawk River and Wood Creek served as a vital link for people traveling between the Atlantic Ocean and Lake Ontario. Travelers used this well-worn route through Oneida Indian territory to carry trade goods and news, as well as diseases, to others far away. When Europeans arrived, they called this trail the Oneida Carrying Place and inaugurated a significant period in American history – a period when nations fought for control of not only the Oneida Carrying Place, but the Mohawk Valley, the homelands of the Six Nations Confederacy and the rich resources of North America as well. In this struggle Fort Stanwix would play a vital role.”
The British built the fort in 1758 with the permission of the Oneida to protect their commerce, but abandoned it to cut back on spending after the French & Indian War (taxes imposed by Britain to recoup their expenditures is what incited the American Revolution).
The fort was never put to the test, because the French were defeated elsewhere. But though Fort Stanwix fell into decay, the site was still important for trade and relations with the Six Nations.
It is here at Fort Stanwix, in 1768, after the Europeans had spread into “empty” spaces and fought with the Indians, that Sir William Johnson, Indian Supervisor, negotiated a treaty with the Six Nations of the Confederacy, basically laying out the terms that everything east of the fort would be for Europeans, and everything west would be for Indians.
“Over 3,000 American Indians from the Six Nations, Shawnee, Delaware, Mingo and other dependent tribes attended the treaty negotiations,” the notes read. “Ignoring British Crown instructions, Sir William Johnson encouraged the Six Nations to draw a new boundary line favorable to their mutual interests. Rather than settling tensions, frontier strife between colonists and American Indians increased.”
“I can never look upon that (Proclamation of 1763) in any other light… than as .. temporary expedient to quiet the mind of the Indians,” land speculator George Washington wrote to surveyor William Crawford, 1767. “Any person… who neglects the opportunity of hunting out good lands…for his own, in order to keep others from settling them, will never regain it.”
Meanwhile, British attempts to govern the growing colonies from afar and the associated costs led to strained relations. Hoping to defray the cost of colonial administration, the British parliament taxed many goods arriving in North America. But growing independence and identification as Americans caused many colonists to question British rule. Tensions steadily increased until American “Patriots” declared their independence in 1776.
The exhibit gives me a new perspective: a good number of colonists were not British – they came from Germany, Holland and other places. I realize that becoming a Patriot would not have been such a hard choice as for those with British ties.
“For colonists living on the frontier, the issues included British imposed restrictions on trade, limits on settlement, and continuing violence with American Indians. As war approached, many colonists had to choose between remaining loyal to the King or joining the movement to American independence.” Each side considered themselves “patriots”. But those who stayed loyal to the Crown became known as “Loyalists,” while those who sought independence called themselves “Patriots.”
In 1775, Patriots and Loyalists began struggling for control of the New York frontier. The British invaded the Mohawk Valley in 1777. Their strategy was to capture an important east-west supply route, deprive American soldiers of food grown in the valley, and strengthen Six Nation and Loyalist Alliances, and slice the colonies.
British General John Burgoyne led an invasion of New York from the north and west. His army advanced from Montreal towards Albany. A second force commanded by General Barry St. Leger invaded the Mohawk Valley. Strategically, St. Leger aimed to control the Oneida Carrying Place, create a diversion to split Patriot forces, and reinforce Burgoyne. Politically, he wanted to rally support among American Indian allies and Loyalists.
Patriots had taken over Fort Stanwix in 1777 and renamed it for General Schuyler. The fort was under the command of Col. Peter Gansvoort when it came under siege by the British. Some 2,000 British troops set up a blockade, helped by Indians allied with the British, which went on for months.
General Nicholas Herkimer assembled an 800-man militia to come to the fort’s aid, but was betrayed (by Molly Brant, a Mohawk woman allied with the British, and the second wife of Sir William Johnson). Herkimer’s militia was ambushed along the way at Oriskany. This became one of the bloodiest battles of the Revolutionary War, in which 600 were killed in a matter of hours. General Herkimer, himself, was fatally wounded, dying 10 days later. (Later in our trip, we pass Herkimer Church where he died, and his home.)
But the Indians allied with the British, hearing that the Americans had plundered their encampments, left the fort to go to their families’ aid. Fearing that more American reenforcements were on the way, the British retreated, handing the Patriots their first victory (of sorts) of the Revolutionary War. This, critically, boosted the Americans’ morale, and helped set the stage for the Patriots’ victory at Saratoga (under General Benedict Arnold).
This, then, is what changed the course of the war. Because of the victory at Saratoga, which was the unanticipated consequence of what happened at Oriskany and Fort Stanwix, Americans won the critical support of France (long time enemy of Britain), without which, the Americans could not have defeated the British and the British were forced to fight a world war.
In 1778, the British again attempted a formal invasion of New York, planning to burn the Mohawk Valley fields of grain that supplied the Continental Army.
The last battle here took place in 1780, when a work party outside the fort was ambushed by British-allied Indians and Loyalists.
But for most of the Revolutionary War, “It is frustrating for the troops to be here, the backwater of the Revolution,” Park Ranger Bill Sawyer, who is dressed in the uniform of the 3rd New York regiment, tells us. The men were upset because they were far from the fighting. But “Washington was vindicated in his decision to keep it fortified because the British refortified Fort Ontario. Washington wanted to block the British.”
And I am certain that those disgruntled soldiers confined to Fort Stanwix never appreciated that as a result of these events at Fort Stanwix, the British grand plan to slice off New York from the rebelling colonies and cut off the Continental Army’s source of food, failed. Instead, the Americans had the critical support of France.
Fort Stanwix: Living History
After this introduction in the Visitors Center, Park Ranger Bill Sawyer, walks us into the Fort, where we are greeted by costumed interpreters dressed as American soldiers. A couple of teenage boys (summer interns at the fort) patrol the ramparts of the fort. You are immediately transported back centuries.
This fort is a nearly complete reconstruction on the original foundation – the only thing original is a fireplace (that can be seen in one of the rooms). Over the decades, Rome was built up on top of the fort. Archaeological excavations conducted in 1970-73 uncovered the site, but all the artifacts were removed, the site completely cleared, and the fort rebuilt with new materials.
The fort held 800 soldiers (twice the number the fort was built to hold); families of soldiers (who couldn’t afford to maintain them in their homes) camped in the ditch outside the wall; women would try to get jobs within the fort. People died of disease and winter cold.
By February 1778, the soldiers’ clothing was reduced to rags, they hardly had any bedding left or blankets. They would have been stationed here for anywhere from 4 months to 2 years. Morale was terrible.
We see the harsh living conditions. Artillery men, though, had somewhat better accommodations, because they were specialists. “They had to have knowledge of math and the use of measuring tools to calculate the trajectory of cannon and mortar. They had better pay and living conditions.”
We visit the different rooms for the junior officers, a family quarters, the officers’ lodging, the orderly room, the surgeon’s day room. The Commandant’s HQ had a fine room befitting his wealth and high station and had a private assigned.
On my first visit, two years ago, I was able to see an outstanding film that depicted life in the fort and how the soldiers suffered. “The walls imprisoned them, supplies cut off. They were overcome by boredom and hunger. They wanted to go fight. Five men deserted, headed to Canada. Gansvoort sent out a band of Indians to recapture them. They were executed as an example to the rest….It was a forsaken place. Finally, they were sent to war.”
On my first visit, one of our cyclists, Peter Reeve, was British, though living in Maryland since 1981, and gave me the British perspective: “The British people didn’t care to keep America,” Reeve told me. “They didn’t want to spend the money fighting the Revolution. Most British generals were against the tax acts. General Howell supported the Americans’ grievance.”
While major battles took place in the South, minor battles and guerrilla-style warfare characterized the fighting in New York. General Washington lamented that crops that were being destroyed in these raids were needed to feed his army surrounding New York City. These raids and counter-raids were waged by Patriots, Loyalists, American Indians, British and British-allied Germans, alike, often against civilians, and were among the most brutal of the war.
The fort served as an isolated outpost for another four years after the siege. The inaction drained morale and the constant shortage of food and munitions made the soldier’s life insufferable. Regular petitions for transfer and increasing desertions reflected the wretched conditions.
By 1779, British strategy changed and they invaded the other colonies. Though Britain won most of the battles, they failed to destroy the Patriot army. Outmaneuvered, the British surrendered at Yorktown in 1781, bringing an unofficial end to the war.
Following their 1781 defeat at Yorktown, the English saw little value in continuing large scale war in America. Two years later, war ended with the signing of the Treaty of Paris by the US, France and Britain. As the British Army withdrew, Loyalists migrated to Canada and elsewhere.
American Independence Voids Treaty with Indians
The 1783 Treaty of Paris officially ended the war – at least between the British and the colonists. However, no terms of peace were negotiated for the American Indians. In later years, American Indians negotiated their own treaties with the Patriots (who tossed out the Treaty of 1768.)
The focus at Fort Stanwix on Indian history is very clear from the first display that greets you as you enter the Visitors Center – of trappers trading with Indians.
American Indians’ history, NPS Ranger Sawyer says, “was long ignored. Now we interpret to include it.”
Indeed, Fort Stanwix offers one of the most interesting and informative presentations about American Indians outside of the Smithsonian’s Museum of the American Indian in Washington DC.
I am most surprised to see that the Indians lived in villages, with a grid street plan; they wore western-style shirts and many had European names. They had many of the same household goods as the colonists – an indication of how well-developed trade had become, and in fact, how dependent the Indians had become on trade.
The constant theme in the history between the Indians and European settlers, though, was how the Indians were constantly betrayed.
The Indians wanted no part of the Revolutionary War and tried to stay neutral. That changed with the Battle of Oriskany, though.
The Revolutionary War split the Iroquois Confederacy (“Iroquois” was the French name for the Haudenosaunee, “People of the Longhouse”). Mohawks led by Joseph Brant (the brother of Molly Brant who triggered the ambush of Herkimer’s militia at Oriskany) adhered to their long-standing allegiance to the British, and eventually most Cayugas, Onondagas, and Senecas joined them. But Oneidas and Tuscaroras sided with the Americans, owing in large measure to the efforts of their Presbyterian missionary Samuel Kirkland. The Revolution became a civil war for the Iroquois, as Oneidas clashed with Senecas at the Battle of Oriskany in 1777. (“Centuries of peace upended in a single day,” the notes read.) Iroquois suffering was compounded in 1779 when General John Sullivan, on orders of General Washington, led an American army through their lands, burning 40 towns and destroying crops.
Both sides practiced a scorched earth strategy. “Raids by Loyalists and British-allied American Indians in 1778 destroyed Patriot settlements in Pennsylvania and New York. In 1779, General Washington ordered Generals Sullivan and Clinton to retaliate and destroy Six Nation towns, homes and food. Soldiers from Fort Stanwix tricked Patriot-allied Oneida warriors into raiding the British supply depot at Oswegatchie before leaving to destroy Onondaga towns. These raids and counter-raids continued until 1783.” Afterwards, General George Washington was given the name “Town Destroyer” by the Seneca people.
The Americans, who always wanted to take over Indian lands (another sore point that led to wanting independence from Britain), nullified the treaty of 1768 as soon as they won independence in 1783, claiming it was negotiated with the British and did not apply to the new nation. The Americans voided the treaty with the Cayuga, Canandagua and Mohicans claiming that these nations sided with the British, and pushed them further west.
In 1784, Governor George Clinton (uncle of Dewitt Clinton who launched the Erie Canal project), who was not a supporter of the federal Constitution, decided to make his own treaty. The new treaty, negotiated at Fort Stanwix with the Oneida who allied with the Patriots, effectively relegated three Oneida Indian nations to a measly 32 acres, in which they were surrounded on all sides by settlers. (The Oneida tribe had already split, with half moving to Wisconsin).
“Now, for first time in history, the Indian nation is relegated to a reservation, surrounded by Europeans (whites),” Sawyer tells us.
By the 1790s, houses were built by the fort; by the mid-1800s, the fort was demolished and the city of Rome built on top of the ruins. In 1935, a national monument established, though by then the site a commercial district with no trace of the fort.
By the 1960s,a grassroots urban renewal effort was underway to revitalize the downtown and restore the fort, but this required the National Park Service to go against its long-standing policy: “We protect, preserve, interpret any natural thing, but nothing was left of fort.” But political pressure mounted to create a new Revolutionary War “themed park” to open in time for the bicentennial in 1976.
A massive excavation got underway by local volunteers and in the process, 400,000 artifacts were uncovered in three years of archaeological work.
They had a the foundation plus they had the original plans (from the British museum) and maps, clothing and receipts, enough to reconstruct the fort exactly as it would have looked.
Ranger Sawyer, who tells me his interest in becoming a park ranger was ignited during summer internship at the fort when he was a teenager and got “hooked”, says that the 400,000 artifacts are housed in a cultural conservation center in the Visitors Center.
In summer, on Wednesdays & Thursdays, at 11:15 & 1 pm, they open up back area to guided tours to see archaeologists working with the artifacts.
I am literally the last person out of the fort when they close at 9 pm, and walk a block to get some pizza for dinner (this is one of two nights when we are on our own for dinner and the city of Rome has provided a list of eateries.)
The 20th Annual Cycle the Erie Canal ride is scheduled July 8 – 15, 2018 (www.ptny.org/canaltour). In the meantime, you can cycle the trail on your own – detailed info and interactive map is at the ptny.org site (www.ptny.org/bikecanal), including suggested lodgings. For more information on Cycle the Erie Canal, contact Parks & Trails New York at 518-434-1583 or visit www.ptny.org.
The entire Erie Canal corridor has been designated the Erie Canalway National Heritage Corridor, Waterford, NY 12188, 518-237-7000, www.eriecanalway.org.
More information about traveling on the Erie Canal is available from New York State Canal Corporation, www.canals.ny.gov.
Next: Cycle the Erie, Days 6-7: Erie Canal Promotes Rise of America as Global Industrial Power
Day 5 of our 8-day, 400 mile Cycle the Erie biketour from Buffalo to Albany offers a deep-dive into the history of the Erie Canal, an appreciation for the engineering marvel that it was, and how it changed American culture and society, as our 50-mile ride today brings us to a sequence of museums and historic sites.
We begin the day riding into downtown Syracuse from our campsite at Burnet Park, adjacent to the Rosamond Gifford Zoo (we are so close, some said they could hear the animals during the night). A highlight for the entire trip is visiting the Syracuse Eric Canal Museum, which has opened early, from 7 am, especially for us. It is not to be missed and I plan to spend a couple of hours here. (The museum also was open especially for us last evening, with shuttle bus transportation from our campsite, to accommodate our riders, but I chose to visit the zoo.)
The downtown of Syracuse has gone through an amazing renaissance.
Erie Canal at one time went through Syracuse but President Roosevelt wanted a “modern” canal built and largely replaced the original canal.
Today, in a magnificent plaza there is an impressive Jerry Rescue Monument to William “Jerry” Henry, a freemason taken into custody under Fugitive Slave Act, despite the fact that New York State abolished slavery in 1820.
Daniel Webster, who was secretary of state under President Millard Filmore, came to Syracuse in1851 and declared that Syracuse (which was a stop on the Underground Railroad) was “a laboratory of abolitionism, libel, and treason” and warning local abolitionists and abetting slaves that any violation of the Fugitive Slave Law, which called for returning those in flight into bondage, would be “treason, treason and nothing else.”
A few months later, on October 1, a mob stormed a downtown police station, knocked down the doors and freed Jerry, and put him on a carriage traveling toward Canada.
Syracuse Canal Museum
All along our Cycle the Erie route – mostly following the 353-mile long Erie Canalway – we have visited small canal museums and historical societies which each tell a part of the Erie Canal epic drama. At Lockport, which is itself a living-history museum, on the first day of our ride, we saw the astonishing “Flight of Five” locks and its small museum. At Camillus, the half-way mark of our 400-mile ride from Buffalo to Albany, we visited Sims Store, a re-creation of a 19th century general store that would have served the boats traveling along the canal. Still to come (later today), the Chittenango Landing Boat Museum which offers a look at how the canal boats were built and we get to look inside a reconstruction; Canastota, which offers a delightful Canal Town Museum in a tiny house that was once a bakery. Further on, we will see the Schoharie Crossing State Historic Site, featuring sections of all three alignments of the Erie Canal and a fascinating historic exhibit in a house-turned-museum.
But Syracuse is the “official” Erie Canal Museum – it offers the most expansive collection of artifacts, the most comprehensive history, starting the story well before Governor Dewitt Clinton pushed so obsessively for his Ditch. It offers the most sophisticated presentations, including lots of interactive exhibits and opportunities to engage. It is all the more remarkable because it is a maritime museum which is not on the water – indeed, the expanded canal was moved north of the city.
One of the unique features of the Canal Museum – indeed, the “most unique thing about Syracuse” – is the chance to visit the Weighlock Building, built in1850 – the only remaining weighlock building in America. You can walk aboard a replica passenger packet boat in the weighlock and get a real impression of how the Erie Canal transformed culture and society in America.
And, as we ride into the downtown historic district, with some magnificent architectural jewels (like the Niagara-Mohawk building, an Art Deco palace that is simply breathtaking), what we appreciate most is how the Erie Canal was the “Mother of Cities” – as historian Ben Willis has said – and how Syracuse is one of her children.
A chart in the museum graphs the explosive growth in population of Albany, Syracuse, Buffalo, and even small canaltowns like Lockport because of the Erie Canal, “It was the 8th Wonder of the World, the pathway to an empire, and a school of engineering.”
Indeed, in 1820, Syracuse was but a swampy settlement on Genesee Turnpike, its primary industry was salt production (a key reason that banks had already established themselves in Syracuse, before the canal). Because of the canal (“The Mother of Cities”) the population of Syracuse swelled 40-fold in just 10 years, from 250 in 1820, to 11,064 in 1830, and by 1920, a city of 171,717.
“German masons who came for the canal, stayed to build cobblestone houses, churches. The canal was a whole way of life.”
Before the Canal, it would take 6 to 8 weeks for a mule to carry less than a ton, versus 6 to8 days to transport up to 200 tons of freight on the canal. The cost dropped to one-tenth, $12 per ton and 60c for barrel of salt.
Each day, some 1,800 immigrants would come through Syracuse on the Erie Canal on their way to the west, paying 10c to travel from one town to the next.
“Land was free, you just had to get there, settle on it for a number of years. Often pioneers would work on the boat in exchange for transportation,” the notes read.
New York State financed the building of the Erie Canal (without any federal help) by selling $7.7 million in bonds; the state earned back revenue from fees on goods shipped and taxes on salt (because salt was brought out of salt springs that were owned by the state).
The success of Clinton’s Ditch was quickly apparent and in just 10 years (after paying off the $7.7 million), the Erie Canal had to be rebuilt and expanded to handle all the traffic.
There were no real engineers when they began to build the canal. The initial designers were surveyors. “They knew how to do property lines but were not engineers.” The biggest problem was figuring out the elevations. But when they completed the canal, these self-taught engineers started the engineering school, Rensselaer Polytechnic Institute (RPI) in Troy.
One of the innovative methods devised was a stump puller to clear the trees – a contraption that looks like a military armament, but actually had giant wheels to move it and give leverage to pull out stumps.
There is so much that is so engaging in the museum – even the staircases are made so you can see the elevations of the different locks along the entire canal, and the elevator is painted so you feel you are stepping into a lock, yourself.
Indeed, a key message you come away with from the Erie Canal Museum, is how the canal keeps reinventing itself, and with it, the society around it.
Peak use of the Erie Canal was 1951, but it was also a time when the canal was fetid with pollution – oil slicks and raw sewage. Then the Clean Water Act of 1972, prohibiting dumping and requiring municipalities to have treatment plants, changed the way shippers and factories could do business. (My suspicion is that environmental protection and worker protections, not free trade, is what led to the demise of American manufacturing.)
So, up until the 1980s, the canal was almost exclusively for commercial traffic and was too polluted, fetid and crowded for the recreational boater, or, in fact, residential buildings anywhere near the canal. That’s all changed. Now, the canal is predominantly used for recreational purposes, there are lovely housing developments along the canal. But a changing upstate economy is seeing a resurgence of manufacturing and more commercial shipping is coming to the canal.
There are many other uses of the Erie Canal other than shipping and transportation. The canal is the largest source of irrigation for upstate agriculture. People don’t think of New York as agricultural, but it rivals other states, producing a range of foodstuffs – orchards, vineyards, dairy operations. Riding along the canal trail, you see the white pipes of the irrigation system. The canal also provides for flood control for upstate New York. Many of the dams generate electricity.
Here, I appreciate the ecology of the Erie Canal – not just for the people whose towns, livelihoods and lives revolved around the canal, but how it impacted the environment.
And you can see the social ecology as well – as the canal is cleaned up, there are new housing developments that are popping up alongside, as we saw at Rochester, Spencerport, Fairport, changing the economic base for these communities. (They are not intrusive, though – indeed, the entire Barge Canal was just placed on the National Register of Historic Places and is part of New York State’s Heritage Corridor). The small canaltowns are reinventing themselves – and the structures that had been factories and silos and such in places like Pittsford and Cohoes have been re-purposed for condos and offices, as well as to cater to new manufacturing ventures like manufacturing wind turbines.
“Everything reinvents itself – just like the Canal,” says Daniel Ward, who curated the exhibit. “When I was boy, there was no accommodation for pleasure craft, no tie ups. It was a barge canal. Now there is balance.
“Often the Erie Canal gets separated in people’s minds from the Port of New York, but New York City is the terminal port of the canal system. Our current work is trying to reconnect idea of New York City – we’re coming up to the bicentennial of the opening of the canal (2025), which was a celebration in New York Harbor.”
The museum has a marvelous animated display of Governor Dewitt Clinton sailing into New York City to spill water from Lake Erie into the Hudson River in a ceremony called, “The Wedding of the Waters” with simulated fireworks. (There were cannons set up all along the route and it took hours for the sound that started in Buffalo to make its way to New York City.)
He points to the Mount Vernon Museum, at 421 East 61st Street, which was a hotel that opened in the 1820s to accommodate visitors who wanted to travel on the Erie Canal on packet boats.
Before the Erie Canal, “New York City was an insignificant port city, dwarfed by Boston and Philadelphia, and became a great city, as a result of this engineering.”
What I come away with: It wasn’t that people were different in 1817 when construction of the Erie Canal began, that they had more guts, gumption, daring, pioneering spirit. If anything, what this journey back in time shows is that people are exactly the same – Governor DeWitt Clinton was mocked for the project, which was called “Clinton’s Folly” and “Clinton’s Ditch”; President James Madison refused to give federal funding, questioning the role of the federal government.
“Farmers didn’t want to give right of way,” Ward tells me, “they didn’t envision a global economy. It turned out to be great for them. They went from local subsistence economy to global. When the Erie Canal was built, it was the wave of future.”
So many morals to be drawn to today.
You can easily spend two to three hours at the Erie Canal Museum, which I happily do, even with 50 more miles to travel today.
My deep dive into the Erie Canal’s history continues on this day’s ride.
I am fairly amazed to find some of the cyclists still at the morning rest stop when I arrive at Chittenango Landing Boat Museum, which, through preservation, reproduction, construction, and interpretation of the Chittenango Landing industrial complex, instructs about the construction and repair of canal boats and the social history of the Erie Canal era. There are people in period dress and it looks like a historic village. Here, I get to poke inside a re-creation of a canalboat, and see where the mules would have been housed on the boat with the family. (7010 Lakeport Rd, Chittenango, NY 13037, 315-687-3801, clcbm.org/)
Chittenango is also the birthplace of L. Frank Blum who wrote “Wizard of Oz” (his mother-in-law was the mother of the Women’s Rights movement, Melinda Gates), and I am told the village has a yellow-brick road.
Once again, I am determined not to miss the things that I missed on my first Cycle the Erie ride two years before. I ride up the main street looking for evidence of Frank Blum – I find the yellow brick sidewalk, but before I can get to the All Things Oz Museum, which has family photos, early posters from musicals and movies before the 1939 MGM film, collectibles, it starts to rain. (Open year-round or by appointment, 219 Genesee St., Chittenango, NY 13037, 315-687-7772, allthingsoz.org).
It is a drenching rain by the time I get to Canastota, where I remember there is a delightful Canal Town Museum which I visited on my first Cycle the Erie ride. Inside, I find other Erie Canal cyclists huddled together in the back, happily watching a video while they get warm.
Housed in a former bakery and residence dating from 1873, Canastota Canal Town Museum is a major surprise. From the outside, you wouldn’t think much at all of the tiny frame structure, but once inside, it’s like a Harry Potter experience – the rooms are chockablock full of fascinating artifacts and portraits that make the inside seem enormous. It is a surprisingly fine museum, which adds pieces of understanding to the historic puzzle of the Erie Canal and the rise of the United States. Here the focus is on people – including important people who contributed to building the canal, like Nathan Roberts (a Canastota native who devised the ingenious “Flight of Five” Locks in Lockport which we saw on our first day of the ride); there is a portrait of him by an important 19th century artist, Frederick R. Spencer, and portraits of others who owned the very existence of their town to the canal.
In addition to the ingenious engineering of Nathan Roberts’ lock system, I realize an amazing array of inventions came out of this tiny village: it was the birthplace of the American Microscope Industry; early movie and projection film industry.
I spot a photo on the wall referring to a action-adventure-comedy, “The Great Race” (1965), and only in that moment realize the movie was based on an actual event: the 1908 automobile race from New York to Paris, by way of Albany, Chicago, San Francisco, Seattle, Valdez Alaska, Japan, Vladivostok, Omsk, Moscow, St. Petersburg, Berlin and finally Paris. I learn that it was only made possible because of an innovation by Weed Chains of Canastota that enabled a car to drive across frozen Siberia. The 1908 Race was won by the American Thomas Flyer driven by George Schuster Sr. of Buffalo, NY. There is even a connection between Amelia Earhart and Canastota’s Airport opening in 1928. I am dazzled.
(Canastota Canal Town Museum, 122 Canal St., Canastota, NY 13032, 315-697-5002, www.canastota-canal.com)
Of the 50 miles between Syracuse and Rome that we ride today, 36 miles are in the Old Erie Canal New York State Park – rural, quaint, with wildlife, five aqueducts, and very flat. This is where the Erie Canal building began, in the “Long Level”. And just outside of our destination for today’s ride, Fort Stanwix in the center of Rome, we come to the historic marker where the very first shovel to dig the canal went into the ground on July 4, 1817.
Mercifully, just as I ride into Rome, the rain stops, and I am able to set up my tent right outside Fort Stanwix, take a shower at the shower truck, change into dry clothes, and rush over to the Fort where they have arranged for guided tours (by costumed rangers) until 9 pm. I am literally the last one out of the Fort at closing. I walk a couple of blocks to a pizza shop for dinner (this is one of two nights that we are on our own for dinner). The National Park Rangers keep the Visitor Center open for us all night long, and I love to really linger over the exhibits.
The 20th Annual Cycle the Erie Canal ride is scheduled July 8 – 15, 2018 (www.ptny.org/canaltour). In the meantime, you can cycle the trail on your own – detailed info and interactive map is at the ptny.org site (www.ptny.org/bikecanal), including suggested lodgings. For more information on Cycle the Erie Canal, contact Parks & Trails New York at 518-434-1583 or visit www.ptny.org.
The entire Erie Canal corridor has been designated the Erie Canalway National Heritage Corridor, Waterford, NY 12188, 518-237-7000, www.eriecanalway.org.
More information about traveling on the Erie Canal is available from New York State Canal Corporation, www.canals.ny.gov.
Next: Cycle the Erie: At Fort Stanwix, Time Travel Back to America’s Colonial, Native American Past
We finish our 62-mile ride on this third day of our 8-day, 400-mile Cycle the Erie biketour in Seneca Falls, renowned as the birthplace of Women’s Rights, where the organizers have arranged for the major sites, including the Women’s Rights National Historical Park, to stay open for us, and for a shuttle bus to take us from our campsite on the grounds of the Mynderse Academy into the downtown.
My impression of the Women’s Rights National Historical Park, operated by the National Park Service, has not changed from my first visit two years before: It is an absolute dud, especially when you consider the innovations in museums – especially compared to Fort Stanwix National Historic Site in Rome and the Erie Canal Museum in Syracuse (both of which we will see in coming days). What is more, the NPS rangers who run the site know how antiquated and uninspiring – even disrespectful to women and the struggle for equality – the exhibit is and revealed a frustration in their inability to improve it.
There are no new insights or inspiration to be gained. The exhibit doesn’t have a clear theme, point or focus: is it about how and why the Women’s Rights movement started here in Seneca Falls (the influence of the Oneida Indians, which allowed women to become chiefs, have property and retain custody of their children, on Melinda Gage, for example; the prevalence of Quaker women among the early women’s rights leaders who had roles in their church; and the number of factories, spurred by the Erie Canal, which in turn employed women who subsequently wanted equal pay and to control their earnings)? Is it about the leaders of the movement, the courage they needed and how they persevered? What about exploring why it took 80 more years for women to get the vote, even after former slave men got their (theoretical) right to vote after the Civil War? Nor does it confront the controversies behind the continuing fight for women’s rights: why women still don’t earn as much as men for the same work, what is the “glass ceiling”. What role does the lack of affordable, accessible child care and healthcare play, and the mother-of-all controversies: why are women’s reproductive rights still so tenuous? And, oh yes, why are women still so underrepresented in elected office, including the highest office in the land, the Presidency?
What is glaringly obvious is that the exhibit reflects the 1980s Reagan perspective – more Phyllis Schafly than Gloria Steinem – a half-assed, slap in the face, disrespectful, condescending lip service to women’s rights and the ongoing struggle. If there is a theme, it is that women should be grateful for the opportunity to work in fields beyond teaching, secretarial and nursing – but nothing about pay equity or glass ceilings or sexual harassment. To Reagan (and now Trump), women’s rights are simply a way of supplying more workers and keeping wages low.
No discussion of how laws and the lack of anti-discrimination laws helped keep women down: How a woman could be raped, beaten, killed by her husband – was not much more than property (as were children) – and how a woman’s property became her husband’s. How women could be fired from jobs once married or pregnant or had children or reached a certain age or weight, or not hired at all merely because of gender. How insurance companies could charge women more (preexisting condition for being able to give birth). How landlords could refuse to rent to a woman without a husband’s signature; banks would not loan money for a home or business; how women couldn’t get a license to practice law. Sexual harassment”? The phrase was only invented in the 1970s, as the modern Woman’s Movement came into flower.
What did not having a vote mean for women in society? What happened when women were widowed or divorced? Why were there certain professions that women were steered into – like teaching, secretarial work, factories and nursing, positions which as a result tended to be woefully underpaid?
What was the role of the Church in suppressing women’s rights? That is, except for the Quakers who were the earliest advocates of women’s rights. What was the influence of the Oneida Indians, which gave women property rights, custody of children and the ability to become a tribal chief, on the early feminists including Melinda Gage (the mother-in-law of Frank Blum who wrote Wizard of Oz).
Where is the discussion of the women who opposed suffrage, equal rights (ie. Equal Rights Amendment, Phyllis Shafly), even the fact that Eleanor Roosevelt initially was not a supporter of women’s suffrage (until happened), and the women today who oppose a woman’s right to choose (then and still today)?
Instead of “women’s rights”, (and this is pretty typical of women’s issues generally) the exhibit goes off track into the bigger topic of civil rights (Abolition, the Underground Railroad). This should be seen in the context of how women were the backbone of the movement to end slavery, but after the Civil War, fully expected to win the vote along with freedmen, but instead only black men got the right to vote (such as it was, before Jim Crow). Also, it gives a nod to Jacksonian Democracy but doesn’t answer the question how white men without property got to vote without the need for a Constitutional amendment, but women didn’t get the vote until the 19th Amendment was finally ratified in 1920.
The exhibit is largely devoid of the heroic women (except for the sculpture) who fought for suffrage, and what the fight was like (locked up, force-fed).
There’s copy of Lily Ledbetter act signed by Obama in a case in the lobby, but no explanation or context.
There is a film in a lovely auditorium, “Dreams of Equality,” (delightfully cool and relaxing after biking 62 miles in the hot sun) which dramatizes the early internal debate over breaking out of the constrained role women were relegated to, is woefully and pathetically outdated – the historic elements aren’t bad but the pseudo “conversations” between girls and boys is frankly stupid and archaic.
But in the film, one of the main characters loses her husband in the Civil War and one woman says to the other, “If a woman had a say in making laws, there would be no wars,” to which the other woman replies, “If we had a say, who would listen?”
And in another bit of dialogue, the woman wonders, “Don’t women also have rights?” to which her brother responds, “What men most prize in a woman is affection.”
You also visit the Wesleyan Chapel where the first Women’s Rights convention was held in 1848 and the “Declaration of Sentiments,” modeled after the Declaration of Independence was signed. The structure’s history can be a metaphor for the ambivalence of American society to women’s rights: From 1843-1871 it was chapel, then an opera house/performing arts hall; then a roller skating rink, a movie theater (in 1910s), then a Ford dealership, and ironically enough, was a laundromat before facing a wrecking ball.
Women fought to save the building, and in 1982, during the Reagan Administration, it was turned into a national park.
(Womens’ Rights National Historical Park, 136 Fall Street, Seneca Falls, NY 13148, 315-568-0024, www.nps.gov/wori.)
To put faces to the women’s movement, I walk down the main street to the National Women’s Hall of Fame. It is still in a ground floor storefront in a former bank building, awaiting its move into the factory building that was the Seneca Knitting Mill across the canal. This is most appropriate because the mill was where a number of the early feminists came from (they had a taste of earning their own money and were fired when they asked for wages equal to men).
This massive factory, which dates from 1844, was owned by two men, Charles Hoskins and Jacob Chamberlain, who were among the 32 who supported women’s right and signed the Declaration of Sentiments which came out of the Women’s Rights Convention. That is saying something because out of the 300 people (40 of them men) who attended the convention in the Wesleyan Chapel in 1848, only 32 people signed the Declaration. The Seneca Knitting Mills, which operated until 1999 (can you believe it!), manufactured heavy woolen socks for 150 years, and then went the way of 50,000 other factories in the US.
The plan is to turn the 170-year-old limestone building into the hall of fame, research center and museum celebrating women and their accomplishments, to be called the Center for Great Women.
When I was in school, I could count on one hand the number of women who were presented as heroic figures – Madame Curie, Molly Pitcher (who I learn may have been fictional but still representative of women who took up the guns when their husbands were killed in the Revolutionary War), and the reporter, Nellie Bly.
I am thrilled to find Nellie Bly among the honorees. Her real name was Elizabeth Cochrane Seaman (1864-1922, honored in 1998), and was a trail-blazing journalist considered to be the “best reporter in America” who pioneered investigative journalism (hence the pseudonym); Paulina Kellogg Wright Davis, (1813-1876, honored 2002), who headed the committee that organized the first National Women’s Rights Convention in Worcester, MA in 1850, helped found the New England Women’s Suffrage Association and established Una, one of the first women’s rights newspapers; Amelia Bloomer (1818-1894), the first woman to own, operate and edit a newspaper for women, The Lily (first published in 1849 in Seneca Falls) and whose penchant for wearing full-cut pantaloons under a short skirt (as a protest to the way women were expected to dress), gave birth to the term “bloomers”.
It turns out there were dozens and dozens of women, going back to Colonial times, who did really important things. The women who are honored here are not necessarily honored as feminists, but for their accomplishments.
“Women’s stories are not told,” the organization notes. “Less than 10% of the content of history books references women. Students cannot name 20 famous American women through history, excluding sports figures, celebrities and First Ladies. Only 20% of news article are about women. A society that values women values all of its members. By telling the stories of great American women through exhibits and educational resources, the Hall will make a future where all members of society are valued a reality.” (Indeed, the New York Times, during this year’s Women’s History Month, began publishing obituaries of women who were overlooked in their own time.)
Founded in 1969, the Women’s Hall of Fame actually predates the Women’s Rights National Historic Park (one could say it even was at the very cusp of the Women’s Movement which really emerged in the 1970s). And when you contemplate the timeline of the biographies, you get a better understanding of the historical context of the Women’s Rights Movement.
Looking around: Abigail Adams, what a pistol she must have been! She had such a strong influence on her husband but clearly was frustrated in the lack of opportunities women had to utilize their potential. (“Remember the ladies” in forming the new government,” she admonishes her husband, John Adams, in 1776).
Secagewea, Annie Oakley, Harriet Tubman. Jane Addams, Clara Barton, Margaret Bourke-White, Pearl S. Buck, Rachel Carson. Frances Perkins (Labor Secretary under Franklin Roosevelt), Eleanor Roosevelt, Anne Sullivan, Rosa Parks.
Of course, there are the suffragists Elizabeth Cady Stanton, Lucy Stone, Susan B. Anthony (there is a Susan B Anthony bench which came from the Ontario County courthouse in Canandaigua), but I also discover women identified as being early feminists (most you never heard of), and you realize that the struggle goes way, way back.
For example, Anne Hutchinson who lived 1591-1643 (honored 1994), was the first woman in the new world to be a religious leader and for it, was banished from the Massachusetts Bay Colony (there is a parkway in the Bronx named for her); Sarah Grimke, who lived 1792-1873 (honored 1998), who published papers championing abolition and women’s rights, and with her sister Angelina Grimké Weld, 1805 – 1879 (honored 1998), were southerners, born in South Carolina, who became the first female speakers for the American Anti-Slavery Society; Fanny Wright, 1795-1852 (honored 1994), the first American woman to speak out against slavery and for the equality of women; Mary Lyon, 1797-1849 (honored 1993), who founded Mount Holyoke in 1837, the first college for women, which became the model for institutions of higher education for women nationwide; and Maria Mitchell, 1818 – 1889 (honored 1994), an astronomer who discovered a new comet in 1847 and the first woman named to membership in the American Academy of Arts & Sciences, and a founder of the Association for the Advancement of Women.
Walking around (you can also peruse the website to find these biographies) I am introduced to all sorts of women I had not known, that fill me with pride: women on the front lines of science, civil rights, labor rights, education, human rights.
Mary “Mother” Harris Jones, 1830-1930 (honored 1984), a labor organizer and agitator who worked on behalf of the United Mine Workers and other groups; Sarah Winnemucca, c1844-1891 (honored 1994), Native American leader who dedicated her life to returning land taken by the government back to the tribes, especially the land of her own Paiute Tribe; Susette LaFlesche, 1854-1903 (honored 1994), a member of the Omaha Tribe and a tireless campaigner for native American rights; Julia Ward Howe, 1819-1910 (honored 1998), suffragist and author of “Battle Hymn of the Republic.” a lecturer on religious subjects, a playwright, an organizer of a women’s peace movement and advocate for women’s equality in public and private life; and Emma Lazarus, 1849-1887 (honored 2009), famous for authoring the words at the base of the Statue of Liberty, “Give me your tired, your poor, your huddled masses yearning to breathe free,” and an important forerunner of the Zionist movement.
There is the famous flyer Amelia Earhart but also Bessie Coleman, an aviatrix of the1920s, who was the first African American woman to have pilot’s license (at a time when women, let alone a black woman, were not allowed to have a license; Coleman went to Europe to get her license, what does that tell you?).
I so appreciate the diversity of the women represented, especially in the 20th century, when women do have more educational and professional opportunities: astronaut Sally Ride; tennis player Billie Jean King who broke through for women’s athletics; Ruth Bader Ginsburg, Sandra Day O’Connor. Madeleine Albright, Bella Abzug, Oprah Winfrey, Lucille Ball, Dorothea Lange, Lilly Ledbetter, Margaret Sanger.
(Go to the website to see the most recent inductees as well as search all).
We commiserate over the life-size portrait of Hillary Rodham Clinton, who was already in the Hall of Fame as First Lady and New York Senator, the first woman to be a presidential candidate of a major political party, but should have been the first woman President.
It is remarkable to look at the faces and read the short biographies of women who have made such important contributions, going back to colonial times.
(National Women’s Hall of Fame, 76 Fall St, Seneca Falls, NY 13148, 315- 568-8060, www.womenofthehall.org)
I wander over to the canalside park just in time, 7 pm, to enjoy an old-fashioned band concert by the Seneca Falls Community Band (33rd season!); there is a stand selling the absolutely best ice cream in the world. Perfect.
Our campsite tonight is on the grounds of the gorgeous Mynderse Academy, which even has a flat-screen TV where a few of us gather around to watch the All Star Baseball Game.
The 20th Annual Cycle the Erie Canal ride is scheduled July 8 – 15, 2018 (www.ptny.org/canaltour). In the meantime, you can cycle the trail on your own – detailed info and interactive map is at the ptny.org site (www.ptny.org/bikecanal), including suggested lodgings. For more information on Cycle the Erie Canal, contact Parks & Trails New York at 518-434-1583 or visit www.ptny.org.
Information is also available from the Erie Canalway National Heritage Corridor, Waterford, NY 12188, 518-237-7000, www.eriecanalway.org.
More information about traveling on the Erie Canal is available from New York State Canal Corporation, www.canals.ny.gov.
Next: Day 4: Seneca Falls to Syracuse, Crossing Half-way Mark of 400-mile Biketour
What is most remarkable about the new exhibit at the Nassau County Museum of Art, “Anything Goes: The Jazz Age” celebrating the Roaring Twenties, is the cross-connections between art, music, literature, design, furniture and fashion, and the people who were similarly cross-pollinating these cultural categories. There is a drawing by George Gershwin, another by ee cummings, the original painting by Francis Cugat (brother of Xavier, the musician) that F. Scott Fitzgerald wrote into his iconic novel, “The Great Gatsby” and had to have for its cover (and has never before been seen outside the Princeton University Library).
There are the Park Avenue Cubists, and the clique that gathered at Gerald & Sara Murphy’s beachhouse in Antibes (Sara, a famous Jazz Age muse, is the subject of a little-known Picasso drawing of her on the beach at Antibes). One room of the fantastic Frick mansion that is now home of the museum is devoted to Jazz Age music, with gramophones and Victrolas and radios that show off the design, while early records from the collection of Dr. Jay Tartell play. Even fashion and jewelry design (Tiffany is represented).
There are so many astonishments as you go through – James Joyce’s “Ulysses” was censored and burned but here in a bookcase is one of the first editions, along with a copy of F. Scott Fitzgerald’s “This Side of Paris,” based on Hobey Baker, a World War I flying ace and Princeton hockey star and in a gallery, the original Hobey Baker Memorial Trophy.
In this extraordinary multimedia exhibit, you are immersed in the masterpieces and experiments of a generation that changed the history of Modernism. The giants among the artists – Picasso, Léger, Matisse, Beckmann, Nolde, Lachaise, Man Ray, Stuart Davis, Florine Stettheimer and Tamara de Lempicka – are all represented in the show with major works, but there are so many artists – particularly women artists – who will be new for many like Anna Walinska, a teenager from Brooklyn who lived in Paris during the ‘20s and met Picasso, Matisse, Stein and others while making the drawings and paintings which are on view in a solo gallery in the show.
The exhibition tracks the progress of Modernism in art from Cubism to Neoclassicism. Composers such as Gershwin and Porter were taking syncopation and the blues to new heights at this time, and their records, sheet music, and piano rolls are on view and are heard throughout the show on ’20’s-era turntables and player pianos.
The Ballets Russes, for whom Picasso and Chanel designed productions, broke all dance conventions and inspired a new wave of fashion, with examples in the exhibition curated by noted expert on ’20’s fashion, JoAnne Olian. The exhibit’s pieces of Art Deco furniture and rare jewelry from the private collection of the Macklowe Gallery display the machine-age elegance that was in vogue.
“We’re used to Cubism today, but these guys were brave,” museum director Charles A. Riley II, who organized the show, said at the opening reception.
The show ties all the cultural strains together so you almost see the creative pollination from one discipline to another, all in an expression of a philosophy that defined the Jazz Age: “Living well is the best revenge” was the motto of an extraordinarily fortunate generation, anything but “lost,” that remains today the epitome of sheer creative freedom.
Riley noted that though a sense of artistic “freedom” and breaking social and cultural conventions was the theme of the Roaring Twenties, it was “freedom plus order.” Lindbergh’s flight across the Atlantic to Paris that so inspired the sense of adventure and daring, was also an exercise in discipline.
The show offers a comprehensive picture of the Jazz Age when World War I ended on November 11, 1918 and ended on October 24, 1929, when Wall Street crashed after its historic nine-year bull run. The commentaries and notes that accompany the exhibit are fascinating insights to the context for the creations and the people propelling them.
In addition to art and design, the exhibition brings the age of superstars vividly to life with memorabilia celebrating the Golden Age of aviation, including a leather pilot’s helmet and goggles, photographs of Babe Ruth and a seat from the original Yankee Stadium built in 1923, original Victrola turntables and the first generation of radios, first editions of monumental novels and sheet music, and the original Hobey Baker trophy, the top honor for American college hockey (all players who visit wearing their team jersey during the run of the show will be admitted for free).
As Riley, who donned his own Princeton hockey jersey, noted, Hobey Baker’s life was worthy of a movie – a World War I flying ace, at the end of the war he would likely have headed to Wall Street; he took one last flight which proved fatal.
The exhibition unveils some important historical discoveries, including previously unknown drawings by the poet cummings that were found by his dear friend Gaston Lachaise. Their friendship and collaboration is celebrated in a gallery that includes many of Lachaise’s greatest sculptures, including a monumental cast of “Elevation,” as well as his own drawings and a stunning portrait by cummings of the legendary supermodel Marion Morehouse.
A fortunate group of American artists and writers in Paris during the ’20s, many of them in Stein’s circle, were pioneering a new style of abstraction, and the show boasts some significant canvases by Davis, as well as Charles Green Shaw, Gertrude and Balcomb Greene, Joseph Stella, Carl Holty, Jan Matulka, Charles Biederman and an unknown work on paper by Betty Parsons, who would become best known as one of the great champions of Abstract Expressionism.
In another art historical coup, the show presents an unknown drawing by the model and muse Kiki de Montparnasse that had been hidden among the papers of Man Ray, whose portrait of Kiki is among the treasures on view, along with his portraits of Hemingway, Chanel, James Joyce and dancers from the Ballets Russes. The other major photographic finds in the show are by Carl Van Vechten, whose lens captured the jazz greats in Harlem nightclubs. The show also boasts an unknown drawing of Baker by the artist Paul Colin, whose posters, including rare examples included in the show, made her famous in Paris.
“When I play hockey, I leave it all on ice,” Riley said, wearing his hockey jersey.”This show is everything I’ve got – my heart and head. All laid out.”
Throughout the exhibit, there are fabulous photographs of these key figures that put you right into the moment.
The Long Island connections in the show are among the highlights. F. Scott Fitzgerald published “The Great Gatsby” on April 10, 1925, but he started it two years before over the garage in a rented house in Great Neck. In his lecture, Scribner III, whose grandfather published the novel, will reveal the backstory of its progress from manuscript to masterpiece under the editorial guidance of Maxwell Perkins, who secured the iconic cover by Cugat. And Lindbergh took off from the storied air strip at Roosevelt Field, where Elinor Smith, the “Flying Flapper of Freeport,” set new records for altitude and endurance.
Indeed, the local connections are also in the collectors who have loaned to the exhibit, including Dr. Jay Tartell and Deborah Tartell who not only loaned the stunning gramophones, phonographs and victrolas, but also that sensational photo and autographed program of George Gershwin; and Dr. Harvey Manes, a trustee, who loaned several works.
Drawing on museum, university and private collections, including those of the Heckscher Museum, Parrish Museum, Cradle of Aviation Museum, New York University Grey Art Gallery, and Princeton University, the wide-ranging exhibition has been underwritten by the Americana Manhasset and Wheatley Plaza, longtime supporters of the museum and its mission.
In addition, the programming and publications have been sponsored by generous gifts from The Ritz-Carlton Residences and by Charles Scribner III. Each week the show will feature special programming, including live jazz in the beautiful paneled library of the mansion, lectures by experts in the arts and design, and live demonstrations of the player piano and Victrola in addition to the museum’s renowned docent-led tours and education programs.
Among the programming highlights are a May 12 lecture by Scribner, a popular speaker at the Morgan Library and Metropolitan Museum of Art, among other venues; an original cabaret musical based on the lives of Scott and Zelda Fitzgerald composed and performed by Angela Sclafani and her ensemble; and tours of Jazz Age Manhattan led by museum director Charles A. Riley II, author of two books on the period. The museum is publishing a fully-illustrated catalog of the exhibition with essays on the art, music and fashion of the era, and is re-launching the official website with special features keyed to the show.
This year’s gala ball on June 9 will be themed “All That Jazz” with guests in costumes, Angela Susan Anton, Board President, announced.
“Anything Goes: The Jazz Age” is on view through July 8, 2018.
The Nassau County Museum of Art is located at One Museum Drive in Roslyn Harbor and is open Tuesday through Sunday, 11 a.m. to 4:45 p.m. Admission is $12 for adults, $8 for seniors (62 and above) and $4 for students and children (4 to12). Members are admitted free.
For more information about the museum and exhibit, call 516-484-9338 or go to www.nassaumuseum.org.
Martin Luther King Jr. and Robert Kennedy are tethered together in peoples’ minds, and not only because they both were assassinated within two months of each other in that fateful year of 1968. A new, remarkable exhibit that has just opened at the New-York Historical Society commemorates the 50th anniversary of those events, examines their conjoined legacy and makes some interesting discoveries: their lives had a kind of parallel trajectory, yet, they consciously steered separate courses, intersecting finally in death.
On view through May 20, 2018, Rebel Spirits: Robert F. Kennedy and Martin Luther King Jr. showcases 61 photographs and 30 documents and artifacts that reveal the relationship between these historic figures. The exhibit is based in part on The Promise and the Dream, written by Vanity Fair contributing editor and New York Times writer David Margolick and produced by Lawrence Schiller for National Geographic Publishers. Schiller, a photojournalist who covered many of the significant events throughout the 1960s, conceived of the project and collected 21,000 photographs, sifting them down to 3,000, then 2,000, and ultimately, over the course of just three days, laid out the photographs that are presented much like a 20-page photo essay in Life Magazine, where Schiller worked, would have produced.
But in the course of gathering that material, an essential question arose: why were there so few photos of King and Kennedy together? The exhibit has just one where the two men were at the same event, with then-Vice President Lyndon Baines Johnson. Another instance where they would have been together was when King testified to a Senate Committee which included Robert Kennedy, in which he stated that the millions of dollars that were being sent to support the war in Vietnam should better be spent to revitalize America’s ghettoes (a photo is taken from behind King). Significantly, while Kennedy supported the idea of spending more in cities, he was forced for political reasons (like the fact that his brother, as President, dramatically escalated America’s role in Vietnam) to disassociate himself from King’s anti-Vietnam stance.
Margolick, who researched and wrote the book in a mere seven months time, started off with no pre-conceived notion, but wanted to come up with some original construct about these two lions of American history.
Indeed, if news is the first draft of history, books provide the room for reflection and context.
The big idea of the book and the exhibit is that “Robert Kennedy was a political person and Martin Luther King Jr. a spiritual person; they respected one another but there was a limit how closely they could ally,” Margolick said at the press opening of the exhibit.
The two men had reason to be wary of one another.
Robert Kennedy was at his core a politician from a political family; on top of that, his brother, as president, had made key decisions including significantly involving the US in war in Vietnam, and was skittish about making civil rights a key focus of his administration; as JFK’s Attorney General, Robert Kennedy had signed off on J. Edgar Hoover’s request to surveil King, whom Hoover was convinced was a Communist. But Kennedy also sent US Marshals to force school integration.
King, for his part, was a spiritual man for whom civil rights was not merely a political issue but a matter of everyday survival for millions of people who could be brutalized without repercussion under a Jim Crow regimen.
“They were initially wary of each other,” Margolick said. “There was an enormous chasm which gradually shrank, but did not entirely disappear.”
“RFK felt MLK a liability, he couldn’t get close.” There was that special night, when Robert Kennedy, who made a concerted effort to embed himself into black communities when he realized he did not have more than a superficial understanding of issues, was in “black” Indianapolis for a campaign speech and gets notice that King has just been killed, and instead of rushing away, he spoke compassionately to the crowd. “That was a special night. Death was the only time Kennedy actually embraced [the idea] of King. Kennedy was dead two months later. There was no time to carry torch of MLK.
“But even in limited time, Kennedy was reluctant to embrace King. The Kennedys were politicians King was a spiritual man. Kennedy considers the political implications of everything. Part of the purpose of this book is to examine and correct the revisionist idea that were together – really was there was always space between them.”
They also came from completely different worlds: Kennedy chose to take up the fight; the fight chose King.
Over the course of researching the book, Margolick said, “my point of view was constantly evolving. I wanted it to be as original as it could. I looked at newspapers no one had; primary documents not examined before. I came to realize the most precious thing was to talk to dwindling supply of people who knew both men – very few knew both: Andrew Young, William Vanden Heuval and some behind scenes intermediaries.
Margolick realized that an excellent source would be the photographers who photographed both – including Harry Benson, Steve Shapiro – who could even describe how differently they interacted with crowds.
“Both men had a sense of their mortality – they knew they were doomed.” One of the photographers, he thinks it was Harry Benson, said that when King was in a crowd, he would look it over carefully, mindful of his safety. He never stayed in one place longer than he had to.”
But, he adds, “Robert Kennedy didn’t care. He had a premonition of death but approached it differently. He told his security force he didn’t want precautions. There were reporters who never left RFK’s side because they expected he would be assassinated and wanted to be there when it happened.”
Lawrence Schiller, who organized the project and curated the exhibit, was one of those photographers who helped document history beginning in the 1960s. He was assigned to Robert Kennedy and followed him for the last 40 days of his life. Schiller was at the Ambassador Hotel in Los Angeles the night that Robert Kennedy delivered his last speech, tried to hurry out by going through the kitchen, where he was met by Sirhan Sirhan who shot him dead. (The portrait that opens the exhibit was taken by Schiller on board Kennedy’s plane en route to California just days before the speech.)
He was just 26 years old working as a photojournalist on a fateful day in 1963 when he was summoned from Los Angeles to Dallas after President John F. Kennedy was shot. He was in the police station when, as it happened, the police were booking Lee Harvey Oswald.
“The elevator opened to reveal Oswald, who was only 24 years old. It shocked me that evil could be in such a person – a kid my age had caused this tragedy.”
Schiller, who has several photos in the exhibit, called upon many of the photographers he knew who are represented, but there are many which had not been published before.
The exhibit is laid out chronologically for the most part, but in some cases “emotionally chronologically”, as when a portrait of Robert Kennedy, photographed on Feb. 26, 1962, with a movie slate, is juxtaposed next to a police mug shot of King from Feb. 22, 1956, upon which someone had scrawled “DEAD 4-4-68”; and in a case with artifacts, the Time Magazine editions with each on the cover, is displayed. ”King’s ‘Man of the Year’ drove people crazy,” Schiller remarks.
Asked which photo was the most impactful, Schiller points to one of a man with a broom, sweeping the blood from outside King’s hotel room in Memphis, a photo which he said had never been published; another shows the hotel room. Schiller says that people came in and collected vials of blood to keep as a memento.
The exhibit starts with Rosa Parks and ends in a field after Kennedy’s assassination, where people are holding a sign, “So long Bobby.” Several of the photos don’t feature King or Kennedy at all, but provide context: the KKK, US Marshals, Freedom Riders, the march after Medgar Evers was assassinated in June 1963, just five months before JFK was assassinated, in eerie similarity to the one-two King-Kennedy assassinations.
There is great intimacy of the experience – the photos, which were printed all at the same time in the same lab from negatives and then scanned – are 8 x 10 and smaller, the room is compact, so you are close to the images, can easily read the captions and notes.
“The insight we came to early on emerged from the question: Why were there not more photos of the two together?” Margolick said. “The book tries to fill the gap, why there were no more photos of the two together. They kept apart. We are documenting, explaining the absence of something.”
One notable absence is a still photo of Robert F. Kennedy addressing a black audience in Indianapolis the night that King was killed, which in itself, says a lot.
“No one knew how important that speech by Kennedy would be, the night MLK was killed,” Margolick said. “The event that became so important was so scantily covered, there were just two still photographers there from local papers. It was only a 6-7 minute speech, but there is no film of the entire speech.” But it was at that point that Kennedy most fulsomely embraced King. (A portion of the video is displayed.) There’s a monument in Indianapolis commemorating the event.
Born Worlds Apart
Martin Luther King Jr. (January 15, 1929 – April 4, 1968) and Robert F. Kennedy (November 20, 1925 –June 6, 1968) were born worlds apart—culturally, geographically, racially, financially, and politically—but by the time they were killed within months of each another in 1968, their worlds had come together. As their concerns expanded beyond civil rights (King) and organized crime (Kennedy), their ties deepened to encompass shared interests in supporting the poor and opposing the war in Vietnam. This unprecedented exhibition explores the overlapping paths of their lives through images taken by some of the most renowned photojournalists of the era, including Bob Adelman, Danny Lyon, Henri Dauman, Jacques Lowe, Spider Martin, Steve Schapiro, Lawrence Schiller, and Paul Schutzer, alongside original correspondence, publications, and ephemera.
“The year 1968 rocked the nation in many ways, but it would be difficult to point to anything that shocked and sickened Americans more that year than the senseless and tragic deaths of Robert Kennedy and Martin Luther King Jr.,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “Fifty years later, the legacies of Kennedy and King still reverberate. This timely exhibition underscores the two men’s lasting impact on our nation while drawing attention to the ways in which their lives intersected. ”
Exhibition highlights include images of King and his son looking at the charred remains of a cross the Ku Klux Klan burned outside his Atlanta home in 1960, King’s mug shot after being indicted for the 1956 Montgomery Bus Boycott, and Kennedy being swarmed by an adoring crowd during his 1968 presidential campaign. Also on view are posters reading “Honor King: End Racism!” and “I Am a Man” that were carried in a Memphis march led by widow Coretta Scott King and her children on April 8, 1968, as well as a black and white “Kennedy/King” button worn by a New Yorker in memory of the two slain leaders.
An adjunct display showcases the bronze sculpture of Martin Luther King Jr.―one of five existing casts created by Harlem Renaissance artist Charles Alston (1907– 1997), on loan from the Community Church of New York. Rebel Spirits is based in part on The Promise and the Dream, written by David Margolick and produced by Lawrence Schiller for National Geographic Publishers. The exhibition was curated by Lawrence Schiller, Cristian Panaite, and Marilyn Kushner. It was produced by Wiener Schiller Productions, Inc. in association with Susan Bloom International with support from Getty Images, The Jacques Lowe Estate, and Steve Schapiro.
Published by National Geographic and written by David Margolick, The Promise and the Dream: The Interrupted Lives of Robert F. Kennedy and Martin Luther King Jr. features an introduction by historian Douglas Brinkley. The book is available at the NYHistory Store.
Several public programs will provide further insights into the exhibition and its time period. On March 6, eminent legal experts survey the evolution of the U.S. Supreme Court’s interpretations of the 14th Amendment—in commemoration of its 150th anniversary—and civil rights throughout American history, highlighting landmark cases such as Brown v. Board of Education. On April 23, scholar Randall Kennedy discusses the Supreme Court and Martin Luther King Jr. On May 21, journalist Chris Matthews sits down to explore the rebel spirit of Robert Kennedy.
Vietnam War
The New-York Historical Society has a variety of fascinating exhibits, some short term and some ongoing.
The Vietnam War: 1945 – 1975 on view through April 22, 2018 is particularly timely in conjunction with the “Rebel Spirits.” Featuring interpretive displays, digital media, artwork, artifacts, photographs, and documents, the exhibit provides an enlightening account of the causes, progression, and impact of the war. Spanning the duration of U.S. involvement in Indochina, the narrative incorporates perspectives covering both the home and the war fronts.Displays touch upon the Cold War, the draft, military campaigns initiated by both sides, the growth of the antiwar movement, the role of the president, and the loss of political consensus. The exhibition explores themes of patriotism, duty, and citizenship. Key objects include a troopship berthing unit, interactive murals, vibrant antiwar posters, artwork by Vietnam vets, a Viet Cong bicycle, the Pentagon Papers, and news and film clips.
Gallery of Tiffany Lamps
Step into the Gallery of Tiffany Lamps, a permanent exhibit which is the centerpiece of a newly designed fourth floor, and you are aglow in light and beauty. The exhibit features more than 100 illuminated Tiffany lamps from N-YHS’s spectacular collection displayed within a dramatically lit jewel-like two-story space (the glass staircase is exquisite).
The presentation is breathtaking, and so insightful: it was only in the last decade that it was learned through a series of letters that some of Tiffany’s most famous and prized lamps, featuring nature imagery like wisteria, dragonflies, spider webs, were designed by Clara Driscoll, who headed the Women’s Glass Cutting Department of some 45-55 young women (mainly 16-17 year olds who would work until they went off to be engaged).
The redesigned fourth floor also offers exhibitions and interactive media that explore American history. Themed displays in the North Gallery present a variety of topics—such as slavery, war, infrastructure, childhood, recreation, and 9/11—offering unexpected and surprising perspectives on collection highlights. Touchscreens and interactive kiosks allow visitors to explore American history and engage with objects like never before. When I visit, a docent is discussing the Industrial Revolution with high school students.
Women’s Rights & Social Activism
A new Center for Women’s History enables visitors to discover hidden connections among exceptional and unknown women who left their mark on New York and the nation with the multimedia digital installation, Women’s Voices, and through rotating exhibitions in the Joyce B. Cowin Women’s History Gallery. Objects from the Billie Jean King Archive are also on view.
Hotbed, a special exhibit on view through March 25, 2018, is about Greenwich Village in the early 20th century, when it was a hotbedof political activism and social change—where men and women joined forces across the boundaries of class and race to fight for a better world. At the heart of the downtown radicals’ crusade lay women’s rights: to control their own bodies, to do meaningful work, and above all, to vote. Celebrating the centennial of women’s right to vote in New York and on view in the Joyce B. Cowin Women’s History Gallery, Hotbed features immersive installations and more than 100 artifacts and images—drawn from New-York Historical’s archives and several private collections—that bring to life the neighborhood’s bohemian scene and energetic activist spirit.
Collecting the Women’s Marches, on view through June 3, 2018, documents January 21, 2017, when hundreds of thousands rallied at the Women’s March on Washington for diverse issues including women’s rights, racial equality, and the environment. Counting more than 500 sister marches across the United States, it was the largest single-day protest in the nation’s history. As part of its History Responds program, the New-York Historical Society collected a range of artifacts, including signs, sashes, pussyhats, and colorful props, to document the moment. One year later, Collecting the Women’s Marches highlights some of the political and visual themes that emerged, as well as the efforts of individuals and groups that worked behind the scenes. An adjunct display of protest clothing by Olek (Agata Oleksiak), an artist who works in crochet, and Brick x Brick, a public art performance group, is also on view. It is odd to have an exhibit of a major historic event so recent, and to actually have been there.
New York through the Lens of George Kalinsky on view through June 3, 2018 is an amazing photo exhibition of some of New York’s most iconic cultural moments over the past 50 years as captured by George Kalinsky. Serving as Madison Square Garden’s official photographer, Kalinsky has turned truly memorable moments―sporting events, legendary performances, and notable occasions―into lasting images that have defined the city. Among the quintessential photographs on view are Pope John Paul II hoisting a seven-year-old child onto the Popemobile in Madison Square Garden, Bill Bradley celebrating a New York Knicks victory, Sloane Stephens winning the 2017 US Open, and Jesse Orosco falling to his knees on the mound as the Mets won the 1986 World Series.
Collector’s Choice: Highlights from the Permanent Collection, ongoing: Since 1804, the New-York Historical Society has been welcoming to its collection some of the most esteemed artworks of the modern world. Collector’s Choice: Highlights from the Permanent Collection showcases a selection of paintings that reflect the individual tastes of several New York City collectors who donated their holdings to New-York Historical. Joining Picasso’s Le Tricorne ballet curtain are featured American and European masterpieces spanning the 14th through the 21st centuries from Luman Reed, Thomas Jefferson Bryan, and Robert L. Stuart, including colonial portraits of children, marine and maritime subjects, and an installation showcasing recently collected contemporary works.
Hours: Tuesday – Thursday: 10 am – 6 pm; Friday: 10 am – 8 pm; Saturday: 10 am – 6 pm; Sunday: 11 am – 5 pm Admission: Adults: $21; Teachers and Seniors: $16; Students: $13; Children (5–13): $6; Children (4 and under): Free. The museum has a pay-as-you-wish policy on Fridays from 6-8 pm.
There is a cold, institutional feel to the National Constitution Center – as if you fell into a law book. And oddly, even though this place more than any other, recognizes the impact of words on paper – the decisions, pronouncements, laws – on each and every person’s everyday life, there is that struggle between the “rule of law” without fear or favor, that objective, dispassionate application, and any sense of what is right and good for ordinary people. What emerges is a sense that law and government, like evolution, is not good or bad, but reflects politics and power: look at the restrictions on voting to “white men over 21;” the Dred Scott Decision based on 5th amendment property rights; the evolution of rulings that elevate corporations to the status of people (despite fact “corporation” is not mentioned in the Constitution) including Citizens United which established that cash is equivalent to speech and corporations have a right to spend as much as they want on political speech regardless if it is corporations spending the cash or a person (so speech is not really “free”, but whoever has more cash has more speech) and Hobby Lobby which determined that corporations could possess religious “conscience” in order to deny their female employees access to contraceptives. You realize that the progressive change on behalf of ordinary people occurred during brief episodes.
I used the opening of the brand new Museum of the American Revolution as the theme for my three-day visit to Philadelphia – a really deep dive probe of the Revolutionary War era, a return to understanding the founding of the nation through, as it were, original documents, materials and artifacts, at a time when we need to be reminded – everything from the off-hand comment by Trump Chief of Staff John Kelly that the Civil War could have been averted if only there were compromise (he should go to the National Constitution Center), to the quixotic amazement of a US Treasury official pining on his research into what’s this thing, “The American Dream,” all about before adopting the biggest redistribution of wealth since the Gilded Age, to the pronouncements by some politicians that America is a Christian Nation, to Trump’s remarks about immigrants coming from s-hole countries. I felt a driving need to go back to the beginning, the foundations, remind myself of those values and debates and compromises and circumstances.
So far, during my three-day visit to Philadelphia, I have visited the new Museum of the American Revolution, the National Museum of Jewish American History, the Ben Franklin Museum, the Betsy Ross House, the Old Burial Ground – each one adding to my understanding and appreciation of the founding values of this nation – and now I have arrived at my last stop, the National Constitution Center.
The National Constitution Center, which opened in 2003, is on federal land but is a private, independent, nonprofit, nonpartisan institution. It is the first and only institution in America established by Congress to “disseminate information about the United States Constitution on a non-partisan basis in order to increase the awareness and understanding of the Constitution among the American people.” Its mission is to spark constitutional debates that impact citizens and inspire active citizenship.
“As the Museum of We the People, the Center aims to bring the Constitution to life for visitors of all ages through interactive programs and exhibits that include coming face to face with original documents, rare artifacts and hearing personal stories. As America’s Town Hall, the Center brings the leading conservative and liberal thought leaders together to debate the Constitution on all media platforms. As a center for Civic Education, the Center delivers educational programs and online resources that inspire, excite, and engage citizens about the U.S. Constitution.”
I arrive just in time for a multi-media orientation experience, “Freedom Rising” in a theater that has the metallic feel and design of a 21st century dystopian gladiator arena. For some inexplicable reason there is a live person who is not so much a narrator as a ringmaster as video images flash around the ceiling so you can’t fully see them or process them.
‘Freedom Rising’
“Freedom Rising” is intended to highlight the primary themes of the main exhibit gallery, making an effort to tell the story of “We the People” in two senses of that phrase: First, the Constitution’s vision of “popular sovereignty,” or rule by the people; Second, how the definition of citizenship has expanded over more than 200 years of American history to gradually include those who were left out in the 18th century – white men without property, women, African Americans, other people of color. It rang hollow to me.
You walk out of the arena to the Richard and Helen DeVos Exhibit Hall, which is designed as two concentric rings. The outermost ring is presented chronologically with 13 sections which relate American history through the lens of the Constitution from 1765 until today and a central ring focused on civics and how government operates.
Exhibits along the outermost ring use multiple techniques to bring the story to life: a short general video introduction to each section; text-and-graphic based story panels and reading rails; maps and images; game-like computer interactives; video and audio segments focusing on specific historical moments; selected artifacts; and walk-in immersive environments that render key ideas, moments, and stories in three dimensions.
For instance, you enter a re-creation of the floor of the Senate during the impeachment trial of Andrew Johnson and listen to the debate; you can step into a 1940s living room and hear one of Franklin D. Roosevelt’s famous fireside chats playing on the radio.
A device that is used to fairly good effect is presenting a major Supreme Court decision or milestone event as if told as a news story that day, making it more immediate and relevant.
The “Founders’ Library,” presents a sampling of the books that the Library Company of Philadelphia made available to the delegates during the Constitutional Convention – giving visitors a sense of the intellectual origins of the Constitution and make it more accessible.
What’s on that bookshelf that helped shape the Constitution? Jonathan Swift’s Gulliver’s Travels, King James Bible, Magna Carta, Machiavelli, John Locke, Cato’s Letters, Baron Montesquieu, David Hume, Sir William Blackstone, Adam Smith, Thomas Jefferson, Thomas Paine, John Adams, John Dickerson, among others. What’s missing: anything about the Iroquois Confederacy which provided a framework for democratic leadership and a confederation of states, not to mention women’s rights.
Other features include the Civil War alcove, an exploration of the turning point year of 1863, which features a rare copy of the Emancipation Proclamation signed by Abraham Lincoln as well as pages from an autograph book with the only-known Lincoln signature from the day that he gave the Gettysburg Address. Here I encounter a docent who lets us handle some artifacts from the Civil War.
I pose to him my theory that the Civil War could have been avoided had the slave-holding states accepted the entreaty from Zachariah Kingsley, a plantation owner in Florida, which was part of Spain until 1845 when it became part of the United States and subject to its laws regarding slavery; he entreated Congress that the United States use the Spanish model of slavery that was much less cruel (if any form of slavery could be less cruel), that provided a pathway to freedom and did not automatically enslave future generations. It was ignored. (I saw a copy of Zachariah Kingsley’s letter to Congress at Kingsley Plantation on Fort George Island near Jacksonville, Florida which stuck in my mind, “What if…”.)
You also can see a fascinating display of archeological artifacts from the late 1700s that were uncovered at the site of the National Constitution Center between 2000 and 2003, only two blocks from Independence Hall where the Constitution was drafted. These historic treasures illuminate daily life in Philadelphia as a new nation was being born.
The Central Ring through the main gallery explores how the constitutional system works through a series of immersive, interactive exhibits designed with families and school groups in mind. Visitors have the opportunity to learn about the great rites of democracy, such as serving on a jury or voting.
Role-playing is a key component of the central path. In one of the most popular displays, you can stand behind a presidential podium and take the oath of office. You can try on a judge’s robe, sit at a replica of the Supreme Court bench, and decide landmark cases selected to illustrate the broad range of constitutional issues that come before the court: Katz v. United States is a wiretap case involving the Fourth Amendment and issues of privacy; Texas v. Johnson, the flag-burning case, tested the protection of the First Amendment; United States v. Nixon, the Watergate tapes case, involved separation of powers and executive privilege.
The American National Tree, another prominent exhibit, tells the stories of 100 Americans – a few of them well known, but most of them unheralded. By selecting their faces streaming by on touch screens, you can read and hear how these noteworthy Americans have shaped constitutional history.
People really enjoyed Signers’ Hall, where you walk into a stylized evocation of the Assembly Room in the Pennsylvania State House, known today as Independence Hall, where the delegates to the Constitutional Convention met in Philadelphia during the summer of 1787. The room is “peopled” with life-sized bronze statues of 42 men: the 39 delegates who signed as well as the three present on September 17, 1787, who refused to sign. We are encouraged to walk among them and to consider them as real people, imaging the dilemma they faced in creating the framework for a new nation founded on “We the People” – choices that still impact the nation, the oldest continuously surviving democratic republic. You also can add your name to a digital version of the Constitution alongside the Founding Fathers’ signatures.
Notably, Thomas Jefferson and John Adams, signers of the Declaration of Independence, are not represented in Signers Hall because they were both serving as ambassadors overseas (Jefferson in France and Adams in England) during the Constitutional Convention. Several other famous Founding Fathers who were not signers of the Constitution include John Hancock, Samuel Adams and Patrick Henry.
The statues in Signers’ Hall were created by some 50 artists – sculptors, designers, costumers, mold makers – at Studio EIS in Brooklyn, who used numerous historical sources, including portraits and written descriptions, to create the most accurate likenesses possible. The project began in early 2001 and was completed in May 2003.
Unanswered Questions: How Democratic are We?
I come away with a few new insights, but few answers to long-lingering questions I have harbored:
Everything George Washington does as president sets a precedent, including doing the unimaginable of stepping down after two terms when many wanted him to be president for life. (But having visited the Museum of the American Revolution, I wonder what would have happened if Washington had been younger and not so anxious to retire to Mount Vernon, if he would have been so interested in giving up presidency.)
We learn that slander and scandals have always been a part of the political process: A Federalist called Jefferson “a Godless man whose election would lead to reign of terror, like France.” Republicans claimed John Adams was “a British-led tyrant bent on enslaving us.”
The Supreme Court’s infamous Dred Scott Decision was based on a ruling which found that Congress in its 1820 Compromise deprived slaveholders of their 5th Amendment property rights.
I learn that 1824 was the first presidential election that counted the popular vote (though I don’t really understand what that means, to “count” the popular vote.) On the other hand, it renews a question that I had ever since visiting the Women’s Rights National Monument in Seneca Falls, NY: Without any change in the Constitution that gave voting rights only to “white men with property,” suddenly, in that election, white men without property were allowed to vote. And yet, it took the 15th amendment in 1870 to give Black men the vote, and the 19th amendment in 1920 to finally give women the vote. I’ve never seen anyone question how without any change in the Constitution, all of a sudden, white men were allowed to vote, and it enabled –Andrew Jackson, who lost in 1824 to John Quincy Adams, to win his election in 1828.
When freed black men also turned up to vote, states passed laws restricting voting to “white men over 21”.
I learn that the Bill of Rights, adopted in 1791 (itself a compromise because there were states that would not ratify the Constitution without a Bill of Rights, which are the first 10 amendments) only applied to federal law. In recent decisions, the Court ruled that their protections apply to states because certain rights are so fundamental, they are incorporated in amendment guarantee of due process.
“Like the preamble of Declaration of Independence, the Bill of Rights at the time of ratification was largely a promissory note. It was not until the 20th century when the Supreme Court vigorously applied the Bill of Rights against the states that the document becomes centerpiece of the contemporary struggle over liberty and equality. It defends the majority against an overreaching federal government but also against overreach by the state.”
What you appreciate, though, is that through all of American history, there have been “firsts” – challenges or unsettled issues of the Constitution. It was never fixed or complete. The Founders designed the Constitution to be a “living” document. So-called “originalists” who pretend to divine what was in the mind of the Founders are just that: pretenders.
A new display is an “Interactive Constitution”, where you can click on the freedoms of the Bill of Rights to see the documents that were used.
There are hands-on materials. For example, you can try on a black robe of a Supreme Court justice.
When I am visiting, I am lucky enough to see an original copy of the Bill of Rights on view in the George H.W. Bush Gallery before it was sent back to New York. It is one of 12 original copies that survive. (North Carolina’s was stolen during the Civil War but was returned in 2003 with the help of the National Constitution Center, which informed the FBI after being told they could have it back for $4 million ransom). This copy, is shared by New York and Pennsylvania which alternates every three years (it now has gone back to New York, where you can see it on camera).
There is also a first-edition Stone Engraving of the Declaration of Independence and an original copy of the US Constitution.
I’m not sure that what I came away with was the message that the Center intended: Instead of assurances that the Framers created mechanisms – fool-proof checks-and-balances – to insure a democratic republic would withstand every challenge, I am shaken by the realization of how wrong those in power, with the ability to set laws, decide laws and implement laws, have been (think Dred Scott, Citizens United). It seems that it has been a matter of luck that has let us survive this long, but one wonders how would we survive a “perfect storm” of various levers breaking down against threats that the Framers could never have foreseen, like an election that was stolen by a foreign adversary, or a president who used his office to personally profit, who sold favors to a foreign government and then defied a subpoena. Andrew Jackson defied the Supreme Court’s ruling that his Indian Removal Act was unconstitutional, daring the court to bring its army to force him to do its bidding.
I went in wondering if it would address some of the questions that I have long harbored: did the Salem Witch Trials play any part in the Founders’ interest in preserving Religious Freedom? What role did the Iroquois Confederacy play in the writing of the Constitution? How does the notion of “originalism” – the pretense of knowing what the Founders intended – carry sway since the Constitution was clearly not perfect, the Founders were not omniscient and could not predict technology of today, were not Gods, knew their own human fallibilities in devising a system of government that had never been seen before, as well as the need to compromise on such issues as slavery in order to forge a union and the fact we have already adopted 27 amendments?
The Constitution already has provision for impeachment (for “high crimes and misdemeanors”), already has an Emoluments clause, more recently adopted a 25th Amendment to provide for a President who is “unable” or unfit, but what provision is there to “re-do” (or nullify) an election that is stolen – votes literally being switched in an e-ballot box – using the advanced technology of today? I wonder about the changes that need to be made in light of expanded population and new technologies, but that are resisted.
For example, the Founders never imagined the powerful role that political parties would play – indeed, had to immediately change the procedure for “electing” the President and Vice President – but the present system almost guarantees a President elected by a minority of voters. The Electoral College, which functions mostly by tradition and not by law, but was created as a check against populism at a time when communications were slow, voting confined to a small elite, has already been demonstrated to be obsolete in its function by twice selecting as President a candidate who lost the popular vote, not to mention that it nullifies the ideal of “one person-one vote” because it gives so much unequal representation to small-population states over high-population states (as does the Senate). The Founders never imagined the fire power of an assault weapon at a time when the most sophisticated personal weapon was a single-ball musket.
I don’t find the answers to my questions.
Constitution Heritage Act
A permanent memorial to the Constitution was first proposed around the celebration of the centennial of the Constitution in 1887. It did not begin to take shape until the idea was proposed again 100 years later during the document’s bicentennial celebration in 1987.
President Ronald Reagan signed the Constitution Heritage Act of 1988 on September 16, 1988. The act directed the establishment of the National Constitution Center, an institution “within or in close proximity to the Independence National Historical Park” that “shall disseminate information about the United States Constitution on a nonpartisan basis in order to increase awareness and understanding of the Constitution among the American people.”
The Center opened on July 4, 2003, at 525 Arch Street (the date itself was significant, translating to May 25, 5/25, the date that the Constitutional Convention began in Philadelphia in 1787) in Philadelphia’s Independence National Historical Park, “America’s most historic square mile.” Designed by the architectural firm Pei Cobb Freed & Partners, the building is made of American products, including 85,000 square feet of Indiana limestone, 2.6 million pounds of steel, and a half-million cubic feet of concrete. The limestone used in the building is from the same quarry as the Empire State Building’s materials.
The National Constitution Center owns a rare, original copy of the first public printing of the Constitution. This printing was published in a newspaper, The Pennsylvania Packet and Daily Advertiser, on September 19, 1787—two days after the Constitution was signed. Since the Constitutional Convention was conducted under an oath of secrecy, this printing represents the first time that Americans (“We the People”) saw the Constitution. (The original signed, handwritten Constitution is at the National Archives in Washington, D.C.)
Now is an especially exciting time for visitors because the Center is displaying the rarest handwritten drafts of the U.S. Constitution through 2019.
In addition to exhibits, visitors can enrich their visit with daily museum programs or a Living News performance.
In Living News, today’s headlines are brought to life in a dynamic performance incorporating video, contemporary music, and current news broadcasts. Featuring three engaging actors who play multiple roles, Living News introduces controversial constitutional issues and encourages audience members to explore their own points of view during a post-show discussion.
Visitor amenities include The Delegates’ Cafe, a glass-enclosed restaurant providing the backdrop of historic Independence Mall, as well as a Museum Store, offering a wide range of gifts, books, apparel, jewelry, and toys.
The National Constitution Center also houses the Annenberg Center for Education and Outreach, the national hub for constitutional education, which offers cutting-edge civic education resources both onsite and online.
The National Constitution Center is located steps from Independence Hall, where the Constitution and the Declaration of Independence were signed.
You need a minimum of 1 hour to visit, but more likely will spend at least two to three hours.
General Admission to the museum and daily programming: Adults $14.50; Youth (6-18) $11; Students w/ID, Seniors $13. Members, active military personnel, and children ages 5 and under admitted free.
The National Constitution Center, Independence Mall, 525 Arch Street, Philadelphia, Pennsylvania 19106, 215-409- 6700, constitutioncenter.org.
Visit Philadelphia provides excellent trip planning tools, including hotel packages, itineraries, events listings: 30 S 17th Street, Philadelphia PA 19103, 215-599-0776, visitphilly.com.
My third day of my deep-dive into Revolutionary War America in Philadelphia is devoted to exploring key figures and sites that I have never visited before: Benjamin Franklin Museum, the Betsy Ross House and the National Constitution Center. I especially appreciate what I am seeing after my visits to the newly opened Museum of the American Revolution and the National Museum of Jewish American History in the first two days.
Betsy Ross was a pistol.
The Betsy Ross House, in Philadelphia’s historic district best known for Independence Hall, proved a real surprise.
I realize that all I know of Betsy Ross is that she created the first American flag. But this museum, which is operated as a private, nonprofit attraction, really conveys what a significant figure she was – independent when few women had any independence at all, a true patriot who was courageous in working on behalf of the Revolution. And, like Ben Franklin, what a modern person she was, who I can believe, would have been at the front of the Women’s Marches waving a feminist flag of her own design.
Her story would be worthy of a drama: She was shunned by her Quaker family for eloping (at age 21) with John Ross, a man of a different faith (the son of an Anglican Reverend) – imagine running off and marrying for love in 1773. She was independent: soon after they were married, John, who had joined the local militia, was killed and she found herself a widow who had to fend for herself. Because they had no children, she was able to keep her property. She rented a room in this townhouse, as well as a shop on the street level where she had her own business sewing upholstery and throughout her life was a savvy businessperson.
She would have known General George Washington from Christ Church which the young couple attended.
You traipse through the small house – to the room she rented in what was a boarding house (not just women), and realize how unusual this is, and then, as you descend the stairs into the shop, much to my surprise, you meet Betsy Ross herself, sewing some fabric. You get to ask her questions about her life.
I ask her what the date is – Nov. 5, 1776 – and really get into the spirit of the thing, knowing that she will only answer questions up to that point, when I know what comes next.
She has been working on the flag in secret, upstairs in the room, where she keeps it hidden under fabric.
Why did she take the risk? “My late husband was a patriot. I wanted to support Washington and make something to allow the spirit of my late husband live. We never had a child. [Creating the flag] this was like giving birth.”
She said that she went from father’s house to her husband’s. Now 24 years old, “the heaviness of a loss forces you to grow up in different manner. Being on my own is more difficult than I would have imagined.”
Her husband, John, passed in January and she moved in March. “This is the Widow Lithgow’s home –she rents to individuals. I rent a room and shop space from her. If I remarry, I will go to different lodging.”
She would have lived here between 1776 and 1779.
She relates how General Washington had particular design in mind when he came to her in 1776. He was open to suggestions: his original idea for the symbol for American independence had the shape of square rather than rectangle (that was her idea).
Also, Washington had wanted six-pointed stars but Ross pushed to change the shape to five-pointed stars by demonstrating that it was easier and speedier to cut, and how she would sew it in so that the design could be seen on both sides.
She tells me with an appropriate measure of sass in her tone that a trusted messenger brought her flag to Washington rather than he come himself. “He has heavier things on his mind – to win the battle, not a flag.”
I never considered, before “meeting” Betsy Ross how courageous she was to make the flag – she could have been caught and jailed for sedition.
I ask if she has met Ben Franklin (thinking that his printing shop is nearby), but she says that she knows of him but has not met him. “He’s out of town a lot. I hear he is quite taken with squirrels,” she says with a slight smile as she continues to sew.
She actually had a very good business going during the American Revolutionary War, making flags for the Pennsylvania Navy.
Betsy Ross was born in 1752, and after attending a Quaker-run school, her father apprenticed her to an upholsterer. There, she fell in love with John Ross, a fellow apprentice, the son of an Anglican priest at the historic city parish of Christ Church, and the nephew of George Ross Jr. who was a signer of the Declaration of the Independence. The young couple eloped in 1773 when she was 21, marrying at Hugg’s Tavern in Gloucester City, New Jersey. The marriage resulted in her expulsion from the Quaker congregation.
The young couple soon started their own upholstery business and later joined Christ Church, where their fellow congregants occasionally included the visiting Virginia Colony militia regimental commander who would soon become General of a newly organized Continental Army, George Washington, as well as other visiting notaries and delegates who would become leaders of the rebellion and later, members of the Continental Congress.
They were married only two years when John Ross, a member of the local militia, was killed. They had no children.
She continued working in her upholstery business for the Revolution, repairing uniforms and making tents, blankets, and stuffing paper tube cartridges with musket balls for ammunition for the Continental Army.
On June 15, 1777, she married her second husband, Joseph Ashburn, a seaman. In 1780, Ashburn’s ship was captured by a Royal Navy frigate and he was charged with treason (for being of British ancestry, because the British did not recognize American colonial citizenship) and was imprisoned at Old Mill Prison in England. During this time, their first daughter, Zilla, died at the age of nine months and their second daughter, Eliza, was born. Ashburn died in the British jail.
Three years later, in May 1783, she married John Claypoole, who had coincidentally met Joseph Ashburn in the English Old Mill Prison and had been the one to inform her of her husband’s death. (Ross must have really been something, and the young woman playing the part today conveys that spirit.)
Betsy gave birth to five daughters with John Claypoole: Clarissa, Susanna, Jane, Rachel and Harriet (who died in infancy). With the birth of their second daughter, in 1786, they moved to a larger house on Philadelphia’s Second Street, settling down to a peaceful post-war existence. Philadelphia prospered as the temporary national capital (1790–1800) of the newly independent United States of America, with George Washington as the first President,
By 1812, John Claypoole’s war injuries had left him disabled; he died in 1817 after two decades of poor health. Betsy’s young, widowed daughter Clarissa moved into their home with her five children and a sixth on the way. With Clarissa’s help, Betsy continued to run her upholstery shop and flag-making business. But after 50 years in the trade, Betsy’s rapidly failing vision led to her retirement at the age of 76. Betsy eventually became blind. She spent the last three years of her life living with her daughter Jane’s family on Cherry Street in Philadelphia. She died peacefully in her sleep on January 30, 1836, at the age of 84.
Betsy Ross’s body was first interred at the Free Quaker burial grounds on North Fifth Street in Philadelphia (interesting in that the Quaker’s shunned her); 20 years later, her remains were moved to the Mt. Moriah Cemetery in Philadelphia. Then, in 1975, in preparation for the American Bicentennial, the City ordered the remains moved to the courtyard of the Betsy Ross House. Cemetery workers found no remains beneath her tombstone, but bones found elsewhere in the family plot were deemed to be hers and were re-interred in the grave which we tourists visit at the Betsy Ross House.
The museum does an excellent job of revealing the situation of women in Revolutionary times, what it was like for the women and children left behind when their men went to war, and how they provided for themselves when they were widowed. I go down to the kitchen area where another woman interprets what it would have been like to have been a Washerwoman – one of the few professions that a woman who had to fend for herself could undertake.
“Working as a laundress was a difficult, low paying job in the 18th century; in early colonial period, many were enslaved or indentured servants; toward the end of the 18th century, most were free black women and widows struggling to support themselves.”
We are introduced to Judath, an African American washerwoman employed by Elizabeth Drinker, a wealthy Quaker woman. Jane Gray, a widowed African American washerwoman, who was a member of the “Black Class” at St. George’s Methodist church and later joined St. Thomas’ African Episcopal church. Susanna Cook, a widow with two children who lived at 3rd & Walnut Streets, whose husband died in the Yellow Fever epidemic of 1793 and to earn a living, rented out rooms and worked as a washerwoman earning $3 a week; she fell ill in 1801 and died impoverished in an almshouse.
There are special exhibits: “Stitching the Story Together: Betsy Ross and the American Flag” opens March 1; “Furnishing the Widow’s Chamber (opens March 1).
Allocate about an hour to visit.
Admission: Self-guided tour: $5/adult, $4/seniors, children, vets, students; add $2 for the audio tour (a child’s audio tour is available).
When I leave the Betsy Ross House, I think how appropriate that other clothing/sewing places are also on this block, and just a few doors down, come upon Women’s Resistence – The Outrage (www.the-outrage.com)
The brand was started 2016 – it was supposed to be celebratory for first woman president, but instead, has become an outlet for outrage and resistance for artists and activists. A portion of sales helps benefit organizations – ACLU, Planned Parenthood, 350.org. The first store oened in DC; this one opened this fall, with other outlets planned across the country.
My immersion into Revolutionary War Americana in Philadelphia continues at the Constitution Center.
Visit Philadelphia provides excellent trip planning tools, including hotel packages, itineraries, events listings: 30 S 17th Street, Philadelphia PA 19103, 215-599-0776, visitphilly.com.
