Detroit's Nineteenth-Century Moonlight Towers

Newport, Rhode Island introduced the first gas street-lighting in America in 1803. Throughout the nineteenth-century, it was the preferred method of outdoor street illumination, but the system was expensive to install and each lamp had limited range. In the 1880s, electric carbon-arc lighting offered a relatively inexpensive alternative to coal-generated gas lighting.

Large municipalities who could afford them invested in moonlight towers to illuminate large expanses like parks and public squares. Each tower was crowned with six carbon-arc lights giving off 200 times more illumination than the most powerful incandescent light bulbs.

Because the "moonlight" was harsh, the arc-lights were mounted 175 feet high and lit up a circle with a radius of 1,500 feet.  Downtown nightlife became a new reality for many Americans who believed that general illumination drove criminals deeper into the shadows.

The lights buzzed loudly and dropped shreds of burning ash as the carbon electrodes burned quickly and had to be replaced nightly. The height of the moonlight towers made them difficult to maintain, so a counter-balanced "dumbwaiter" elevator system was soon developed to change out electrodes more efficiently.

Detroit winter street lit up by a moonlight tower.

Detroit had one of the most extensive moonlight tower systems in the country inaugurated in 1882. One-hundred and twenty-two towers were placed 1,000 to 1,200 feet apart. The entire system illuminated twenty-one square miles. By the turn of the century, most of the towers were replaced by incandescent lighting once the AC electrical grid was laid out. Detroit sold its towers to several small municipalities such as Grand Rapids, Michigan and Austin, Texas.

Austin moonlight tower.

In 1885, Austin, Texas was terrorized by a serial killer known as the Servant Girl Annihilator, who killed eight servant girls all attacked at night. The only night light Austin had in those days was moonlight, but when the evening skies were cloudy, Austin had no light at all.

Detroit agreed to sell thirty-one of their used moonlight towers to Austin. Over the years, the lamps have been refitted with modern mercury-vapor light bulbs which require much less maintainence than the crude carbon-arc technology. Seventeen of their original thirty-one towers--the last of the moonlight towers--are still in operation.

Austin city officials were ready to remove the towers by 1976, but they were too late. The moonlight towers were inducted into the National Registry of Historical Places. In 1993, the city dismantled and rebuilt each existing tower for a citywide Moonlight Tower Festival which began in 1995. Next time you are in Austin, Texas, behold some Michigan history.

Antoine Cadillac--Detroit's First Godfather

Bust of Antoine de la Mothe Cadillac

An expedition financed by the French monarch--King Louis XIV--and promoted by his Minister of Marine--Comte de Pontchartrain--appointed military man and soldier of fortune Antoine de la Mothe Cadillac as their agent to establish a fur trading post and fort in New France. In return, Cadillac was granted generous riverfront real estate. He envisioned a permanent French colony controlling the fur trade routes through the upper Great Lakes, with him at the helm.

Commander Antoine Cadillac led a fleet of 25 large canoes--with 50 soldiers, 50 empire builders, 2 Roman Catholic priests, and his 11-year-old son--on a 52 day trip westward from French-controlled Montreal to the western bank of a swift running river that connected Lac Erie with Lac St. Clair.

This site was chosen because it was the narrowest point of the strait--de troit--which is how Detroit earned its name. There was an eroded 40' clay bluff leading up from the river bank to a flat clearing. Once a fort was built on the plain, anything moving up or down the river could be seen and was in easy range of their cannons. This was a defensible position to discourage the British from taking control of the fur trade.

The empire builders arrived on July 24, 1701 and began work on a log fort Cadillac named after his benefactor--French Minister of Marine--Comte de Pontchartrain. Two days later, a mass was said in honor of Ste. Anne--the patron saint of France and mother of the Virgin Mary. After the service, the foundations for the church were laid. Catholicism had come to the wilderness.

Fort Pontchartrain contained a warehouse which doubled as a store. There were also two guard houses, Ste. Anne's Church, and about 15 houses within the fort. Lots could be no larger than 25 square feet and some were smaller.

In an official report about Detroit to his superior officers, Cadillac noted, "Especially attractive was the region that lies south of the pear-like lake to which they gave the name of St. Clair, and the country bordering upon that deep, clear river, a quarter of a league broad, known as Le Detroit.

"On both sides of this strait lie fine, open plains where the deer roam in graceful herds, where bear, by no means fierce and exceedingly good to eat, are to be found, as are the savory poules d'Indies (wild duck) and other varieties of game. The islands are covered with trees; chestnuts, walnuts, apples, and plums abound; and in season, the wild vines are heavy with grapes.

"Le Detroit is the real center of the lake country--the gateway to the West. It is from there that we can best hold the English in check."

French trade with the local Native American tribes went well for the most part. Cadillac encouraged the Ottawa, Pottawatomie, Miami, and Wyandotte tribes to cluster together in villages near the fort for protection from their mutual enemies--the Iroquois and the British. In total, Cadillac estimated that there were about 2,000 Indians in and around Fort Pontchartrain allied with the French.

In 1702, the first European baby born in Detroit was the daughter of Alphonse de Tonty, Cadillac's second-in-command. Not to be outdone, in 1704, the Cadillac's gave birth to Marie Therese, who became the first recorded baptism christened in Ste. Anne's Church registry.

Cadillac wanted the settlement to grow rapidly, but few if any unattached women were available to single men, so he proposed that christened Indian women be allowed to marry French settlers. The Jesuit priest strongly objected on moral and religious grounds, and the plan was soon rejected. This is likely the first official instance of discrimination in Detroit's long history.

In 1707, Cadillac began issuing farm grants, known as ribbon farms, to attract new settlers. These farms ranged from 200' to 1,000' wide and extended from the shoreline for 2 or 3 miles. Each farm had waterfront access. Many of Detroit's current street names derive from the original ribbon farm grant holders, for instance, Beaubien, Campau, Livernois, Riopell, Dequindre, and others. Cadillac plotted out 68 parcels. 

Cadillac acted like a feudal landlord requiring farmers to pay him an annual rent and a percentage of their grain to use the windmill he had built on the waterfront north of the fort. He was the mill's sole proprietor and could charge whatever he wanted. Renters were also required to work on Cadillac's farm for a specified number of days each year, making him a gentleman farmer.

To engage in any kind of trade, settlers had to pay a licensing fee and annual taxes. Cadillac grew rich by padding the fees and taxes and skimming off the top. When he withheld an allotment of imported brandy behind padlocked warehouse doors, it was discovered and reported that he was trading it to the Indians for beaver pelts. Cadillac defied a Royal decree not to provide liquor to the native population.

When complaints about Cadillac reached Montreal and Paris, King's Deputy Francois Clarembault went to survey the Detroit area holdings in 1708 and found they did not match Cadillac's reports. After nineteen days in Detroit, Clarembault returned to Canada and sent his findings off to France. In 1709, Count Pontchartrain wrote to Cadillac complaining that he showed "too much greed and little moderation in his dealings with the settlers."

In 1710, Cadillac was called to Quebec to answer charges against him brought by his detractors. The empire builder was acquitted of extortion and abuse of power charges, but he was removed from his post never to return to Detroit. The following year, Cadillac was promoted to the governorship of the Louisiana Territory.

Saint Anne's Church

Something Fishy About "The Spirit of Detroit"

Photo courtesy of Chris Ahern Photography LLC

The Spirit of Detroit statue has graced the site of the Coleman A. Young Municipal Center (originally known as the City-County Building) on the corner of Woodward and Jefferson Avenues since its installation on September 21, 1958. The Detroit-Wayne Joint Building Authority commissioned the public art as a salute to the new City-County Building on August 2, 1955 with the expressed goal of representing "hope, progress, and the spirit of man."

Royal Oak, Michigan sculptor Marshall Fredericks was chosen to design the statue in keeping with the Building Authority's vision statement. Fredericks waived his artist's commission believing the project was part of his civic responsibility. A plaque in front of the sculpture reads, "The artist expresses the concept that God, through the spirit of man, is manifest in the family, the noblest human relationship." Though the statue was unnamed by its creator, it became popularly known as The Spirit of Detroit becoming the ubiquitous symbol representing the City of Detroit.

Spirit of Detroit model and sculptor Marshall Fredericks.

After the design concept was sculpted in clay and agreed upon by the Building Authority, Fredericks cast the model in plaster at one-quarter scale of what the final product would become. Under his supervision, the scale model was shipped to Oslo, Norway to a foundry large enough to cast the statue in bronze. The model was scaled up to 26 feet tall. This statue soon became known as the largest bronze statue cast since the Renaissance.

The focal point of the statue is a supernatural-sized, seated figure covered in a rich green patina. In his left hand, this colossus holds a gilded sphere emanating golden rays lighting the heavens symbolizing God. In his right hand, the figure holds a gilded family of four symbolizing human relationships. The theme reflects mid-twentieth century views commonly held at the time of the statue's creation.

The massive, nine-ton statue was designed to be installed on a marble base with a curved marble background wall thirty-six feet wide by forty-five feet high, weighing in at a combined sixty tons. The wall contains the seal of the City of Detroit and the seal of Wayne County that Fredericks designed especially for the wall because none had previously existed. Beneath the government seals, the wall contains a New Testament inscription.

"NOW THE LORD IS THAT SPIRIT

AND WHERE THE SPIRIT OF THE LORD IS,

THERE IS LIBERTY"

                            --2 Corinthians (3:17)

Designed by J.O. Lewis in 1827 representing the devastating fire that destroyed the city in 1805. The Latin inscription reads "We Hope For Better Things--It Will Rise From the Ashes."

The Wayne County seal was designed especially for the monument by Marshall Fredericks in 1955. The seal commemorates the signing of a peace treaty between Ottawa War Chief Pontiac and American Brigadier General Anthony Wayne.

 

 

After the sculpture was cast, it underwent three weeks of heat and cupric nitrate treatments to oxidize the bronze giving it a deep green patina. To ship the statue safely to Detroit, a steel platform was built to load and unload it from the cargo hold of the German freighter Thomas Schulte. The freighter was chartered to make the 4,800 mile sea voyage across the Atlantic Ocean and up the Saint Lawrence Seaway to the Port of Detroit.

Before shipment, every surface of the giant bronze statue was wrapped in layers of burlap cloth for protection. The statue was positioned face and knees down onto a custom built, steel platform and a wooden framework to prevent the statue from shifting during transport. The freighter was also shipping a cache of Mercedes-Benz cars, commercial building materials, and crated food products in its cargo hold.

The Thomas Schulte arrived several days later than scheduled at the Detroit Harbor Terminal on Sunday, September 20, 1958 at 6:55 am. Stevedores on the ship and workers from Dearborn Machinery Movers on the dock were prepared to lift the steel platform from the freighter's cargo hold. To witness the unloading, Fredericks, his wife, a couple of newspapermen, and a Detroit policeman waited anxiously.

But there was an unexpected problem. Ed Galli, president of Dearborn Machinery Movers, referred to The Spirit of Detroit in the Detroit Free Press as "that stinking statue" and for good reason. Galli had volunteered his company's services as a civic gesture. The job was supposed to take six hours and was costing him double time because the freighter was a few days late from its estimated date of arrival, so his union workers were making overtime on a Sunday.

The statue was supposed to be unencumbered in the hold for a simple lift with a crane onto a flatbed trailer, a short trip to the County Building job site, and installation onto the statue's pedestal. Somewhere along the journey, the Mercedes-Benz cars and commercial building supplies were off-loaded leaving four tons of sardines and pickled herring behind in the cargo hold which tumbled onto the statue. Enough of the containers sprung leaks to thoroughly drench the statue's burlap wrapping in a "gooey, odoriferous sardine oil."

First, Galli's men had to help rearrange the ship's cargo hold and rinse off the "little fishy" residue before the statue could be lifted safely onto the flatbed trailer which took a few extra hours. Rather than the installation finishing at noon as scheduled, the job was completed around 7:30 pm. The cost overrun was $5,000, more than Galli had bargained for. It is believed that Marshall Fredericks made good on the unexpected, added expense. The official unveiling and dedication of the statue took place as scheduled three days later on Wednesday, September 23, 1958.

The Original Spirit of Detroit Promotional Film 1959 

Popeye and His Pals Captain Jolly and Poopdeck Paul

"I'm Popeye the Sailor Man
I'm Popeye the Sailor Man
I'm strong to the "finich"
'cause I eats me spinach
I'm Popeye the Sailor Man"

Popeye was the creation of E.C. Segar. The "one-eyed runt" debuted as a minor character in an early comic strip entitled Thimble Theater on December 19, 1919. When Popeye became popular, the comic strip was retitled Popeye. Syndication rights were sold to King Features Syndicate, which debuted the Popeye strip on January 17, 1929, introducing the character to a national audience.

In 1933, the Fleischer Brothers--Max and Dave--adapted the newspaper comic strip character into cartoon shorts for Paramount Pictures. All but three of their cartoons were six to eight minute, one-reelers filmed in black and white. Their three masterpieces were twenty minute, two-reelers filmed in Technicolor: Popeye Meets Sinbad (sic) in 1936, Popeye Meets Ali Baba (sic) in 1937, and Aladdin and His Wonderful Lamp in 1939.

The cartoon Popeye muttered and mangled the English language much to the annoyance of English teachers everywhere. He was odd-looking and unsophisticated, but he had a heart of gold with compassion for the underdog. Popeye was brave, chivalrous, and loyal. His pipe could be used as a steam whistle for his trademark "toot-toot." He displayed his ingenuity using his pipe for a cutting torch, a jet engine, a propeller, and a periscope.

The not so secret source of Popeye's great strength was spinach. The spinach-growing community of Crystal, Texas, erected a statue of Popeye in recognition of his positive effects on the spinach industry as a great source of "strenkth and vitaliky."

Several key characters in the Popeye cartoons were based on real people from Chester, Illinois, who made an impression on animator E.C. Segar when he worked there as a reporter. Popeye was based on Frank "Rocky" Fiegel, who in real life had a prominent chin, sinewy physique, a pipe, and a history of fist-fighting in the local travern.

The inspiration for Olive Oyl was Dora Paskel, an uncommonly tall, lanky lady with a washboard figure who wore her hair in a tight bun close to her neckline. She ran the general store.

The Wimpy character was modeled after a rotund, local opera house owner named Wiebusch, who regularly sent his stagehand to buy hamburgers for him between performances.

The Chester, Illinois Chamber of Commerce built a Popeye character trail through their town in honor of E.C. Segar and his creations. Statues of many of the series characters adorn their city streets.

Paramount Pictures sold their Popeye cartoon television rights and their interests in the Popeye brand to Associated Artists Productions (AAP) in1955. AAP churned out 220 new cartoons in the next two years to round out their cartoon package. These made-for-TV cartoons were streamlined and simplified for smaller TV budgets. In short, they were cheaply made. 

In 1957, CKLW-TV (Channel 9) in Windsor, Ontario purchased the broadcast rights from AAP for 234 Popeye cartoons. The station hired Toby David in 1958 to portray Captain Jolly as the weekday program host. The Captain spoke English with a bad German accent and referred to the kids in his audience as his "Chip Mates." He wore a captain's hat cockeyed on his head, a striped tee-shirt, eyeglasses down his nose, and a signature chin strap beard. The show aired weekdays and weekends from 6:00 pm to 6:30 pm sponsored by Vernor's Ginger Ale.

In character, Captain Jolly was a frequent visitor of hospitalized children at Children's Hospital in Windsor, Ontario, and he did charity work throughout the Detroit area as well. Toby David often volunteered his time for St. Jude Children's Research Hospital--his favorite charity.

The weekend hosting chores were handled by Captain Jolly's first mate Poopdeck Paul portrayed by CKLW-TV weatherman Paul Allan Schultz. Poopdeck Paul wore a dark sweater with sleeves rolled up to reveal fake mariners tattoos on his forearms. He wore a canvas sailor's cap confidently tilted on his head.

Schultz's son Bill recalls, "The name Poopdeck Paul came pretty much out of nowhere. Ten minutes before the weekend show went on the air, the program director asked, 'What are you going to call yourself?' My dad thought for a couple of minutes and came up with the name."

That story may be true, but it is also true that Popeye's long-lost father who deserted him on Goon Island was named Poopdeck Pappy. Perhaps the name surfaced in Schultz's subconscious mind.

Captain Jolly used hand puppets for his show which was common for kid's shows of that era. Schultz's weekend show was hipper than Captain Jolly's weekday show. Poopdeck Paul appealed to the older kids in the audience. When the Limbo became a popular dance in 1961, Poopdeck held Limbo contests with his studio audience. When the Beatles' popularity broke across the nation in February 1964, he had kids with mop-top haircuts lip synch Beatles songs live on the air.

When the weather permitted, Poopdeck Paul occasionally did his show on the front lawn outside the CKLW studios. He would conduct go-cart races, miniature golf contests, Hula-Hoop competitions, Frisbee tosses, and relay races with teams made up from his studio audience. Both Popeye co-hosts were popular with kids on both sides of the Detroit River.

CKLW-TV cancelled Popeye and His Pals in December of 1964 after seven seasons, due to programming changes. Toby David took it pretty hard. He continued to work around Detroit doing media work and serving on the board of directors for several non-profit organizations assisting with fund-raising.

In 1971, Mr. David had it with winter in Detroit and retired to Scottsdale, Arizona. For a time, he sold real estate and was a tour guide on the side, but he never lost his desire to entertain. On September 14, 1994 while performing for senior citizens at a Mesa, Arizona senior center, Toby David died from a heart attack at the age of eighty. He was survived by his wife, two sons, and a daughter.

Paul Allan Schultz soured on show business after Popeye and His Pals was cancelled. He became a salesman for many years and had a couple of brushes with the law. For a time he lived in the Netherlands and Thailand. Schultz spent the last six months of his life in Leamington, Ontario, on the Canadian shores of Lake Erie. He died on September 19, 2000 at the age of seventy-five.

As per Schultze's final request, no funeral or burial service was held. His ashes were scattered in an undisclosed Canadian location. Schultz was survived by two daughters and a son. A second son, Bruce, preceeded his father in death. Schultz's daughter Diane told a Windsor Star reporter upon the passing of her father, "He taught us kids never be a spectator; always be a player."

Max Fleischer's Betty Boop Character 

Detroit/Windsor Sock-Hop Jock Robin Seymour 

Alex Karras' NFL Gambling Suspension--Part Three of Three

Late one December night in 1963 just before closing, Johnny Butsicaris was tending bar while Alex Karras was sitting in a booth counting money and doing some bookkeeping. Celebrated Detroit defense lawyer Joseph Louisell came in and ordered a triple shot of bourbon, took off his overcoat and scarf, and sat across from Karras.

Defense lawyer Joseph Louisell

Louisell was a popular customer at the Lindell AC. He was a heavy set, jovial man who was well-read and an avid sports fan. Louisell was known for winning some of Detroit's most notorious cases. He earned respect for bringing acquittals or reduced sentences for many local crime figures. He lived in the same Grosse Pointe Park neighborhood with many of Detroit's top-ranking mob figures. Their kids even went to school together.

"I want to talk with you about your suspension, Alex. The NFL meets in Miami next month. Have you made any plans regarding your reinstatement?"

"No, Rozelle wants me to drop my interest in the bar and I can't afford to do that."

"I've thoroughly checked out your bar activities.... You're as clean as snow."

"Tell that to Rozelle!"

"Give me the okay and I'll represent you."

"I can't afford you, Joe."

Over 65% of Joseph Louisell's law practice was devoted to civil and corporate law. That's how he and partner Ivan Baris made their money, but that bored Louisell. Joe would take some cases pro bono (free) if they interested him. Winning several high-profile defense cases helped build his reputation. Louisell was a diehard Lions fan, as were other interested parties who wanted to see Karras back in a Lions uniform, but they preferred to remain anonymous not wanting to prejudice the case against him.

"I'll take your case pro bono. I want to see you back on the gridiron, Alex. Here's my argument."

Louisell cited a provision in Michigan liquor licensing that states if your name appears on a Michigan liquor license, you can't sell your business for one year--by law. That includes taverns and liquor stores.

"What does that mean for me?"

"Were you to sell your interest in the bar business, you can 't get another liquor license for three years. We can sue them for lost wages if they force you to sell your stake in the Lindell, and they don't reinstate you."

Louisell told Alex to quit working at the bar, return to his family in Clinton, Iowa, maintain a low profile, and most of all, do not speak with the press. "Wait for my phone call," Louisell emphasized. In late January, Louisell made sure Karras' formal reinstatement appeal was on Commissioner Pete Rozelle's desk.

NFL Commissioner Pete Rozelle

In early March, Louisell and Karras went to meet with Commissioner Rozelle at his New York offices. After waiting for almost an hour in a reception room, the two men were led into the commissioner's office where Rozelle on the phone ignored them for some minutes. With Karras about to storm out of the office in frustration, Louisell calmed him down and told Rozelle to get off the phone, "This man's life is important."

Cutting short his phone call, Rozelle said, "Okay, Mr. Louisell, I'm listening."

Louisell explained that gambling is as intrinsic to professional football as the two-pointed pigskin, and Rozelle knew it. NFL football gambling existed on every level of American society and occurred weekly in office and factory pools, in Las Vegas sports betting parlors, and with private wagers made by John Q. Public--most of it innocent enough.

"You've unjustly punished Alex Karras for a year. My advice to you is make a decision within a week. If it's negative, I will tear the NFL apart." Louisell and Karras rose promptly from their seats and left the commissioner to think it over.

Rozelle knew any bad publicity with a headline-hungry press was not good for the league. He also knew that Louisell was not some ambulance-chasing shyster. His client list included many of Detroit's most notorious power-players including Jimmy Hoffa and the Giacoloni brothers. The last thing the NFL wanted was a media circus broadcast nationwide.

On March 16, 1964, both Green Bay Packer Paul Horning and Detroit Lion Alex Karras were reinstated. The NFL issued a statement saying both men bet on football games but never against their own teams, and there was no evidence either man performed less than his best in any football game.

"After personal discussions with each man, the commissioner is satisified that they have a clear understanding of the seriousness of their offenses," said an NFL spokesman. Nothing was mentioned about Karras' co-ownership of the Lindell AC sports bar.

***

In a 1969 interview with Sport magazine writer Lou Proto, Karras was led into the subject of his 1963 suspension. "It is my understanding," said Proto, "that you had to sell your interest in the Lindell AC when ordered by Pete Rozelle."

"I kept it for five more years."

"How did you manage that?"

"It was a verbal thing. If Rozelle would have claimed something illegal was going on at the Lindell, he would have been slapped with a lawsuit."

"Then, you were lying when you told Rozelle in 1964 that you sold your interests in the bar?"

"Lying to whom? The guy who was trying to screw me?"

Karras was outspoken but not altogether candid in the interview. He didn't care; he knew the end of his football career was near, and he had already shifted his career trajectory into show business by signing a contract with Hannah-Barbera Productions--already appearing in the TV series Daniel Boone with Fess Parker and a western named The Hard Case with Clint Walker.

William Clay Ford

Recently, Mel Butsicaris revealed to me what really happened. His father Johnny went to see Lions owner William (Bill) Clay Ford. He told Bill Ford if he ever wanted to see Karras in a Lions' uniform again, he needed to lend him and his brother Jimmy the money to buy out Karras' share of the Lindell. They put up their sports bar as security, cut a deal, and Ford had his lawyers write up the promissory note. It took the Butsicaris brothers five years to pay off the loan.

"My dad paid the last installment to Bill Ford personally and took the promisory note, twisted it up, and set one end on fire to light his cigar."

Although I can appreciate the symbolic gesture, the researcher in me regrets that this piece of documentation when up in smoke.

More background on Joseph Louisell

Karras NFL Suspension--Part One 

Karras NFL Suspension--Part Two

Alex Karras' NFL Gambling Suspension--Part Two of Three

Anthony Giacalone - Vito Giacalone - Odus Tincher

On August 18, 1962, Detroit crime figures Tony and Vito Giacalone and a few of their friends--including Jimmy and Johnny Butsicaris--went to Cleveland in their private bus to see the Lions play the Browns in an exhibition game. Jimmy and Johnny shared the driving chores. After the game, Jimmy invited Alex Karras and his teammate John Gordy to return to Detroit on the luxury bus instead of uncomfortable team-provided transportation. As team protocol required, they asked Lion's head coach George Wilson for approval, which he gave.

Karras and Gordy entered Vito Giacalone's renovated Detroit Street Railways (DRS) bus. The exterior was painted in the Detroit Lion's team colors of silver and Honolulu blue. The inside of the former municipal bus was gutted and refurbished with two comfortable couches set across from each other between the bus's doors. A rectangular table could be lowered between the couches from the ceiling for eating or playing cards. A compact bar and a curtained platform with a double bed was situated in the back of the bus. Giacalone was permitted to park the bus behind the Lindell AC when not in use. In return, Jimmy and Johnny occasionally borrowed the bus for family vacations. It was a simple handshake agreement among friends.

Bus layout sketch by Mel Butsicaris.

 

The football players were welcomed aboard with a chilled beer before settling in to play cards for the return trip to the Lindell AC, with an FBI cruiser tailing them all the way back to Detroit. The next morning, Lions' general manager Andy Anderson summoned Karras into his office.

"The FBI reported to Police Commissioner Edwards that you and John Gordy rode back from yesterday's game in a 'party bus' with undesirable elements who do not belong in a professional football player's life. Your bar partners--known gamblers--were also on the bus."

"So what?"

"We've had this conversation before, Karras. Drop your interest in the Lindell AC. That's final!"

"Mr. Anderson, do me a favor."

"What?"

"Trade me!"

Alex Karras--Just a pawn in a world he didn't understand?

 

On January 9, 1963, The Detroit News broke the story of the "hoodlum-operated party bus." The next day, NBC News wanted to interview Karras about the bus ride and the gambling charges that they discovered the NFL was investigating.

The Butsicaris brothers counseled Alex against granting the interview, but he was characteristically headstrong. Karras was guileless and expected everyone else to be that way. With the conviction of the righteous, Karras agreed to the NBC interview which was taped on January 13th. Towards the end of the thirty-minute interview, Karras was asked if he ever bet on sporting events. He glibly answered, "Yes, I do, with my brothers for a cigar or a pack of cigarettes."

When the interview was edited for broadcast, all that anybody heard was the sound bite of Karras answering "Yes, I do" coming from his own mouth. From there, the quote went to the wire services and was distributed nationwide to newspaper, radio, and television outlets. Alex was blindsided by NBC News.

With the end of the regular season, NFL commissioner Pete Rozelle, a league attorney, and a stenographer held a meeting with Karras. Alex believed gambling was a part of Greek ethnic character. From the age of fifteeen, he hung out with his older brothers in the Fifth Avenue Pool Room in Gary, Indiana. He bet on pool and played cards for entertainment. Everyone he knew did. "I never thought it was sinful and never attempted to hide it or felt the need to do so," he explained to Rozelle.

"Did you ever gamble on NFL games?"

"Never more than $50 a game and never against the Lions. I haven't thrown any football games, and I don't have ties with gangsters. This whole incident is being blown out of proportion."

Even after offering to take a lie-detector test, Karras was suspended for the 1963 football season and fined $2,000 for betting on the Green Bay Packers/New York Giants championship game. The Detroit Lions were fined $4,000 for minimizing information concerning "undesirable associations" and allowing questionable people to sit on the Lions' bench during games.

The Lions' fine was aimed directly at Jimmy Butsicaris, who was often seen on the bench. In addition to being a tavern owner, Jimmy had a weekly radio sports show in Detroit called Sportstalk on WXYZ-AM radio. He had a press pass authorizing him to have team and field access.

Karras told a Detroit Free Press reporter on January 18, 1963, "I must be the most naive guy in the world. How could I get myself in a mess like this when I know I didn't do anything wrong?" In the meantime, Karras settled into his suspension and learned the bar business from the ground up.

End of Part Two

Karras Gambling Suspension Part One 

Karras Gambling Suspension Part Three

The Evolution of America's Patriotic Images: Yankee Doodle, Uncle Sam, Miss Columbia, and Lady Liberty

Originally titled Yankee Doodle Dandy, The Spirit of '76 was painted in 1876 by Archibald MacNeal Willard for the centennial celebrations in Philadelphia.

Today, the most internationally recognized personification of the United States is Uncle Sam, but it wasn't always so. Before and during the Revolutionary War, the British Red Coats characterized ramshakle colonial soldiers as Yankee Doodle Dandies. It wasn't a compliment. The rousing British drinking song portrayed colonists as foppish, anti-royalists impugning their manhood.

The colonists were able to co-opt the insulting song and make it their own. Taking the song's melody, Edward Bangs--a Harvard University sophomore by day and a Minuteman by night--wrote fifteen new verses to the British song in 1775 and circulated the lyrics throughout New England. Yankee Doodle Dandy went from being an insult to a song of American national pride.

On September 7, 1813, Uncle Sam became the official nickname and image for the United States government. The name is attributed to cattle tender and meat packer Samuel Wilson. He supplied oak barrels of meat to the United States government for rations during the War of 1812. His workers stamped US on his government shipments, and he became known locally in Troy, New York as Uncle Sam. Soldiers soon picked up on the name.

Early on, the image of Uncle Sam did not have a standard appearance. Popular political cartoonist Thomas Nast is credited with the first image of Uncle Sam in a November 20, 1869 editorial cartoon in Harper's Weekly supporting the Fifteenth Amendment for universal sufferage. Uncle Sam (symbol of the government) and Columbia (symbol of the country) are hosting a Thanksgiving dinner for a group of diverse immigrants. Nash's Harper's Weekly editorial cartoon images of Uncle Sam helped establish the patriotic icon we know today.

The image we all recognize as Uncle Sam evolved over time. The long and lanky man with the white goatee and white hair, dressed in red and white striped pants, a dark blue frock coat, a white top hat with a blue starred band, and a red bow tie was the creation of James Montgomery Flagg for the famous 1917 World War I United States Army recruiting poster which was used again during World War II. Millions of copies were distributed establishing Uncle Sam as the national symbol of American patriotism and pride.

The earliest known personification of pre-United States appeared in 1738. Miss Columbia was the embodiment of liberty. European nations used the term "Columbia" to refer to the New World and then the thirteen colonies, based on the mistaken belief that Italian explorer Christopher Columbus discovered America. Miss Columbia's image was depicted as a strong, classical woman modeled after Greek goddess Athena and infused with a healthy dose of Americanism. She became a central figure in the narrative of early America, its values, its Westward expansion, and its promise of establishing the American ideals of liberty and justice for all.

 

 

Columbia's image was often seen in political cartoons in the nineteenth and early twentieth century, but her dominance as America's favorite female icon was challenged in 1886 by the installation of the Statue of Liberty. The two iconic images co-existed for thirty years, but the personification of Columbia fell out of favor with the issuance of Liberty Bonds in support of the World War I war effort which had The Statue of Liberty's image printed on them.

When Columbia Pictures chose their trademark in 1924, they created a blended version of Miss Columbia with The Statue of Liberty pose, doing neither icon any favors. To compound Miss Columbia's troubles, some of America's most iconic coinage bore the image of Lady Liberty, who became the favored personification of liberty.

 

Columbia endures as the name of many cities and streets throughout the United States, as well as Columbia University in New York, Columbia Records, Columbia Pictures, Columbia Broadcasting System (CBS), and the name of our ill-fated space shuttle which exploded in mid-air on February 1, 2003. 

Contemporary cartoonist for The Independent Weekly in Durham, North Carolina D.C. Rogers may have expressed it best, "One of the reasons Miss Columbia has declined is that The Statue of Liberty has risen." The most famous American monument to liberty was a gift from the people of France.

America's enduring symbol of freedom--The Statue of Liberty.

Lady Liberty's image also has a long and distinguished history on American coinage. A one cent coin was struck in 1793. Liberty's cameo image was considered unattractive with a wild mane of hair and a balding, sloped forehead. It was quickly retired making this coin one of the most sought after American coins for collectors.

In 1795, the Liberty Draped Bust silver dollar showed an attractive, middle-aged Lady Liberty with flowing hair held back with a decorative bow. She is surrounded by stars representing the number of states. This image of Lady Liberty was minted from 1795 until 1804. 

 

In 1878, George T. Morgan designed what is known as The Morgan Silver Dollar, prized by collectors because of its size and weight. The model for the coin, Anna Willness Williams, became known as the "Silver Dollar Girl." Morgan designed a cameo profile with Liberty's beautifully quaffed hair in a Phrygian cap which signifies freedom and the pursuit of liberty. This silver dollar was minted until 1921.

The Walking Liberty half dollar was minted from 1916 until 1947. This silver coin is rich with symbolism. Lady Liberty walks towards the dawn of a new day. She carries a bouquet of laurel and oak representing military and civil victories of the nation. Her outstretched arm imparts the spirit of liberty to others. She is clothed in a lovely, flowing gown representing the American flag, and she is wearing a Phrygian cap. The coin was reissued for collectors because of its exceptional beauty. It is also known as the American Silver Eagle because of the image on the reverse side.

 

 

Rosie the Riveter--Another American Icon