1
100
7
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https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/c7162f9b59bcdd0e9644d54f0299116f.jpg
964ffa17b54853015196977e27c94f7a
https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/a55221be0c3eb6b7c3a4f0684e4fea49.mp3
4981d7c407874765c84d8bf16e72880b
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Interview 5 with Allen Watson (Roger's Corner)
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<a href="https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/items/show/119">Roger's Corner</a>
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An account of the resource
Allen Watson, a lifelong resident of Madison, Indiana, describes discrimination present at drugstores located in downtown Madison, where he and his family could not eat inside of the store and had to pick up their ice cream at the side entrance as opposed to the front.
<strong>***Transcript***</strong><br /><br /><em>Allen Watson</em>: My dad, he would have to go in to get the ice cream for us. He’d bring it out. We weren’t allowed to go to the front door at the drugstore. We had to go to the side door to get, my dad to get the ice cream and bring it out to us, and yeah, the other drug store on Main Street, we weren’t allowed to—we had to go through the front door because I think that was probably the only door that they had. The other side door I believe was used for deliveries, and we could go in there, but as far as sitting down to eat at the dining room tables, you could not do that as an African American, but you know, later on things started to change at the drug store. You know, there were people that had gone in, and they would sit there, but they would not be served,but then, you know, they just kept going back and finally they did serve them, and this was back in the [19]60’s it was, but at the other drugstore, later on, at the other drugstore where my dad would take us to get out ice cream, we were able to later, like the other drugstore, we were able to go in and sit in the booth, but at first, we were not allowed to do that.
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Places
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Rogers Corner
Description
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W.H. Rogers opened his drugstore in Madison, Indiana in 1847. Located on the corner of West and Main Streets, Rogers Drug Store quickly became a prominent business in downtown Madison. While the business changed ownership multiple times over the years, it primarily stayed in the Rogers family. By 1964, the drugstore had transformed to Rogers Corner. The updated store featured a soda fountain and served ice cream, while maintaining its original drugstore. It was a well-known, popular place for the people of Madison to visit before and after basketball games and movies [1]. Many people fondly remember the days when they could stop in to laugh with friends over a soda or milkshake [2]. For the first century after its creation, however, Rogers Corner did not welcome all Madison citizens. Many African Americans remember Rogers Corner differently than the white residents of Madison.
The African American community was well established in Madison. Before and during the Civil War, Madison was a “hotbed of antislavery activity,” playing an important role in the Underground Railroad. After the war, African Americans continued to build the Black community in the city, primarily settling in the Georgetown Neighborhood [3]. In recent years, African Americans have recalled the blatant racism and segregation they faced as children in mid-twentieth century Madison.
African Americans had designated, segregated seats in the local theater, and were forced to go in the side door at restaurants and stores. Rogers Corner is remembered as being particularly strict with the side-door policy. African Americans were not allowed to sit and enjoy their ice cream inside Rogers, but instead had to leave the store immediately after purchasing their treats [4]. Allen Watson, born in Madison in 1952, explained that “the people that ran the drugstore didn’t want Black people there…it’s like we were good enough to buy something and pay for it, but we weren’t good enough to sit at the counter or sit in a booth, like everybody else did" [5]. Denise Carter, born in Madison in 1959, admitted there was a “zone of infamy” around Rogers. “Black people didn’t like to go there,” she said, “I remember going in there once and being watched real close, like I was somewhere I wasn’t supposed to be” [6]. On one occasion, another Black Madison native was simply turned away from buying ice cream at Rogers Corner as a child [7]. Eventually, African Americans were allowed to sit in the store, although they could not be served. They continued frequenting Rogers, until finally, in the 1960s, African Americans were allowed to sit in a booth and be served like white customers [8].
Today, the storefront on the corner of West and Main still proudly displays the label “Rogers Corner.” The location housed Rogers Corner Diner from 2000 to 2010, then was bought by a sports bar that still serves out of the old Rogers Corner [9]. The building is located in the expansive 130-block Madison Historic District, noted in both the National Register of Historic Places and as a National Historic Landmark for its fine examples of nineteenth century architecture and historical significance [10].
<a href="https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/show/275">Interview 5 with Allen Watson</a>
Source
A related resource from which the described resource is derived
[1] “Shooter’s,” Madison’s Treasures Tours, Pocket Sights, accessed March 22, 2021, https://pocketsights.com/tours/place/Shooter%27s-16411.
[2] Don Ward, “Ratcliffs Buy Rogers Corner, Plan to Rebuild Soda Fountain,” RoundAbout, April 2000, http://www.roundaboutmadison.com/InsidePages/ArchivedArticles/2000/0400RogersCorner.html.
[3] “Madison Historic District,” National Park Service U.S. Department of the Interior, accessed March 22, 2021, https://www.nps.gov/nr/travel/madison/Madison_Historic_District.html.
[4] Don Wallis, All We Had Was Each Other (Indiana University Press, 1998), 116.
[5] Don Wallis, 125.
[6] Don Wallis, 132.
[7] Don Wallis, xiii.
[8] Allen Watson, interview by Carrie Vachon, April 12, 2019, Ball State University.
[9] “Shooter’s,” Madison’s Treasures Tours.
[10] “Madison Historic District,” National Register of Historic Places Inventory – Nomination Form,” United States Department of the Interior National Park Service, May 25, 1973, https://catalog.archives.gov/id/132003437.
Contributor
An entity responsible for making contributions to the resource
Student Author: Gwyneth Harris
Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson
Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
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<a href="https://npgallery.nps.gov/AssetDetail/NRIS/73000020">National Register of Historic Places</a><br /><a href="https://www.nps.gov/nr/travel/madison/Madison_Historic_District.html">Madison Historic District National Historic Landmark</a><br /><a href="https://www.in.gov/history/state-historical-markers/find-a-marker/madison-historic-district/"> Indiana Historical Bureau: Historical Marker</a>
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PHOTO & VIDEO:
Mich Rd Start 19-10-16, attributed to Chris Light, Public domain, via Wikimedia commons
https://commons.wikimedia.org/wiki/File:Mich_Rd_Start_19-10-16_221.jpg
1800s
1900-40s
1950s-present
Architecture
Entertainment
Indiana Historical Bureau Marker
Jefferson County
Madison
National Register of Historic Places
Oral History
Segregation
-
https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/b3763180ea597bb22682599210f66201.jpg
809d4338a95bffd14ded75d117a79902
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Places
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Pryor’s Country Place, Fox Lake
Description
An account of the resource
In the early 1900’s, African American families often lived in poverty as they were forced to move wherever labor jobs were available, living off very modest wages for exhausting, and often dangerous, work. This left families with little to no extra money for things like vacations or luxury goods. While the majority of African Americans in the early twentieth century lived in poverty conditions, a number of African Americans emerged as wealthy, influential members of society with disposable income. Despite this market, few white businessmen were willing to sell them goods or services. The growing demand for luxury amenities and attractions in the African-American community was soon filled by wealthy white investors, who began developing land targeted at this market. One example is Fox Lake, which was purchased and developed in the late 1920’s exclusively for use by African-Americans [1].
Built in 1927, Fox Lake included a dance hall, tennis courts, horseback riding trails, watersports, a bathhouse, piers, a barn and a small farmhouse, which was converted into a quaint hotel, Pryor’s Country Place, featured in the Green Book [2]. The Green Book was a 20th century motorist guide to establishments and towns that were safe for African-Americans to visit [3]. Pryor’s Country Place sites on five acres overlooking Fox Lake and is especially significant to the past and current owners of 32 Fox Lake cottages [4]. The cottages, nearly all of which were constructed before World War II, hold great historical and personal significance for the families who have been coming to Fox Lake for multiple generations. Pryor’s Country Place was a source of lively entertainment for wealthy individuals who owned vacation homes at Fox Lake [5],[6]. Pryor’s Country Place served as a getaway for African Americans of all walks of life, including teenagers, soldiers, famous athletes, even heavyweight boxing champion Joe Louis. It offered these individuals and African American families a chance to escape from the racism that confronted them in their everyday lives and lines of work [7],[8].
Pryor’s Country Place has interesting historical connections to the past and present. For example, during prohibition, there was a still near the lakefront that manufactured liquor so Pryor’s Country Place could operate as a speakeasy [9]. Today, many residents of Fox Lake live in cottages that have been passed down through generations, including the prominent families of Freeman B. Ransom and Carl Wilson Sr., who is remembered by past and present residents as “the Father of Fox Lake" [10]. Wilson purchased the first plots of land available at Fox Lake and built three cottages, all overlooked by Pryor’s Country Place. He and his son, Carl Wilson Jr., continued to dedicate a large portion of their lives and wealth from Wilson Sr.’s successful exterminator business to the development of this “sanctuary of sorts for African Americans in the Midwest" [11]. Wilson Sr. played a major role in overseeing Fox Lakes’ development. He worked diligently throughout his life to shift power and ownership of Fox Lake primarily to African-Americans, effectively helping to organize the amenities like wells and trash pickup routes that the community still enjoys today [12].
The unique history of Pryor’s Country Place, and its historical and personal significance to the modern African American community in Fox Lake, supported its nomination to the National Register of Historic Places in 2001 [13]. Since then, however, Pryor’s Country Place has ended up on Indiana Landmarks’ list of “Indiana’s 10 Most Endangered” places twice. The first listing was in 2016, when the five-acre plot of land including Pryor’s Country Place went up for sale. Pryor’s Country Place is located in an area where developable premium lakeside property is becoming scarce, which worried members of the community [14]. In 2017, Indiana Landmarks placed it on their endangered list for a second time, with the intent to “identify a preservation-inclined buyer” in order to preserve its unique history [15].
Source
A related resource from which the described resource is derived
[1] Mark S. Foster. “In the Face of “Jim Crow”: Prosperous Blacks and Vacations, Travel and Outdoor Leisure, 1890-1945,” Spring 1999. PDF accessed July 9, 2020 via JSTOR.
[2] “Fox Lake: Angola, Indiana,” National Register of Historic Places, 2002. Accessed July 9, 2020. https://www.nps.gov/nr/feature/afam/2002/foxlake.htm
[3] “Road Tripping in the Era of the Green Book,” Indiana Landmarks, March 10, 2017. Accessed July 9, 2020. https://www.indianalandmarks.org/2017/03/road-tripping-in-the-era-of-the-green-book/ [4] Darrin Wright. “Angola Building Among “Most Endangered” Landmarks,” May 2, 2017. Accessed July 9, 2020. https://www.wowo.com/angola-building-among-endangered-landmarks/
[5] “Fox Lake: Angola Indiana.”
[6] Angelica Robinson. “Hidden History: Fox Lake Grew from Era of Racism, Segregation,” February 12, 2018. Accessed July 9, 2020. https://www.wane.com/black-history-month/hidden-history-fox-lake-grew-from-era-of-racism-segregation/
[7] Ibid.
[8] “National Register of Historic Places Registration Form: Fox Lake,” United States Department of the Interior National Park Service, March 6, 2001. Accessed July 9, 2020. https://npgallery.nps.gov/GetAsset/0c6b54b7-921f-4e4f-89c1-fa0f2eacaa13
[9] Ibid.
[10] Angelica Robinson.
[11] Ibid.
[12] Ibid.
[13] “Announcing Indiana’s 10 Most Endangered,” Indiana Landmarks, June 27, 2016. Accessed July 9, 2020. . https://www.indianalandmarks.org/2016/06/announcing-indianas-10-most-endangered/
[14] Ibid.
[15] “Pryor Country Place Returns to State 10 Most Endangered List,” KPC News Service, May 1, 2017. Accessed July 9, 2020. https://www.kpcnews.com/news/latest/heraldrepublican/article_09a978a1-454a-5a69-b7ad-4d041d3069f2.html
Contributor
An entity responsible for making contributions to the resource
Student Authors: Joel Sharp and Emma Cieslik
Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson
Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
Relation
A related resource
<a href="https://nam12.safelinks.protection.outlook.com/?url=https%3A%2F%2Fnpgallery.nps.gov%2FAssetDetail%2FNRIS%2F01000360&data=04%7C01%7Ctlhayes2%40bsu.edu%7Ca9ad6f224e4a4311ddae08d8c87acbdd%7C6fff909f07dc40da9e30fd7549c0f494%7C0%7C0%7C637479777153547548%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C1000&sdata=qw9CYViDvGC6dh8XfMmdgZyf4H1725p%2F9pNsSFG1gag%3D&reserved=0">National Register of Historic Places</a>
Rights
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PHOTO & VIDEO:
Pryor's Country Place, Angola, attributed to Indiana Landmarks, Public domain, via Flickr
https://www.flickr.com/photos/historic-landmarks-foundation-indiana/26631702516
1900-40s
1950s-present
Angola
Entertainment
Housing
National Register of Historic Places
Recreation
Segregation
Steuben County
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https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/a1c8b35156d8c668e634f6c104ad3f08.jpg
0b1b30008fa594b4eb1ec194e91b0b31
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Places
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Miller Beach
Description
An account of the resource
Nestled between a steel plant and the Indiana Dunes National Park, Miller Beach is a community on the easternmost side of Gary with a reputation of progressive attitudes. Fine sunsets and beautiful wilderness sanctuaries paint Miller Beach as a resplendent recreational getaway for anybody looking to escape the crowded and busy streets of Chicago. Miller Beach was not always a destination that welcomed everyone, however. Miller Beach began as a sundown town, where African Americans spent time as daytime workers and household servants but were expected to be out of town by dark [1]. In its infancy, Miller Beach had a long way to go before it encapsulated the progressive ideals for which it is known today.
Miller Beach began as the small town of Miller Station in 1865. Although a mere train stop in its beginning, it soon became a settlement for steel workers. In 1919 the town was annexed by Gary and became Miller Beach or, as it is often referred, Miller. Annexation was against the wishes of many who wanted to keep their clandestine beaches unspoiled. Quickly encroaching on the solitude of the community, people flocked to Miller on streetcars that connected downtown Gary to Lake Street in Miller Beach [2]. Miller rapidly became a hotspot for wealthy white Chicagoans to build summer cottages or luxurious landmark homes so they could spend their summers enjoying the dunes and lagoons of Lake Michigan. During this early period, the people of Miller Beach did not allow African Americans to live in the community [3]. War production of steel brought an era of economic prosperity in Gary. A labor shortage and company recruitment inspired a large number of black workers to move up from the south to find jobs. Barred from Miller Beach, they were forced to live in the Midtown neighborhood, overcrowding soon pushed African Americans to buy property in other neighborhoods. White residents in these nearby neighborhoods quickly became uncomfortable at the thought of integration and moved to Miller, where African Americans were not allowed to visit the beaches or bathe in the waters of the lake [4]. The racist attitudes of the affluent white people did not sit well with some of Miller’s residents.
In 1949, black and white Gary citizens banded together to march to the beaches of Miller. They planned to have the African Americans among them step into the waters of Lake Michigan in an act of defiance against racist attitudes. A white mob met the group at Marquette Park, armed with clubs and pipes. Only three black residents reached the water. Racist and violent incidents like this continued for years after the Gary residents marched for integration in Miller Beach [5].
The bleak reality of Miller’s racist reputation was not to last, however. The Civil Rights Act of 1964 pushed small communities like Miller Beach to address their overtly racist practices. In that same year, television writer Stanley Greenberg sold a Miller Beach house to a black family. It was an unprecedented decision that brought Miller closer to integration, but caused violent threats against Greenberg. A few years later, Richard Hatcher became the first African American mayor of Gary. He was a pro-civil-rights and antipollution activist [6]. White flight rapidly followed Hatcher’s election. Entire Gary neighborhoods were put up for sale as white residents with uncompromising attitudes about integration left the area [7].
In 1971, the residents of Miller Beach decided to act on the unrest in their community. The Miller Citizens Corporation, or MCC, was created by a group of primarily white, liberal residents who sought to bring stability to Miller Beach. The corporation’s goals were to welcome black families into the community and discourage the panic selling by white citizens that had afflicted the community since Hatcher’s election. They also set up a hotline to oust harmful, false rumors [8].
Davetta M. Haywood, a woman whose family moved to Gary during the Second Great Migration from the South, joined the MCC after moving to Miller as an adult. Describing the work of the group, she said “we wanted to work with our neighbors instead of pushing them away" [9]. The combined effort quelled white anxiety and led to racial stability in the area. By the end of the 1980s, Miller Beach was about 68% black, making a primarily black neighborhood out of a space that had been a prejudiced, exclusive white community only a couple decades earlier [10].
Today, Miller Beach is a bustling beach town that offers an abundance of diverse activities to residents and visitors. The community retains eco-friendly practices to preserve the Indiana Dunes while hosting a multitude of restaurants, breweries, and small businesses. The arts are alive at the Miller Beach Arts and Creative District, where music events, artist talks, and gallery showings offer a unique experience [11]. In 2016, the Arts and Creative District hosted an exhibit at the Marshall J. Gardner Center for the Arts. Vanguards: Moving “Out Here” to Miller was an exhibit showcasing “black perspectives on joining the Miller community in the ‘60s and ‘70s" [12]. The exhibit gave voices to the African Americans whose efforts changed Miller Beach from an exclusive, segregated beach spot to the integrated community known for its progressive ideals. Due to the perseverance of African Americans against prejudice and blatant racist attitudes, Miller’s fine sunsets and beaches can now be enjoyed by anyone who wishes to dip their toes into the tranquil waters of Lake Michigan.
Source
A related resource from which the described resource is derived
[1] Matthew A. Werner, “Miller Station to Miller Beach & Everything in Between,” DigTheDunes, February 2, 2018, https://digthedunes.com/miller-station-miller-beach-everything/.
[2] Ibid.
[3] Grant Pick, “Now Comes Miller’s Time: An Island of Integration and Natural Beauty in Gary, Indiana,” Chicago Reader, June 29, 1989, https://www.chicagoreader.com/chicago/now-comes-millers-time-an-island-of-integration-and-natural-beauty-in-gary-indiana/Content?oid=874093.
[4] Matthew A. Werner, “Miller Station to Miller Beach & Everything in Between.”
[5] Grant Pick, “Now Comes Miller’s Time: An Island of Integration and Natural Beauty in Gary, Indiana.”
[6] Ibid.
[7] Matthew A. Werner, “Miller Station to Miller Beach & Everything in Between.”
[8] James B. Lane, “Moving to Miller,” Northwest Indiana Historian James B Lane, Blogspot, April 28, 2016, http://northwestindianahistorianjamesblane.blogspot.com/2016/04/moving-to-miller.html.
[9] Ibid.
[10] Grant Pick, “Now Comes Miller’s Time: An Island of Integration and Natural Beauty in Gary, Indiana.”
[11] “Visit Miller Beach.” South Shore Indiana, South Shore Convention and Visitors Authority, January 25, 2021, https://www.southshorecva.com/listing/visit-miller-beach/2997/.
[12] Bob Kostanczuk, “Nina Simone Doc Highlights Miller Beach Exhibit on Gary’s Past,” Chicago Tribune, February 16, 2016, https://www.chicagotribune.com/suburbs/post-tribune/ct-ptb-nina-simone-gary-st-0219-20160216-story.html.
Contributor
An entity responsible for making contributions to the resource
Student Author: Gwyneth Harris
Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson
Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
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PHOTO & VIDEO:
Miller Beach Sign, attributed to Visviva, Public domain, via Wikimedia Commons
https://upload.wikimedia.org/wikipedia/commons/2/20/Miller_Beach_Sign.jpg
1800s
1900-40s
1950s-present
Civil Rights Movement
Entertainment
Gary
Integration
Lake County
Segregation
-
https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/0a10c5fb9af90d2e11bf826876f1e25c.jpg
51bf00d8e4e4a981bfe5458c54f604d8
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Indiana Avenue Jazz Scene
Description
An account of the resource
<p>The jazz scene in Indianapolis was born during a time of segregation and Jim Crow laws, when African Americans could not attend musical concerts and shows, nor perform, in certain clubs and theatres. As a result, African Americans created their own venues and businesses in many cities in the pre-Civil Rights era. Indiana Avenue was the economic and cultural center of the African American community in Indianapolis. Jazz became big during the 1920s Harlem Renaissance in New York, and then spread to the rest of the country. Indiana Avenue, or simply “The Avenue”, became the capital of jazz in Indiana from the 1920s to the 1960s.[1] Night clubs and live music spots lined Indiana Avenue “from one end of it to the other, from Ohio Street to Lockefield.”[2]</p>
<p>Nightclubs and theaters such as the Washington, Sunset Terrace Ballroom, Columbia Theater, and the Walker Theatre hosted renowned African American musicians and entertainers, such as Duke Ellington, Ella Fitzgerald and Cab Calloway.[3] Local musicians cut their teeth jamming onstage with jazz legends, and some became legends of their own right, like Wes Montgomery, Slide Hampton, David Baker, and many others.[4] Live performances were announced in the African American Indianapolis Recorder, with colorful headlines such as this one: “Ella Fitzgerald, Sunset Thurs. Nite: Jamtown’s Jumpiest Jivers With That Savage Rhythm, Fiery Beats, Torrid Tempos Will Put You in the Groove and You’re [sic] Feet Just Gotta Move!”[5]</p>
<p>Among the musicians who performed on The Avenue were the Montgomery Brothers. Born in Indianapolis, the Montgomery Brothers (Monk, Buddy, and Wes) were each a talented musician in his own right. Monk was the first to record on an electric bass and played in Lionel Hampton’s band. Buddy, a pianist, performed with trombonist Slide Hampton and later with Miles Davis. Wes, who is considered to be one of the most influential jazz guitarists, started out experimenting with different techniques after initially being taught by older brother Monk, but received no formal training.[6]</p>
<p>In many ways, jazz helped set the stage for the Civil Rights movement, as many musicians spoke out against racial inequality. Duke Ellington, for example, had in his contracts that he would not play for segregated audiences. While touring the South in the 1930s, he rented three train cars for his band to avoid Jim Crow laws that limited African American options for overnight lodging. Ellington’s fight for civil rights and African American pride was most evident in his music, which he referred to as “African American classical music.”[7]</p>
<p>Locally, the creation of segregated Crispus Attucks High School in 1927, a public school for Indianapolis’ African American students, coincided with the jazz explosion. Attucks’ highly regarded music department and the openness of Indiana Avenue combined to provide opportunities for young local African Americans musicians at a time when many Indianapolis music venues were not open to them. David Baker, a Crispus Attucks graduate and famed jazz composer, conductor, and musician reflected on the Indianapolis jazz scene and his experience as a young African American musician. "People tend to excel in the areas that are open to them. At that time, a black was expected to play religious music, R & B or jazz. I can remember auditioning for the Indianapolis Symphony Orchestra and being told, in no uncertain terms, that even though my audition was the best, there was no chance that I'd become a member."[8]</p>
<p>In 1994, an Indiana Historical Bureau marker was placed on Indiana Avenue to commemorate the area’s role as an African American social, cultural, and economic center in the first half of the 20th century.[9]</p>
Source
A related resource from which the described resource is derived
[1] <span>Johnson, David. Along the Avenue: the Legacy of Indianapolis Jazz. Indiana Public Media, 2007. Accessed March 26, 2020.<br />[2] Fenwick, Tyler. Indiana Avenue: The Grand Ol’ Street. Indianapolis Recorder, 2019. Accessed March 25, 2020.<br />[3] Utz, Rollins, and Gulde, National Register of Historic Places Nomination Indiana Avenue Historic District: 9.; “3 Big Nights of Dancing Next Week – Z. Whyte Coming,” Indianapolis Recorder (Indianapolis, IN), Oct. 26, 1929.; “’Stormy Weather’ At Walker Sunday,” Indianapolis Recorder (Indianapolis, IN), Jan. 26, 1946.<br />[4] David Leander Williams, Indianapolis Jazz: The Masters, Legends, and Legacy of Indiana Avenue, (Charleston, SC: The History Press, 2014): 11, 16.<br />[5] “Ella Fitzgerald, Sunset Thurs. Night,” Indianapolis Recorder (Indianapolis, IN), May 17, 1941.<br />[6] Williams, David Leander. Indianapolis Jazz: The Masters, Legends, and Legacy of Indiana Avenue. The History Press, 2014. Pp. 86.<br />[7] Verity, Michael. “Jazz and the Civil Rights Movement: How Jazz Musicians Spoke Out for Racial Equality.” Live About, 2018. Accessed March 31, 2020.<br />[8] Johnson, David. “The Sunset Terrace Ballroom brought jazz legends to Indianpolis.” Night Lights Classic Jazz with David Brent Johns, September 18, 2007. Accessed March 31, 2020, http://www.indianapolisrecorder.com/aroundtown/article_f340f4fa-9358-11e9-bb78-9f4f3a75ee01.html<br />[9] Indiana Historical Bureau, Indiana Avenue Historical Marker. Accessted March 31, 2020, https://www.in.gov/history/markers/219.htm</span>
Contributor
An entity responsible for making contributions to the resource
Student Authors: Robin Johnson and Sydney Schrock
Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson
Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
Relation
A related resource
<a href="https://www.in.gov/history/markers/219.htm">Indiana Historical Bureau: Historical Marker</a>
Rights
Information about rights held in and over the resource
PHOTO & VIDEO:
Montgomery Brothers and Willis Kirk Perform on Indiana Avenue, Indiana Historical Society, P0507.
https://images.indianahistory.org/digital/collection/V0002/id/3896/rec/7
1900-40s
1950s-present
arts
Entertainment
Indiana Historical Bureau Marker
Indianapolis
Jazz
Marion County
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https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/6284da5901c44ad0cfec8859380d20eb.jpg
083df12d03aae268ac78c542dab480f8
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Places
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Madam Walker Theatre Center
Description
An account of the resource
<p>The Walker Theatre is a part of the Madam C.J. Walker Building constructed in 1927 at 617 Indiana Avenue in Indianapolis.<span>[1]</span> The building opened to fanfare on December 26, 1927, with presentations of the feature film <em>The Magic Flame</em> and performances of a Chicago-based dance ensemble set to an orchestra both showing at various times throughout the week for 25 to 40 cents.<span>[2]</span> The Walker Theatre was regularly advertised and reviewed in the black newspaper, <em>Indianapolis Recorder</em>, promoting its “Vaudeville and First-Run Pictures.”<span>[3]</span> The theatre joined a vibrant culture of African American entertainment along Indiana Avenue, known for its dance halls, taverns, and jazz clubs.<span>[4]</span></p>
<p>The Walker Theatre was named after Madam C.J. Walker, a successful African American entrepreneur who developed a revolutionary line of beauty and hygiene products for African American women. Her profits from the Madam C.J. Walker Manufacturing Company made her one of the wealthiest people in the nation, but Walker’s recognition as the first black female millionaire in the United States is a myth; her estate was worth approximately $600,000 at the time of her death in 1919.<span>[5]</span> Nevertheless, Walker used her success and wealth to advocate for African American rights and improve the lives of black women in her community. As her business expanded, it began to outgrow its original Indianapolis headquarters, and Madam Walker started planning the Walker Building, constructed after her death.<span>[6]</span></p>
<p>The building, designed by the premier Indianapolis architectural firm Rubush and Hunter, held a new factory and office space for the Walker Company, as well as a casino, drugstore, coffee shop, and additional offices for rent.<span>[7]</span> The Walker Theatre was a special project of Madam Walker’s, intended as a place of entertainment for the local African American community.<span>[8]</span> The movie theater was a particularly notable addition to the building, as Madam Walker herself had experienced discrimination in Indianapolis movie theaters.<span>[9]</span> In 1915, she sued the Central Amusement Company, which owned the Isis Theatre in Indianapolis, for its discriminatory pricing; African American patrons were required to pay an extra 15 cents for admission.<span>[10]</span> Soon after its opening, the Madam CJ Walker Theatre Center developed into a lasting cultural cornerstone on historic Indiana Avenue.</p>
<p>The Walker Building was constructed by the William P. Jungclaus Company.<span>[11]</span> It was lavishly built in the style of the Art Deco movement, popular during the 1920s. The Walker Building is significant because it is decorated heavily with African elements, using terra cotta accents of African, Moorish, and Egyptian symbols.<span>[12]</span> Sphinxes, Yoruba masks, shields and spears are found throughout the building, especially in the extravagant ballroom and theater, marking the building as a source of racial pride for African Americans, something Madam Walker strove to create in all of her endeavors.<span>[13]</span></p>
<p>The Madame C.J. Walker building was listed on the National Register of Historic Places in 1986.[14] From 1979-1988, the Madame Walker Urban Life Center, the not-for-profit organization that owns the building, oversaw extensive renovations to the Madam C.J. Walker Building, including the Walker Theatre.[15] The renovated site is now known as the Madam Walker Legacy Center. In 2018, the Madam Walker Legacy Center partnered with Indiana University and began another round of renovations of the building, funded by a 15 million dollar Lilly Endowment Grant.[16] This partnership will not only ensure the continuation of the Walker Theatre as a cultural landmark, but also equip the Madam Walker Legacy Center with the resources and means to revitalize the heritage of Indiana Avenue. As Stephanie Nixon, the former chair of the board of the Madam Walker Legacy Center, stated, “It is truly the start of a new day for the Walker.”[17]</p>
<p></p>
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A related resource from which the described resource is derived
[1] U.S. Department of Interior, National Park Service, National Register of Historic Places Registration Form: Walker, Madame C.J. Building, (Indiana 1986), page 1. <br />[2] “Grand Opening!” Indianapolis Recorder (Indianapolis, IN), Dec. 24, 1927. <br />[3] “Walker Theatre: Indianapolis’ Newest and Most Beautiful Amusement Edifice,” Indianapolis Recorder (Indianapolis, IN), Jan. 7, 1928. <br />[4] Emma Lou Thornbrough, Indiana Blacks in the Twentieth Century, ed. Lana Ruegamer, (Bloomington, IN: Indiana University Press, 2000): 31. <br />[5] A’Lelia Bundles, On Her Own Ground: The Life and Times of Madam C.J. Walker, (New York, NY: Scribner, 2001): 277. <br />[6] U.S. Department of Interior, National Park Service, National Register of Historic Places Registration Form: Walker, Madame C.J. Building, (Indiana 1986), page 10. <br />[7] Ibid., 4.; Charles Latham, Jr., “Madam C.J. Walker & Company,” Traces of Indiana and Midwestern History 1, no. 3 (1989): 34. <br />[8] U.S. Department of Interior, National Park Service, National Register of Historic Places Registration Form: Walker, Madame C.J. Building, (Indiana 1986), page 10. <br />[9] Bundles, On Her Own Ground, 161. <br />[10] Wilma L. Gibbs and Jill Landis, “Madam C.J. Walker (1867-1919) Papers, 1910-1980. Indiana Historical Society. August 13, 1993. Bundles, On Her Own Ground, 161. <br />[11] U.S. Department of Interior, National Park Service, National Register of Historic Places Registration Form: Walker, Madame C.J. Building, (Indiana 1986), page 4. <br />[12] Ibid., 3-4. <br />[13] Ibid., 1-2.; Charles Latham, Jr., “Madam C.J. Walker & Company,” Traces of Indiana and Midwestern History 1, no. 3 (1989): 31. <br />[14] U.S. Department of Interior, National Park Service, National Register of Historic Places Registration Form: Walker, Madame C.J. Building, (Indiana 1986). <br />[15] Wilma Gibbs, “Madame Walker Urban Life Center,” in The Encyclopedia of Indianapolis, ed. David J. Bodenhamer, Robert G. Barrows, and David G. Vanderstel (Bloomington, IN: Indiana University Press, 1994), 953. <br />[16] “Madam Walker Legacy Center,” Madam Walker Legacy Center, accessed November 26, 2019, Amber Denney, “Madam Walker Theatre Center and IU Begin Partnership to Continue Rich Legacy of Madam C.J. Walker,” Indiana University, January 18, 2018, <br />[17] Ibid.
Contributor
An entity responsible for making contributions to the resource
Student Authors: Allison Hunt and JB Bilbrey
Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson
Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
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PHOTO & VIDEO:
Walker Theatre Indy, attributed to Jonathunder, Public domain, via Wikimedia Commons https://commons.wikimedia.org/wiki/File:WalkerTheatreIndy.jpg
Relation
A related resource
<a href="https://npgallery.nps.gov/NRHP/GetAsset/62762a1d-b804-482f-84c0-e4d5929dad2c?branding=NRHP" target="_blank" rel="noopener">National Register of Historic Places</a>
1900-40s
1927-2019
1950s-present
Entertainment
Entrepreneurship
Indianapolis
Marion County
National Register of Historic Places
Women
-
https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/191a169d412494f2cae72b21872d43fa.jpg
062d9d9e54354a414ddf96e037c98455
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Events
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Title
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Indiana Black Expo,
Indiana Convention Center
Description
An account of the resource
Each summer since 1971, Indiana has celebrated its African American history through the Summer Celebration, a ten-day festival of food, entertainment, religion, education, and culture hosted by the Indiana Black Expo (IBE). The Summer Celebration, held at the Indianapolis Convention Center and other locations throughout the city, is the IBE’s flagship event, drawing hundreds of thousands of visitors from across the country. [1] The festival features a large exhibition hall showcasing black artists, businesses, and vendors from across the country, a film festival, concerts, boxing matches, basketball games, religious services, and a minority health fair which provides “free health screenings, education, and information on how to prevent chronic diseases such as diabetes, heart disease, stroke, hypertension, and cancer.” [2] Summer Celebration also hosts a number of panels and speeches presented by activists, celebrities, and politicians, ranging from rapper Tupac Shakur in 1993 to President George W. Bush in 2005. [3] Since 1983, the Indiana Black Expo has also drawn crowds back to Indianapolis in the fall with its annual Circle City Classic, a football game held between a rotating roster of historically black colleges and universities. [4] <br /><br />Though the Summer Celebration and Circle City Classic are its most well-known endeavors, the Indiana Black Expo also serves as a nonprofit charitable organization aiming to serve as “a voice and vehicle for social and economic advancement” and to improve “the quality of life for all.” [5] With 12 affiliate chapters across the state, IBE serves the educational, economic, and medical needs of thousands of Hoosiers from pre-kindergarten to adulthood. [6] IBE has awarded more than $4.6 million to Indiana students seeking post-secondary education since 1984 with funds raised from the Circle City Classic alone. [7] The organization also provides networking and career-building opportunities for Indiana residents through its annual Business Conference and Employment Fair. [8] Furthermore, IBE has expanded upon its Summer Celebration minority health fair to provide healthcare to Hoosiers year-round. Indiana Black Expo runs a statewide anti-tobacco initiative, campaigning to “educate the public on the dangers of tobacco use and the perils of second-hand smoke,” especially fighting against the marketing of tobacco products to “young people–particularly in the black and brown communities” of Indiana. [9] Prostate cancer has “about a 60 percent higher incidence rate” among African American men than white men, so IBE also provides screenings across Indiana through its Reverend Charles Williams Mobile Prostate Cancer Unit, named after the Expo’s first president who died of the disease in 2004. [10] <br /><br />Indiana Black Expo was founded in 1970 by Reverend Andrew J. Brown, James C. Cummings, Jr., Willard Ransom, and other civic and religious leaders, hosting its first Summer Celebration the following year. [11] The IBE’s founders were inspired by Reverend Jesse L. Jackson’s Operation PUSH in Chicago, which sought to uplift the city’s black community by providing economic and educational opportunity. [12] The Expo was entirely run by volunteers representing “several black organizations in Indianapolis” [13] until 1983, when funding was secured for a full-time staff. [14] The Indiana Black Expo is the largest and longest-running organization of its kind in the United States. [15] It has its roots in the Black Arts Movement, which arose from black nationalism in the 1970s and emphasized black pride and the beauty of the black aesthetic. [16] The Expo has celebrated African American culture and achievement for nearly fifty years, defining the black community “for themselves and others without interference or interpretation.” [17] <br /><br />Since its inception, Indiana Black Expo has experienced rapid growth; the Summer Celebration began as a three day event held at the Indiana State fairgrounds, but has now evolved into ten days of celebration spread throughout the city. [18] With this growth came a place of prominence among black organizations in Indianapolis. In 2014, Mayor Greg Ballard appointed IBE President Tanya Bell to co-chair the Your Life Matters Violence Prevention Task Force to address a surge in murders across the city which “disproportionately involved Black men.” [19] The task force is a direct response to the Black Lives Matter movement spurred by the 2014 death of Michael Brown in Ferguson, Missouri, and aims to bridge the “persistent opportunity gaps” faced by young black men not only in Indianapolis, but across the country. [20] Indiana Black Expo’s work to uplift the black community showcases to its youngest members “the world of possibilities available to them.” [21]
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A related resource from which the described resource is derived
[1] “Events,” Indiana Black Expo, accessed August 28, 2019, https://www.indianablackexpo.com/events/. <br />[2] “Exhibition Hall, Indiana Black Expo, last modified July 2019, https://summercelebration.net/exhibition-hall-friday/. <br />[3] Greg Carr, “Meeting Tupac Shakur: A Moment With a Flash of Our Spirit,” Hilltop (Howard University), Sept. 15, 2016; George W. Bush, “Remarks at the Indiana Black Expo Corporate Luncheon in Indianapolis, Indiana,” Weekly Compilation of Presidential Documents 41, no. 28 (2005): 1158-1163. <br />[4] “Rev. Charles Williams,” Circle City Classic, accessed August 28, 2019, https://www.circlecityclassic.com/revwilliams/. <br />[5] “About IBE,” Indiana Black Expo, accessed August 28, 2019, https://www.indianablackexpo.com/about-ibe/. <br />[6] Ibid. <br />[7] “Scholarships,” Circle City Classic, accessed August 28, 2019, https://www.circlecityclassic.com/scholarships/. <br />[8] “Economics,” Indiana Black Expo, accessed August 28, 2019, https://www.indianablackexpo.com/programs/economics/. <br />[9] “Health,” Indiana Black Expo, accessed August 28, 2019, https://www.indianablackexpo.com/programs/health/. <br />[10] Michael Dabney, “The Legacy of the Rev. Charles Williams,” NUVO (Indianapolis, IN), Jul. 11, 2007. <br />[11] Richard Pierce, “We’ve Been Trying to Tell You: African American Protest in Indianapolis,” Traces of Indiana and Midwestern History 25, no. 3 (2013): 38; “Indiana Black Expo,” Ebony 43, no. 1 (1987): 76. <br />[12] Ibid.; “Brief History,” Rainbow Pu$h Coalition, accessed August 30, 2019, https://rainbowpush.org/brief-history. <br />[13] Richard Pierce, “We’ve Been Trying to Tell You: African American Protest in Indianapolis,” Traces of Indiana and Midwestern History 25, no. 3 (2013): 39. <br />[14] “Rev. Charles Williams,” Circle City Classic, Accessed August 30, 2019, https://www.circlecityclassic.com/revwilliams/. <br />[15] Richard Pierce, “We’ve Been Trying to Tell You: African American Protest in Indianapolis,” Traces of Indiana and Midwestern History 25, no. 3 (2013): 40. <br />[16] Ibid. <br />[17] Ibid. <br />[18] “Indiana Black Expo,” Ebony 43, no. 1 (1987): 78. <br />[19] Your Life Matters Task Force, “Your Life Matters Report to the Mayor” (report, Indianapolis, IN, 2014), 3. <br />[20] Indiana Black Expo, Inc., “Your Life Matters Plan of Action” (report, Indianapolis, IN, 2015), 1. <br />[21] Ibid.
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An entity responsible for making contributions to the resource
Student Author: Allison Hunt <br />Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson<br />Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
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PHOTO & VIDEO:
President Discusses Education, Entrepreneurship & Home Ownership at Indiana Black Expo, attributed to Eric Draper, Public domain, via Wikimedia Commons
https://commons.wikimedia.org/wiki/File:President_Discusses_Education,_Entrepreneurship_%26_Home_Ownership_at_Indiana_Black_Expo.jpg
1950s-present
Entertainment
Indianapolis
Marion County
Organization
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https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/57b3792049f0b2bb6460863d4e04ff13.jpg
2db700a077543ff9ed9b21359d1eee54
https://digitalresearch.bsu.edu/digitalcivilrightsmuseum/files/original/8f7b92b0beaeffc22c6e45593416d62d.jpg
f2280e6d94f3796741daae69169f00ee
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Title
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Places
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Indiana Avenue Historic District
Description
An account of the resource
The Indiana Avenue Historic District is at the 500 block of Indiana Avenue, a diagonal street located between West Street, North Street, Michigan Street, and the Central Canal. [1] The Avenue was intentionally designed in the 1821 Indianapolis plat by surveyor Alexander Ralston. As one of the four diagonal streets which intersected the city’s regular rectangular grid, it provided a thoroughfare from the four quadrants of the city straight into the heart of Indianapolis. [2] Indiana Avenue was the home of several landmarks significant in Indianapolis’s black history, including the Lockefield Gardens public housing projects, the Ransom Place historic district, Walker Theatre, and the offices of the Indianapolis Recorder, the fourth longest running black newspaper in the United States. [3]
Due to a fear that the swampy White River near Indiana Avenue was the origin point of the mosquitos that had caused a devastating malaria outbreak in 1821, most of the area remained unsettled during the mid-1800s. [4] This cheap, unwanted land was then settled by immigrants and African Americans who could not afford to live in other areas of the city. After Reconstruction, the Avenue’s population rapidly increased as hundreds of thousands of African Americans migrated from the South to Northern cities during the Great Migration. Indiana’s black population more than doubled as a result of the Great Migration, and the population of Indianapolis saw a fivefold increase. [5] The immigrant and African American populations of Indiana Avenue peacefully integrated, with immigrant and black-owned businesses working alongside one another throughout the second half of the nineteenth and into the early twentieth century. As the black population continued to increase in the twentieth century, and downtown white-owned businesses refused service to African Americans, the 500 block of Indiana Avenue became the cultural center of Indianapolis’s black community. [6]
Indiana Avenue was its own self-sufficient neighborhood nestled within a segregated Indianapolis. In 1916, “everything that a person might need could be purchased in an eight-block segment along the avenue,” which included “33 restaurants, 33 saloons (including taverns and clubs,) 26 grocery stores (including meat and poultry shops,) 17 barbershops and hair stylists, 16 tailors and clothing retailers, 14 cobblers, 13 dry goods stores, as well as drugstores, pawnbrokers, pool halls, funeral parlors, and offices of lawyers, physicians, dentists, and real estate agents.” [7] The full physical needs of the black community were provided along Indiana Avenue, as well as their spiritual needs. In 1836, Bethel A.M.E. Church was established, and by 1848, the congregation had their own building. [8] In 1862, “supporters of slavery” burned the original building but by 1867, the Bethel A.M.E. congregation had raised enough funds to build a new site, which was the city’s longest-running black church until it was sold in 2016 after falling into disrepair. [9] Additionally, the Avenue was renowned as a “center of entertainment and recreation,” and its numerous clubs, dance halls, and taverns were a point of division among the black community. Many people enjoyed the various types of recreation provided along the Avenue, while others, especially black clergymen, decried the area as “a center of vice.” [10]
During the 1920s, Indiana Avenue became the home of an internationally recognized jazz scene that continued well into the 1940s and 1950s. Nightclubs and theaters such as the Washington, Columbia Theater, and the Walker Theatre exhibited renowned African American musicians and entertainers, such as Ella Fitzgerald and Cab Calloway. [11] Local musicians cut their teeth jamming onstage with jazz legends, and some became legends of their own right, like Wes Montgomery, Slide Hampton, David Baker, and many others. [12] Live performances were announced in the Indianapolis Recorder, with colorful headlines such as this one: “Ella Fitzgerald, Sunset Thurs. Nite: Jamtown’s Jumpiest Jivers With That Savage Rhythm, Fiery Beats, Torrid Tempos Will Put You in the Groove and You’re [sic] Feet Just Gotta Move!” [13]
In 1982, Indiana Avenue was cut off from the heart of downtown Indianapolis when the construction of the American United Life Insurance Co. building, now known as One America Tower, required the demolishment of the Avenue’s 200 block. [14] Indiana Avenue had originally extended down to Ohio Street just north of Monument Circle, but now ends at New York Street. Furthermore, many of the historic buildings along Indiana Avenue have been demolished to allow for the expansion of the Indiana University Purdue University Indianapolis campus, which now occupies all but the 300 and 400 blocks of the Avenue. [15] The cultural hub of the Avenue began gradually fading as Indianapolis slowly desegregated and the black community could spend their time and money elsewhere. [16] What was once a bustling cultural center is now largely a string of modern office buildings and parking lots. The Walker Theatre is one of the few buildings in the Indiana Avenue Historic District that still stands after a significant restoration project, and as such is one of the only indications of the Avenue’s heritage. [17]
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A related resource from which the described resource is derived
[1] F. Eric Utz, Suzanne T. Rollins, and William Gulde, National Register of Historic Places Nomination Indiana Avenue Historic District, (Indianapolis, IN, Historic Landmarks Foundation of Indiana): 2. <br />[2] Ibid., 3. <br />[3] “The Indianapolis Recorder Newspaper Celebrates 120 Years,” Indianapolis Recorder (Indianapolis, IN), Jul. 1, 2015. <br />[4] Steve Hall and Wanda Bryant-Wills, “A Stream of Hopes, of Dreams, of Promise,” Indianapolis News (Indianapolis, IN), Jun. 28, 1982. <br />[5] Emma Lou Thornbrough, The Negro in Indiana Before 1900: A Study of a Minority (Bloomington, IN: Indiana University Press, 1993): 211.<br />[6] Utz, Rollins, and Gulde, National Register of Historic Places Nomination Indiana Avenue Historic District: 3,9. <br />[7] Emma Lou Thornbrough, Indiana Blacks in the Twentieth Century, ed. Lana Ruegamer, (Bloomington, IN: Indiana University Press, 2000), 15. <br />[8] “Bethel A.M.E. Church Collection,” Indiana Historical Society, accessed October 18, 2019, http://images.indianahistory.org/cdm/landingpage/collection/p16797coll9. <br />[9] “Bethel AME Church,” National Parks Service, accessed October 22, 2019, https://www.nps.gov/nr/travel/underground/in1.htm.; Olivia Lewis, “Indy’s Oldest African-American Church Sold for Hotel Space,” Indianapolis Star (Indianapolis, IN), Apr. 8, 2016. <br />[10] Thornbrough, Indiana Blacks in the Twentieth Century, 31. <br />[11] Utz, Rollins, and Gulde, National Register of Historic Places Nomination Indiana Avenue Historic District: 9.; “3 Big Nights of Dancing Next Week – Z. Whyte Coming,” Indianapolis Recorder (Indianapolis, IN), Oct. 26, 1929.; “’Stormy Weather’ At Walker Sunday,” Indianapolis Recorder (Indianapolis, IN), Jan. 26, 1946. <br />[12] David Leander Williams, Indianapolis Jazz: The Masters, Legends, and Legacy of Indiana Avenue, (Charleston, SC: The History Press, 2014): 11, 16. <br />[13] “Ella Fitzgerald, Sunset Thurs. Night,” Indianapolis Recorder (Indianapolis, IN), May 17, 1941. <br />[14] Joan Hostetler, “Indianapolis Then and Now: West Ohio Street at Indiana Avenue/OneAmerica Tower,” HistoricIndianapolis.com, July 26, 2012. https://historicindianapolis.com/indianapolis-then-and-now-west-ohio-street-at-indiana-avenue-oneamerica-tower/. <br />[15] Williams, Indianapolis Jazz, 13. <br />[16] Ibid., 194. <br />[17] “Looking for Things to Do or See in Indianapolis?” Indianapolis Recorder (Indianapolis, IN), Mar. 28, 1997.
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PHOTO & VIDEO:
Indiana Ave Restored, attributed to Kaxsalla, Public domain, via Wikimedia Commons https://commons.wikimedia.org/wiki/File:518_Indiana_Ave_Restored.jpg
Sunset Terrace on Indiana Avenue, Indiana Historical Society, M0513.
https://images.indianahistory.org/digital/collection/dc018/id/59/rec/3
Contributor
An entity responsible for making contributions to the resource
Student Authors: Allison Hunt and JB Bilbrey <br />Faculty/Staff Editors: Dr. Ronald V. Morris, Dr. Kevin C. Nolan, and Christine Thompson<br />Graduate Assistant Researchers: Carrie Vachon and JB Bilbrey
Relation
A related resource
<a href="https://www.in.gov/history/markers/219.htm" target="_blank" rel="noopener">Indiana Historical Bureau: Historical Marker</a><br /><a href="https://catalog.archives.gov/id/132003899" target="_blank" rel="noopener">National Register of Historic Places</a>
1800s
1900s-40s
1950s-present
Entertainment
Indiana Historical Bureau Marker
Indianapolis
Jazz
Marion County
National Register of Historic Places
Segregation