The Seven Deadly Sins: Then and Now

Parishoner receiving the sacrament of Confession.

Western Catholicism has always had trouble explaining the problem of evil in a world created by a benevolent god. Medieval theologians personified sin in the guise of Satan, an angel who rebelled against God and was cast from Heaven. It was Satan who unleashed sin upon the earth and poisoned men's minds. The struggle between obedience to God and a human beings' free will became the battleground for man's immortal soul. The stakes couldn't be higher--salvation or perdition.

Though not explicitly mentioned in the Bible, the Seven Deadly Sins became fundamental to Roman Catholic doctrinal and confessional practices in Medieval Europe. The Catholic church promoted the concept of the Seven Deadly Sins in church sermons and religious artwork encouraging the faithful to curb their sinful ways.

 

The origin of the Seven Deadly Sins is linked to the works of fourth-century Greek monk Evagrius Ponticus. One of his disciples--John Cassian--brought these categories to Europe and translated them into Latin--the common language of the Roman Catholic Church. The sins were Pride, Greed, Gluttony, Wrath, Envy, Sloth, and Lust.

Medieval priests studied the Seven Deadly Sins in penitential manuals training them to hear confessions. After a parishioner's admission of sin, priests assigned prayers for penance usually involving the recitation of Hail Marys and Our Fathers and an Act of Contrition before the priest would absolve your sins. Sometimes wealthy patrons made contributions to the church hoping to buy their way into heaven.

The Seven Deadly Sins were given popular expression during the Renaissance in Dante's Inferno (1320 AD), an anonymous writer's The Summoning of Everyman (1510), and Christopher Marlowe's Doctor Faustus (1604). Each fictional treatment was a cautionary, morality tale.

Dante envisioned the nine circles of Hell in his Inferno. The lustful are condemned to the 2nd circle; the gluttonous are grouped in the 3rd circle; the greedy inhabit the 4th circle; and the wrathful are imprisoned in the 5th circle. Four of the nine circles are dedicated to the Seven Deadly Sins. Though Hell is never mentioned explicitly in the Bible, Dante and the clergy did not mind scaring it out of people.

After a lifetime of sinning, the main character in The Summoning of Everyman must make an accounting of his life which is sorely wanting. Everyman's eternal soul is not in a state of grace. Death summons Everyman, but Everyman is unprepared to face his judgement and tries to delay his fate. To make amends, he confesses his sins to a priest, does his penance, and is administered the Last Rites. All his worldly goods, his friends, and family give him no comfort in his time of greatest need. Only his Good Deeds follow Everyman to the grave. The moral, of course, is prepare in this life for the next.

The Tragical History of Doctor Faustus is the most subversive play of the period. Faustus is a heretical priest who dares to study the forbidden secrets of necromacy (conjuring demons). His excessive pride prompts him to brag that he has studied every subject and finds them all wanting. He denounces Logic as merely a tool for arguing; he proclaims that Medicine is useless unless it can conjure up the dead; he feels that the Law is mercenary and beneath him; and that Divinity is useless, which is blasphemy against God.

Corrupted by practicing the black arts, Faustus creates a magic circle and attempts to summon Satan. Instead, the devil Mephistophilis (sic) appears and strikes a deal with Faustus giving him magical powers for twenty-four years until he must surrender his soul. Faustus is introduced to the Seven Deadly Sins and lives a self-indulgent life until it is time to pay for his devil's bargain. His corrupted soul is drawn to the everlasting bonfire of Hell.

*** 

In our more secular age, the Seven Deadly Sins have lost their power to shock or discourage many wayward sinners, but they haven't lost their power to captivate the popular imagination and produce box office gold for filmmakers. Though many twentieth-century films clearly deal with the concept of sin and morality, the theme is often implied rather than expressed.

 

Dracula

One of the earliest Hollywood morality tales was the 1931 horror film Dracula, about a vampire who attacks godfearing humans and robs them of their souls. Lust and sacrilege are the movie's subtext as Dracula is hunted down and destroyed with a wooden stake driven through to his heart while in his coffin. This film made an international sex symbol of Hungarian Bela Lagosi, and it started the era of the Universal Pictures costume monsters.

 

Released nine months later, Frankenstein was another 1931 monster movie that left its mark on the moviegoing public. The film is about an ambitious scientist who dares to emulate God by creating a human life. Pride in his achievement is a direct affront to God. Dr. Frankenstein's transgression creates a monster that unleashes murder and mayhem upon the countyside.

 

This film helped promote the Hollywood cliche of the mad scientist. For his pursuit of the mysteries of life and death, Dr. Frankenstein goes insane. Costume monsters like Dracula and Frankenstein lost their power to scare audiences in the 1950s after Hollywood entered the post World War II era of the psychological thriller.

 

The movie that changed the horror genre forever was 1960's Psycho directed by Alfred Hitchcock. The film was groundbreaking for its unprecendented depiction of sex and violence which set a new standard of acceptability for feature films. The movie ended with a psychologist's evaluation of the killer's motivation and mental state. No attempt was made to provide any religious context for the audience, although the deadly sins of greed, lust, and wrath run throughout the film.

 

Janet Leigh in Psycho

Psycho viewers enjoyed the rush of jumping out of their seats screaming--especially during the famous shower scene. To offer guidance to their parishioners, the Catholic Legion of Decency gave the film a B rating for being "morally objectionable," but the public loved the film and long lines formed wherever it was shown. For a modest capital investment of $806,947, Psycho made $50 million dollars becoming one of the most profitable movies of its era.

 

 

The most explicit treatment of the Seven Deadly Sins in a modern movie is the film Seven--a psychological thriller starring Morgan Freeman, Brad Pitt, Gwyneth Paltrow, and Kevin Spacey. Serial killer John Doe drops clues at five murder sites, each resembling a different deadly sin. Two detectives frantically pursue the unknown serial killer before he acts on the final two deadly sins.

By committing horrific murders linked to the deadly sins, a religious zealot wants to incite the public to repent for their sins. John Doe wants to be known as a martyr in service to God's will, despite committing the mortal sin of murder repeatedly. This film had a $33 million dollar budget and earned $327.3 million dollars worldwide making it the fifth most popular American film of 1995. What the movie did for church attendance is unknown.

Today, the problem of evil with its enduring themes of sin and transgression are the stock in trade of writers and movie producers. Rather than morality lessons that lead people to God, these modern films are popular for their ability to thrill and entertain mass audiences.

 

Danse Macabre (Dance of the Dead) 

MAD Magazine Pulls the Plug on Alfred E. Neuman

Alfred E. Neuman

On the occasion of MAD magazine's final issue, the New York Times wrote that Mad was the "Irreverant Baby Boomer's Humor Bible." The publication had a glorious sixty-six-year run with 550 issues serving up a mixture of adolescent humor and social satire of pop culture, advertising, politics, and entertainment. MAD has been called the "class clown of American publishing."

Generations of kids loved MAD, much to the dismay of their parents. Television shows like The Simpsons, Monte Python and Saturday Night Live owe much to MAD and its legion of talented writers and artists, known collectively as "Our Usual Gang of Idiots." People like Mort Drucker, Don Martin, Frank Jacobs, Norman Mingo, Al Jaffee, and hundreds of other talented people over the magazine's long history.

People like Robert Crumb, creator of Zap Comix, standup comedian Jerry Seinfeld, film critic Roger Ebert, and musical satirist Weird Al Yankovic all were influenced by MAD. Upon learning of the magazine's demise, Weird Al tweeted, "I can't begin to describe the impact MAD magazine had on me as a young kid."

MAD originally launched as a comic book in 1952 and became a magazine in 1955. The format was changed in response to the United States Senate hearing to investigate the menace of comic books. The hysteria was based on the research of psychologist Fredric Wertham's best-selling book with the lurid title The Seduction of the Innocent, which purported that comic books contributed to "children's maladjustment." Comic books were banned and burned in some communities.

Look familiar?

The Comics Magazine Association of America was formed in 1954 by the comic book industry to avoid threatened government regulation, despite being a censorship First Amendment issue. The CEOs ran scared and formed the self-governing Comic Code Authority (CCA) and set up a series of standards before they would grant their Seal of Approval on a comic's front cover if it met the Authority's standards. Scenes of graphic violence, gore, sexual innuendo, and disrespect of police, government officials, politicians, celebrities, and respected institutions were banned. Satire, free speech, and political dissent were endangered.


MAD publisher William Gaines and editor Harvey Kurtzman were having none of it. They recreated their satiric comic book into a large format magazine in 1955 and avoided the CCA constraints which were limited specifically to comic books. MAD survived the comic book purges and protected its independence. By not accepting any advertising, the magazine was also freed from any conflicts of interest.

The new format allowed for larger, more complex illustrations, filmlike sequences, and expanded text. Recurring features like movie and television show parodies, "Spy vs. Spy," the fold-in on the back cover, "The Lighter Side," and MAD Libs were popular. Full page faux advertising appeared on the inside and rear covers mimicking ads found in upscale slick magazines. MAD became a runaway success and the second most successful magazine of the 1950s, second only to Hugh Hefner's Playboy magazine.

Original postcard image of the Idiot Kid.

Alfred E. Neuman's original likeness was found by editor Harvey Kurtzman in 1954 on an old postcard with the caption "ME WORRY?". The image of the "idiot kid" and his never-may care attitude stuck with Kurtzman. He asked master artist Norman Mingo to punch up the artwork with some minor details. Kurtzman also decided to change the motto slightly. Now it read "What, Me Worry?" Being a parody magazine made the blatant plagiarism less onerous one supposes.

Alfred E. Neuman's official cover debut was in 1956 as a write-in candidate for president. In the interest of full disclosure, Dwight David Eisenhower won that race, but Neuman became MAD's mascot and official trademark. The idiot kid with a head shaped like home plate, misaligned eyes, big ears, and gap-toothed smile was so iconic that once a letter bearing only Neuman's image without an address was delivered to MAD's offices on Madison Avenue in Manhattan.

MAD magazine shut down in April 2018. Times have changed and the magazine lost its audience to more modern forms of media entertainment. I'm gonna miss that idiot kid.

Ten Things the Comics Code Authority Banned

Danse Macabre (The Dance of the Dead)

Climax of Igmar Bergman's film The Seventh Seal.

The Danse Macabre was a religious allegory of the late Middle Ages calculated to turn men's thoughts to a Christian preparation for death. It was a reaction to the horrors of the 14th century's recurring famines, the Hundred Year War in France, and the scourge of the Black Death (plague). Millions of Europeans persished during this period. Estimates run as high as 50 million people or 60% of the population.

Produced by the church fathers as a "memento mori" to remind people that all human life is fragile and life's petty pleasures are fleeting, the Danse Macabre summons people from all stages and walks of life whether pope or layman, young or old, male or female, rich or poor. The universality of death is the great leveler that unites all.

Dutch Flagellants scourging themselves as penance.

The spectre of sudden death during this period of history increased the religious practice of saying penance and/or self-flagellation (whipping) by the faithful, but it also created a secular desire for amusement and diversion while people could still enjoy life's creature comforts. This expression of the struggle between the sacred and the profane played itself out in medieval society.

Outside of St. Peter and St. Paul Church in Lithuania.

Many paintings, book illustrations, and sculptures were commissioned by the Catholic Church to act as penitential lessons that even the illiterate majority could understand. Cathedrals often portrayed danse macabre images in sculptures adorning their exterior architecture.

The medieval morality play called The Summoning of Everyman was first performed in 1510 in front of church entrances to draw in the crowd. In the play, Everyman uses every argument he can to avoid his impending death before he gives up and seeks out the sacrament of the Last Rites. Only his good deeds go with him to the grave--a sober reminder to the faithful that worldly goods count for nothing in the next world.

The Pedlar from Hans Holbein's "Figure de la Morte." The pedlar seems to say, "I'm busy. Gotta run!" Death replies, "Not this day!"

Hans Holbein, the Younger created a series of forty-one woodcuts between 1523-1526 depicting the danse macabre morality tale. His work broadened the concept from its Catholic and Protestant origins into a more secular interpretation which eventually became the inspiration for Halloween.

On All Hallow's Eve (shortened to Halloween), the medieval Catholic church promoted the idea that the veil between the material world and the afterlife lifted. Annual harvest celebrations and village pageants drew revellers wearing masks and costumes dressed as corpses representing all strata of society. After a night of feasting and celebrating, a procession was led by priests to the church graveyard at midnight to lay flowers, leave votive candles, and pray for the souls of the dearly departed in preparation for fasting on All Saint's Day.

In Edgar Allen Poe's short story The Masque of the Red Death written in 1842, medieval Prince Prospero and his wealthy and influential friends attempt to outsmart Death during the plague by hiding out in the prince's abbey. The results are predictable and serve as a cautionary tale for our own time as we struggle with the corona virus and the predictability of human behavior.

 

The Seven Deadly Sins 

Terror In Ypsilanti Pilot in the Works

Available in softcover, ebook, and audio.

I received some good news in June that a Canadian media company I signed with in 2019 recently hired two women writers to develop a screenplay for Terror In Ypsilanti. They are working on a pilot as part of a package to promote a possible six-part miniseries to producers. This recent development is by no means a done deal, but it did raise my spirits when the doldrums of this pandemic were beginning to wear on me, so I thought I would share the news.

Longtime residents of Ypsilanti, Michigan may remember when a film crew from New York City rolled into town early in 1977 with Hollywood producer, director, and writer William Martin to film a movie about the Washtenaw County murders of 1967-1969.

Eastern Michigan University (EMU) freshman Karen Sue Beineman went missing on July 23, 1969 when she was last seen riding on the back of a motorcycle with a young, white male wearing a green and yellow striped soccer jersey and shorts. EMU senior John Norman Collins was arrested a week later. It was generally believed by authorities that Collins was the same person who had murdered six other young women in the area. It would be a year before the Beineman case went to trial in Ann Arbor, Michigan. 

Actor Robert Purvey on motorcycle and William Martin directing local actor Kathy Pierce.

William Martin's movie about the murders was named after the children's bedtime prayer Now I Lay Me Down To Sleep. The production ran into trouble from the start. The first strike against it was Martin's script; he didn't have one. He filmed short segments without the cast on set or any predetermined locations. Martin was filming the establishing, exterior shots before the Hollywood studio work, he said.

The second strike was that William Martin was an alias for Teamster organizer Martin Bacow, who reincarnated himself in Hollywood when he was the Teamster's man in Tinsel Town. His only other film credit was something called Jacktown about the 1952 Jackson Prison riot, which was so bad it was never released.

The third strike against the project was when Martin/Bacow was subpoenaed to testify in Detroit Federal Court as a material witness regarding Jimmy Hoffa's disappearance. That's the last time the film crew saw or heard from William Martin. They packed up their rented equipment and returned to New York. This movie was never produced, nor does a single bit of film footage exist. The enterprise amounted to a scam to defraud investors. More on that story is in the link at the end of this post. 

My initial glee upon hearing about a possible Terror In Ypsilanti movie project is tempered by the seriousness of the subject matter. One of the standard provisions in my contract was signing away creative control. But the CEO of the media company asked if I'd be interested being a script consultant. Well, of course I would.

Original mugshot--August 2, 1969.

One concern I have about the project is how John Norman Collins will be portrayed. He drives the plot, but I feel he should remain a murky, anonymous figure throughout most of the series until he is unmasked towards the end. Rather than tell the story through his eyes, the screenplay writers are motivated to tell this story through the point of view of the victims, with a feminine sensibility rare in the true crime genre. 

The Ann Arbor and Detroit media sensationalized this tragedy and intimated that the victims were somehow responsibile for their own demise. Perhaps this attitude relected the media's need to make a morality tale out of this tragedy, but collateral harm was done to their friends and families. Times have changed in fifty years, so it is my belief that these portrayals will be more respectful.

Another concern I have is how Ypsilanti will be portrayed. The city was deeply affected by this tragedy and that story needs to be told with sensitivity too. I hope some of the exteriors for the movie will be filmed in Ypsilanti to give the project an authentic look and feel.

Undoubtedly, some people will find the project repugnant and won't be happy whatever the outcome of the film. I already know one person in Marquette Branch Prison who won't be pleased. I expect this project to take several years before it is ready for prime time, but I'm optimistic it will come to pass, unlike the Now I Lay Me Down to Sleep fiasco. Hope I live long enough to see it.

Whatever happened to Now I Lay Me Down To Sleep?

Broadcast Television vs. Cable Systems

In 1907, Russian Boris Rosing and Englishman A.A. Campbell-Swinton combined a cathode ray tube with a mechanical scanning system to create a rudimentary electronic image. It wasn't until 1927 that twenty-one-year-old American inventor Philo Farnsworth invented the first television system with a transmitter that sent electronic coded images over the airwaves to a receiver which decoded the signals into light and dark. Black and white television was born.

Philo Farnsworth--with invention.

Legend has it that when Farnsworth pitched his invention to potential investors, one of them asked him when they might see some dollars out of this thing. Thinking quickly, Fransworth televised the image of a dollar bill. Investment was there, but the Depression and World War II put commercial television production on hold. RADAR, SONAR, and information processing research took precedence over consumer televison until war's end.

The miracle of television was brought to our homes via tall broadcast towers that sent electromagnetic signals over the airwaves carrying TV programming to rooftop antennas connected to our television sets in our living rooms. The first broadcast stations in 1946 had limited broadcast hours. Hollywood Westerns dominated early programming. By 1949, most American urban centers had at least one station; by 1953, half of all American households had a television set; and by 1956, most United States cities were linked to network programming.

Broadcast signals weakened the further away from the transmitter towers. Mountains and weather could interfer with a station's reach. The national broadcasters (NBC, CBS, and ABC) needed to reach the largest number of viewers, so they concentrated on densely populated urban areas leaving people in rural or outlying areas with a weak signal or no signal at all. Cable TV began in 1948 to address the problem of providing outlying areas with an improved signal.

Coaxial cable

Robert J. Tarlton is credited by many as developing the first cable TV operation. He parlayed his Army radio communications training into opening an electronics store in Lansford, Pennsylvania after the war. Nobody in town was interested in buying a TV from him because a mountain blocked the signal from Philadelphia sixty-five miles away. Tarlton convinced some investors to build large antennas on top of the mountain in 1949. These antennas channeled the weak signals from Philadelphia, fed them into coaxial cables, amplified them, and carried the strengthened electronic signals to decoder boxes--all for a one-time $125 installation charge and $3 monthly cable box fee.

Cable Antenna Television (CATV) was an immediate success but its expansion was limited until sufficient infrastructure was in place. In 1950, there were 70 cable systems across rural America, but by the 1960s, there were 640 systems. The growth of cable TV threatened the network broadcasting cartel that believed cable providers were thieves stealing their product and making a profit from it. For the next thirty years, cable TV was restricted by the FCC--at the behest of the national networks--to show only existing network programming thereby eliminating competition.

In 1962, the FCC asserted its authority over cable because of its potential negative impact on broadcast television. Their regulations limited cable TV systems to small local markets inhibiting their growth again to protect the networks from competition. In 1969, the FCC forbade cable systems from showing movies under ten years old or televising sporting events under five years old.

The game changed in 1975 when the FCC allowed orbiting satellites to broadcast television signals. Small start-up media company, Home Box Office (HBO) began distributing its limited programming nationwide via satellite. Then on October 1, 1975, HBO broadcast the first pay-per-view program--The Thrilla from Manila--a world heavyweight boxing title match between Muhammad Ali and Smokin' Joe Frazier broadcast worldwide live from the Phillipines. The global success and financial windfall prompted HBO to file a lawsuit against the FCC. In 1977, the federal court in Washington, DC ruled that the FCC was not justified in restricting cable televison's development.

The nation's cable operators gained the right to air recent movies and live sporting events. More importantly, the cable industry was free to develop specialty channels with original programming targeted at smaller, niche audiences. 

Ted Turner

Entrepreneur Ted Turner transformed his small Atlanta cable operation into a national cable network in 1976. WTBS was dubbed America's First Superstation and in 1978 WGN from Chicago also went national. In 1979, the Entertainment Sports Programming Network (ESPN) quickly grew into a multi-billion-dollar media giant leaving its imprint on American sports culture. A revolution in television news expanded the media universe with Ted Turner's Cable News Network (CNN) in 1980, and Music Television (MTV) exploded onto the scene in 1981 focusing on the new medium of music videos.

The Cable Communications Policy Act of 1984 completely deregulated the cable industry. Today, the cable industry has over 900 programming networks available to 93% of American households. The industry supports more than three million, well-paying jobs. In the 2000s, it remains to be seen if cable TV can survive a new era of competition from streaming services like Netflix and Amazon Prime. Will the American consumer cut the cord? In an industry that thrives on innovation, only time and the marketplace will tell.

Origin of the Limelight. 

Zug Island Novel Gets Facelift

July 2017 marked fifty years since the Detroit Riot left its indelible mark on American history. Anyone who experienced this week of bloodshed and arson can never forget it--43 reported deaths, 7,000 arrests, 4,000 injuries, 2,500 buildings looted or burned to the ground, 5,000 residents left homeless, 16,682 fire runs, and a river of fire ten blocks long.

Zug Island: A Detroit Riot Novel tells the story of two young men, one white and one black, who push the boundaries of race as they explore each others culture. Set in 1967 against a backdrop of industrial blight and urban decay, Jake Malone and Theo Semple get a crash course in race relations as they stumble in and out of rhythm on Detroit's mean streets discovering the face of racism comes in every shade of color.
 
Kirkus Reviews, a publishing trade magazine, said of Zug Island, "The novel is tightly written with a dramatic plot, well-rounded characters, and clear insights into social history. An engaging, dynamic story that grapples intelligently with the themes of race, class, and morality."

My award-winning, revised 2nd edition has a new cover and includes several enhanced scenes. Since writing Zug Island in 2011, I've learned more about the Detroit communities of Delray, Black Bottom, and Paradise Valley, and this edition reflects that. Also new is a segment on the Algiers Motel murders conspicuous by its absence from my first edition. 

Paperback copies and all five ebook formats are available online from Amazon and B&N. Zug Island Amazon Site

The Mackinac Bridge--Michigan's Most Valuable Asset

If people needed to cross the four mile Straits of Mackinac between Michigan's Lower and Upper Peninsulas before 1957, they went either by boat or chartered plane. In 1923, the state legislature instituted ferry boat services for cars and trucks. The phenomenal popularity of the automobile outpaced the capacity of the ferry boats to handle the vacation traffic during the summer and the deer hunting season during the winter. It wasn't unusal for cars to line up for five to eight miles out of Mackinaw City waiting to board a ferry for the nine-mile, forty-five minute crossing to the St. Ignace docks.

The Mackinaw Bridge Citizen's Committee was formed during the 1920s to determine the feasibility of building a bridge with a 4,600 foot span and 150 feet above the water, so it wouldn't obstruct commercial freighter traffic between Lake Michigan and Lake Huron. Three world famous bridge engineers were hired to determine if such a long span was viable from a mechanical standpoint. All of these experts had design experience with nearly every big bridge project in the world. Once they established that a bridge could be built on the site, the next requirement of the committee was securing adequate funding estimated to be $50,000,000.

No business connection to G. Mennen Williams

The bridge's highest profile supporter was G. Mennen Williams--Michigan's Democrat governor. Williams' mother was the daughter of Gerhard Heinrich Mennen--founder of the Mennen brand of men's personal care products. Williams' Mug Shaving Soap--no relation--was a well-known men's product. Some political wag conflated the two and dubbed Governor Williams "Soapy." The Mackinaw Bridge project soon became known among Michigan Republicans as "Soapy's Folly." Rather than chaff at the nickname, Williams embraced it and used it in his campaign literature. Governor Williams believed the bridge would open up a new trade route and provide opportunities to bolster Michigan's financially distressed Upper Peninsula.

Michigan Governor G. Mennen Williams in his signature green bow tie.

By 1953, costs rose from the original $75,000,000 estimate to a proposed $90,000,000. The chairman of the Mackinac Bridge Authority reported that New York City investment firm B.J. Ingen, would sell bonds to finance construction. The financing would be handled entirely with private capital, without state funds involved with the project.

But bonds would only be issued on one condition. The Michigan legislature needed to approve $400,000 anually in highway funds for maintainance of the bridge. The revenue measure was a deal breaker until supporters pointed out that Michigan subsidized the straits ferry fleet to the tune of $650,000 annually. $400,000 for bridge maintainance was a bargain by comparison and the measure passed overwhelmingly.

Because of a soft bond market, sales of bridge bonds were postponed for two months. Mackinac Bridge Authority Chairman Prentiss M. Brown told the press "we regret this decision because we lose the entire construction season." The completion date was postponed one year to November 1, 1957, at which time existing ferry service would be retired.

Once all the contracts were signed, the ground-breaking ceremonies were scheduled for May 7, 1954 in Mackinaw City and repeated on May 8th in St. Ignace. The Mackinaw City celebration began with a fly-over by six F-86 jet fighters. A three-mile long gala parade lead by the American Legion Drum and Bugle Corps of Detroit was followed by 75 floats and 40 marching bands and drill teams. They converged at Michilimackinac Park for speeches by bridge authorities and state politicians. During the ground breaking ceremony, the Bresser Chorus of Alpena sang the Star Spangled Banner. Later that evening, a fireworks display lit up the sky.

Construction began on May 7, 1954. The Merritt-Chapman and Scott Corporation was awarded the contract to build the substructure of the bridge, while the American Bridge Division of United States Steel Corporation was contracted to build the bridge's superstructure. U.S. Steel produced and fabricated all the steel used in the bridge's construction which took four years to complete.

On June 6, 1956, the Consumer Power Company began laying four underwater electrical lines across the straits to provide the first electrical power linking the lower and upper peninsulas. A tug-powered barge carrying four reels of cable began work on a clear, calm day and laid the cables beside Michigan Bell and Western Union telephone lines already in place.

The day before the inaugural opening on November 1, 1957, the Traverse City Record-Eagle ran an editorial lauding the new bridge: "Tomorrow will mark the beginning of a new era for Michigan history.... This bridge will make the Upper Peninsula an actual part of Michigan instead of a poor relation. The Mackinac Bridge will be a firm tie between the two peninsulas where only a loose connection existed previously. The opening of this bridge will be one of the most important days in Michigan history."

The original toll was a flat rate of $3.25 per car; the current toll is $2.00 per axle or $4.00 per car. Motor Homes and commercial vehicles are charged $5.00 per axle. The last of the Mackinac Bridge bonds was retired July 1, 1986, and the current fare revenues are used to operate and maintain the bridge.

The tradition of the Mackinac Bridge Walk on Labor Day began in 1958 with Governor Williams and state dignitaries leading the pack, but pedestrian traffic is only allowed on that day. Bicycles are not allowed on the bridge either. For a $5.00 fee, someone from the Bridge Authority will take cyclists and their bikes across the bridge.

Some people have a fear of crossing bridges (gephyrophobia). The Authority has a Driver's Assistance Program that can be scheduled in advance or arranged at the toll booth. More than a thousand people a year would rather have someone drive them and their vehicle across the Straits.

Despite the remoteness of the bridge, the traffic flow averages 4.5 million vehicle crossings per year or 12,000 per day. After sixty-three years of hard use and winter's abuse, the Mighty Mac remains Michigan's most valuable and photographed asset.

Detroit Salt Mine