A FALL JAUNT ON OLD 66: Part 1 – The Ghost Town of Plano

The ghost town of Plano never had much corporality. Named (probably) for the substantial town of Plano, Texas, this two-structure place was but a crossroads store built in the early 1900s. A filling station was added when Route 66 came through in the 1920s.

The ghost town of Plano never had much corporality. Named (probably) for the substantial town of Plano, Texas, this two-structure place was but a crossroads store built in the early 1900s. A filling station was added when Route 66 came through in the 1920s.

Plano means ‘plain’ in Spanish. Plano, Missouri is on the lip of the Ozarks and is a bit hillier than Plano, Texas.

Plano means ‘plain’ in Spanish. Plano, Missouri is on the lip of the Ozarks and is a bit hillier than Plano, Texas.

Retracing the route of extinct U.S. 66 has become a curious species of tourism. Extensive sections of the old highway still exist at varying distances from I-44. Aficionados of roadside Americana come from all over the planet to motor along these renamed relic sections of the famous “Mother Road.”

Every structure that ever existed along that venerable highway, no matter how insignificant or wrecked it might be, has a history these travelers are familiar with. Books and websites have reconstructed the chronology of even vanished crossroad communities and extinct businesses. There is interest in the most minute details of the utilizations of long-vanished enterprises.

Several online sources mention the splendid ruined limestone building at Plano along 266, about ten miles west of Springfield, Missouri. Many state it was a mortuary and casket factory. Such a morbid past would be appropriate as the place has been officially designated a ghost town by Greene County. Valerie Mosley, a reporter for the Springfield News-Leader, drove out in December of 2013 and recorded her impressions of the haunting ruins:

“Through the large arched windows and doorways, you can see the small forest growing inside. Tree branches reach out wildly through the open roof.

I had seen the rock walls a few times before, but only recently when I stopped to photograph it did I see the Greene County Historic Site marker that reads “Plano, a Ghost Town.”

Inside the structure, paths zigzag through the middle. Beer and soda bottles litter the ground. Vines climb the cracked stone walls. In the back, a tree grows at an odd angle through a window.

Standing in the woods within walls was eerie and made me wonder what this place used to be.”

The walls didn’t speak to her so she contacted the person who had researched its past for the historic sites procedure:

“There’s a lot of misinformation about Plano,” said Jackie Warfel, who prepared the historic site nomination.

A quick Internet search turns up many sites — mostly Route 66 travel blogs — that claim the limestone structure was a mortuary and casket factory.

“It was not,” Warfel said.

According to Warfel’s history, John Jackson and his family built the two-story 50-foot-by-60-foot building in 1902 of local limestone “with the help of neighbors as needed.”

The building became a hub of community activity. Two rooms on the lower level were a general store where farm families could sell their produce, eggs and baked goods.

The store was managed by Jackson’s son, Alfred, and daughters Mollie and Quintilla Jackson, who had taken a course on business administration in Springfield.

Upstairs, along with living quarters, was a large room used for club meetings, dances, court proceedings and even church services.

The Jacksons bought a wooden structure across the street, on the northeast corner, from Steve Carter. In this building, which is no longer standing, they operated a “mortuary and undertakers parlor where caskets could be purchased and a horse-drawn hearse was furnished.”

Warfel also noted in her research, “there was no embalming at that time and the families bought the caskets and lay the deceased family member out at their homes before burial.”

No doubt in time this small correction about the Jackson’s casket sideline will filter into popular lore. Such historic minutia is scripture to Route 66 pilgrims just as Christian fundamentalists embrace Biblical literalism.

A forest has grown up inside the two-story limestone walls of the Jackson General Store. Pretty snakey terrain, but unfortunately I visited in October after the blacksnakes undoubtedly had gone to sleep until spring. From a lifetime of poking around places like this, I’ll bet at least a couple of five-foot shiney black reptiles reside here.

A forest has grown up inside the two-story limestone walls of the Jackson General Store. Pretty snakey terrain, but unfortunately I visited in October after the blacksnakes undoubtedly had gone to sleep until spring. From a lifetime of poking around places like this, I’ll bet at least a couple of five-foot shiney black reptiles reside here.

Click on any image for a slide show.

 

THE FALL OF UNION ELECTRIC’S LOUIS EGAN

756

757

In this press photo of December 30, 1943, Louis H. Egan is not “having the finest time in the world,” as the 1925 profile was titled. With wife Fannie grasping his left arm and deputy U. S. Marshal Davidson holding his right, the tall, disgraced executive clutches a cigarette with a gloved hand. We tell the story of Egan’s glaring error in management that led to his downfall in Damming the Osage: The Conflicted Story of Lake of the Ozark and Truman Reservoir:

Cutline on the press photo dated 3-5-42 showing Egan with a federal eagle behind him, posed as if to sink his claws into him:  “Louis H. Egan, former president of the Union Electric Company of Missouri entering federal court in St. Louis, Mo., where he was found guilty of violating the Corrupt Practices section of the Utility Act. “

Cutline on the press photo dated 3-5-42 showing Egan with a federal eagle behind him, posed as if to sink his claws into him:
“Louis H. Egan, former president of the Union Electric Company of Missouri entering federal court in St. Louis, Mo., where he was found guilty of violating the Corrupt Practices section of the Utility Act. “

Egan’s downfall began when he foolishly fired a Union Electric vice president named Oscar Funk, who, as the July 29, 1940 Time article put it “knew where the bodies were.” A muckraking St. Louis Post-Dispatch reporter named Sam Shelton had suspected the utility had been paying politicians for years. Funk spilled the beans to Shelton who in turn confided the information to the Securities and Exchange Commission. The reporter got an explosive series of articles and the SEC got Egan. In the Post Dispatch and in court, it was revealed that Union Electric had been demanding sizable kickbacks from lawyers and contractors. From this slush fund, they bribed newspapermen, paid elected officials, and illegally contributed to political campaigns. Egan and his cronies also enriched themselves. Union Electric sued Egan, VP Frank Boehm, and even whistle-blower Oscar Funk to recover $400,000. Funk sued Union Electric for being unjustifiably fired. Several vice presidents did short sentences for perjury, but Louis Egan was convicted of violation of the Corrupt Practices Section of the Holding Company Act of 1935. Union Electric paid an $80,000 fine. Egan paid $10,000 and was sentenced to two years. His appeals failed and on December 31, 1943, the $68,000-a-year former executive entered the federal penitentiary at St. Petersburg, Florida.

The cut line pasted on the back of the photo of Egan leaving for jail said he was headed for federal prison at Terre Haute. Another source had him released a few months shy of two years later from a penitentiary in Florida. He died in 1950 at his home in Clayton, Missouri at the age of sixty-nine of bronchopneumonia.

The names of Egan and the other felons who managed Union Electric during the building of Bagnell Dam are cast in bronze on this plaque attached to the powerhouse.  It was Egan’s pond, but his role in this enormous undertaking has been forgotten.

The names of Egan and the other felons who managed Union Electric during the building of Bagnell Dam are cast in bronze on this plaque attached to the powerhouse. It was Egan’s pond, but his role in this enormous undertaking has been forgotten.

Some of the laws Louis Egan broke regarding campaign financing by corporations were not in place when he began his career. Recently businesses have again been allowed to contribute to political races. Even the Public Utility Holding Company Act of 1935 was repealed in 2005, replaced by a new set of regulations that consumer advocates objected to.

In the text of Egan’s appeal, the court upheld his conviction but noted, “the evidence also tends to show that the whole subject of political expenditure was distasteful to him and that his preference would have been to have nothing to do with such matters.” Nevertheless Egan approved for years the “raising a secret fund for political purposes.”

Sordid as the history of building Bagnell Dam is, we suspect public records reveal only a small percentage of the crimes and skullduggery committed by its creators. When the federal government subsequently took over dam building, they too began to lie and subvert regulation, just like the capitalists. Who regulates the regulators?

1006

UNION ELECTRIC’S LOUIS EGAN “I’M HAVING THE FINEST TIME IN THE WORLD.”

bl158

Three men were essential to the building of Bagnell Dam, which created Lake of the Ozarks: a banker, a lawyer, and the president of a power company. Only one stayed out of federal prison. The head of Union Electric was not that lucky one.

Louis Henry Egan was born in 1881 in Lacrosse, Wisconsin. Egan followed his father’s profession and graduated from Yale with a degree in engineering. The “moose tall” president of Union Electric, as Time magazine described him, was profiled in the January 1925 issue of The American Magazine as a can-do, overly optimistic executive. The subtitle of the puff piece read, “’There isn’t any job you ever heard of that can beat mine,’ says Louis H. Egan one of the leading public utility men in the Middle West – It was this attitude that helped him at the age of thirty-eight, to become president of a big electric light company.” Above all, the article stated, Egan despised complaining slackers who he called “Whimper Whine-ies,” who are always “crying a pond.”

The concrete obstacle in the Osage River that ponded Lake of the Ozarks was one of the last significant privately built dams in the United States. It was a project birthed in the Roaring Twenties when free enterprise had been released from strict government regulation after an era of “trust busters” and reformers like Teddy Roosevelt and Woodrow Wilson. Bagnell Dam, as Project No. 459 came to be called, was completed in 1931 just as big government was about to snatch the reins back from hard-charging businessmen who had created both phenomenal wealth and crippling debt and were being blamed for the ensuing Great Depression. Egan, prototypical of these Twenties boomers, had built the St. Louis utility into a profitable part of The North American Company’s holdings.

When equally expansionist Kansas City banker Walter Cravens diverted his Land Bank assets into his speculative dam scheme, he ran afoul of federal law and was forced to sell his overly ambitious, underfinanced project. When his original backer pulled out, Cravens took his project to Wall Street, looking for investors. Many firms passed on the opportunity, but he finally connected with Dillon, Read & Co., an investment-banking company with connections to Stone & Webster, Inc., a New England engineering services company founded in 1889, which specialized in public utility projects, especially hydropower facilities. Together they bought a one-year option to buy Cravens’ valuable permit to impound the Osage. In July, 1929, the license was retroactively transferred to Union Electric ninety days before the Wall Street crash that signaled the start of the Great Depression. Cravens was paid $300,000. He needed a good bit of it for lawyers.

North American Company Annual Report, 1947.  Sometime in the late 1920s this octopus of a holding company acquired control of Union Electric’s stock.  North American, known for its bare-knuckle practices, encouraged the St. Louis utility to build a slush fund from kickbacks and use it to illegally finance politicians and bribe public officials.  This notorious holding company was broken up by the feds in 1946. Many online sources state that Union Electric was divested at that time, but this 1947 report still lists the St. Louis utility as an asset.  The holding company for Union Electric today is Ameren.

North American Company Annual Report, 1947. Sometime in the late 1920s this octopus of a holding company acquired control of Union Electric’s stock. North American, known for its bare-knuckle practices, encouraged the St. Louis utility to build a slush fund from kickbacks and use it to illegally finance politicians and bribe public officials. This notorious holding company was broken up by the feds in 1946. Many online sources state that Union Electric was divested at that time, but this 1947 report still lists the St. Louis utility as an asset. The holding company for Union Electric today is Ameren.

The two new project owners had approached The North American Company, among whose holdings was the St. Louis utility, Union Electric. North American also owned ten percent of Stone & Webster. The construction company’s chairman was on the board of the giant holding company as well. Several years earlier Louis Egan had turned down Cravens who was looking for a market for the electricity Project 459 would eventually produce. When a similar proposal came to UE from The North American Company, Egan jumped on board. Union Electric had had no use for the electricity when first approached, and still didn’t, having just finished a huge coal-fired power plant at Kahokia, Illinois near St. Louis. In the late 1920s sophisticated companies like all these involved with the Bagnell Dam project were aware that financial storm clouds were gathering. This $36 million project promised to be one of the last big deals possible before the looming Wall Street deluge of plummeting stock prices.

Had the deal not been expeditiously done, Bagnell Dam would not have been built. Even the reputable construction company was damaged by the crash. Ten shares of Stone & Webster common stock valued at $1,133.75 in 1929 were only worth $62.50 in 1933.

Had the private power company not built the big dam on the Osage River, decades later, the U.S. Army Corps of engineers would have undoubtedly used this superior dam site instead of building their big Osage River dam at the decidedly inferior Kaysinger Bluff site at Warsaw, Missouri. The Miller County location permitted a much higher dam to be constructed, but the capitalist builders were afraid of the political uproar of flooding Warsaw, a town of more than a thousand at the time. Flooding five hundred people at Linn Creek was an overcome-able public relations problem. The disaster that Truman Reservoir became might not have happened if the dam on the lower Osage known as Bagnell had become a larger federal project.

Bagnell Dam, planned in the Roaring Twenties and barely finished as the Great Depression set in, was one of the final privately financed major water resource developments.

Bagnell Dam, planned in the Roaring Twenties and barely finished as the Great Depression set in, was one of the final privately financed major water resource developments.

NEXT POST: THE FALL OF UNION ELECTRIC’S LOUIS EGAN

PRETTY UP THE POLES

Like many municipalities Springfield, Missouri has a number of “special districts” whose social justifications many times confer some “special” tax benefits. Click to enlarge.

Like many municipalities Springfield, Missouri has a number of “special districts” whose social justifications many times confer some “special” tax benefits. Click to enlarge.

The Springfield, Missouri News-Leader covered this story twice in October 2014. One feature is titled “The Pole Painting Project – Moon City spruces up utility poles – public art project aims to beautify Woodland Heights, curb graffiti.” The other article is titled “Moon City’s latest project: pretty up the poles:

While some neighborhoods push for underground utility lines to pretty things up, the artsy folks with the Moon City Creative District are using the utility poles in the Woodland Heights Neighborhood as canvases.

On Saturday, about 60 local artists — professional and amateur, young and old — spent hours painting unique designs and scenes on more than 35 poles. The public art project is aimed at calming traffic, curbing graffiti and beautifying the neighborhood.

“Why poles? Well, poles are everywhere,” said Phyllis Ferguson, one of the event coordinators. “They are not the most beautiful thing in our sight when we look around, so we decided to paint the poles.”

The project, Ferguson said, also helps create awareness about the Moon City Creative District located in the Woodland Heights Neighborhood, a specially zoned “live/work” overlay district that features many types of artists who operate studios or galleries from their homes.

Only a small percentage of utility poles have so far been enhanced.  Click to enlarge.

Only a small percentage of utility poles have so far been enhanced. Click to enlarge.

Ferguson and fellow artists, Steve Miller and Linda Passeri, got the idea after traveling to an art district in Victoria, British Columbia, where artists have painted about 300 utility poles.

In Victoria, Ferguson said, they are seeing less graffiti on the poles because graffiti artists seem to appreciate and respect the painted poles. Also, traffic has calmed somewhat due to drivers slowing down to look at the poles.

Passeri said she hopes the painted poles will cause people to get out and enjoy their neighborhood.

“The more people see public art, the more they appreciate public art. And it just makes people happy. It improves quality of life, just to have art in our everyday,” she said. “When you get in your car and you are driving to work and you see a pole painted with some flowers — it just makes your day better.”

An unpainted utility pole can be assertive, but it does not distract from the integrity of an industrial landscape. This scene is from Chase Street, looking toward Commercial Street. Click to enlarge.

An unpainted utility pole can be assertive, but it does not distract from the integrity of an industrial landscape. This scene is from Chase Street, looking toward Commercial Street. Click to enlarge.

The project was possible thanks to a collaborative effort with the district and City Utilities, Ferguson said. The Healthy Living Alliance gave a $2,000 grant to buy paint and supplies, and Mexican Villa also contributed supplies.

Another “Paint a Pole” project will be scheduled for next spring, Ferguson said.

Want to see the poles?

Yes I did want to see the poles. Sunday morning found me waiting for the sun to rise on Commercial Street, which runs parallel to Chase Street, which the newspaper said was the site of some of the pole painting. Between sips of lukewarm coffee I photographed the assortment of sculptures at a little park at the north end of the 1902 iron footbridge that connects Woodland Heights with Commercial Street. C Street, as it is called, is a Federal Register Historic District.

A similarly enhanced transformer box photographed by Crystal on Atlantic Avenue in Atlantic City.  There seems to be a widespread effort to decorate all manner of objects in public spaces. As well as paint, art groups cover utility poles and sculpture with knitted cozies. This practice is called yarn bombing.  Click to enlarge.

A similarly enhanced transformer box photographed by Crystal on Atlantic Avenue in Atlantic City. There seems to be a widespread effort to decorate all manner of objects in public spaces. As well as paint, art groups cover utility poles and sculpture with knitted cozies. This practice is called yarn bombing. Click to enlarge.

The also-federally-recognized 628-foot span permits creatives who live in the Moon City Creative District to shop for vintage clothing, chug a micro brew, be inspired by art exhibitions, and possibly contribute to the down-and-outs who come to C Street for the charities and shelters, not the culture.

With the sun up, I drove down Chase Street pole watching. It “made my day better” as I was prompted to later research pole painting and other similar efforts worldwide to beautify public spaces with sanctioned and subsidized graffiti.

Decorating telephone poles is a phenomenon that resonates with our Hypercommon thesis. What is more hyper than soliciting funds and painting banal symbols on these exceedingly common and natively unsuitable for embellishment utilitarian objects? The shape, receptivity to paint, and the usual architectural environment of utility poles are hostile to these well-meaning efforts at civic improvement.

Artists through the ages have attempted to defend against criticism by evoking religious or political justification. To suggest lackluster graffiti performed by groups of middle class amateurs will thwart gang tags is exceedingly inventive we must concede. The “creative” elevation of the mundane is the very essence of hypercommonality.

 

Had Edward Hopper happened upon this decorated pole in front of the majestic abandoned grain elevators he might have chosen another angle to paint.  Admittedly, the raw American commercial landscape may be an acquired taste, but adding silly doodles to power poles does not domesticate it.

Had Edward Hopper happened upon this decorated pole in front of the majestic abandoned grain elevators he might have chosen another angle to paint. Admittedly, the raw American commercial landscape may be an acquired taste, but adding silly doodles to power poles does not domesticate it.

Click on any image below to start a slideshow.

SQUARE DANCING

Small workshop ceramic old-time square dancing couple vase. (click to enlarge)

Small workshop ceramic old-time square dancing couple vase. (click to enlarge)

Square dancing has a non-urban image. Like folk, country-western and country square dancers don’t usually care to be associated with hillbillies’ rowdier reputation. Manifestations of old-timey entertainments and practices have different constituencies and standards. Like folk music, the square dance is of European origin. Four country-dressed couples perform an American version of the Quadrille to fiddle music and the spoken direction of a caller. Vestiges of this dance, like balladry, survived into the 19th century in rural areas of the South, but the twentieth century practice was motivated partly by an idealization of our agrarian past.

A chief promoter of square dancing was the distinctly non-hillbilly Henry Ford. The architect of the modern assembly line had a romantic nostalgia for “old-fashioned dances” which were “clean and healthful … modern dances are not.” In a 1926 book, Today and Tomorrow, Ford evidences his capitalistic genius and mastery of industrialization. He mentions as well his promotion of “old time fiddle contests” and how he partitioned a corner of his new laboratory building at Dearborn for a ballroom.

Hobbyist ceramic square dancers.  (click to enlarge)

Hobbyist ceramic square dancers. (click to enlarge)

There, two times a week, Henry Ford presided over old time dancing classes: “The rules are followed. There is no holding up of two fingers for a dance and no “cutting in”. The ladies do not enter the room unescorted and must slightly precede the gentlemen. Everything is formal. The instructions are all in the manual we have written.”

“We are all getting a good deal of fun out of dancing.” Ford added, “We are not, as has been imagined, conducting any kind of crusade against modern dancing,” which he had earlier described as “ugly dance” that went with “tuneless music”.

The square dance revival that began in California in the late 1940s produced relatively few pieces of memorabilia.

1950s country square dance bandana.

1950s country square dance bandana.

PIPE SMOKING MOUNTAINEERS

h0001

Ceramic hillbilly wall hanging with corncob pipe made by Comocraft, Branson, Missouri. 1950s. Comocraft was the name of the concrete slip dripped ware invented by Harold Horine in the 1920s. Obviously someone purchased the name after his death. In the 1950s and 60s they manufactured cast ceramics, many with a hillbilly theme and a paper label that said Comocraft.

Unlike the hillbilly-associated outhouses which have no historic validity, pipe smoking by both sexes was often remarked on by early frontier travelers. The clay pipes of early mountaineers have been replaced by corncob pipes in pop culture renditions.