A recent visit to the Great Swamp National Wildlife Refuge in Morris and Somerset Counties led me to think again about how close we came to losing this marvelous natural resource to development. As you might remember from our earlier story, the Refuge is the hard won project of environmentalists who stopped the marshland from becoming a massive regional jetport. Thing is, for as much as people will marvel over the folly of replacing this pristine wilderness with an airport, nobody talks about WHY exactly we needed one there… and why Newark International Airport wasn’t deemed sufficient for the flying public.
When I researched the issue, I discovered a fair amount of discussion about the need for longer runways to accommodate massive jets – seemingly more that Newark might be able to accommodate. I also came upon a seemingly forgotten aspect of the history of EWR, an unfortunate series of events that virtually cried out for a new airfield in the region.
Three fatal accidents over the course of 10 weeks in the early 1950s forced the public and government officials to consider whether large airports and heavily populated areas were good neighbors or a recipe for disaster. A total of 119 people, including several Elizabeth residents in their homes, were killed in unexpected crashes near the airport. (Judy Blume's 2015 novel In the Unlikely Event is set on the backdrop of the tragedies.)
Locating an airport in a congested area wasn’t the planners’ original intent. Today’s Newark Liberty International Airport stands in heavily developed industrial sections of Newark and Elizabeth, bordered by the New Jersey Turnpike and Route 1, but it wasn’t always that way. Most New Jerseyans don’t recognize the area for what it once was: some of the southernmost portion of the Meadowlands. When sited in the late 1920s, the airport was built on damp marshlands in the outskirts of Newark. More than 1.5 million cubic feet of dry fill went into the soggy wetness to prepare it for paving and building, including 7000 Christmas trees and 200 metal safes. Airport operations proceeded without complaint or danger to local residents because, well, few if any people lived there.
With the passage of time, that changed. Normal industrial development, fueled by population shifts during World War II and the Port Authority takeover of Port Newark, brought more businesses into the area. Being close to the airport meant goods could be shipped rapidly, efficiently and more cheaply, so if your business wanted to grow beyond New Jersey, you wanted to be in what was once the swamp. Workers naturally wanted to live closer to their jobs, spurring residential development. Before you knew it, the “out of the way” airport had more neighbors than its architects probably ever imagined, and Newark was the second busiest commercial airfield among many competitors in the area.
The airport’s operations people, however, apparently didn’t recognize the potential dangers of routing aircraft over congested areas. That changed on December 16, 1951, when Newark and Elizabeth fell victim to what was then the second deadliest commercial air disaster in the United States. Fifty-six people died when a C-46 aircraft crashed into the Elizabeth River shortly after takeoff from Newark.
Just a few weeks later, on January 22, 1952, a twin-propeller airplane was attempting to land when it crashed into a house at the intersection of South and Williamson Streets in Elizabeth, after nearly hitting Battin High School. Three crew members, 20 passengers and seven people on the ground were killed.
A third accident, on February 11, was the final straw. After losing a propeller on takeoff, a DC-6 crashed, reportedly near an orphanage. Four on the ground died, along with 26 of the 59 passengers and three of the four crew. The Port Authority closed Newark Airport, raising questions as to whether it should ever reopen for commercial traffic. Airlines moved their EWR-based operations to LaGuardia and New York International (now JFK), leading some to wonder whether those carriers would return to Newark… if the airport ever reopened.
Ultimately, the airport was closed to commercial traffic for nine months, with the military using it only for defense-critical operations during daylight hours and good weather. Local mayors called on New Jersey Governor Alfred Driscoll and the state legislature to keep the airport closed and push the Port Authority to seek alternative locations in less populated areas for a new major airport.
Port Authority Executive Director Austin Tobin, however, had other plans. The agency continued its work on a new runway and issued a contract for the construction of an additional passenger terminal, clearly signaling that EWR would be back in business. Meanwhile, aviation ace Eddie Rickenbacker led the National Air Transport Coordinating Committee in developing new flight procedures for the airport. When announced in November 1952, the rules eliminated all takeoffs and landings over the densely populated sections of Elizabeth where the tragic crashes had taken place. Instead, aircraft would be routed over the Kearny Meadows.
Newark Airport reopened on November 15. 1952 and slowly came back to life as operators moved flights back from the other two major regional airfields. However, the concept of an farther-flung airport was still in the minds of some. Land owners in Lakewood, 60 miles south of Newark, offered acreage for a new, modern facility, proposing that a Pinelands-based airport could easily be connected to the Turnpike for easy access to both New York and Philadelphia. The airlines, however, rejected the concept. Much of the appeal of Newark was what had made it so congested in the first place: proximity to industry, people and New York City.
Perhaps the most fitting statement was made by the New York Times in an editorial supporting the reopening of EWR: "It is not possible to remove landing fields to entirely uninhabited areas. To do so would destroy the very value of air transport; it is not possible. The airplane is here to stay…”
Newark continued to grow even as the Port Authority fought for the proposed jetport in the Great Swamp. New terminals were built, airlines added new flights and routes, more people than ever saw the convenience of flying out of EWR instead of JFK or LGA. Thankfully, no additional fatal crashes have occurred in the neighborhoods surrounding the airport, a trend we hope will continue indefinitely.
Showing posts with label Newark. Show all posts
Showing posts with label Newark. Show all posts
Wednesday, March 11, 2015
Friday, November 14, 2014
Cut... and print! An Episcopal priest invents film in Newark
Newark has attracted more than its share of creative thinkers who've made huge contributions to their professions and industries. As we learned earlier this year, scientist James Jay Mapes revolutionized agriculture through experiments on his farm in the current-day South Ward. The prolific Seth Boyden had his own lab in Newark to develop new methods of producing patent leather and malleable iron. And, of course, New Jersey's most prolific inventor, Thomas Edison, set up shop in the city before moving operations to the more rural Menlo Park.
A less likely Newark inventor came to mind on my recent stop at the Plume House, now more familiar to Newarkers as the rectory of the Episcopal House of Prayer. Reverend Hannibal Goodwin lived in the home during his service as the church's rector from 1867 until his retirement in 1887. No doubt he served the congregation well, but he's better known for his work outside the ministry.
Like many inventors, Goodwin was driven by a problem in need of a solution. Wanting to make Bible lessons more interesting to his congregants, he started using images printed on glass plates, projected through a stereopticon or "magic lantern." The plates were subject to cracking and breakage, leading him to seek out another transparent material that would be more flexible and immune to damage. Rev. Goodwin took to the workshop and lab he'd assembled in the attic of the Plume House, looking for a solution. He wasn't a chemist by training but taught himself sufficiently to work on a solution without blowing the roof off the rectory.
Newark was already becoming a center for the development of plastics, but apparently none with the properties Goodwin sought. Celluloid pioneer John Wesley Hyatt had relocated to Ferry Street in Newark in the 1870s to manufacture false teeth, billiards balls and other durable solids, but apparently hadn't seen the potential for photographic use. Amateur photographer Rev. Goodwin did. After some experimentation, he developed cellulose nitrate photographic film, also known as flexible celluloid film.
Goodwin quickly realized that he hadn't just solved the problem of cracked Bible illustrations, he'd also opened the door to a new trend in photography. Upon his retirement from the Episcopal church in 1887, he filed a patent application for a "photographic pellicle and process for producing same," noting that the invention was for a "transparent sensitive pellicle [membrane] better adapted for photographic purposes."
Though he was first to the U.S. Patent Office with the concept, Goodwin's application wasn't immediately accepted. His lack of formal training as a chemist showed in the lack of detail and need for further clarification and amendments. Meanwhile, others, including George Eastman, came forth with more nuanced and complete petitions for patent. By the time Goodwin was awarded the patent in 1898, Eastman Kodak had been manufacturing and selling flexible film using its own processes for several years.
Goodwin unfortunately lost the opportunity to make up for lost time. Patent in hand, he incorporated the Goodwin Film and Camera Company in 1900 but died in a street accident before production started. His wife sold the company to Anthony and Scovill (later known as Ansco) which sued Eastman Kodak for patent infringement. After more than a decade of dispute in the courts, Goodwin's rightful place as inventor of flexible film was confirmed.
Consider that within the radius of just a few miles, New Jersey holds three locations crucial to the birth and growth of the film industry: the attic of a small Dutch colonial house in Newark where the film itself was born, Edison's West Orange lab where the motion picture was invented, and Fort Lee where the studio system grew from infancy to a major industry. Rochester, Hollywood, eat our dust!
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| Rev. Hannibal Goodwin |
Like many inventors, Goodwin was driven by a problem in need of a solution. Wanting to make Bible lessons more interesting to his congregants, he started using images printed on glass plates, projected through a stereopticon or "magic lantern." The plates were subject to cracking and breakage, leading him to seek out another transparent material that would be more flexible and immune to damage. Rev. Goodwin took to the workshop and lab he'd assembled in the attic of the Plume House, looking for a solution. He wasn't a chemist by training but taught himself sufficiently to work on a solution without blowing the roof off the rectory.
Newark was already becoming a center for the development of plastics, but apparently none with the properties Goodwin sought. Celluloid pioneer John Wesley Hyatt had relocated to Ferry Street in Newark in the 1870s to manufacture false teeth, billiards balls and other durable solids, but apparently hadn't seen the potential for photographic use. Amateur photographer Rev. Goodwin did. After some experimentation, he developed cellulose nitrate photographic film, also known as flexible celluloid film.
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| House of Prayer: birthplace of flexible film. Courtesy Historic American Buildings Survey |
Though he was first to the U.S. Patent Office with the concept, Goodwin's application wasn't immediately accepted. His lack of formal training as a chemist showed in the lack of detail and need for further clarification and amendments. Meanwhile, others, including George Eastman, came forth with more nuanced and complete petitions for patent. By the time Goodwin was awarded the patent in 1898, Eastman Kodak had been manufacturing and selling flexible film using its own processes for several years.
Goodwin unfortunately lost the opportunity to make up for lost time. Patent in hand, he incorporated the Goodwin Film and Camera Company in 1900 but died in a street accident before production started. His wife sold the company to Anthony and Scovill (later known as Ansco) which sued Eastman Kodak for patent infringement. After more than a decade of dispute in the courts, Goodwin's rightful place as inventor of flexible film was confirmed.
Consider that within the radius of just a few miles, New Jersey holds three locations crucial to the birth and growth of the film industry: the attic of a small Dutch colonial house in Newark where the film itself was born, Edison's West Orange lab where the motion picture was invented, and Fort Lee where the studio system grew from infancy to a major industry. Rochester, Hollywood, eat our dust!
Tuesday, November 11, 2014
Hessians in the Ice Box: the hidden history of one of Newark's oldest homes
People sometimes tend to forget that New Jersey's largest cities are among our oldest. Take, for example, Newark. Gleaming new buildings are being constructed along Broad Street downtown, but if you look carefully around the city, you'll also see sandstone structures that were built before the American Revolution. One of the oldest, if not the oldest, stands precariously between an Episcopal church and an overpass for Interstate 280.
Built around 1710, the Plume house is remarkable for more than its age. Originally, I stopped by to track down its 19th century acclaim as the birthplace of an new technology that spurred the development of the entertainment industry. Then I discovered that it has the distinction of playing a small but telling role in the American Revolution. Today, we'll focus on that part of its history.
The land on which the sandstone house sits was deeded to early Newarker Samuel Plum in 1673 as part of the original partition of the region. A large farm with orchards, it was then well outside the heart of Newark, which was far smaller than it is today.
Annetje Van Wagenen Plume came to live at the house after her marriage to Samuel's grandson, Isaac Plume, in the mid 1700s. Together with Isaac's children and their mutual offspring, the pair kept the farm going until 1776, when Isaac joined the patriot cause as part of the Essex County Militia.
Ann and the children were on their own during the winter of 1777, when Hessian troops made their way to Newark after the Battle of Long Island. Located on the northern edge of town, the Plume farm and homestead was an easy and quick target. Hungry from the march, the enemy troops pushed their way into the house, demanding food for themselves and their horses.
Washington's troops had already retreated westward, leaving the area undefended and the Hessians emboldened. Figuring they'd encounter little resistance, they rummaged about the house, but when they started chopping her furniture for firewood in the main room, Ann had had enough. According to legend, her demands that they stop were countered by an officer's threat that he'd shoot her unless she shut up and left them alone. Angered, she let loose what was then a raunchy phrase for what might have been termed a proper woman: "Ram's horn if I die for it." The officer laughed in surprise and relented, telling his troops to move out to the yard.
Ann's frustration grew the longer the Hessians stayed on her property. A few days after the wood chopping incident, she saw a chance for revenge. Noticing one of the soldiers venturing into the ice house for some fresh milk, she quickly shut the door behind him and barricaded it. Muffled by the thick walls of the ice house, the soldier's protests and cries for help went unanswered by his comrades, who left in haste the next day when rumor spread that Continental soldiers were on the way. As the story goes, she turned the milk thief over to the Jersey Blues a few hours later, receiving his metal helmet as a reward.
Even without her daring during the Revolution, Ann was a remarkable woman for her time, having inherited substantial land holdings from her father. All of the properties became Isaac's at their marriage due to estate laws of the time, but she regained them all after his death in 1799. As a property-owning widow, she was entitled to vote before the right was taken away from women in New Jersey in 1807. By the time of her death in 1816, she was worth more than $100,000, a significant sum for the day regardless of one's gender.
As for the house, there's much more to be said, both of further history and of an uncertain future. Stay tuned for more...
Built around 1710, the Plume house is remarkable for more than its age. Originally, I stopped by to track down its 19th century acclaim as the birthplace of an new technology that spurred the development of the entertainment industry. Then I discovered that it has the distinction of playing a small but telling role in the American Revolution. Today, we'll focus on that part of its history.
The land on which the sandstone house sits was deeded to early Newarker Samuel Plum in 1673 as part of the original partition of the region. A large farm with orchards, it was then well outside the heart of Newark, which was far smaller than it is today.Annetje Van Wagenen Plume came to live at the house after her marriage to Samuel's grandson, Isaac Plume, in the mid 1700s. Together with Isaac's children and their mutual offspring, the pair kept the farm going until 1776, when Isaac joined the patriot cause as part of the Essex County Militia.
Ann and the children were on their own during the winter of 1777, when Hessian troops made their way to Newark after the Battle of Long Island. Located on the northern edge of town, the Plume farm and homestead was an easy and quick target. Hungry from the march, the enemy troops pushed their way into the house, demanding food for themselves and their horses.
Washington's troops had already retreated westward, leaving the area undefended and the Hessians emboldened. Figuring they'd encounter little resistance, they rummaged about the house, but when they started chopping her furniture for firewood in the main room, Ann had had enough. According to legend, her demands that they stop were countered by an officer's threat that he'd shoot her unless she shut up and left them alone. Angered, she let loose what was then a raunchy phrase for what might have been termed a proper woman: "Ram's horn if I die for it." The officer laughed in surprise and relented, telling his troops to move out to the yard.
Ann's frustration grew the longer the Hessians stayed on her property. A few days after the wood chopping incident, she saw a chance for revenge. Noticing one of the soldiers venturing into the ice house for some fresh milk, she quickly shut the door behind him and barricaded it. Muffled by the thick walls of the ice house, the soldier's protests and cries for help went unanswered by his comrades, who left in haste the next day when rumor spread that Continental soldiers were on the way. As the story goes, she turned the milk thief over to the Jersey Blues a few hours later, receiving his metal helmet as a reward.
Even without her daring during the Revolution, Ann was a remarkable woman for her time, having inherited substantial land holdings from her father. All of the properties became Isaac's at their marriage due to estate laws of the time, but she regained them all after his death in 1799. As a property-owning widow, she was entitled to vote before the right was taken away from women in New Jersey in 1807. By the time of her death in 1816, she was worth more than $100,000, a significant sum for the day regardless of one's gender.
As for the house, there's much more to be said, both of further history and of an uncertain future. Stay tuned for more...
Thursday, October 2, 2014
Marking irrelevant boundaries on Divident Hill
Stroll around the slim section of Newark's Weequahic Park that's north of Route 22, and you might come upon an elegant domed pavilion atop a hill. Nearly a century old, the Greco-Roman shelter seems a bit elegant for a park that was designed in the more naturalistic style of the Olmsted Brothers. A temple to a celebrated Newarker, perhaps? A gift from one of the city's 19th century industrial barons?
The design of the structure, as it turns
out, doesn't relate very much to the inspiration for its placement at the highest point within the park. In fact, if you consider the story a certain way, it pretty much replaced a tree that stood on the spot 350 years ago. And it marks a geographic point that's no longer relevant.
As boundaries often go, it seems the dividing line between the old cities of Elizabeth and Newark was in question in the earliest years of New Jersey's status as an English colony. Elizabeth share's the state's 1664 birthday, while Newark was founded just two years later. Within a few years, both communities' leaders realized that the settlements were bound to overlap eventually if a boundary wasn't established. On May 20, 1668, commissioners from both communities met at the highest spot in current day Weequahic Park to determine a dividing line.
The line settled was: "the top of the little round hill named Divident Hill; and from thence to run upon a Northwest line into the country" until it met Watchung Mountain. To set the mark, the men carved an "N" into the northern side of an oak standing on the hill, and an "E" on the southern side. Other trees along the line were marked in a similar fashion.
Still, though, the hill is now decisively within Newark boundaries. What happened?
In 1834, Elizabeth gave up its portion of what's now Weequahic Park, and a bit more, for the formation of the township of Clinton. That small, marshy and somewhat rural community was absorbed by Newark in 1902, extending the city's boundaries southward against the portion of Union Township that eventually became Hillside. Union was once part of Elizabeth itself, breaking away in the early 1800s.
The irony is that the pavilion commemorating the boundary-setting was dedicated long after it became irrelevant at the point where it's celebrated. As part of Newark's grand 250th anniversary in 1916, the city commissioned famed architects Carrere and Hastings to design and build this ornate monument to the foresight of the neighboring cities' founding leaders. A memorial plaque was placed, fittingly enough, by students from both South Side High School in Newark and Battin High School in Elizabeth.
So there you have it; a memorial placed by history-minded students at a place that no longer stands for what it once was, marked by a grand piece of architecture. What better Hidden New Jersey could there be?
The design of the structure, as it turns
out, doesn't relate very much to the inspiration for its placement at the highest point within the park. In fact, if you consider the story a certain way, it pretty much replaced a tree that stood on the spot 350 years ago. And it marks a geographic point that's no longer relevant.As boundaries often go, it seems the dividing line between the old cities of Elizabeth and Newark was in question in the earliest years of New Jersey's status as an English colony. Elizabeth share's the state's 1664 birthday, while Newark was founded just two years later. Within a few years, both communities' leaders realized that the settlements were bound to overlap eventually if a boundary wasn't established. On May 20, 1668, commissioners from both communities met at the highest spot in current day Weequahic Park to determine a dividing line.
The line settled was: "the top of the little round hill named Divident Hill; and from thence to run upon a Northwest line into the country" until it met Watchung Mountain. To set the mark, the men carved an "N" into the northern side of an oak standing on the hill, and an "E" on the southern side. Other trees along the line were marked in a similar fashion.
Still, though, the hill is now decisively within Newark boundaries. What happened?
In 1834, Elizabeth gave up its portion of what's now Weequahic Park, and a bit more, for the formation of the township of Clinton. That small, marshy and somewhat rural community was absorbed by Newark in 1902, extending the city's boundaries southward against the portion of Union Township that eventually became Hillside. Union was once part of Elizabeth itself, breaking away in the early 1800s.
The irony is that the pavilion commemorating the boundary-setting was dedicated long after it became irrelevant at the point where it's celebrated. As part of Newark's grand 250th anniversary in 1916, the city commissioned famed architects Carrere and Hastings to design and build this ornate monument to the foresight of the neighboring cities' founding leaders. A memorial plaque was placed, fittingly enough, by students from both South Side High School in Newark and Battin High School in Elizabeth.
So there you have it; a memorial placed by history-minded students at a place that no longer stands for what it once was, marked by a grand piece of architecture. What better Hidden New Jersey could there be?
Saturday, August 30, 2014
Newark's State Fair was a great state fair
Midwestern-born friends of ours admitted to being a bit confused at the hubbub advertised as the State Fair and held in the parking lot of the Meadowlands Sports Complex earlier this summer. I can't say I blame them: it wasn't a real state fair, with 4H exhibits, tractor pulls and judged livestock shows. That's held at the Sussex County Fairgrounds in August. The other one, technically named "State Fair Meadowlands," looks like a street carnival on steroids. No self-respecting livestock would step foot there.
Interestingly enough, the East Rutherford version was a bit closer, geographically, to the first permanent home of New Jersey's premier agricultural exhibition: Newark. Yup, the state's largest city was once the place where farmers and their families learned the latest about livestock and crops, enjoying fun and games while they were at it. Technically, the site of the fair, the current-day Weequahic Park, was in Clinton, an small community that was yet to be absorbed by Newark. In the years before the site became a county park, it was largely farmland, neighbored by marsh instead of apartment buildings, highways and train tracks.
Clinton had a better deserved reputation for breeding mosquitoes than for crop production until James Jay Mapes came to town. A noted scientist with an interest in agriculture, he purchased an unproductive farm there in 1847 as a laboratory for his theories in crop rotation, fertilization and seeding. His work wasn't just successful, it proved the value of scientific agriculture in improving soil quality and crop yield.
Though many farmers had scorned 'book farming' before, the results were undeniable, and Mapes became the closest thing to an agricultural rock star as was possible in the mid 19th century.
Who wouldn't want to boost production on their own acreage, and who better learn from than the master himself? Mapes took to the speaking circuit, drawing on his considerable wit and speaking skills to present over 150 lectures on scientific farming. He also patented and sold his phosphate fertilizer branded as, what else, "Mapes Fertilizer."
The farm in Clinton became a popular draw for knowledge-hungry farmers, so much so that in 1866, the organizers of the New Jersey state agricultural fair chose it as the event's permanent site. Besides the usual seminars, shows and competitions, farmers and their families could enjoy food, drink, shows and games of chance at the newly-dubbed Waverly Fairgrounds. The grandstand and racing oval constructed for the fair proved so durable that it stood until 1960, evolving from a horse track to automobile racing.
Clinton's days as the capital (at least for a few days a year) of New Jersey agriculture ended in 1899, as Essex County amassed several tracts of land to become present-day Weequahic Park. The last bits of the township were annexed to Newark in 1902, completing a process that had gone back and forth for close to 70 years. In any case, the years of moos, manure and midways were over for the park, but it would later host significant events, including a celebration of the city's 250th anniversary in 1916.
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| Excuse me. Can you tell me how to get to the PATH train? |
Clinton had a better deserved reputation for breeding mosquitoes than for crop production until James Jay Mapes came to town. A noted scientist with an interest in agriculture, he purchased an unproductive farm there in 1847 as a laboratory for his theories in crop rotation, fertilization and seeding. His work wasn't just successful, it proved the value of scientific agriculture in improving soil quality and crop yield.
Though many farmers had scorned 'book farming' before, the results were undeniable, and Mapes became the closest thing to an agricultural rock star as was possible in the mid 19th century.
Who wouldn't want to boost production on their own acreage, and who better learn from than the master himself? Mapes took to the speaking circuit, drawing on his considerable wit and speaking skills to present over 150 lectures on scientific farming. He also patented and sold his phosphate fertilizer branded as, what else, "Mapes Fertilizer."
The farm in Clinton became a popular draw for knowledge-hungry farmers, so much so that in 1866, the organizers of the New Jersey state agricultural fair chose it as the event's permanent site. Besides the usual seminars, shows and competitions, farmers and their families could enjoy food, drink, shows and games of chance at the newly-dubbed Waverly Fairgrounds. The grandstand and racing oval constructed for the fair proved so durable that it stood until 1960, evolving from a horse track to automobile racing.
Clinton's days as the capital (at least for a few days a year) of New Jersey agriculture ended in 1899, as Essex County amassed several tracts of land to become present-day Weequahic Park. The last bits of the township were annexed to Newark in 1902, completing a process that had gone back and forth for close to 70 years. In any case, the years of moos, manure and midways were over for the park, but it would later host significant events, including a celebration of the city's 250th anniversary in 1916.
Friday, March 21, 2014
Look both ways before you cross: Newark's groundbreaking school safety patrols
Back a few years ago, our visit to Newark's Military Park revealed that America's first school safety patrol was established in New Jersey's largest city in May 1916. According to a commemorative plaque placed by the Schoolmen's Club, Newark Schools Attendance Supervisor Charles MacCall and Officer Felix Dunn of the city's police department recommended that the board of education start the patrol to make sure that children learned to cross the street safely on their way to and from school.
What sounds like a pretty obvious concept now -- why wouldn't a kid know to wait to cross the street until cars passed or came to a stop for them -- wasn't at the time. Automobiles were a fairly recent phenomenon, and as traffic increased, the simple act of crossing the street became fraught with potential injury. Guard stationed at intersections and crosswalks would make sure kids passed safely while drumming the "look both ways, then cross" mantra into their brains. The Newark program brought it one step further by enlisting students as guards, perhaps thinking that kids would be more likely to listen to their peers.
In researching the program, I found that the school safety patrol concept, like many good ideas, has been claimed by many parents. It took a while for me to find a non-Schoolmen's reference that placed citing the birth of Newark's program before others. Some branches of the American Automobile Association claim that AAA originated the idea in 1920, while cities like St. Paul, Minnesota proudly state that their safety programs took root in the early 1920s.
To be fair, AAA once recognized that safety patrols seem to have sprung up in many areas at around the same time. A 1940 New York Times article said that the organization was attempting "to find and to honor the far-sighted leaders who pioneered the movement." By then, 300,000 children had donned the familiar safety patrol belts to help to keep their peers safe from oncoming traffic.
Even the originators of the Newark movement seem to be in question. A 1949 obituary states that Eugene Sheridan, not MacCall, was the public schools attendance bureau director who came up with the idea and worked with Dunn to implement it. I haven't been able to clear up the discrepancy, but I discovered that Sheridan was lauded by the AAA as one of several pioneers at a massive safety patrol parade in Washington, DC in 1941. By the time he retired, almost 3400 Newark youngsters were serving as guards, and no fatal accidents had occurred at any of the patrolled intersections or crosswalks since the start of the program.
Dunn headed the Newark School Safety Patrol from its formation in 1917 until his retirement in 1930, and while he did so much to ensure childrens' safety on the road, his family was touched by a car accident. In 1933, he was driving with his wife from Fort Lauderdale to Newark when a tire on their car blew out and the car overturned. Mrs. Dunn died from her resulting injuries, while Mr. Dunn suffered only minor injuries.
What sounds like a pretty obvious concept now -- why wouldn't a kid know to wait to cross the street until cars passed or came to a stop for them -- wasn't at the time. Automobiles were a fairly recent phenomenon, and as traffic increased, the simple act of crossing the street became fraught with potential injury. Guard stationed at intersections and crosswalks would make sure kids passed safely while drumming the "look both ways, then cross" mantra into their brains. The Newark program brought it one step further by enlisting students as guards, perhaps thinking that kids would be more likely to listen to their peers.
In researching the program, I found that the school safety patrol concept, like many good ideas, has been claimed by many parents. It took a while for me to find a non-Schoolmen's reference that placed citing the birth of Newark's program before others. Some branches of the American Automobile Association claim that AAA originated the idea in 1920, while cities like St. Paul, Minnesota proudly state that their safety programs took root in the early 1920s.
To be fair, AAA once recognized that safety patrols seem to have sprung up in many areas at around the same time. A 1940 New York Times article said that the organization was attempting "to find and to honor the far-sighted leaders who pioneered the movement." By then, 300,000 children had donned the familiar safety patrol belts to help to keep their peers safe from oncoming traffic.
Even the originators of the Newark movement seem to be in question. A 1949 obituary states that Eugene Sheridan, not MacCall, was the public schools attendance bureau director who came up with the idea and worked with Dunn to implement it. I haven't been able to clear up the discrepancy, but I discovered that Sheridan was lauded by the AAA as one of several pioneers at a massive safety patrol parade in Washington, DC in 1941. By the time he retired, almost 3400 Newark youngsters were serving as guards, and no fatal accidents had occurred at any of the patrolled intersections or crosswalks since the start of the program.
Dunn headed the Newark School Safety Patrol from its formation in 1917 until his retirement in 1930, and while he did so much to ensure childrens' safety on the road, his family was touched by a car accident. In 1933, he was driving with his wife from Fort Lauderdale to Newark when a tire on their car blew out and the car overturned. Mrs. Dunn died from her resulting injuries, while Mr. Dunn suffered only minor injuries.
Saturday, November 30, 2013
The right to vote, and beyond: the legacy of Florence Eagleton
If you're a follower of New Jersey politics, you've no doubt heard of the Eagleton Institute of Politics at Rutgers University. Located on the Douglass College campus at Wood Lawn, the Institute conducts research on the state's political climate and serves as the University's educational arm on public policy. Countless numbers of state policy makers, journalists and elected officials have benefited from the Institute's programming and resources, whether in undergraduate or graduate-level classes, or seminars targeted to segments of the public.
I've always wondered who it was named for and why it happens to be headquartered on the campus of Rutgers' women's college. As I found from my research, both the setting and the focus of the Institute makes perfect sense once you learn its origin.
The name and the heritage traces to a classic New Jersey Woman With Moxie who wasn't content to simply live the life of a member of late 19th-early 20th century Newark aristocracy. Rather than simply settle for luncheons and charity events, she became one of the state's leading advocates for women's rights in a time when change was neither guaranteed nor completely supported within her social stratus.
Florence Peshine Eagleton was born in 1870 to parents whose families traced back to the earliest days of Newark's founding. Following her education at one of the city's exclusive finishing schools, her parents arranged her marriage to Henry Riggs, who at more than twice her age was already widowed and the father of a 20 year old son. According to Lives of New Jersey Women, their marriage, though without passion, resulted in one son, and they divorced as friends several years later. Though Riggs thought well enough of Florence to name her a beneficiary in his will after their separation, her own family disapproved of the divorce and considered her to be a fallen woman, in the parlance of the day.
Her second marriage was far more successful. At the age of 43, she married Newark neurosurgeon Wells Phillips Eagleton, a far better match, both in age and mutual affection. They were an accomplished pair: he as a well-regarded and often-published physician and she as a philanthropist and advocate for social change.
Florence had come of age during a time when the fight for women's suffrage and access to family planning were coming to a fever pitch. Already having helped found the New Jersey Birth Control League, she dove headfirst into the movement to ratify the 19th Amendment. As leader of the state's Women's Political Union and vice president of the New Jersey Woman Suffrage Association (WSA), she drove a hugely successful petition drive in Newark, prompting the state legislature to vote to make New Jersey the 29th state to ratify the amendment. That achieved, Eagleton became the first president of the Newark League of Women Voters, the successor to the WSA which is dedicated to educating voters about public policy issues. Under her leadership, the LWV conducted a series of "citizenship schools" to help women make better educated decisions at the polling place.
The leap to the Eagleton Institute, then, becomes easy to understand, but why the Rutgers connection?
An advocate of women's education, Eagleton was an early board member of the New Jersey College for Women (now Douglass College) and later became one of the first women to serve as a trustee at Rutgers University. She no doubt became intimately familiar with the school and saw a fertile field in which her life's work could continue well beyond her death.
In her will, she bequested $1 million for the establishment of the Wells Phillips Eagleton and Florence Peshine Eagleton Foundation, directing that the funds go toward "the advancement of learning in the field of practical political affairs and government [so] that a knowledge of the meaning of democracy may be increased through the education of young women and men in democratic government." Further, she wrote, "It is my settled conviction that the cultivation of civic responsibility and leadership among the American people in the field of practical political affairs is of vital and increasing importance to our state and nation ... I make this gift especially for the development of and education for responsible leadership in civic and governmental affairs and the solution of their political problems."
Florence Eagleton died in 1956 and the Institute was organized not long after. Now the home of the Center for American Women in Politics, it continues her efforts to build and enhance women's influence on the public policy stage, even as it broadens its scope to study immigration, the role of the governor in American states and a host of other issues. Perhaps Florence is little known today, but more importantly, her mission continues.
I've always wondered who it was named for and why it happens to be headquartered on the campus of Rutgers' women's college. As I found from my research, both the setting and the focus of the Institute makes perfect sense once you learn its origin.
The name and the heritage traces to a classic New Jersey Woman With Moxie who wasn't content to simply live the life of a member of late 19th-early 20th century Newark aristocracy. Rather than simply settle for luncheons and charity events, she became one of the state's leading advocates for women's rights in a time when change was neither guaranteed nor completely supported within her social stratus.Florence Peshine Eagleton was born in 1870 to parents whose families traced back to the earliest days of Newark's founding. Following her education at one of the city's exclusive finishing schools, her parents arranged her marriage to Henry Riggs, who at more than twice her age was already widowed and the father of a 20 year old son. According to Lives of New Jersey Women, their marriage, though without passion, resulted in one son, and they divorced as friends several years later. Though Riggs thought well enough of Florence to name her a beneficiary in his will after their separation, her own family disapproved of the divorce and considered her to be a fallen woman, in the parlance of the day.
Her second marriage was far more successful. At the age of 43, she married Newark neurosurgeon Wells Phillips Eagleton, a far better match, both in age and mutual affection. They were an accomplished pair: he as a well-regarded and often-published physician and she as a philanthropist and advocate for social change.
Florence had come of age during a time when the fight for women's suffrage and access to family planning were coming to a fever pitch. Already having helped found the New Jersey Birth Control League, she dove headfirst into the movement to ratify the 19th Amendment. As leader of the state's Women's Political Union and vice president of the New Jersey Woman Suffrage Association (WSA), she drove a hugely successful petition drive in Newark, prompting the state legislature to vote to make New Jersey the 29th state to ratify the amendment. That achieved, Eagleton became the first president of the Newark League of Women Voters, the successor to the WSA which is dedicated to educating voters about public policy issues. Under her leadership, the LWV conducted a series of "citizenship schools" to help women make better educated decisions at the polling place.
The leap to the Eagleton Institute, then, becomes easy to understand, but why the Rutgers connection?
An advocate of women's education, Eagleton was an early board member of the New Jersey College for Women (now Douglass College) and later became one of the first women to serve as a trustee at Rutgers University. She no doubt became intimately familiar with the school and saw a fertile field in which her life's work could continue well beyond her death.
In her will, she bequested $1 million for the establishment of the Wells Phillips Eagleton and Florence Peshine Eagleton Foundation, directing that the funds go toward "the advancement of learning in the field of practical political affairs and government [so] that a knowledge of the meaning of democracy may be increased through the education of young women and men in democratic government." Further, she wrote, "It is my settled conviction that the cultivation of civic responsibility and leadership among the American people in the field of practical political affairs is of vital and increasing importance to our state and nation ... I make this gift especially for the development of and education for responsible leadership in civic and governmental affairs and the solution of their political problems."
Florence Eagleton died in 1956 and the Institute was organized not long after. Now the home of the Center for American Women in Politics, it continues her efforts to build and enhance women's influence on the public policy stage, even as it broadens its scope to study immigration, the role of the governor in American states and a host of other issues. Perhaps Florence is little known today, but more importantly, her mission continues.
Tuesday, November 19, 2013
Newark, Bamberger's and the rise of radio
It's hard to fathom now, but 90 years ago, commercial radio was little more than a novelty. Barely past making a sizable investment in a phonograph player, many families were wondering whether it made sense to buy a receiver to listen to one of the few broadcast stations on the air. People got their information from print newspapers and magazines, or from their friends, and the concept of hearing the words of a far-away singer was mystifying. Why would they sink more money into a new gizmo they didn't really need?
Businesses were facing a similar quandary from the opposite side of the transaction -- a chicken-and-egg dilemma of sorts. Retailers couldn't sell radios if there was nothing being broadcast for people to listen to, and owning a radio station was a risky proposition unless a good number of people had the instrument to pick up and follow your signal.
A few brave entrepreneurs, however, decided to take the plunge, among them Newark's Louis Bamberger, owner of New Jersey's largest retail establishment. Already selling phonographs and recordings when commercial radio was introduced in the early 1920s, he saw the potential for radio to be just as big, perhaps even bigger. After all, it could deliver inexpensive entertainment that would never get boring. Unlike a phonograph that required the purchase of new recordings from time to time to stave off monotony, radio offered the prospect of free and varied programming once consumers purchased the receiver.
Supplying that programming was the next step in the equation. Imagine how easily Bamberger's employees could sell receivers if the store were to operate its own radio station! Even better, what if it was so close that the signal couldn't help but come in loud and clear?
Bamberger decided to find out, in the process founding one of New York City's most enduring radio stations. From a small studio on the sixth floor of its flagship Newark store, Bamberger's made history on February 22, 1922, broadcasting Al Jolson's "April Showers" on a 500 watt signal on radio frequency 833 AM. Rather than getting the "WLB" call letters he had hoped for, the new station was assigned "WOR," the letters previously designated for the ship U.S.S. California.
Within a year, WOR was demonstrating the power of radio so successfully that Bamberger considered shutting it down for fear it would hurt phonograph sales. Others suggested that he should take a broader view, encouraging him to consider the broadcasting industry as a growth opportunity in its own right. WOR opened studios in New York to supplement its Newark facilities and eventually expanded its reach with a 50,000 watt capacity. The Bamberger Broadcasting Service became a key member of the Mutual Broadcasting System, broadening the influence of radio nationwide during the mid-20th century.
WOR left Newark for good in 1941, and few people remember its New Jersey roots. Bamberger's itself was sold to Macy's in 1929, eventually taking the corporate name in 1986 and closing the Newark store in 1991. Interestingly, in the years since, the old flagship location has returned, in a way, to the business of dispatching information. Its sturdy construction makes it an ideal site for telecommunications equipment and computer server farms, an unintentional though apt link to the early days of much simpler though still astounding means of sharing information.
Businesses were facing a similar quandary from the opposite side of the transaction -- a chicken-and-egg dilemma of sorts. Retailers couldn't sell radios if there was nothing being broadcast for people to listen to, and owning a radio station was a risky proposition unless a good number of people had the instrument to pick up and follow your signal.
A few brave entrepreneurs, however, decided to take the plunge, among them Newark's Louis Bamberger, owner of New Jersey's largest retail establishment. Already selling phonographs and recordings when commercial radio was introduced in the early 1920s, he saw the potential for radio to be just as big, perhaps even bigger. After all, it could deliver inexpensive entertainment that would never get boring. Unlike a phonograph that required the purchase of new recordings from time to time to stave off monotony, radio offered the prospect of free and varied programming once consumers purchased the receiver.
 |
| Bambergers' Newark flagship store, sporting the massive WOR antenna. |
Bamberger decided to find out, in the process founding one of New York City's most enduring radio stations. From a small studio on the sixth floor of its flagship Newark store, Bamberger's made history on February 22, 1922, broadcasting Al Jolson's "April Showers" on a 500 watt signal on radio frequency 833 AM. Rather than getting the "WLB" call letters he had hoped for, the new station was assigned "WOR," the letters previously designated for the ship U.S.S. California.
Within a year, WOR was demonstrating the power of radio so successfully that Bamberger considered shutting it down for fear it would hurt phonograph sales. Others suggested that he should take a broader view, encouraging him to consider the broadcasting industry as a growth opportunity in its own right. WOR opened studios in New York to supplement its Newark facilities and eventually expanded its reach with a 50,000 watt capacity. The Bamberger Broadcasting Service became a key member of the Mutual Broadcasting System, broadening the influence of radio nationwide during the mid-20th century.
WOR left Newark for good in 1941, and few people remember its New Jersey roots. Bamberger's itself was sold to Macy's in 1929, eventually taking the corporate name in 1986 and closing the Newark store in 1991. Interestingly, in the years since, the old flagship location has returned, in a way, to the business of dispatching information. Its sturdy construction makes it an ideal site for telecommunications equipment and computer server farms, an unintentional though apt link to the early days of much simpler though still astounding means of sharing information.
Thursday, October 17, 2013
Exploring the nation's first county park... in Newark
As we've traveled the state, we've been impressed by the consistently good quality of New Jersey's county parks. In the more urban areas, particularly, they offer residents a place to enjoy open space, recreation and perhaps a bit of nature not far from their own front doors. You could say that they're a common community back yard.
What I didn't realize was that the nation's very first county park is in New Jersey. The land that's now Branch Brook Park in Newark's North Ward was dedicated to its current use in 1895, instantly turning an old Civil War Army training ground into the forerunner of the open spaces we all enjoy today.
Well, "instantly" is a bit of an exaggeration. The original plot was partially a marsh called Blue Jay Swamp, which had become both a source of drinking water and a dumping place for sewage after it was deemed unsuitable for development. Further adding to the rather depressing scene, the tract was hemmed in by crowded tenements. This was balanced, somewhat, by the addition of a more pristine 60 acres that the City of Newark sold to the county for park use. Before the land transfer, it had been known as Reservoir Park in recognition of the basin that had supplied water to the city's more privileged residents.
The concept of a great park had actually been hatched in 1867, when the New Jersey Legislature created a Newark Park Commission to determine a place for open space within the rapidly-developing city. Already well known for their work in other cities, Frederick Law Olmsted and Calvert Vaux recommended using much of what's now Branch Brook Park, but it took several years before the idea could come to fruition.
During the initial planning phases, the county hired landscape architects John Bogart and Nathan Barrett in 1895 to design a park replete with formal gardens, but that plan was scrapped just five years later when the Olmsted firm was hired. Though its founder had already retired due to poor health, his sons shared his more naturalistic approach to park planning, evident in Branch Brook's lovely meadows, fields and rambling paths. Several prominent Newark residents contributed adjacent land, growing the park to its current size of almost 360 acres. Brewery family scion Robert Ballantine added his own flourish with a grand entrance gate at Lake Street and Ballantine Parkway.
The most notable gift, however, is the one which continues to draw thousands of people specifically to see it every spring spring. It's the park's stunning array of nearly 4000 blossoming cherry trees, a collection larger than that planted along Washington D.C.'s Tidal Basin. Caroline Bamberger Fuld, a member of the city's department store dynasty, started the display with a gift of 2000 Japanese cherry trees in 1927. Planted in the same motif as they would be arranged in their native country, the Branch Brook trees stand beautifully against the park's sloped terrain. While several succumbed to the elements over the years, they've been replaced and augmented with even more trees since 2006, raising the total to nearly 4000.
Whether you decide to go during the cherry blossom festival or another time of year, the four-mile long, quarter-mile wide park offers beautiful views and a nice walk on a weekend afternoon. Its charms are well-recognized, too: the American Planning Association recently named Branch Brook Park as one of the Great Public Spaces for 2013. And if you decide to take a look for yourself, you can get there easily via another Hidden New Jersey favorite, the Newark City Subway.
What I didn't realize was that the nation's very first county park is in New Jersey. The land that's now Branch Brook Park in Newark's North Ward was dedicated to its current use in 1895, instantly turning an old Civil War Army training ground into the forerunner of the open spaces we all enjoy today.
Well, "instantly" is a bit of an exaggeration. The original plot was partially a marsh called Blue Jay Swamp, which had become both a source of drinking water and a dumping place for sewage after it was deemed unsuitable for development. Further adding to the rather depressing scene, the tract was hemmed in by crowded tenements. This was balanced, somewhat, by the addition of a more pristine 60 acres that the City of Newark sold to the county for park use. Before the land transfer, it had been known as Reservoir Park in recognition of the basin that had supplied water to the city's more privileged residents.
The concept of a great park had actually been hatched in 1867, when the New Jersey Legislature created a Newark Park Commission to determine a place for open space within the rapidly-developing city. Already well known for their work in other cities, Frederick Law Olmsted and Calvert Vaux recommended using much of what's now Branch Brook Park, but it took several years before the idea could come to fruition.
 |
| A small sample of the famed Branch Brook Park cherry blossoms |
The most notable gift, however, is the one which continues to draw thousands of people specifically to see it every spring spring. It's the park's stunning array of nearly 4000 blossoming cherry trees, a collection larger than that planted along Washington D.C.'s Tidal Basin. Caroline Bamberger Fuld, a member of the city's department store dynasty, started the display with a gift of 2000 Japanese cherry trees in 1927. Planted in the same motif as they would be arranged in their native country, the Branch Brook trees stand beautifully against the park's sloped terrain. While several succumbed to the elements over the years, they've been replaced and augmented with even more trees since 2006, raising the total to nearly 4000.
Whether you decide to go during the cherry blossom festival or another time of year, the four-mile long, quarter-mile wide park offers beautiful views and a nice walk on a weekend afternoon. Its charms are well-recognized, too: the American Planning Association recently named Branch Brook Park as one of the Great Public Spaces for 2013. And if you decide to take a look for yourself, you can get there easily via another Hidden New Jersey favorite, the Newark City Subway.
Monday, August 26, 2013
Menlo Park Ink? Edison's hidden link to body art.
What does Thomas Edison have in common with L.A. Ink's Kat Von D, a gazillion bikers and legions of hipster Brooklynites?
If you guessed they all have tattoos, you'd be close. Edison most likely didn't sport ink (I could be wrong), but he invented the electric pen, which was later adapted into the precursor of the instrument used to apply permanent skin artwork today.
Born in Edison's Newark lab in 1876 and patented after his move to Menlo Park, the electric pen was conceived with business uses in mind. His invention was actually a stencil maker, a battery-operated pen whose tip had a stylus that rapidly perforated the paper as the user wrote. The finished document would then be run through a press that forced ink through the perforations onto another piece of paper, printing an exact duplicate of the original document.
Edison believed that document-dependent businesses like banks, law firms and insurance companies would be quick to grasp the time- and labor-saving benefits of his invention, and many did, despite the challenges presented by the device's sometimes temperamental battery arrangement. Not surprisingly, enthusiasm was a bit more muted from clerks whose work was being severely curtailed as a result of the machine's prodigious output. The business soon expanded worldwide.
Other manufacturers soon devised ways around the battery issues, and Edison lost his dominant share in the electric pen market. He sold the patent to Western Electric, then reacquired it and sold it to A.B. Dick, who reverently proclaimed Edison the "father of mimeography." Eventually the whole industry declined with the increasing use of typewriters, though A.B. Dick profitably adapted the printing concept into the mimeograph press many of us recall from the 60's and 70's. (Remember those blue 'ditto' sheets and the chemical smell when they were fresh off the press?)
What does this have to do with tattoos? In 1891 a New York tattoo artist named Samuel O'Reilly realized that with the addition of tubing and an ink reservoir, Edison's pen could quickly and efficiently deposit ink into the skin, saving both time for the artist and probably a lot of pain for the recipient. Other artists later experimented with electromagnetic motors, reducing the pen's weight and allowing for greater dexterity.
Regardless, Edison had inadvertently spurred innovation in a field in which he likely had absolutely no interest. I do wonder, though: if he had gotten a tattoo, what would it be of?
If you guessed they all have tattoos, you'd be close. Edison most likely didn't sport ink (I could be wrong), but he invented the electric pen, which was later adapted into the precursor of the instrument used to apply permanent skin artwork today.
Born in Edison's Newark lab in 1876 and patented after his move to Menlo Park, the electric pen was conceived with business uses in mind. His invention was actually a stencil maker, a battery-operated pen whose tip had a stylus that rapidly perforated the paper as the user wrote. The finished document would then be run through a press that forced ink through the perforations onto another piece of paper, printing an exact duplicate of the original document.Edison believed that document-dependent businesses like banks, law firms and insurance companies would be quick to grasp the time- and labor-saving benefits of his invention, and many did, despite the challenges presented by the device's sometimes temperamental battery arrangement. Not surprisingly, enthusiasm was a bit more muted from clerks whose work was being severely curtailed as a result of the machine's prodigious output. The business soon expanded worldwide.
Other manufacturers soon devised ways around the battery issues, and Edison lost his dominant share in the electric pen market. He sold the patent to Western Electric, then reacquired it and sold it to A.B. Dick, who reverently proclaimed Edison the "father of mimeography." Eventually the whole industry declined with the increasing use of typewriters, though A.B. Dick profitably adapted the printing concept into the mimeograph press many of us recall from the 60's and 70's. (Remember those blue 'ditto' sheets and the chemical smell when they were fresh off the press?)
What does this have to do with tattoos? In 1891 a New York tattoo artist named Samuel O'Reilly realized that with the addition of tubing and an ink reservoir, Edison's pen could quickly and efficiently deposit ink into the skin, saving both time for the artist and probably a lot of pain for the recipient. Other artists later experimented with electromagnetic motors, reducing the pen's weight and allowing for greater dexterity.
Regardless, Edison had inadvertently spurred innovation in a field in which he likely had absolutely no interest. I do wonder, though: if he had gotten a tattoo, what would it be of?
Friday, February 8, 2013
The Pulaski Skyway - now cursed, once celebrated
Drivers in North Jersey have a love-hate relationship with the Pulaski Skyway. It's a toll-free alternative to the Turnpike's Newark Bay Extension if you want to get to the Holland Tunnel, but it's also a narrow, claustrophobic and often clogged artery that lacks anyplace for a disabled vehicle to pull over. Anybody who uses the Pulaski on a regular basis will tell you that the road is incredibly outdated, dangerous, way too small for the volume of traffic that uses it, you name it. And there are people who say its black-painted cantilevered bridges add to the ugliness of one of the most industrialized parts of the state.
Say what you want about it, but when it opened in 1932 as the Route 1 extension, it was lauded as the Most Beautiful Steel Structure by the American Institute of Steel Construction. The WPA Guide to New Jersey deemed it "outstanding among state highways" and a "pioneer achievement in ... handling through traffic in one of the most congested areas of the world," especially given the challenges of road building in the marshy terrain. Its cantilevered bridges cross both the Passaic and Hackensack Rivers at a clearance of 135 feet to accommodate War Department requirements; presumably for the safe passage of naval vessels. I can't imagine a warship traversing that far up either river today, but I guess they weren't leaving anything to chance.
The highway was a huge timesaver for motorists attempting to travel between Newark and New York, who had previously been forced to traverse the marshlands in a two-and-a-half hour odyssey of local roads and drawbridges. The opening of the Skyway reduced that trip to an estimated 15 minutes. Engineers promoted its virtues in terms of vehicle miles saved, estimating that the availability of the 3.5 mile long elevated road would save car drivers over 57 million miles of driving per year.
With all of those advantages, why has the Pulaski become such a target of fear and avoidance? According to the State Department of Transportation, its design represents "one of the first attempts to create a coherent elevated highway network," but it seems the attempt wasn't all that successful. Believe it or not, the Skyway was designed by railroad engineers who knew a lot about building train viaducts but not much about roads, and it shows. The lanes are a slim 11 feet across, and where there's now a center divider was originally a breakdown lane that both directions of traffic used as a de-facto passing lane, resulting in many accidents.
And while the Pulaski was envisioned as an expressway between its two terminal cities, powerful Jersey City Mayor Frank Hague insisted that entrance lanes be added midway, in a part of the city he felt was ripe for development. He may have been correct, but in the meantime, he demanded the creation of some pretty scary, steep ramps leading directly into heavy traffic. (Hague was also locked in a bitter battle with union leadership that resulted in a virtual labor war and the death of one worker, but that's a story for another time.)
First called the Diagonal Highway, the causeway was named for Casimir Pulaski shortly after its dedication. A Polish nobleman who fought in the American Revolution, he's considered by some to be the father of the U.S. cavalry. It's said that he was a dashing figure, both brave and aggressive in battle, traits that would serve a Skyway traveler well. If you're feeling particularly brave or foolhardy, the Pulaski also offers slim pedestrian walkways on its outer edges, where shoulders might have been a wiser addition. (Anybody up for a nice Sunday stroll over the meadows?)
The State Department of Transportation recently announced an eight-year, $1 billion project to rehabilitate the Skyway, with some of the work already underway. The biggest hassle will be the deck replacement that will require the closing of Jersey City-bound lanes next year. Ramps will also be updated, seismic structural repairs done, and the whole shebang will get a coat of paint at the end. The DOT estimates that the fixes will add another 75 years to the life of the road.
Some might wonder why they don't just take the whole thing down and build a new highway, but between demolition and construction, the cost would far exceed the rehab budget. As it is, engineers and construction crews will need to honor the original design intent, as the Pulaski is listed on both the State and National Historic Registers. And given the amount of development that's grown around it in the past 80 years, any major structural changes would disrupt a lot more than local traffic. Love it or hate it, the Pulaski Skyway is with us to stay.
Say what you want about it, but when it opened in 1932 as the Route 1 extension, it was lauded as the Most Beautiful Steel Structure by the American Institute of Steel Construction. The WPA Guide to New Jersey deemed it "outstanding among state highways" and a "pioneer achievement in ... handling through traffic in one of the most congested areas of the world," especially given the challenges of road building in the marshy terrain. Its cantilevered bridges cross both the Passaic and Hackensack Rivers at a clearance of 135 feet to accommodate War Department requirements; presumably for the safe passage of naval vessels. I can't imagine a warship traversing that far up either river today, but I guess they weren't leaving anything to chance.
The highway was a huge timesaver for motorists attempting to travel between Newark and New York, who had previously been forced to traverse the marshlands in a two-and-a-half hour odyssey of local roads and drawbridges. The opening of the Skyway reduced that trip to an estimated 15 minutes. Engineers promoted its virtues in terms of vehicle miles saved, estimating that the availability of the 3.5 mile long elevated road would save car drivers over 57 million miles of driving per year.
With all of those advantages, why has the Pulaski become such a target of fear and avoidance? According to the State Department of Transportation, its design represents "one of the first attempts to create a coherent elevated highway network," but it seems the attempt wasn't all that successful. Believe it or not, the Skyway was designed by railroad engineers who knew a lot about building train viaducts but not much about roads, and it shows. The lanes are a slim 11 feet across, and where there's now a center divider was originally a breakdown lane that both directions of traffic used as a de-facto passing lane, resulting in many accidents.
And while the Pulaski was envisioned as an expressway between its two terminal cities, powerful Jersey City Mayor Frank Hague insisted that entrance lanes be added midway, in a part of the city he felt was ripe for development. He may have been correct, but in the meantime, he demanded the creation of some pretty scary, steep ramps leading directly into heavy traffic. (Hague was also locked in a bitter battle with union leadership that resulted in a virtual labor war and the death of one worker, but that's a story for another time.)
First called the Diagonal Highway, the causeway was named for Casimir Pulaski shortly after its dedication. A Polish nobleman who fought in the American Revolution, he's considered by some to be the father of the U.S. cavalry. It's said that he was a dashing figure, both brave and aggressive in battle, traits that would serve a Skyway traveler well. If you're feeling particularly brave or foolhardy, the Pulaski also offers slim pedestrian walkways on its outer edges, where shoulders might have been a wiser addition. (Anybody up for a nice Sunday stroll over the meadows?)
The State Department of Transportation recently announced an eight-year, $1 billion project to rehabilitate the Skyway, with some of the work already underway. The biggest hassle will be the deck replacement that will require the closing of Jersey City-bound lanes next year. Ramps will also be updated, seismic structural repairs done, and the whole shebang will get a coat of paint at the end. The DOT estimates that the fixes will add another 75 years to the life of the road.
Some might wonder why they don't just take the whole thing down and build a new highway, but between demolition and construction, the cost would far exceed the rehab budget. As it is, engineers and construction crews will need to honor the original design intent, as the Pulaski is listed on both the State and National Historic Registers. And given the amount of development that's grown around it in the past 80 years, any major structural changes would disrupt a lot more than local traffic. Love it or hate it, the Pulaski Skyway is with us to stay.
Wednesday, October 17, 2012
Art and history below the streets of Newark
Below Newark's Raymond Boulevard and University Heights, there's a step back in time that many people outside of the city don't know is there. I recently took a few hours to check it out, and as with most of our jaunts, I found more than I expected.
I wasn't just there for the vintage stuff: there's more contemporary art to be found, too. As you enter the system at Penn Station, you're met by life-sized bronze commuters sculpted by Russian-born Jersey City artist Grigory Gurevich. A metal clerk stands inside a sizeable booth, presumably offering change for the turnstiles that once marked entry below.
My personal favorites are found sitting unobtrusively at the Branch Brook Park station. Sculptor Tom Otterness pays tribute to Mortellito with white tile representations of two of the underground murals, attended to by small brass workmen. It's a whimsical memorial to an accomplished artist whose works also graced Rockefeller Center and the 1939 World's Fair, among others.
First, I have to confess to being somewhat of a transit enthusiast. If you've read my tribute to Newark Airport's 1935 terminal, you already know I have a fondness for vintage places where you can get from point A to point B in some sort of conveyance. Newark Penn Station is another 1930's-era Art Deco masterpiece, and when I worked in the city, I loved my twice-daily walks through the heavily-used but little appreciated gem.
My first trek on the City Subway was in 2001, prompted by the impending retirement of the old 1950's era trolley-like cars in favor of 21st century light rail. NJ Transit opened the system up one night, giving free rides to all comers who wanted a last dose of nostalgia. Yup, it was me and a bunch of foamers -- do I know how to have fun on a Friday night, or what? Despite the fact that the old cars were painted in bright NJ Transit colors, the whole experience was a throwback. It wasn't hard to imagine the times when Public Service Transport operated surface trolleys, and commuters from Bloomfield and the 'Newark suburbs' counted on the City Subway to get to their jobs at New Jersey Bell or an afternoon of shopping at Bambergers.
The Newark City Subway runs on the former bed of the Morris Canal, which originally ran through the city on its route between Phillipsburg and Jersey City. Abandoned by 1924, the canal had become a mosquito-infested trough and a barrier to the flow of increasing downtown traffic. Where barges had once transported the products of Newark's factories to points west, trains would now move people underground, allowing motor traffic on the new Raymond Boulevard above. Public Service had already built an extensive transit center on Park Place, providing a convenient transfer point to trolleys and buses going virtually anywhere in the state. Subway construction began in 1929 and was completed in 1935, with an extension to Penn Station finished a few years later. Beyond the Warren Street station that serves Rutgers and NJIT, the line goes to surface, making one grade crossing and hugging the edge of Branch Brook Park before terminating at Grove Street in Bloomfield.
As was the case with many major public works during the Great Depression, WPA artists made their mark on the City Subway. The line's four underground stations are graced with tile murals created by Newark native Domenico Mortellito, who'd grown up not far from the Morris Canal. Each depicts one of his childhood memories of the waterway, except for the Penn Station murals, which portray the transformation from barge to railway, complete with steam shovels and laborers moving iron beams into place. Together, the 10 murals represent the first instance of public art used in an underground transit system. Yup... you've got it: another New Jersey first.
I wasn't just there for the vintage stuff: there's more contemporary art to be found, too. As you enter the system at Penn Station, you're met by life-sized bronze commuters sculpted by Russian-born Jersey City artist Grigory Gurevich. A metal clerk stands inside a sizeable booth, presumably offering change for the turnstiles that once marked entry below.
My personal favorites are found sitting unobtrusively at the Branch Brook Park station. Sculptor Tom Otterness pays tribute to Mortellito with white tile representations of two of the underground murals, attended to by small brass workmen. It's a whimsical memorial to an accomplished artist whose works also graced Rockefeller Center and the 1939 World's Fair, among others.
Inadvertent as it may be, NJ Transit has done a pretty good job of maintaining a vintage feel on some aspects of the underground. They've added modern signage as necessary, but they've left the old tile signs that direct riders to surface streets and other destinations. Disembark at the Military Park station, and you might see a tile pointing in the direction of the Public Service Terminal. It's been more than 30 years since that building was demolished, but the sign will still direct you toward PSE&G's headquarters location.
Oh, and one last thing: if you're going to play tourist on the City Subway, you can do it really economically. The system works on the fare ticket system, where you validate your own ticket at your entry point, rendering the ticket useful for 60 minutes. A ride from Penn Station clear out to Bloomfield takes less than half that time, so you could potentially get off at a given stop, take a quick look around the neighborhood and pop back onto the next train without having to pay another fare. As far as I can tell, it's perfectly legal.
Saturday, September 1, 2012
Philip Kearny: an American hero and a Jersey son of a gun
Longtime readers may remember an early reference to one of our favorite military personalities, Phil Kearny. In this installment, our resident Civil War expert Ivan brings us more perspective on this fascinating adopted New Jerseyan. Take it away, Ivan!
We at Hidden New Jersey revel in finding interesting historic or natural sites that are little known by today’s Garden State residents. However, in this installment, we are highlighting a true American hero; closely associated with New Jersey, who died in battle. It is perhaps the most hidden New Jersey of all when reminders of our storied past are present in plain sight but we forget the stories of those who inspired these statues and monuments. On this, the 150th anniversary of his death we choose to remember Philip Kearny. Although born in New York City, he was a member of a family whose New Jersey residents date back to at least the eighteenth century, and Phil spent much of his early years at the family homestead in Newark.
As he grew to adulthood, Kearny’s father wanted Phil to study law but Phil’s interest lay in a military career. He was reputed to be an excellent horseman and the fact that his uncle was Stephen Kearny, an army officer since the War of 1812, certainly did not hurt Phil’s military ambitions. Unfortunately, his father’s objections (largely in the form of a threat to Phil’s inheritance) sidelined his military career in favor of the law. However, once Phil inherited a sum of over a million dollars upon his grandfather’s death in 1836, he finally had the independence to pursue his own chosen career track.
Phil was commissioned a second lieutenant and started his career at Fort Leavenworth in 1837. He lost an arm in the Mexican War, but that did not deter now Major Phil Kearny. He managed to learn to ride a horse one-armed and stayed in the army until his irascible and stubborn personality led to enough conflicts to persuade him to resign his commission. Once the Civil War began, though, Phil belied the expression “A rich man’s war but a poor man’s fight” by volunteering his services to the Union cause.
Awarded a Brigadier General’s commission and command of the New Jersey Brigade, Kearny distinguished himself as a fighter on the field but continued his penchant for fighting with his colleagues as well. Perhaps most significant was his strong criticism of his commander, George McClellan. Kearny objected to McClellan’s lack of aggressive leadership during the Peninsula campaign of 1862. In fact, during that series of battles Phil once exhorted his men in battle by crying "I'm a one-armed Jersey son-of-a-gun, follow me!” In a driving rainstorm during the Battle of Chantilly on September 1, 1862, Kearny found himself in the Confederate lines. Although called on to surrender, he wheeled his horse around and tried to escape. He was shot dead almost immediately. Kearny was held in such high esteem that Confederate commander Robert E. Lee sent his body back to Union lines under a flag of truce.
Even after his death, Kearny was an inspiration to the Jerseymen who fought in the Civil War. His profile is featured on a New Jersey monument at Gettysburg, even though he died ten months before that battle was fought. He now rests at Arlington National Cemetery.
Today, most New Jerseyans have not heard of Phil Kearny though his last name is familiar to many in the northern part of the state. The Hudson County community where he once lived is named in his honor, though his mansion, Belle Grove (known to locals as Kearny’s Castle), no longer stands. Statues of him adorn the grounds of the Kearny Post Office and Newark’s Military Park. If you see them, we hope you will now know and appreciate the man behind the bronze, and perhaps will give him a silent salute of respect.
We at Hidden New Jersey revel in finding interesting historic or natural sites that are little known by today’s Garden State residents. However, in this installment, we are highlighting a true American hero; closely associated with New Jersey, who died in battle. It is perhaps the most hidden New Jersey of all when reminders of our storied past are present in plain sight but we forget the stories of those who inspired these statues and monuments. On this, the 150th anniversary of his death we choose to remember Philip Kearny. Although born in New York City, he was a member of a family whose New Jersey residents date back to at least the eighteenth century, and Phil spent much of his early years at the family homestead in Newark.
 |
| Kearny is honored with a statue in front of the post office in the town that bears his name. |
Phil was commissioned a second lieutenant and started his career at Fort Leavenworth in 1837. He lost an arm in the Mexican War, but that did not deter now Major Phil Kearny. He managed to learn to ride a horse one-armed and stayed in the army until his irascible and stubborn personality led to enough conflicts to persuade him to resign his commission. Once the Civil War began, though, Phil belied the expression “A rich man’s war but a poor man’s fight” by volunteering his services to the Union cause.
Awarded a Brigadier General’s commission and command of the New Jersey Brigade, Kearny distinguished himself as a fighter on the field but continued his penchant for fighting with his colleagues as well. Perhaps most significant was his strong criticism of his commander, George McClellan. Kearny objected to McClellan’s lack of aggressive leadership during the Peninsula campaign of 1862. In fact, during that series of battles Phil once exhorted his men in battle by crying "I'm a one-armed Jersey son-of-a-gun, follow me!” In a driving rainstorm during the Battle of Chantilly on September 1, 1862, Kearny found himself in the Confederate lines. Although called on to surrender, he wheeled his horse around and tried to escape. He was shot dead almost immediately. Kearny was held in such high esteem that Confederate commander Robert E. Lee sent his body back to Union lines under a flag of truce.
 |
| Kearny's profile adorns the New Jersey Brigade monument at Gettysburg, a sign of the loyalty of the men who fought under his command. |
Today, most New Jerseyans have not heard of Phil Kearny though his last name is familiar to many in the northern part of the state. The Hudson County community where he once lived is named in his honor, though his mansion, Belle Grove (known to locals as Kearny’s Castle), no longer stands. Statues of him adorn the grounds of the Kearny Post Office and Newark’s Military Park. If you see them, we hope you will now know and appreciate the man behind the bronze, and perhaps will give him a silent salute of respect.
Thursday, July 26, 2012
Who belongs to Newark's Schoolmen's Club, and are they still around?
Not far from Newark's Liberty Pole are a few more historic markers of varying ages and topics. Like the Pole marker, at least one bears the curious legend of being erected by the Newark Schoolmen's Club, with the assistance of the pupils of the city's public school system.
I haven't been able to find very much about the Schoolmen's Club, but the website Old Newark describes the organization this way:
"To inspire the future with a record of the accomplishment of the past, the Schoolmen's Club assisted by the pupils of the Newark Public Schools has, since 1911, celebrated "Newark Day" each year by placing in certain prominent or hallowed locations tablets of enduring bronze commemorating significant events and outstanding personages in the rich history of our city, the "town on the Pesayack" founded in 1666."
Wow... one would hope that the Schoolmen might have gotten the author of that passage a primer on run-on sentences. I ran out of breath just typing that.
A Google search revealed that the organization had published a book that contained all of the information immortalized on the bronze plaques placed around town. The idea was that "the children of Newark, like the Athenian youth shall leave our city not only not less but greater and better than it was transmitted to them." A noble intent, indeed.
The Old Newark website only lists plaques up to 1941. However, the final word on the group may just have come from Charles Cummings, who was, until his death, Newark's official historian. In one of the series of columns he wrote for The Star Ledger, he chronicled the many memorials and statues downtown, also mentioning the Schoolmen's Club. According to the 2004 story, the group had erected historical tablets until "just recently." Whether that means they stopped after the turn of the century or many years before, it's hard to tell.
It's admirable that an organization was so imbued with civic pride that they'd make the effort to uncover history and then raise sufficient funds to cast it in brass and post it for all to see. Newark's nearly 350 years of existence have been both tumultuous and productive, and I doubt anyone with knowledge of its history would deny there's a lot to trumpet. I wonder how many of the Schoolmen's plaques are still within view of the general public? I have to believe that a few of the old office buildings have them hanging on their exterior walls.
I'll definitely be keeping an eye out whenever I go downtown.
I haven't been able to find very much about the Schoolmen's Club, but the website Old Newark describes the organization this way:
|
| Look closely at the bottom of this marker, and you'll see an acknowledgement of the Newark Schoolmen's Club |
Wow... one would hope that the Schoolmen might have gotten the author of that passage a primer on run-on sentences. I ran out of breath just typing that.
A Google search revealed that the organization had published a book that contained all of the information immortalized on the bronze plaques placed around town. The idea was that "the children of Newark, like the Athenian youth shall leave our city not only not less but greater and better than it was transmitted to them." A noble intent, indeed.
The Old Newark website only lists plaques up to 1941. However, the final word on the group may just have come from Charles Cummings, who was, until his death, Newark's official historian. In one of the series of columns he wrote for The Star Ledger, he chronicled the many memorials and statues downtown, also mentioning the Schoolmen's Club. According to the 2004 story, the group had erected historical tablets until "just recently." Whether that means they stopped after the turn of the century or many years before, it's hard to tell.
It's admirable that an organization was so imbued with civic pride that they'd make the effort to uncover history and then raise sufficient funds to cast it in brass and post it for all to see. Newark's nearly 350 years of existence have been both tumultuous and productive, and I doubt anyone with knowledge of its history would deny there's a lot to trumpet. I wonder how many of the Schoolmen's plaques are still within view of the general public? I have to believe that a few of the old office buildings have them hanging on their exterior walls.
I'll definitely be keeping an eye out whenever I go downtown.
Monday, July 23, 2012
Another sock on a stick: Newark's Liberty Pole
We've paid scant attention to the historic charms of New Jersey's largest city, Newark, and that's something we need to remedy. Founded in 1666, it's rife with all kinds of great hidden history, which hit us like a brick when we visited Military Park at the intersection of Broad Street, Park Place and Raymond Boulevard. The tip of the property has to hold the state record for density of brass plaques. I saw four without even really trying.
The one that caught my eye first is on a slab of stone in front of a flag pole which is, itself, flanked by two vintage cannons. Apologies for the off-centeredness of the shot:
Unlike the Liberty Pole erected in Englewood, the first Newark version seems a bit, well... late. Waiting to put one up until the war was won is a bit like, well, becoming a Giants fan after this year's Super Bowl. My guess is that patriotic post-Revolutionary Newarkers were caught up in the spirit of independence and wanted a traditional symbol to represent their feelings.
The date of the first pole placement is telling: July 3, 1793, the eve of the 17th anniversary of the signing of the Declaration of Independence. According to my research, the pole was a centerpiece for the community's July 4 celebration, topped by a red cap of liberty. The day started with the firing of cannons on either side of the pole (the same as those flanking it today? I don't know.), and the parade that followed was headed by another liberty cap.
By that time in American history, partisan politics were already seeping into government, and the Newark celebration was one of many that seem to have been politically motivated. George Washington had begun his second term as president just a few months before, and many were unhappy with his Federalist tendencies. Raising the liberty pole and cap was a way for those with more Republican-Democratic views to express their preferences, absent a truly organized set of political parties. I guess you could say that the Fourth of July party was as organized as they got, and it's likely that many Newarkers just wanted to use the pole as a rallying point for revelry.
An internet search reveals no specific reason for the timing of a replacement to the pole in 1906, so your guess is as good as mine on that. The Thanksgiving date loosely correlates to Evacuation Day in New York City, which commemorates the day the British left for good after occupying the city for much of the Revolutionary War. The Manhattan Liberty Pole was the focus of revelry there, but that tradition had largely gone by the wayside in the late 1800s.
Newark's hidden-in-plain-sight Liberty Pole leads me to wonder if other New Jersey communities are sheltering similar poles, perhaps unknowingly. Anyone have a lead for us?
The one that caught my eye first is on a slab of stone in front of a flag pole which is, itself, flanked by two vintage cannons. Apologies for the off-centeredness of the shot:
Unlike the Liberty Pole erected in Englewood, the first Newark version seems a bit, well... late. Waiting to put one up until the war was won is a bit like, well, becoming a Giants fan after this year's Super Bowl. My guess is that patriotic post-Revolutionary Newarkers were caught up in the spirit of independence and wanted a traditional symbol to represent their feelings.
The date of the first pole placement is telling: July 3, 1793, the eve of the 17th anniversary of the signing of the Declaration of Independence. According to my research, the pole was a centerpiece for the community's July 4 celebration, topped by a red cap of liberty. The day started with the firing of cannons on either side of the pole (the same as those flanking it today? I don't know.), and the parade that followed was headed by another liberty cap.
By that time in American history, partisan politics were already seeping into government, and the Newark celebration was one of many that seem to have been politically motivated. George Washington had begun his second term as president just a few months before, and many were unhappy with his Federalist tendencies. Raising the liberty pole and cap was a way for those with more Republican-Democratic views to express their preferences, absent a truly organized set of political parties. I guess you could say that the Fourth of July party was as organized as they got, and it's likely that many Newarkers just wanted to use the pole as a rallying point for revelry.
An internet search reveals no specific reason for the timing of a replacement to the pole in 1906, so your guess is as good as mine on that. The Thanksgiving date loosely correlates to Evacuation Day in New York City, which commemorates the day the British left for good after occupying the city for much of the Revolutionary War. The Manhattan Liberty Pole was the focus of revelry there, but that tradition had largely gone by the wayside in the late 1800s.
Newark's hidden-in-plain-sight Liberty Pole leads me to wonder if other New Jersey communities are sheltering similar poles, perhaps unknowingly. Anyone have a lead for us?
Saturday, March 17, 2012
The Luck of the Irish at Ellis Island
A while back I noted that the lion's share of Ellis Island is, in fact, in New Jersey. The man-made South Side of the island was constructed to house the immigrant hospital where tens of thousands of recent arrivals were nursed to health in anticipation of their eventual admission to the United States.
Mentioning Ellis Island usually raises thoughts of those immigrants' travails, but as a volunteer for the National Park Service and its non-profit partner Save Ellis Island, I share the story of the hospital's dedicated staff of Public Health Service physicians and nurses. It wasn't until I started researching the women doctors who practiced there that I found an instance where the two intersected: a child of immigrants who showed how quickly American families can rise from humble immigrant roots to make a positive impact on our country.
Rose Cecilia Faughnan was born on August 23, 1873 in Newark, the daughter of Irish immigrants, Timothy Faughnan and Mary Farley Faughnan. While the year of her mother's crossing is unclear from census records, her father came to the United States as a young boy in 1847. It's pretty safe to assume that both sets of Rose's grandparents were protecting their children from the devastation of the potato famine ravaging the country in the late 1840s.
The Faughnans had five other children besides Rose: Timothy, John, Elizabeth, Marie and Anna. By 1900, Mary had died and apparently the 27 year old Rose remained in the household to care for her siblings and father. Ten years later, she's listed on the census as a medical student, but she wasn't the only one with ambitions. Her brother John is listed as a law student, her brother Timothy as a dentist, and sister Anna as a teacher. Clearly, they'd been encouraged in their studies and prompted to do the most they could with their intelligence and capitalize on every opportunity.
By 1914, Rose had earned her degree from the Medical College of Baltimore and was the second female doctor to practice at the Public Health Service (PHS) hospital on Ellis Island. Private sector employment was still difficult for women physicians to secure, but the PHS understood their value in an environment where many female immigrants were both suspicious and fearful of men. The doctors at Ellis were required to wear uniforms, an intimidating sight for people who didn't speak English and may have been escaping persecution from the military in their home countries. Dr. Faughnan and her fellow women doctors (up to four by 1924) were a calming influence and could perform the sometimes invasive examinations that were necessary to determine immigrant patients' medical status.
After leaving the PHS and Ellis Island, Dr. Faughnan served the Newark Public Schools and St. James Hospital in the Ironbound. She died of pneumonia and bladder cancer on March 26, 1947, having made a positive impact on thousands of people during her medical career. It's a safe assumption that many Americans wouldn't be here today had she not diagnosed, treated and cured their immigrant forebears.
I was reminded of Dr. Faughnan and her parents after reading an essay written by a more recent immigrant. Barry O'Donovan noted that while the Irish have been beset by some devastatingly bad circumstances over the centuries, there are those who turn misfortune into success through hard work and persistence. The luck of the Irish, it seems, isn't so much lucky as it is well earned.
Mentioning Ellis Island usually raises thoughts of those immigrants' travails, but as a volunteer for the National Park Service and its non-profit partner Save Ellis Island, I share the story of the hospital's dedicated staff of Public Health Service physicians and nurses. It wasn't until I started researching the women doctors who practiced there that I found an instance where the two intersected: a child of immigrants who showed how quickly American families can rise from humble immigrant roots to make a positive impact on our country.
 |
| Dr. Rose Faughnan in a 1922 passport application photo. |
The Faughnans had five other children besides Rose: Timothy, John, Elizabeth, Marie and Anna. By 1900, Mary had died and apparently the 27 year old Rose remained in the household to care for her siblings and father. Ten years later, she's listed on the census as a medical student, but she wasn't the only one with ambitions. Her brother John is listed as a law student, her brother Timothy as a dentist, and sister Anna as a teacher. Clearly, they'd been encouraged in their studies and prompted to do the most they could with their intelligence and capitalize on every opportunity.
By 1914, Rose had earned her degree from the Medical College of Baltimore and was the second female doctor to practice at the Public Health Service (PHS) hospital on Ellis Island. Private sector employment was still difficult for women physicians to secure, but the PHS understood their value in an environment where many female immigrants were both suspicious and fearful of men. The doctors at Ellis were required to wear uniforms, an intimidating sight for people who didn't speak English and may have been escaping persecution from the military in their home countries. Dr. Faughnan and her fellow women doctors (up to four by 1924) were a calming influence and could perform the sometimes invasive examinations that were necessary to determine immigrant patients' medical status.
After leaving the PHS and Ellis Island, Dr. Faughnan served the Newark Public Schools and St. James Hospital in the Ironbound. She died of pneumonia and bladder cancer on March 26, 1947, having made a positive impact on thousands of people during her medical career. It's a safe assumption that many Americans wouldn't be here today had she not diagnosed, treated and cured their immigrant forebears.
I was reminded of Dr. Faughnan and her parents after reading an essay written by a more recent immigrant. Barry O'Donovan noted that while the Irish have been beset by some devastatingly bad circumstances over the centuries, there are those who turn misfortune into success through hard work and persistence. The luck of the Irish, it seems, isn't so much lucky as it is well earned.
Monday, November 14, 2011
Newark Airport's secret murals, revealed
A while back I posted a piece on Newark Airport's early days and its beautiful Depression-era art deco terminal and administration building, which was restored several years ago. What I didn't mention -- because I didn't know -- was that a key part of the terminal is no longer there. It's at the Newark Museum.
I visited the terminal a few years ago to check out the architecture, and it didn't disappoint. No longer welcoming travelers as a gateway to their flights, the building now houses various law enforcement and public safety agencies, but I was able to walk freely through the lobby and upstairs balcony area. It had all the usual art deco accouterments, but I was stopped short by an abstract-looking mural on the second floor. It felt weirdly modern, though I couldn't place the era.
The answer came in a booklet provided nearby, which explained that the mural was one of several sponsored by the Federal Art Project of the Works Progress Administration. Armenian-American painter Arshile Gorky painted ten works for the building and called them "Aviation: Evolution of Forms under Aerodynamic Limitations." Instead of working directly on the plaster walls, Gorky painted on large canvases, a practice regularly used by WPA-sponsored artists. His works remained in view at the airport from their installation in 1937 until the War department took control of the airport in 1942. At that point, they disappeared.
However, they weren't forgotten. In the 1970's, the Port Authority of New York and New Jersey, now operators of the airport, began an inventory of art in the agency's older buildings. While surveying Newark Airport's oldest building for its art deco detailing, a researcher happened to notice a thread dangling from one of the walls and surmised he may have discovered the missing murals. Eventually, through testing the fate of the Gorky works became clear: they'd been obscured by fourteen coats of mundane wall paint that had been slapped up over the years.
Today, two panels of the ten survive and are now hanging on the first floor of the Newark Museum, their vibrant colors restored. I rediscovered them when Ivan and I visited the museum over the summer, and found that the one I'd seen at the airport was a reproduction. To be honest, I had mixed feelings about seeing them at the museum. On one hand, I was rather pleased that I could identify them and knew their provenance. On the other hand, I felt they should be at their original home, EWR circa 1935. There, they felt like a secret treasure only a few of us knew about.
I visited the terminal a few years ago to check out the architecture, and it didn't disappoint. No longer welcoming travelers as a gateway to their flights, the building now houses various law enforcement and public safety agencies, but I was able to walk freely through the lobby and upstairs balcony area. It had all the usual art deco accouterments, but I was stopped short by an abstract-looking mural on the second floor. It felt weirdly modern, though I couldn't place the era.The answer came in a booklet provided nearby, which explained that the mural was one of several sponsored by the Federal Art Project of the Works Progress Administration. Armenian-American painter Arshile Gorky painted ten works for the building and called them "Aviation: Evolution of Forms under Aerodynamic Limitations." Instead of working directly on the plaster walls, Gorky painted on large canvases, a practice regularly used by WPA-sponsored artists. His works remained in view at the airport from their installation in 1937 until the War department took control of the airport in 1942. At that point, they disappeared.
However, they weren't forgotten. In the 1970's, the Port Authority of New York and New Jersey, now operators of the airport, began an inventory of art in the agency's older buildings. While surveying Newark Airport's oldest building for its art deco detailing, a researcher happened to notice a thread dangling from one of the walls and surmised he may have discovered the missing murals. Eventually, through testing the fate of the Gorky works became clear: they'd been obscured by fourteen coats of mundane wall paint that had been slapped up over the years.
Today, two panels of the ten survive and are now hanging on the first floor of the Newark Museum, their vibrant colors restored. I rediscovered them when Ivan and I visited the museum over the summer, and found that the one I'd seen at the airport was a reproduction. To be honest, I had mixed feelings about seeing them at the museum. On one hand, I was rather pleased that I could identify them and knew their provenance. On the other hand, I felt they should be at their original home, EWR circa 1935. There, they felt like a secret treasure only a few of us knew about.
Friday, July 29, 2011
No EZPass here: the Holland Tunnel at the Newark Museum
Few people know this, but one of the original Holland Tunnel toll booths is in Newark.
Huh? you ask. Did they start collecting tolls on McCarter Highway?
Uh, no, it's in the Alice Ransom Dreyfuss Memorial Garden behind the Newark Museum on Washington Street.
Well, that makes sense. It's old, so it should be in a museum collection.
You're right, sort of. The Holland Tunnel opened back in 1927 as the first automobile tunnel under the Hudson River between Manhattan and New Jersey. It's been designated both a National Historic Landmark and a National Historic Civil and Mechanical Engineering Landmark, well worth noting in a museum. Its original toll booths, now replaced by more modern versions, were bronze art deco masterpieces, at least as far as I'm concerned.
So that's why the toll booth is in the sculpture garden.
Well, it's a little more complicated than that. Not only is it a great representation of late '20's structural decor, it's a newer work of art because it houses sculptor George Segal's Toll Booth Collector.
Segal was an influential member of the Pop Art movement and had his studio on a chicken farm in South Brunswick. Many of his plaster-cast sculptures reflect everyday occurrences and are installed in mundane environments like city streets and New York's Port Authority Bus Terminal. It's not surprising that he chose the toll booth as a setting for his work.
The bored-looking attendant inside the booth was life-cast from Sam Miller, the Museum's director when the sculpture was done in 1980. Reportedly, Segal was inspired to use Miller as a model because "one of the responsibilities of a museum director is to always hold his hand out, seeking donations."
Despite that, you don't have to pay a dime to see Segal's work in Newark. The garden is open to the public during museum operating hours, and Toll Booth Collector is one of a handful of sculptures and notable structures to be seen there. It's also a calm, green oasis in the middle of the city, and like the museum itself, well worth a visit.
Huh? you ask. Did they start collecting tolls on McCarter Highway?
Uh, no, it's in the Alice Ransom Dreyfuss Memorial Garden behind the Newark Museum on Washington Street.
Well, that makes sense. It's old, so it should be in a museum collection.
You're right, sort of. The Holland Tunnel opened back in 1927 as the first automobile tunnel under the Hudson River between Manhattan and New Jersey. It's been designated both a National Historic Landmark and a National Historic Civil and Mechanical Engineering Landmark, well worth noting in a museum. Its original toll booths, now replaced by more modern versions, were bronze art deco masterpieces, at least as far as I'm concerned.
So that's why the toll booth is in the sculpture garden.
Well, it's a little more complicated than that. Not only is it a great representation of late '20's structural decor, it's a newer work of art because it houses sculptor George Segal's Toll Booth Collector. Segal was an influential member of the Pop Art movement and had his studio on a chicken farm in South Brunswick. Many of his plaster-cast sculptures reflect everyday occurrences and are installed in mundane environments like city streets and New York's Port Authority Bus Terminal. It's not surprising that he chose the toll booth as a setting for his work.
The bored-looking attendant inside the booth was life-cast from Sam Miller, the Museum's director when the sculpture was done in 1980. Reportedly, Segal was inspired to use Miller as a model because "one of the responsibilities of a museum director is to always hold his hand out, seeking donations."
Despite that, you don't have to pay a dime to see Segal's work in Newark. The garden is open to the public during museum operating hours, and Toll Booth Collector is one of a handful of sculptures and notable structures to be seen there. It's also a calm, green oasis in the middle of the city, and like the museum itself, well worth a visit.
Monday, July 18, 2011
The Disappearing Newark Holsteins
We have a mystery on our hands. Cows are appearing and disappearing in Newark.
Yes, you read that correctly. Cows. In Newark.
Here's the story: on occasion, I travel into or through Newark by train, and as most people do, I often stare absentmindedly out the window at the world going by. On a trek in about a year ago, I noticed a cow statue on the rooftop of a building in the Ironbound area, which would be the right side of the train as you're coming in from the west. It was probably about as big as a live adult cow, just tall enough to be seen over the roof ledge. Smiling to myself, I tucked the vision away for future reference, expecting to see it every time I traveled through the area by train.
Only thing is, you can't count on the cow. Sometimes she's there. Sometimes she's on another part of the roof. And sometimes there are two cows. There's nothing visible to explain the presence of the cows, or lack thereof. Perhaps they're moved from time to time, and they're just not visible from the train, but it still begs the question: why? Or maybe the better question is, 'why not?'
I'd be inclined to go to the building and root out the story of the cows, but in some ways, it's more fun not knowing.
Check it out yourself the next time you take the train in or out of Newark Penn Station. The building is brick, about three or four stories tall, and rather old, with the name "Crane and Co." in concrete near the top. It's visible a few blocks after the train gets past the McCarter Highway viaduct at the edge of the city. The address is 90 South Street, and if you get the satellite view from Google Maps, you can clearly see the two cows on the roof, one being in the upper left corner.
Any ideas why the cows are there? And why cows, and not sheep or pigs or giraffes?
Yes, you read that correctly. Cows. In Newark.
Here's the story: on occasion, I travel into or through Newark by train, and as most people do, I often stare absentmindedly out the window at the world going by. On a trek in about a year ago, I noticed a cow statue on the rooftop of a building in the Ironbound area, which would be the right side of the train as you're coming in from the west. It was probably about as big as a live adult cow, just tall enough to be seen over the roof ledge. Smiling to myself, I tucked the vision away for future reference, expecting to see it every time I traveled through the area by train.
Only thing is, you can't count on the cow. Sometimes she's there. Sometimes she's on another part of the roof. And sometimes there are two cows. There's nothing visible to explain the presence of the cows, or lack thereof. Perhaps they're moved from time to time, and they're just not visible from the train, but it still begs the question: why? Or maybe the better question is, 'why not?'
I'd be inclined to go to the building and root out the story of the cows, but in some ways, it's more fun not knowing.
Check it out yourself the next time you take the train in or out of Newark Penn Station. The building is brick, about three or four stories tall, and rather old, with the name "Crane and Co." in concrete near the top. It's visible a few blocks after the train gets past the McCarter Highway viaduct at the edge of the city. The address is 90 South Street, and if you get the satellite view from Google Maps, you can clearly see the two cows on the roof, one being in the upper left corner.
Any ideas why the cows are there? And why cows, and not sheep or pigs or giraffes?
Thursday, June 16, 2011
The history and romance of Newark Airport (yes, you read that right)
For some cockeyed reason, I still enjoy flying. Even when I'm crammed in like a sardine on one of those huge buses with wings, the little kid in me can't help but grin when I look down from the skies and see the earth in miniature. Taxi-ing around the tarmac, I'm drawn to the most mundane inner workings of a busy airport. I wonder whether those guys who guide the planes to the jetways get a secret thrill at edging huge aircraft into their parking spots just minutes after they've crossed the continent or the Atlantic.
That's not to say I enjoy the process of getting to the plane, or dealing with nasty people or any of that. I love the concept of flight, and the romance of it. When I can block out the garbage, I can mentally drift away to a time and place when air travel was still kind of exotic and people wore nice clothes to get on the plane. Don't get me started about prop planes -- make me climb up into the cabin on a drop-down staircase, and I know I'm itching for an adventure.Despite myself, I get nostalgic at some of the older airports. Lindbergh Field (a.k.a. SAN, San Diego) looks nothing like its past but was the home field, of sorts, to the Spirit of St. Louis. The couple of times I flew into Washington National (DCA, now Reagan) I half expected to see Jimmy Stewart as Mr. Smith, striding purposefully down the corridor.
Now, Newark (EWR) that was a glamorous airport. Once the East Coast terminus of the Air Mail, it was the busiest landing strip in the United States for a time in the late '20s and early '30s. It eventually had a beautiful WPA-style terminal and administration building with an observation deck where you could watch the planes take off and land. And it was a regular stop for the pioneers of aviation as they traveled to other places. Names of fallen flyers like Earhart and Post are memorialized by some of the access roads within the airport fences.
Needless to say, the airport's gotten a lot bigger over the years, and virtually all of the vestiges of its early glory have been obscured. Unless you know where to look, that is. Nestled in the north corner of the airport, not far from Route 1, that 1930's style terminal still stands, having been moved from its original spot and restored to most of its former glory. It now houses the Port Authority Police and some other security, but interestingly enough, it's still open to visitation. Step inside, and marvel at the art deco style architecture and trim that brings the early age of passenger flight to life. You can very easily imagine checking in for your flight and then walking directly outside to the moveable stairs to your airplane.
And, there's more. Years ago, as my plane taxied to its gate at Terminal A, I gazed down at the tarmac to see the word LINDY in bold yellow letters outlined in black. Charles Lindbergh had taken off and landed at Newark many times, so I assumed that history-minded airport workers had painted his name on the pavement. For whatever reason, perhaps the tradition still persists. In airport parlance, these markers are known as hard stops.
What I never noticed was the other tribute. If you take a close look at this photo, pulling the image up so you can see what's beyond the bottom edge of the original frame, you'll see two lighter strips of pavement, with planes parked on them. On the right one, you'll see "LINDY," clear as day; another is obscured by the plane parked above it. On the left, you'll see the name "AMELIA" painted twice, for Amelia Earhart. While her aviation skills are still in dispute, it's pretty neat to think that someone's keeping the faith.
That's not to say I enjoy the process of getting to the plane, or dealing with nasty people or any of that. I love the concept of flight, and the romance of it. When I can block out the garbage, I can mentally drift away to a time and place when air travel was still kind of exotic and people wore nice clothes to get on the plane. Don't get me started about prop planes -- make me climb up into the cabin on a drop-down staircase, and I know I'm itching for an adventure.Despite myself, I get nostalgic at some of the older airports. Lindbergh Field (a.k.a. SAN, San Diego) looks nothing like its past but was the home field, of sorts, to the Spirit of St. Louis. The couple of times I flew into Washington National (DCA, now Reagan) I half expected to see Jimmy Stewart as Mr. Smith, striding purposefully down the corridor.
Now, Newark (EWR) that was a glamorous airport. Once the East Coast terminus of the Air Mail, it was the busiest landing strip in the United States for a time in the late '20s and early '30s. It eventually had a beautiful WPA-style terminal and administration building with an observation deck where you could watch the planes take off and land. And it was a regular stop for the pioneers of aviation as they traveled to other places. Names of fallen flyers like Earhart and Post are memorialized by some of the access roads within the airport fences.Needless to say, the airport's gotten a lot bigger over the years, and virtually all of the vestiges of its early glory have been obscured. Unless you know where to look, that is. Nestled in the north corner of the airport, not far from Route 1, that 1930's style terminal still stands, having been moved from its original spot and restored to most of its former glory. It now houses the Port Authority Police and some other security, but interestingly enough, it's still open to visitation. Step inside, and marvel at the art deco style architecture and trim that brings the early age of passenger flight to life. You can very easily imagine checking in for your flight and then walking directly outside to the moveable stairs to your airplane.
And, there's more. Years ago, as my plane taxied to its gate at Terminal A, I gazed down at the tarmac to see the word LINDY in bold yellow letters outlined in black. Charles Lindbergh had taken off and landed at Newark many times, so I assumed that history-minded airport workers had painted his name on the pavement. For whatever reason, perhaps the tradition still persists. In airport parlance, these markers are known as hard stops.
What I never noticed was the other tribute. If you take a close look at this photo, pulling the image up so you can see what's beyond the bottom edge of the original frame, you'll see two lighter strips of pavement, with planes parked on them. On the right one, you'll see "LINDY," clear as day; another is obscured by the plane parked above it. On the left, you'll see the name "AMELIA" painted twice, for Amelia Earhart. While her aviation skills are still in dispute, it's pretty neat to think that someone's keeping the faith.
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