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    History

    A New York Minute In History

    A New York Minute In History is a podcast about the history of New York and the unique tales of New Yorkers. It is hosted by State Historian Devin Lander, Saratoga County Historian Lauren Roberts and Don Wildman. Jesse King and Jim Levulis of WAMC produce the podcast.

    A New York Minute In History is a production of the New York State Museum, WAMC Northeast Public Radio and Archivist Media.

    Support for the project comes from The William G. Pomeroy Foundation, the National Endowment for the Humanities and a Humanities New York Action Grant.

    Find us on social media! Twitter: @NYHistoryMinute

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    Latest Episodes:
    Georgia O'Keeffe and Her Visit to Wiawaka | A New York Minute in History Jun 16, 2022
    Show notes

    On this episode, Devin and Lauren discuss how the poor conditions of female textile workers in Capital Region cities led to the creation of a retreat where women could “escape” the cities. Wiawaka was founded by Mary Fuller, an advocate for women workers in Troy, and the wealthy philanthropists Katrina and Spenser Trask. Wiawaka originally included a planned artist’s retreat, called Wakonda, where Georgia O’Keeffe was invited to stay as a young artist and member of the Arts Students League. This introduction to Lake George had a monumental effect on O’Keeffe’s life and art, and she spent several years working in the area. Marker of Focus: Georgia O'Keeffe, Lake George, Warren County Guests: Doreen Kelly, executive director of Wiawaka, and Karen Quinn, art historian and curator at the New York State Museum A New York Minute In History is a production of the New York State Museum, WAMC, and Archivist Media, with support from the William G. Pomeroy Foundation. This episode was produced by Jesse King. Our theme is "Begrudge" by Darby. Further Reading: Messinger, Lisa Mintz. Georgia O'Keeffe. London: Thames & Hudson, 2001. O'Keeffe, Georgia. Georgia O'Keeffe. New York: Viking, 1976. Wiawaka Holiday House: https://upstatehistorical.org/items/show/84?tour=7&index=10 Capital Region Textile Industry: https://www.albanyinstitute.org/textile-industry.html The Collar City by Don Rittner: https://rensselaer.nygenweb.net/article11.htm Collar Maid Cuffed Bosses by Pam Trudeau: https://rensselaer.nygenweb.net/article4.htm More on Georgia O’Keeffe: https://www.okeeffemuseum.org/about-georgia-okeeffe/ Follow Along Devin: Welcome to A New York Minute in History. I'm Devin Lander, the New York state historian. Lauren: And I'm Lauren Roberts, the historian for Saratoga County. On this episode, we're taking a deeper look at a marker located along Route 9L on the eastern shores of Lake George, which is located in Warren County. The title of the marker is “Georgia O'Keeffe,” and the text reads: “Georgia O'Keeffe, 1887 to 1986. American artist who stayed at Wakonda in June 1908 on a scholarship from the Art Students League. William G. Pomeroy Foundation, 2016.” The artist Georgia O'Keeffe is pretty much a household name, but I'm guessing many of our listeners haven't heard of Wakonda, which is the lodge Georgia O'Keeffe stayed in, or the Art Students League. So let's take a step back and talk about what brought this young artist to the shores of Lake George in the summer of 1908. In the 19th century, the city of Troy in Rensselaer County was known as the "Collar City," because Troy produced the majority of detachable shirt collars in the country. Detachable collars are now a thing of the past, but in the 19th Century, they were really popular. The collar was usually the dirtiest part of the shirt, and it needed to be laundered most frequently, and in the days before washing machines, this was really a pain. So someone in Troy — there's a couple of conflicting stories about who actually came up with the idea — but someone in Troy created the concept of a detachable shirt collar, and eventually detachable cuffs as well. So the idea was, you could just remove the collar and replace it when it was dirty, saving the laundresses from having to wash the entire shirt. This industry exploded in Troy, and by the early 1900s, 15,000 people were working in the collar industry in that city. It also expanded into the larger textile industry, which made it a desirable location for new immigrants to settle, because jobs were readily available. The majority of workers in the textile industry in Troy were female, and many of them were immigrants, most of them with very low incomes, who worked extremely long hours. And this is where Mary Fuller enters the story. Mary Fuller was the daughter of a wealthy Troy industrialist who was an advocate for women's rights. Mary Fuller was sensitive to the fact that these women working in the industries in and around Troy, such as the shirt collar factories, mills, and laundries — they couldn't have afforded a vacation. They were making really low wages and just getting by, and so Mary fuller had the idea to create a place that would be affordable for these women to be able to have some respite from their jobs in the city. Doreen: My name is Doreen Kelly. I'm the executive director at Wiawaka Center for Women. Our original name is Wiawaka Holiday House. Lauren: To learn more about Wiawaka, we spoke with the executive director Doreen Kelly. Doreen: Katrina Trask and Mary Fuller both believed in giving back to the working woman. They believed in giving these women that worked in the factories in Troy an opportunity to have a holiday on Lake George. Lauren: Mary Fuller's family had means, and so that means she also had friends with means. So she approached one of these friends, Katrina Trask, to ask for help in developing this vision. The Trask name might be familiar to people in and around Saratoga Springs, which is where Spenser and Katrina Trask had a home called Yaddo. They also had purchased an estate on the southeastern shores of Lake George, which was called Crosbyside. It was the site of a former hotel, the United States Hotel. The property seemed exactly what Mary Fuller had envisioned as a getaway for the young, working women of Troy. It wasn't terribly far away from the city, it was out in the country with fresh air. At first, Mary Fuller leased this property from the Trasks, but eventually Katrina sold it to Mary for $1 and a bouquet of flowers. Doreen: Wiawaka was formed. It’s the oldest continuously operating women's retreat center in the country. [Wiawaka] is an old Indian name [for] “the great spirit of women.” We have five historic buildings where people can stay, overnight accommodations. Three of them are Victorian in style, and those are the original Fuller House, where Mary Fuller's family originally had stayed, but now is the main house. The dining room’s there, the front desk is there, and there's also staff quarters. Rose and Mayflower are two other Victorian cottages similar in that they were also considered guest cottages, but they’re two floors. Lake House was built in the early 1950s because of the overflow of all the guests that were staying at Wiawaka, and it's got also a very Adirondack feel to it, with eight rooms on the top and eight rooms on the bottom. And there's a communal screened-in area that's quite lovely. People love Lake House. And then Wakonda is still the same, original to its date of what it looked like back in 1908. Very Adirondack in style, with the bead boarding and the ornate woodwork in the front. It’s very simple furnishings, but it is the closest building to the water, so when your windows are open, you can hear the water, get the breezes. So it's a very beautiful, open, spacious, peaceful location on Lake George. Wakonda was where the New York City League of Art Students stayed. They gave the students the ability to apply to different types of opportunities to go and paint outside of New York City, and they stayed for a month. And we know Georgia O'Keeffe did stay, and we even know the room number: Room 18. Her award-winning submission was the [Dead Rabbit and Copperpot], and that is what won her the scholarship to come paint on Lake George for a month. Devin: Most people know the name Georgia O'Keeffe, and probably those that do recognize her for the work she created in New Mexico, and her kind of existential nature scenes, as well as her famous flowers, of course. But I think there's less of a realization that Georgia O'Keeffe spent a great amount of time in New York — New York City as well as Lake George. So how did Georgia O'Keeffe end up in New York City? She was born on a farm in Wisconsin, she spent time as a teacher, she spent time moving around before she followed her muse as an artist. And of course, New York City being the kind of bastion of art in this country, then and today (We're talking the early 20th Century), [that] really was the reason that she ended up there. I sat down with my colleague, Art Historian Karen Quinn, who tells us a little bit more about Georgia's early life. Karen: She came from a family of farmers, but her mother and grandmother were very much interested in the arts, and certainly fostered that not only in Georgia, but in her sister Ida, as well, who is a good artist. But Georgia went first to the Art Institute of Chicago, and then she headed east to the Art Students League in New York City, which truly was the place to go. The Art Students League is one of the most important art schools in this country. Historically, it was founded in the 1870s as a response to the National Academy of Design, which is also in New York City, and which was more of a conservative institution. And the Art Students League would allow people to come in and just take classes, which was attractive to students. The list of artists who've gone to the Art Students League is a mile long, everybody from Winslow Homer to Jackson Pollock. Devin: Oftentimes, students would go on to become teachers there, and this continues to this day. The Art Students League is still open and vibrant and flourishing in New York City. It is also famous for its summer schools. We know about the one in Woodstock that it held for many years, in the Woodstock Arts Colony, but it also, obviously, held one in Lake George in 1908. And her piece that she put forward for this award was actually a very realistic type of artwork. It was realism — she was not a modernist [then], as she would later become famous for. So I think we see that change from realism to modernism beginning in her time in Lake George. Doreen: She was probably about 18, 19 years of age, and as far as details of their time on the lake, I feel it was very flexible. There may have been other artists and instructors that came over the course of the time they were there, but they were all given the flexibility to paint. We have several photographs of her participating in different activities on the property, and we know that they did go boating, and they walked into the village. And it's quite interesting to hear that that's when Georgia also started painting more flowers and the lake. And in her history, we know that that's where she got a lot of that inspiration — it was her time on Lake George. And we also know she extended her time. So she spent most of that first summer at Wiawaka and Wakonda, painting and being part of that New York City elite group of artists. Karen: In the 1910s, she was kind of all over the board, teaching and trying to eke out a living, and at times she turned away from art briefly. She took some summer school classes when she was teaching in Virginia, and the teacher there introduced her to the concepts of Arthur Wesley Dow, and Dow continues to be influential as a teacher. He published a well-known art book called Composition. He was very interested in the tenets of Japanese design, and this led to O'Keeffe experimenting and moving away from the kind of painting she had done early on in the Art Students League, such as [Dead Rabbit and Copperpot]. Her art became completely abstract by the mid-1910s, something that she then would back away from afterwards, but it was that work on paper, charcoals that came to the attention of Alfred Stieglitz, when a friend of O'Keeffe sent the work (unbeknownst to her) to Stieglitz. And Stieglitz, actually, was profoundly interested in the work, and exhibited it at his gallery, 291, in New York City. Lauren: This trip that Georgia took to Lake George would certainly not be her last, right, Devin? Devin: You're right, and Georgia’s return to Lake George really is a result of her relationship with Alfred Stieglitz, who was a prominent photographer and gallery owner in New York City. He was really the first person to show Georgia's work professionally in his gallery. He was also a talent scout of sorts for various artists. Karen: He had his fingers in many, many pots. He himself was an extraordinary photographer. He promoted photography as a fine art at a time when photography was belittled. He promoted American art at a time when American art was not first and foremost on people's minds. He had a series of galleries in New York City, where he had a stable of artists that would include O'Keeffe and other artists who are considered modernists, like John Marin and Arthur Dove, Charles Sheeler, and so forth. He invited O’Keeffe to move to New York, and basically provided her with a living starting in 1918. So she came back to New York, and they would eventually marry in 1924. So it was this extraordinary relationship between the two of them — and it wasn't all sunshine and roses. He was married when he met her. He couldn't get divorced for six years. And then it was through Stieglitz's family getaway in Lake George that she returned to Lake George. She's beginning to become the O'Keeffe that we all associate with her work. She's starting to work in still life with the flowers. She's very influenced by the architecture around Lake George — the barns, she does a whole series of the barns. She does a variety of the kinds of things that we would associate with her abstract, but still recognizable, style. She steps away from the pure abstraction that she had achieved in the 1910s and goes back to something that still has a foot in visual reality, but she is certainly putting her mark on it. And she's certainly making things the way she sees them. She becomes an amazing colorist. Sometimes her paintings are so subtle in color, and just unbelievably quiet, and then other times, they're bombastic. Some of that comes when she starts to go to New Mexico, but she really had quite a brilliant career as a colorist. One of my favorite series that sort of has the essence of O'Keeffe at Lake George is this series called the "Shell and Old Shingle" series. And it starts out fairly recognizable, and they're small. The old shingle is a barn shingle, and it's a clam shell, and she gets increasingly — in their little verticals, they get increasingly more abstract until she turns the shell and old shingle on its side. And the profile of the shingle becomes the landscape of Lake George. People see this and they go, “That can't possibly be the name of that painting,” because there's no shell or shingle in it. But it's actually, you can see how she worked from reality all the way to her abstractions. Devin [to Karen]: Where would that artwork be housed right now? Is it at the O’Keeffe Museum? Karen: No, the group of those, five of them are at the Museum of Fine Arts in Boston. And one, I think — I may be wrong, but it might be in St. Louis. I'm not positive. Devin [to Karen]: You mentioned New Mexico, and by the early 1930s, O'Keeffe was spending more time there than she was in Lake George or New York City. Why was this, what was the attraction? Karen: She was always a little bit fragile health-wise, mentally and physically, and oftentimes felt overwhelmed. Her relationship with Stieglitz was — I don't know if you'd say problematic. It certainly was all over the boards. He produced hundreds of photographs of her, both clothed and in the nude, that are just extraordinarily beautiful. He certainly was very important to her as a mentor, and promoting and selling her work And certainly exhibiting her work and making it well known. But part of the problem they had later in their marriage is that he had an affair, a well-known affair with Dorothy Norman, and that sent Georgia O'Keeffe into a bit of a health spin, I would say.…

    Full show notes at the publisher

    Early Auto Racing in New York | A New York Minute in History May 03, 2022
    Show notes

    On this episode, Devin and Lauren discuss a William G. Pomeroy marker recognizing a 1900 auto race in Suffolk County, New York, and the importance of racing in automobile history. Was that race to Babylon really the first of its kind in the U.S.? And how did Watkins Glen International get its start?


    Margaret Hastings, the “Shangri-La WAC” | A New York Minute in History Mar 30, 2022
    Show notes

    In honor of Women's History Month, Devin and Lauren highlight a Pomeroy marker in Tioga County and tell the story of Corporal Margaret Hastings, a member of the Women's Army Corps who survived 47 days in a New Guinea jungle during World War II. Marker of Focus: World War II, Owego, Tioga County Guests: Mitchell Zuckoff, author of Lost in Shangri-La; Emma Sedore, Tioga County historian A New York Minute In History is a production of the New York State Museum, WAMC, and Archivist Media, with support from the William G. Pomeroy Foundation. This episode was produced by Jesse King. Our theme is "Begrudge" by Darby. Further Reading: Lost in Shangri-La by Mitchell Zuckoff Women For Victory Vol 2: The Women’s Army Auxiliary Corps (WAAC) (American Servicewomen in World War II: History & Uniform Series, 2) by Katy Endruschat Goebel The Ghost Mountain Boys: Their Epic March and the Terrifying Battle for New Guinea--The Forgotten War of the South Pacific by James Campbell Teaching Resources: Women in the Army: The Creation of the Women’s Auxiliary Corps U.S. Army Center of Military History: “The Women’s Army Corps: A Commemoration of World War II Service” By Judith A. Bellafaire PBS Learning Media: Corporal Margaret Hastings Follow Along Devin: Welcome to A New York Minute in History. I'm Devin Lander, the New York state historian. Lauren: And I'm Lauren Roberts, the historian for Saratoga County. In honor of Women's History Month, we have a fascinating account for you that includes tragedy, survival, ingenuity and an amazing plan of rescue. We begin the story in the village of Owego, which is located in Tioga County, in the Southern Tier region of New York. The William G. Pomeroy historic marker is located in front of 106 McMaster Street, and the text reads: “World War II. Home of Shangri-La WAC, Corporal Margaret J. Hastings, who survived 47 days in New Guinea jungle after May 13, 1945 plane crash. William G. Pomeroy Foundation, 2016.” So there's quite a lot to unpack from those few lines of text. But let's start at the beginning. The sign is marking the former home of Corporal Margaret Hastings, so who was she? We spoke with Tioga County Historian Emma Sedore, who told us a little bit more about what Margaret's life was like growing up in Owego. Emma: One day at the museum, this man comes in with a big scrapbook. He said he's a builder, and he was taking a barn down in Ithaca when he found the scrapbook – and it happened to be Margaret Hastings’ personal scrapbook. It had photographs and letters, and it had the telegram that went to her father when she went missing – oh my God, it was amazing. So I said to the director, “I'll take it! I'll index it!” And one day when I went into the museum, the director said to me, “This gentleman is gonna write a book about her.” I looked up, and there's this handsome guy at the copy machine. I said, “Oh!” and he introduced himself. Mitchell: I’m Mitchell Zuckoff. I’m a former newspaper reporter for The Boston Globe, and I write narrative nonfiction. I came across a Chicago Tribune headline: “Glider Rescue in Shangri-La Delayed by Clouds.” It sounded to me like an April Fool's kind of headline – it’s just too crazy. It was a Chicago Tribune story by Walter Simmons, and he just started describing that there was this plane crash in the highlands of New Guinea, in this lost valley. And there were three American survivors, and one of them was a member of the Women’s Army Corps…One thing after another just made me stop everything and say, “How do I not know this?” For someone who focuses on World War II, how has no one ever written a book about this? Emma: And I gave him all the information [I had]. I had a folder that probably weighed two pounds of all kinds of collections I had about Margaret Hastings. She grew up in Owego. She graduated from Owego Free Academy, and then she was a private secretary for 10 long years. She never wanted to get married, she was very independent. She had two younger sisters – her mother died when she was a teenager, and so Margaret often was like a mother to her two sisters. I think she probably thought to herself, “Well, this is the same old, same old. How long am I gonna do it?” And probably when she turned 30, maybe like the rest of us, she said “I’ve got to do something different.” And that's when she joined the WACs in January 1944. Devin: So what were the WACs? Well, they initially started as the Women's Army Auxiliary Corps in 1942, and they were really a branch of the U.S. Army that was dedicated to doing secretarial work and other kinds of logistics work at army bases throughout Europe and the Pacific. In 1943, they became an active duty unit of the army and changed their name to the Women's Army Corps. So the WACs, as they were famously known — somebody like Margaret, who was trained as a secretary, of course, her skill set would lead to be a secretary at the military base. And that's exactly what happened. She was stationed in a place called Hollandia, in New Guinea. This is 1945, this is actually after the European theater is essentially over, but the Pacific theater was still very active. New Guinea had been essentially cleared of Japanese forces, but there were still an estimated 10,000 of them living in the jungle, cut off from the rest of the Japanese army. So New Guinea was a very dangerous place. Mitchell: Hollandia is now called Jayapura, and it's on the north coast of New Guinea. It was then and even to this day: it's a largely uncharted, deep rainforest, with enormous numbers of individual native tribes, many of whom, up till the 1940s, had never been contacted by anyone in what we would call the modern world. And life in Hollandia was really, really hard. I think it was spectacularly beautiful, but the conditions were really brutal. The Women's Army Corps members said the biggest variety was that there were five different kinds of jungle rot you could suffer from. They worked tremendously hard. They worked six-and-a-half or more days a week from the war effort. [There were] spiders the size of dinner plates, they said, and that was the easy part. Devin: One of the ways the officers came up with to produce some sort of relaxation and entertainment was to travel to the recently rediscovered valley of Shangri-La. Lauren: The word “Shangri-La,” it's probably something that we've heard, but maybe we don't know where it comes from. It actually comes from the book Lost Horizon, which was a novel written in 1933 by author James Hilton. Shangri-La actually refers to a fictional place talked about in this novel, and it's supposed to be kind of an idyllic place on earth. It's hidden away, it's untouched by time. So you can see the connection between the area where they were flying over, which was a deep valley, and why they would refer to it as Shangri-La. Devin: Right, it was a valley about 150 miles south west of Hollandia. And recently, military personnel had flown over this section of mountains — which is why they didn't realize this valley existed, they normally avoided the mountains, but somehow they ended up flying through them — and there's this valley below. And the immediate unique part that these pilots saw: they saw many villages. Mitchell: Stories grew up around them in Hollandia, when someone would fly over Shangri-La, the valley. And stories tend to have this quality, they keep getting bigger the more times they get retold. These were huge, just giants. They grew pigs the size of ponies, and they practice human sacrifice and were cannibals — and only that last part was true. They were cannibals, but other than that they were actually a fairly diminutive people. Their pigs were normal sized. But the idea was that these were incredibly fierce warriors…and actually, that was true also. It says something about human nature that I guess I'll leave to the anthropologists: despite living in a place where food was abundant, land was abundant, they had no disagreements about their belief system — the valley was in a constant state of warfare. They occupied themselves, in a way, by fighting. Emma: And so naturally everybody's curiosity was peaked, and they wanted to go and see it too. Lauren: So on a Sunday afternoon, May 13, 1945 — which actually happened to be Mother's Day — 24 servicemen and WACs got on a plane for a sightseeing mission into the Hidden Valley. Mitchell: It was a pleasure trip. There was really nothing they were trying to accomplish, and I think that stuck with Margaret for the rest of her days. Emma: It was a big C-47 transport. Margaret was sitting in the back of the plane, right next to soldier named Lieutenant John McCollom. It took 55 minutes to get to the top of that mountain, like about 10,000 feet up. Devin: To make it to the valley, you basically had to fly between mountains and fly at a high enough altitude to actually be in the clouds, so you couldn't really see your way in. What we know is that Margaret's immediate boss, Colonel Peter Prossen, had flown to the valley before and knew the way in — but for whatever reason, he decided to hand over controls to his copilot, who had never flown into the valley. Mitchell: He is talking with people and enjoying himself, and he left probably the hardest part of the flight to this much, much less experienced pilot, Major Nicholson. And even to this day, there are high winds, updrafts and downdrafts. It's a fairly narrow pass. It was it was recommended, in fact, when the first flights were going into the valleys for the sightseeing trips — they were adamant: “Don't have inexperienced pilots do this.” And that's exactly what happened. Devin: John McCollom, who was watching out the windshield — he was in the back of the plane, but he could see what the pilot was seeing — [he saw what] was essentially a mountain coming towards them. Nicholson pulls back, tries to gain altitude enough to avoid it and go over the top of the mountain, but he was unable to, and they flew directly into the side of a mountain, in the middle of the jungle. Emma: Everything was almost like instant, it just exploded into a ball of flames. John, by some miracle, he wasn't hurt at all. The back of the plane broke off, and he was able to crawl out, as did Margaret. And then there was another person that walked out, his name was Sergeant Kenneth Decker. Margaret was burned on her legs, very severely, and Decker had a wound on his head and was burned on his back. McCollom could hear voices in the plane, and so he went back to the plane, and he managed to bring two of the WACs out. But they were so badly burned, and where they were on that mountain, they said it rained all the time, especially at night. And so they covered themselves with tarps, and in the morning, when they got up, the girls had died. In fact, Margaret almost panicked, because she said, “Oh my God, oh my God, she's dead!” And what she had to do was, Margaret's shoes got blown off [during the crash], so she took the shoes off of her dead girlfriend, and she said she felt really terrible about it. I don't know what John did [with the bodies]. I think he just covered the bodies with a tarp. Lauren: It was tragic for all of them, but John McCollom's twin brother actually was on the plane with him and died in the plane crash. So it's hard for us to imagine what he would have been going through, not only the loss of his twin brother, but now trying to figure out how they were going to survive in the middle of a densely packed jungle. Devin: He's able to climb a tree and see that there is a clearing in the valley, and so he decides they need to make it there — because there's no hope of rescue or even being seen when you're in canopy jungle. And it's not an easy trip. Two of them are severely injured, Margaret so bad that she has to crawl at some points. They find a dry riverbed, and that's what they use to kind of get down this hill. At times though, there's water in that, as it rains, and so they end up being in water and mud. It takes them several days to get down to the clearing, and once they're there, that's just the beginning of the story. Lauren: John's plan works: the rescue planes do come by, the survivors know that the plane has seen them because he tips his wing. And so at this point, they believe that there will be help coming back. Devin: So what was this clearing that they found? Well, it was actually cultivated land by the natives who lived in the valley, the people of the Yali and Dani tribe. And they had a village very close by — in fact, it was a sweet potato patch that they were in. That first night that they were there, they are actually make contact with these people that they had never seen before. Mitchell: The valley people were living, as I maybe mentioned earlier, really a Stone Age existence. They didn't have the wheel. The men wore hollowed out gourds to cover their genitals, and they used bows and arrows to fight each other, and the bows were unflecked. They were living, literally, in another millennia from the people who had just landed in their world. I talked to old men and women who were children when this happened. Sadly, I imagine they're gone now, but 60 years later, these people, of course, still remembered. They recognized that these people — whatever they were, some of them didn't even recognize them truly as people — but they didn't look like their enemies. So the initial reaction was curiosity. Some of them thought they were gods or ghosts, because ghosts play an enormous part in the culture of the people of the valley. And so these light-skinned people wearing clothing were just such a mystery to them that they saw no immediate need to kill them. It's remarkable. The initial thought was, if you knew all about the warlike culture of the people, you would think they're going to slaughter these people — and they easily could have, especially when it was before the paratroopers arrived, and it was just Margaret, McCollom, and Decker. Devin: So we have to realize it's almost impossible to get out of this valley without walking 150 miles through the jungle. And obviously, with two severely injured people, and even a healthy person, that is a daunting task. So how would a rescue mission take place? You can fly over the valley with aircraft, but there are no helicopters or anything that could land easily. It's a jungle — landing a full military aircraft, and the need for a runway and all of that, is just impossible. So the idea of rescue really comes down to one thing: parachuting people in. Mitchell: Earl Walter and these Filipino American paratroopers were dropped in to protect the three and try to help them until they could figure out a plan to get out. I had the privilege of spending time with Earl at the end of his life, and Earl was amazing. He was this sort of strapping, 6-and-a-half-foot-tall guy who thought what he wanted was to get into battle, but his greatest mark in World War II was helping to keep alive these three plane crash survivors — along with the medics and the paratroopers he brought with him, this incredible group of Filipino American volunteers. They wanted to do anything possible, because both of their homelands had been invaded, and they wanted to be part of the war effort. Lauren: By this point, news had gotten back to the U.S. about this horrific plane crash, and about the story of these three survivors that were stuck in this jungle. Devin: The way this happened was there were two war correspondents, and they would take turns flying on supply missions to the valley to check in with [the survivors], and make sure everything was OK, and they would do that by radio.…

    Full show notes at the publisher

    Rapp Road and the Great Migration | A New York Minute in History Mar 03, 2022
    Show notes

    On this episode, hosts Devin and Lauren delve into the history of Albany County's Rapp Road Community, an African American neighborhood built by southern immigrants who moved north for a better life in the late 1920s. Marker of Focus: Rapp Road Community Historic District, Albany County Guests: Stephanie Woodard, board member of the Rapp Road Historical Association; Dr. Jennifer Lemak, chief curator of the history collection at the New York State Museum, and author of Southern Life, Northern City: The History of Albany’s Rapp Road Community A New York Minute In History is a production of the New York State Museum, WAMC, and Archivist Media, with support from the William G. Pomeroy Foundation. This episode was produced by Jesse King. Our theme is "Begrudge" by Darby. Further reading: Southern Life, Northern City: The History of Albany’s Rapp Road Community Jennifer A. Lemak (2008) Black Protest and the Great Migration: A Brief History with DocumentsEric Arnesen (2002) The Southern Diaspora: How the Great Migrations of Black and White Southerners Transformed AmericaJames N. Gregory (2005) Teacher Resources: PBS Teaching Guide: Exploring the Great Migration National Archives- Harry S. Truman Library and Museum: The Great Migration Lesson Plan Stanford University, Stanford History Education Group: Great Migration National Geographic: The Great Migration- Educator Guide Follow Along Devin: Welcome to A New York Minute in History. I'm Devin Lander, the New York state historian. Lauren: And I'm Lauren Roberts, the historian for Saratoga County. This episode is focusing on a marker which recognizes the history of a small African American community located within the city of Albany that came into existence as a direct result of the Great Migration. Now, this sign isn't a traditional blue-and-yellow historical marker. It is brown, and has white text on it, and it recognizes the inclusion of this community on the National Register of Historic Places. Located at 28 Rapp Road in the city of Albany, the text reads: “Rapp Road Community Historic District has been placed on the National Register of Historic Places in 2002 by the United States Department of the Interior. William G. Pomeroy Foundation, 2017.” The marker we're focusing on today is part of a different grant program offered by the Pomeroy Foundation. When a structure or a district receives that designation, there's no allowance of any kind for signage or a plaque, so the Pomeroy Foundation offers a program where you can apply to them for a marker, in order to increase awareness of the historic place. Getting back to the Rapp Road Community Historic District – as far as the location, it's located near Crossgates Mall. So it's near a lot of heavy commercial development today, but that wasn't the case back in the late 1920s and early 1930s, when the community was formed. The houses here have a different look than the rest of the nearby neighborhoods, and the general residential areas around it. So how, Devin, did the Rapp Road community get its start, and where did the founders of this community come from? Devin: The genesis of the story begins in the Deep South. The vast majority of the residents that would go on to live at Rapp Road here in Albany came from a town called Shubuta, Mississippi. Shubuta, Mississippi is located in eastern Mississippi, formerly on the lands of the Choctaw Nation, which were open to settler colonists during the period of Indian removal in the 1830s. Shubuta developed a role as a trading post and market for the surrounding cotton plantations during the antebellum period, and the vast majority of African Americans living in and around the area were enslaved. In 1865, the town of Shubuta was incorporated, and in the post-Civil War years, slavery was replaced with the almost equally oppressive sharecropper system. Racism ruled the day during this era of Jim Crow in the South, and Blacks lacked opportunities for education and good-paying jobs. Almost everything was segregated, and even walking on the wrong side of the street in Mississippi could get a Black person lynched. This horrific racial terrorism, along with the disenfranchisement of Blacks by the state of Mississippi, and the rest of the Deep South, led many to flee the area for a better life and better opportunities. This mass movement of Blacks towards an opportunity for a better life was called the Great Migration. Jennifer: Between 1910 and roughly 1970, over 7 million African Americans moved from the southern United States to the north and to the west – predominantly cities, but a lot of African Americans also moved to rural areas. Devin: We spoke Dr. Jennifer Lemak, chief curator of the history collection at the New York State Museum. Jennifer: Out of the 7 million African Americans that moved out of the South, 1.5 million of these African Americans moved to New York state. The majority of them moved to New York City because of the lure of Harlem, but thousands upon thousands moved all across New York state: to the Hudson Valley, because brickyards in the Hudson Valley were some of the first integrated places along the corridor; to Albany, Syracuse, Rochester and Buffalo. There were lots of opportunities for employment, particularly during World War I and World War II, because factories had high manufacturing rates, and they needed people to come and fill these jobs. Places like Albany, they had huge increases, particularly around the wars, but also between 1950-1960. We see, you know, thousands upon thousands, the African American population almost doubling. A lot of people consider the Great Migration kind of being over after World War II, but there was a steady stream of migrants coming all the way through 1970. Devin: The main force behind the settlement of Rapp Road was really Reverend Louis W. Parson and his wife Frances. Now, this is a very interesting story. They were both from Shubuta. They both left, originally trying to settle in Ohio, and things didn't work out there for them. And one day, the reverend looked to his wife and said, “Let's leave.” And they got in their car, and they drove – and they had no real idea where they were going, they just drove. And eventually they made their way into Albany, and they happened to be driving down Franklin Street when they noticed four women outside of a small church who were conducting a prayer meeting. And the Parsons stopped, and got out, and spoke to the women, and introduced themselves, and mentioned that he was a reverend. And the women said, “Oh, it's interesting that you stopped by now, because our church is trying to find a new reverend.” And throughout the rest of his life, when asked, “Why did you settle in Albany? What brought you to Albany?” his answer was, “God led me to Albany.” And that congregation was the First Church of God in Christ, which was established in Albany and is still here. After founding their church, the Parsons returned to Shubuta to recruit residents there to come north and join them. We spoke with Stephanie Woodard from the Rapp Road Historical Association. Stephanie: We have to think this is [the] Jim Crow [period], there was still lynchings in Mississippi. The people who left out of Shubuta were sharecroppers, so their parents would have been slaves. Some stayed in Mississippi after emancipation and became sharecroppers. So when they made the decision to leave to go to Albany, you know, it was a significant decision, because leaving a debt in Mississippi was a crime. And you could get killed for leaving that debt. So when Elder Parson would come, people who wanted to come to Albany, they just had to be ready. First come, first serve, you get in the car, he would take you up to Albany. They would leave at night, and they will leave on a Saturday night, because the sharecroppers were very religious people in the South. These people were very religious, so no work ever happened on Sunday. So if they left in the night, they could get to the Mason Dixon Line before day, [and] all day Sunday, no one would think anything, because there's no work being done on Sunday. Come Monday, they would be pretty much in Albany. So they would drive all night, and all day, until they came to Albany. They brought very little, maybe a suitcase, very little money, you know, maybe $1.75, or something to that effect. And so this went on for a very long time, until Elder Parson was being threatened to be arrested. And when that happened, Jack Johnson – that’s my grandmother’s first cousin – he also helped. And he would come at night, I think he would honk the horn or do his light, and that meant first come, first serve, you get in the car. And it continued, it continued for several years, and that's how people came up to Albany. They couldn't take the train. Some people did take the train if they had the funds, but even taking the train was dangerous, because that was segregated as well. If a sharecropper knew the people who were operating train, you know, taking tickets and so forth, they could go down and say “Hey, if you see so-and-so getting on this train, call me, because they’re trying to get out of the South, and go north.” And even driving through the different towns is very dangerous. You can’t just stop wherever you want to stop and get food and go to the bathroom and get gas, you know, you had to have a specific area where you want to stop and get gas. So The Green Book, if anyone's ever seen the movie, is true to fact. People of color had to be very, very, very careful. And then, not everybody could come, it was a decision of who's going to go north, and who's going to stay here. And if you are going to stay, where are you gonna go? Because you can't live in the same house, where the sharecropper comes to get you and say, “You owe a debt.” So even though we talk about this all happening during the ‘40s, it’s very, very scary situation for them, and families were split up. But they all came together once they got settled in Albany. I am actually a third generation of relatives who live out in Rapp Road. My grandparents, George and Dora Woodard came to Albany by Shubuta Mississippi and Mobile, Alabama. I would say it had to be in the ‘30s given my father's age. They came here because their cousins had settled here, and they were looking for a better educational system. Back in Shubuta, Mississippi, when my aunt got to high school, around high-school-age(ish) – they didn’t have a high school, and they had to go to a different county. I believe that's when my grandparents, particularly my grandmother, started looking at other states. So my grandfather had siblings in Alabama, and attended a Catholic school. But she still felt that there was a lot of segregation, and that they weren't getting the best education. So that's when they decided to move to Albany. Once people started coming into Albany, they were living in the South End of Albany and [there was] a lot of crime, prostitution, gambling, and people wanted to go someplace else. And what Reverand Parson did was he also purchased land out where we now call Rapp Road. He would lend money, and allow people to purchase their land out there on Rapp Road, and they began to build their homes by hand. So they would come in the evening, after work or on Saturday, and build, and live in the South End of Albany until the property was complete. Other people out on Rapp Road would help, and some people came with a lot of skill. Like the McCann's came with the skill of masonry. Other families came with other types of skills. So when they came out of the South, no matter where they came from, they did bring a lot of skill with them. And that's why their property is still standing today, because they were able to use materials in order to create their homes and build their homes. Lauren: The area of Rapp Road was much more like Shubuta than the South End of Albany, so it actually became a much better fit. They were able to practice gardening, they were able to carry on farming there. They talk about hunting. They had their own smokehouse, they would smoke their own meats. So it was important, I think, to those people coming up from Shubuta to have some continuity in their lives. Some of the things that they had done while they were living in Shubuta, they could continue to carry on while they were living in the north. Devin: I think that's a great point, Lauren. The South End was an urban environment, and these were rural people. And they were looking for something more akin to the lands that they came from, where they could own their own land, and farm, and grow their own produce, and hunt, and things like that. But I think one of the things we really need to remember too, is although Albany and the north during this time was much less dangerous, there was still overt and institutional racism that took place. And we get the sense from the history of the community that one of the reasons they wanted to move out of the city was to be among themselves. Jennifer: At least from my perspective, from talking to folks, life on Rap Road was pretty happy when they were on Rapp Road. The folks that lived out there were really in a close community, and there was not much around them – the Pine Bush was around, there were a few farms out that way, but the only folks that went out there, for the most part, were the ones that lived there, or if you were visiting family that lived there. I would guess that most of the challenges came when the community left Rapp Road and went into the city of Albany, and they would face discrimination in parts of their daily lives. But Elder Parson and Elder Johnson helped folks get jobs, got their kids into the right schools, and for the most part, they all became members of their specific congregations. Being on Rapp Road was such a special place, so up until a certain point, I think it was really, you know, they've called it the promised land. Stephanie: It’s a place where my grandmother went a lot, and the name “promised land” is exactly what it was. There was no traffic, you know, you just run around and play and, you know, people just got along to help one another. Everything was communal. There was a prayer house out there, so sometimes they didn't even have to come into Albany to do their daily prayer or their weekly prayer. Jennifer's correct, it wasn't until you went into Albany [that they experienced racism]. You know, [Albany citizens] weren't too receiving of all these African American people coming from the South, like it would be a burden on the Albany economy. And also it became dicey once Washington Ave Extension was built, because no one really even knew people even lived out on that area of Washington Ave. We did have an incident where the children couldn't get to school, which would have been, I think, a school on Western Avenue. The Albany public school system would not provide bus transportation, because they said the road was too narrow to get the bus down Rapp Road and over to Western Avenue. So Wilborn Temple First Church of God in Christ purchased the bus to get the children to school. But other than that, exactly what Jennifer said. And I have recollections more of Shubuta, because my grandmother and grandfather used to take us down to Shubuta. And so when I got older, and started coming to the family reunions, like in high school, I remembered Shubuta, Mississippi, and the community was exactly the same. Everyone knew each other, had their own land or property. And as kids, there was no traffic. So we used to play and have a great time. And I just want to give a shout out to Jennifer, because she, too, has been to Shubuta. Right, Jennifer? Jennifer: Yes, I have. One of the folks that I interviewed said that, you know, “God led Elder Parson…

    Full show notes at the publisher

    Thomas Paine's Lost Body | A New York Minute in History Jan 28, 2022
    Show notes

    In the first episode of our new season, Devin and Lauren look to a William G. Pomeroy marker in Westchester County to learn about American patriot Thomas Paine, his influence on the American and French Revolutions — and just how and why his body went missing. Where is Thomas Paine today? Marker: Thomas Paine, New Rochelle, Westchester County, NY Guests: Dr. Nora Slonimsky and Dr. Michael Crowder of the Institute for Thomas Paine Studies at Iona College A New York Minute In History is a production of the New York State Museum, WAMC, and Archivist Media, with support from the William G. Pomeroy Foundation. This episode was produced by Jesse King. Our theme is “Begrudge” by Darby. Further Reading: Tom Paine and Revolutionary America, Eric Foner (1976) The Thomas Paine Reader, Thomas Paine, with an introduction by Michael Foot and Isaac Kramnick (1987) Thomas Paine: Enlightenment, Revolution, and the Birth of Modern Nations, Craig Nelson (2007) Teacher Resources: New York State Museum Educational ResourceDownload PBS Teaching Guide: Thomas Paine: Writer and Revolutionary C-SPAN Classroom: Lesson Plan: Thomas Paine and Common Sense National Humanities Center: America in Class: Thomas Paine’s Common Sense, 1776 Follow Along Devin: Welcome to a new season of A New York Minute in History. I’m Devin lander, the New York state historian. Lauren: And I’m Lauren Roberts, the historian for Saratoga County. Today we start our new season with a William G. Pomeroy historic marker located in the city of New Rochelle in Westchester County. The title of the marker is “Thomas Paine,” and the text reads: “Author of Common Sense and The American Crisis. 1784, New York state gave him a farm on this site seized from a loyalist. Paine buried here until 1819. William G Pomeroy Foundation, 2018.” Common Sense Devin: I don’t know if you’re like me, Lauren, but Thomas Paine is a name that I’ve heard a lot of over the years, certainly studying history – but I didn’t necessarily know that much about him. His biography, kind of who he was, what he did. I knew he was an author during the Revolution. I know he was a revolutionary. But beyond that, I didn’t know much about him until we started to dive into this episode. What I found out was that he was born in England, and lived there for the first 37 years of his life. In England, he was not very successful. In fact, he kind of had a tragic life: he lost a wife and child during childbirth, he was an unsuccessful corset maker, which is what his father’s occupation was. He was an unsuccessful tobacco shop owner, briefly a school teacher, a tax collector, and even more briefly, a privateer. But all of these things were not successful, and he didn’t certainly find riches doing any of these things. But he did become politically active while living in England, and probably, at least from my perspective, the most important thing he did was chance into meeting Benjamin Franklin when he was on one of his trips to England, and the two became friends. Franklin actually suggested that Thomas Paine move to America and start a school – advice that he followed in 1774, though the school never materialized. Instead, due to his association with Franklin and his own interest in politics, Paine became involved in the revolutionary movement underway at the time. It could be argued that Paine was the main PR person for the independence movement to break away from Great Britain. Lauren: I think that’s probably what most people know best about Paine. That’s certainly what I knew about before we started researching for this podcast – that he was the author of Common Sense, undoubtedly, the most famous pamphlet of the Revolution. Devin: Absolutely. In fact, it was published in 1776, so the year that Revolution began, and in that Paine argued for independence and a republican form of government. So he was talking about not only breaking away from Great Britain, but instituting a form of government in which the people make the decisions, unlike a monarchy or any other kind of feudal system. And the real important thing, I think, about Common Sense and really all of his writings, is that he wrote it for a more general audience. It wasn’t a pamphlet for the elites written by the elites. It was written by somebody who really had his thumb on the pulse of the average person, the average farmer, the average merchant, the average person living in any of the 13 original colonies. And it was an immediate success. Some historians argue that it was the most popular work written in the 18th century. It’s hard to know the exact numbers that it sold, but we do know it was a massive success. And actually, Paine donated all of the proceeds from the sale of Common Sense to the Continental Army during the Revolution. Lauren: So during the Revolution, Paine was a volunteer assistant to General Nathaniel Greene, though he didn’t earn a claim as a soldier. He was also famous as the author of The American Crisis, which was a series of 16 essays written over the length of the American Revolution, the first of which was reportedly read aloud to the troops at Valley Forge at the request of General Washington. And that first essay is probably the most recognizable to us today. It starts out with that famous quote, “These are the times that try men’s souls.” Devin: In acknowledgement of his important contribution to the revolutionary effort, the New York state Legislature gave Paine a farm in New Rochelle that had been seized from a loyalist – thus the location of the Pomeroy marker. Lauren: Though it was given to him in 1784, he really didn’t spend much time there, because he had an important role to play in other revolutions that were going on. And we spoke to two experts from the Institute for Thomas Paine Studies at Iona College who told us more about the next phase of Thomas Paine’s life. Nora: My name is Nora Slonimsky, and Gardiner Assistant Professor of History at Iona College, where I also serve as the director for the Institute for Thomas Paine Studies, ITPS for short. Michael: My name is Dr. Michael Crowder. I have a PhD in American history, and then I was lucky enough to begin working with the Institute for Thomas Paine Studies. And I’m now working on a new Paine biography, appropriately. So Paine didn’t spend very much time at all [at the cottage], and in fact, was absent from the property from 1787 until 1805, when he permanently moved to the property. So for a 31-year period, Paine didn’t see it, because he was in Europe for the vast majority of that time period, first in England, and then in France. Nora: Paine was not directly involved in the French Revolution until really 1791. And at this point, this was during that pivot, between what we might say is the first phase of the French Revolution, which was a reform for a constitutional monarchy, and the second phase of the French Revolution, which is the first republic. Paine did call for the abolition of the monarchy – he was very much a lowercase “r” republican, so he really did believe in as close to democratic rule as you could possibly get. And he was granted French citizenship and elected to the governing bodies of France at this period, but he did sort of break from what we might say the more radical group of the French Revolution in that, while he did believe that King Louie XVI should be removed from power – and that it was fine to put him on trial and find him guilty – he did oppose execution. He did oppose what ultimately happened to Louis and his family. And as a result, he ultimately found himself incarcerated. But he is ultimately released by late 1794. He really grapples in this period, which is when you see the third phase of the French Revolution, or the rise of the Thermidors, Thermidorians. You see him really grappling with the realities of the Reign of Terror. Paine was indeed a radical, but he was not an unreasonable radical. He was willing to make compromise, he did not say that there should be no practical governing structures. And you see this particularly in his dedication, for example, of his 1797 pamphlet, Agrarian Justice, where he dedicates it to the government that comes after the republic, the directory. So he’s not totally politically out of touch, but he does fall into a period of ill health. At this point, by the late 1790s, he is not in excellent health, and he does find himself in pretty hot water in England, because the work that he is doing, the publications he’s doing, are very, very pro-revolution. He basically says that Britain should become a republic as well. And he does advocate for united Irishmen to rebel. And he ultimately does return to America. Shortly after Napoleon’s rise, he does become somewhat disenchanted or dissatisfied with the French Revolution. He does ultimately critique Napoleon as well, but he waits ‘till he’s out of Europe before he does that. And that, I think, in so many words, really is the timeline of Paine’s relationship with the French Revolution. He maintained throughout his life its importance and its value. He is in no way as critical, it’s worth noting, of the different stages of the French Revolution, than he is, in some respects, to a perceived lack of follow-through of the more radical potentials of the American Revolution, or the failure of revolution to take root in England. He’s far more critical of those contexts than he is of France, but he is critical. Devin (to Nora): How much do you believe his kind of fall from public grace, by the time he returned from France, had to do with his atheistic viewpoints? I know, of course, Teddy Roosevelt famously called him the “[filthy] little atheist” or something like that in the late 19th, early 20th Century. So I’m just interested in especially The Age of Reason, which was another popular pamphlet that he wrote after the American Revolution that really challenged organized religion. Nora: So public opinion is a tricky thing. My understanding, and my read – and I am grateful to colleagues at the ITPS for sharing their knowledge with me – but it seems that Paine was not an atheist, that Paine was a spiritual person, that did have a belief in God. But it did not fit in with the belief system of many of his friends foes, believed, and that is why The Age of Reason, yet another term for what we now call The Age of Revolutions, or The Age of Empires, [is] where he doesn’t really fit. By the time that Paine returns to the United States, the landscape is very different. This is no longer a revolutionary moment. In fact, the Constitution has been in place for over 10 years, the Federalist Party, or Federalist Coalition, depending on how you view that period, had been successful for the first two elections. And now another political coalition, the Democratic-Republicans had residential power under Thomas Jefferson. There had been government bureaucracy, there was a Supreme Court, there was a Congress, there was taxes. And the kind of energy, for lack of a better word, you might want when you’re trying to stir people to revolution is probably going to be a pretty different energy than you’re going to want around when you’re trying to get people to respect their government institutions, pay attention to the laws, and really instill a sense of civic duty to the relatively newly-formed federal government. Figures like Alexander Hamilton, John Adams, Thomas Jefferson – across the political spectrum mind you, people from very different views on the major issues of the day, from slavery, to diplomacy, to taxation policies, and so on and so forth – there was a consensus that that type of revolutionary rhetoric was not necessarily as wanted. I wouldn’t go as far as to say he was unwelcome, but in some respects, this is why Paine developed many enemies. His radicalism – things like today, like universal basic income, or other forms of intense economic reform that he articulates in his pamphlet Agrarian Justice, his view of a secular world. If you’re looking for revolution, Paine is the person you call. Paine is the person you hope gets on Twitter. Paine is the person you want on your podcast. But if you are trying to create a very stable, authoritative governing structure, he might not be the person whose style you want. Michael: He spent a significant amount of time in the very last years of his life at the cottage, just at a moment when he began to really wind down in terms of his writing. I wouldn’t say [his] retirement, because he never stopped writing, but there’s a noticeable decline in his writings, specially published writings [by that point]. So he only lived there for the very end of his life. He died in 1809. So it was his last resting place, I guess is the best way to put it. Devin (to Lauren): So Lauren, the Pomeroy marker says that Thomas Paine was buried in that spot [at the cottage] until 1819. So he’s not there right now? Lauren: No. Well, maybe, but certainly his complete remains are not there. And it’s an interesting story about somebody who dug him up in the middle of the night and shipped him to England. Devin: I think this is the most fascinating part of this whole story. Obviously, the life and work of Thomas Paine is important, but understanding that he’s actually not there, and he’s not buried there because somebody came and stole his body, is really fascinating to me. And Dr. Michael Crowder, he told us a story that begins with local Quakers denying Paine’s burial request, and ends with a man named William Cobbett literally robbing his grave. Michael: So he died in Greenwich Village, and just before his death, in his final will, he asked that the Quaker meetinghouse in Westchester allow him to be buried in their burying ground, on the basis that his father had been a Quaker. Thomas Paine had partially been raised as a Quaker. The Quaker meeting rejected this request, primarily because he’d written Age of Reason. In his will, there were no other stipulations except that, if he couldn’t be buried in a Quaker burial ground, he wanted to be buried on his property. And he was taken two days later and buried [there]. And because he was buried so quickly, there was very little time for the media to report upon his death, giving the impression that he died and nobody cared, when in reality, just given the obstacles to communication in the early 19th Century, his death was reported about a month after he was buried. And then there were much more voluminous commentary, both positive and negative. There was definitely interest in his death. So William Cobbett is fascinating. He is an English writer-turned-politician who lived in the United States in the 1790s. In fact, he lived in Philadelphia, having emigrated from England, where he wrote as a partisan Federalist journalist and newspaper editor. He wrote under a pseudonym called “Pierre Porcupine,” in which, amongst many other people, he attacked Thomas Paine. And at some point, right around Paine’s death. So right around 1808-1809, Cabot realized that Thomas Paine, the person that he mercilessly attacked a decade to 15 years before, should actually be somebody that is celebrated and venerated. And he decided in the middle of the 1810s that what he needed to do was travel to New Rochelle to Thomas Paine’s farm, to dig up his bones so that they could be transported back to England, so that they could be properly buried, and a monument to Thomas Paine constructed in England to celebrate his influence, and his democratic principles. So William Cobbett traveled in 1819, and in the middle of the night, had a couple of hired laborers dig up Thomas Paine’s grave, store his bones in bags and then immediately go back to New York City and take the first boat out to England. Devin: William Cobbett, he wrote about Thomas Paine after the publication of The Age of Reason, saying, “How Tom gets his living now, or what brothel he inhabits, I know not, nor does it much signify to anybody. He has done all the misc…

    Full show notes at the publisher

    Historical Markers | A New York Minute In History Oct 27, 2021
    Show notes

    On this episode, Devin and Lauren tackle all of New York’s historical markers at once — sort of. Devin and Lauren discuss how the state’s historical marker program got started, what happened to it, and how communities can apply for a marker today. As an added bonus, Devin and Lauren speak with Susan Hughes of the William G. Pomeroy Foundation about the foundation’s new “Hungry for History” grant program — and they also speak with Bill Pomeroy himself, about his interest in history and some of his favorite markers.

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    The Burned Over District | A New York Minute In History Sep 07, 2021
    Show notes

    In this episode, Devin and Lauren discuss the “Burned Over District,” and how upstate New York became a “cauldron” of emergent religions and alternative communities during the 19th century. How did the Burned Over District collide with state and national history? And what role did the Erie Canal play in establishing it? Devin and Lauren also discuss how these new religions contributed to the creation of alternative communities, such as the Ebenezers and the Oneida Community, and how this predication for communal living was revisited in New York during the 1960s.

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    Drinking The Waters: The Healing Springs Movement | A New York Minute In History Jul 30, 2021
    Show notes

    This episode delves into the public health industry that emerged in New York in the 19th Century. As the understanding of medicine and health evolved over time, there were many communities in New York state whose location was thought to have healing properties, most often because of the existence of springs or some other perceived environmental benefit. The most famous is Saratoga Springs, but there are others around the state, including Pitcher Springs in Chenango County. These locations flourished in the 19th Century, as people began to look to them not only as places of healing, but as places of high society and entertainment.

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    Discovering Timbuctoo | A New York Minute In History Jun 30, 2021
    Show notes

    Devin and Lauren dive into the history of Timbuctoo, an African American settlement founded by philanthropist Gerrit Smith in response to an 1846 law requiring all Black men to own $250 worth of property in order to vote in New York state. To counter this racist policy, Smith decided to give away 120,000 acres of land to 3,000 free, Black New Yorkers, hoping to enable them to move out of cities and work the land to its required value. Lyman Epps and other Black pioneers relocated to the wilderness near Lake Placid, New York — as did abolitionist John Brown, who based his family in North Elba to assist the Black pioneers in their farming.

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    Audrey Munson: America's First Supermodel | A New York Minute In History May 26, 2021
    Show notes

    In this episode, Devin and Lauren research the life of Audrey Munson, America’s first supermodel. Born in upstate New York, Munson was one of the most famous models of the early 20th Century, and posed for the top American artists in the Beaux Arts movement. Sculptures based on Munson dot the landscape of New York City, and are held in museums around the country. She was also one of the first American actresses to pose nude in a major motion picture. Once called “Miss Manhattan,” Munson’s life would take a tragic turn by the age of 40. In 2015, the William G. Pomeroy Foundation erected a historical marker near her final resting place in New Haven, New York.

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