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>> PRODUCTION SUPPORT FOR

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"THE WEEKLY SPECIAL" IS PROVIDED

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BY...

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IU SCHOOL OF PUBLIC HEALTH

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BLOOMINGTON, ADDRESSING PUBLIC

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HEALTH NEEDS BY PREVENTING

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DISEASE, PROMOTING HEALTH AND

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IMPROVING QUALITY OF LIFE ACROSS

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THE STATE AND AROUND THE WORLD

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THROUGH RESEARCH, TEACHING AND

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COMMUNITY ENGAGEMENT...

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SMITHVILLE FIBER, THE GIGACITY

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COMPANY, A PHILANTHROPIC

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COMMUNITY PARTNER SINCE 1922

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AND PROUD SUPPORTER OF NUMEROUS

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COMMUNITY ORGANIZATIONS.

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MORE INFORMATION AT

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SMITHVILLE.COM...

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THE AL COBINE RECOGNITION

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ENDOWMENT FUND, ESTABLISHED BY

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FRIENDS AND FAMILY OF AL COBINE

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TO SUPPORT JAZZ INITIATIVES ON

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WTIU AND WFIU...

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AND WTIU MEMBERS, THANK YOU.

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>> TONIGHT DISCOVER HOW INDIANA

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TRAIL BLAZERS HAVE SHAPED OUR

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STATE'S CULTURAL LEGACY.

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MEET OF UP WITH BASEBALL'S MOST

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ACCOMPLISHED PLAYERS, FELLOW

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HOOSIER OSCAR CHARLESTON.

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JOURNEY DOWN INDIANA AVENUE OF

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OLD.

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THE STREET OF DREAMS FOR MANY

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AFRICAN AMERICAN JAZZ MUSICIANS.

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WANDER AMID OLD GROWTH WOODS

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WITHIN TURKEY RUN STATE PARK.

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AND DISCOVER THE MAN WHO SAVED

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THE LAND.

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AND WELCOME TO INDIANAPOLIS

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ALTERNATIVE POP BAND THERE ARE

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GHOSTS AS THEY PERFORM IN THE

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STUDIO.

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LEARN HOW HISTORICAL HOOSIERS

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IMPACT OUR LIVES TODAY.

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IT'S ALL COMING UP RIGHT NOW ON

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"THE "WEEKLY SPECIAL."

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♪♪♪♪

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>> WELCOME TO THE "WEEKLY

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SPECIAL."

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I'M ERICA SAGON.

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EVERYWHERE YOU LOOK IN THE

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COMMUNITY YOU ARE BOUND TO FIND

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LASTING IMPRINTS OF THE HOOSIERS

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THAT CAME BEFORE YOU.

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THEIR ACTIONS RESONATE THROUGH

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MUSIC, ARCHITECTURE, EVEN

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SPORTS.

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NEARLY A CENTURY AGO BASEBALL

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WAS AMERICA'S MOST POPULAR

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PASTIME AND IN THE SPORT THERE

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WAS A FELLOW HOOSIER WHO NOT

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ONLY BLAZED NEW TRAILS FOR

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AFRICAN AMERICANS BUT ALSO

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ELECTRIFIED CROWDS WITH HIS

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AMAZING PLAY.

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[

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♪♪ TAKE ME OUT TO THE BALL GAME ♪♪

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>> WHEN YOU LOOK AT CHARLESTON

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YOU SEE THAT HE WAS THE GREATEST

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OF THE NEGRO LEAGUE PLAYERS.

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THERE ARE SOME PLAYERS WHO ARE

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KNOWN FOR BEING GREAT AT ONE

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THING BUT CHARLESTON WAS GREAT

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TO EVERYTHING.

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>> FROM AN EARLY AGE, OSCAR

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CHARLESTON SOUGHT ADVENTURE.

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BORN IN 1896, HE LIED ABOUT HIS

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AGE WHEN HE WAS 15 AND

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VOLUNTEERED TO FIGHT WITH THE

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U.S. MILITARY IN THE PHILIPPINES

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WHERE HE FIRST PLAYED ORGANIZED

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BASEBALL WITH HIS MILITARY UNIT.

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HE RETURNED TO INDIANAPOLIS

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THREE YEARS LATER AND JOINED THE

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INDIANAPOLIS ABCs, AN ALL

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BLACK TOURING SCHOOL SPONSORED

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BY THE AMERICAN BREWING COMPANY.

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>> THE INDIANAPOLIS ABCs WERE

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THE CITY'S FIRST FULLY

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PROFESSIONAL BLACK BASEBALL

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CLUB.

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IN 1914, THE ABCs HIRED A

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MANAGER WHO TAKE THE TEAM TO A

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NEW LEVEL AND THAT NEW MANAGER

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WAS C.I. HAYWORTH.

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♪♪♪♪

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>> THE SON OF A METHODIST

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MINISTER, TAYLOR WAS A STRICT

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DISCIPLINARIAN WHO DEMANDED

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GREAT RESPECT FROM CHARLESTON

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AND THE REST OF HIS TEAMMATES.

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>> IT WASN'T A TEAM OF ROUGH AND

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TUMBLE BALL PLAYERS.

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C.I. TAYLOR HIMSELF WAS COLLEGE

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EDUCATED, HAD DONE A STINT WITH

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THE 10th CAVALRY AND WAS

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REGIMENTED AND DID NOT ALLOW HIS

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PLAYERS TO DRINK, SMOKE, CUSS,

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GAMBLE, MISTREAT WOMEN.

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THEY WERE PROPER GENTLEMEN AND

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WERE EXPECTED TO BEHAVE.

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>> THEY CALLED HIM THE HOOSIER

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COMET.

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CHARLESTON WAS A SUPERSTAR AMONG

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THE TEAM OF MANY STARS.

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WITHIN TWO SEASONS HE LED THE

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TEAM IN BATTING, PITCHING,

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FIELDING AND BASE STEALING.

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ON THE FIELD HE RARELY

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STRUGGLED.

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BUT OFF THE FIELD THE TEAM OFTEN

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FOUND IT DIFFICULT TO TRAVEL

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THROUGH MANY AREAS OF THE U.S.

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WHERE JIM CROAT TO DO SO

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PREVENTED AFRICAN AMERICANS FROM

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EATING IN LOCAL RESTAURANTS OR

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STAYING IN LOCAL HOTELS.

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>> YOU MIGHT FIND PEOPLE WILLING

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TO TAKE IN THE PLAYERS OR MORE

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OFTEN THAN NOT THEY WOULD BE

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BARN STORMING AND THEY WOULD

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SLEEP IN THE CAR AND CATCH NAPS

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OR SLEEP ON THE TRAIN.

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OR SACK OUT IN THE DUGOUT FOR A

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COUPLE HOURS BEFORE THEY TOOK

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THE FIELD.

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♪♪♪♪

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>> BY 1920, THROUGH TAYLOR'S

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LEADERSHIP AND OSCAR

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CHARLESTON'S ABILITY TO DRAW

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LARGE CROWDS, THE ABCs WORKED

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WITH OTHER BLACK BARN STORMING

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TEAMS TO ORGANIZE A NEW

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PROFESSIONAL CIRCUIT, THE NEGRO

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NATIONAL LEAGUE.

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SEPARATE BUT ATHLETICALLY EQUAL

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TO THE ALL-WHITE MAJOR LEAGUE.

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>> IN 1921 HE WAS THE HIGHEST

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PAID PLAYER IN BLACK BASEBALL.

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HE WAS HITTING THE MOST HOME

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RUNS.

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HE WAS HITTING AS MANY HOME RUNS

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AS BABE RUTH WAS DOING IN MAJOR

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LEAGUE BASEBALL.

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HE WAS CHALKING UP STATS THAT

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WERE PHENOM PHENOMENAL.

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WOMEN WOULD ACTUALLY BRING PIES

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TO HIM.

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>> INSPIRED BY HIS OLD COACH,

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OSCAR CHARLESTON BECAME A

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MANAGER IN THE NEGRO LEAGUE FOR

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MORE THAN THREE DECADES COACHING

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AND PLAYING WITH OTHER STARS

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LIKE SATCHEL PAGE AND JOSH

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GIBSON.

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IN THE 1940s, CHARLESTON

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WORKED ALONGSIDE BROOKLYN

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DODGERS TEAM OWNER BRANCH RICKY

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TO CREATE AN ALL BLACK LEAGUE

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THAT WOULD SERVE TO FUNNEL

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PLAYERS INTO MAJOR LEAGUE

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BASEBALL AND HELP TO INTEGRATE

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THE NATION'S PASTIME.

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IN LESS THAN TWO YEARS, RICKY

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WOULD SIGNED JACKIE ROBINSON TO

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PLAY FOR THE DODGERS, CHANGING

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BASEBALL AND SPORTS FOREVER.

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TODAY BASEBALL STATISTICIANS

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RANK CHARLESTON AS THE FOURTH

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GREATEST PLAYER IN BASEBALL

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HISTORY BEHIND ONLY BABE RUTH,

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HONUS WAGNER AND WILLIE MAYES.

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>> MANAGERS WHO KNEW CHARLESTON,

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HAD SEEN HIM PLAY, RECOGNIZED

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CHARLESTON AS A TALENT WHO IF

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SOMEBODY COULD CROSS THE LINE,

187
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CHARLESTON CERTAINLY WOULD BE

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IT.

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SO THERE'S THAT KIND OF RESPECT

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HE HAD AND THAT PERCEPTION.

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>> THE INDIANA HISTORICAL

192
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SOCIETY HAS PUBLISHED AND ACIAL

193
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ON OSCAR CHARLESTON AND

194
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INDIANAPOLIS ABCs.

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YOU CAN READ MORE AT

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INDIANAHISTORY.ORG.

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00:07:20,033 --> 00:07:22,333
>>> AS OSCAR CHARLESTON LIT UP

198
00:07:22,333 --> 00:07:23,866
THE BASEBALL DIAMOND, AFRICAN

199
00:07:23,866 --> 00:07:25,233
AMERICAN ARTISTS WERE LIGHTING

200
00:07:25,233 --> 00:07:27,233
UP THE STAGE ALONG THE HISTORIC

201
00:07:27,233 --> 00:07:28,766
INDIANA AVENUE, A JAZZ HAVEN

202
00:07:28,766 --> 00:07:31,633
THAT IMPACTED THE SCENE FAR

203
00:07:31,633 --> 00:07:32,566
BEYOND INDIANAPOLIS.

204
00:07:32,566 --> 00:07:34,500
BUT EVEN AS THE CIVIL RIGHTS

205
00:07:34,500 --> 00:07:36,200
MOVEMENT GAINED MOMENTUM,

206
00:07:36,200 --> 00:07:41,033
INDIANA AVENUE FACED INCREASING

207
00:07:38,066 --> 00:07:50,200
CHALLENGES.

208
00:07:42,466 --> 00:07:54,566
♪♪♪♪

209
00:07:52,066 --> 00:07:55,366
♪♪♪♪

210
00:07:55,366 --> 00:07:58,633
>> ON SEFNTth, 1959, WEST

211
00:07:58,633 --> 00:07:59,933
MONTGOMERY SHOWED UP AT THE

212
00:07:59,933 --> 00:08:02,700
MISSILE ROOM, AN AFTER HOURS

213
00:08:02,700 --> 00:08:04,233
CLUB IN INDIANAPOLIS FOR A LIGHT

214
00:08:04,233 --> 00:08:05,466
NIGHT SET.

215
00:08:05,466 --> 00:08:08,300
SITTING IN THE AUDIENCE WAS

216
00:08:08,300 --> 00:08:12,833
ATTARLY, A RENOWNED SAXOPHONIST.

217
00:08:12,833 --> 00:08:15,100
IN TOWN WAS THE ALL-STAR JAZZ

218
00:08:15,100 --> 00:08:17,266
TOUR THAT PERFORMED EARLIER NET

219
00:08:17,266 --> 00:08:17,600
EVENING.

220
00:08:17,600 --> 00:08:20,466
AS MONTGOMERY'S MUSIC COOKED AND

221
00:08:20,466 --> 00:08:23,466
GROOVED, ATTARLY CLOSED HIS

222
00:08:23,466 --> 00:08:25,433
EYES, BROKE INTO A HUGE SMILE

223
00:08:25,433 --> 00:08:27,233
AND GAVE A THUMBS UP.

224
00:08:27,233 --> 00:08:28,633
HE LEFT, CALLED HIS RECORD

225
00:08:28,633 --> 00:08:29,833
COMPANY AND SOON AFTERWARDS

226
00:08:29,833 --> 00:08:31,500
MONTGOMERY WAS EN ROUTE TO

227
00:08:31,500 --> 00:08:33,133
NEW YORK MAKING THE FIRST OF A

228
00:08:33,133 --> 00:08:39,100
DOZEN LPS FOR THE RIVERSIDE

229
00:08:36,433 --> 00:08:43,433
LABEL.

230
00:08:43,433 --> 00:08:44,833
MONTGOMERY WAS FOLLOWING IN THE

231
00:08:44,833 --> 00:08:46,500
FOOTSTEPS OF J.J. JOHNSON,

232
00:08:46,500 --> 00:08:48,700
FREDDIE HUBBARD, SLIDE HAMPTON,

233
00:08:48,700 --> 00:08:51,100
WHO ALL LEFT THEIR INDIANAPOLIS

234
00:08:51,100 --> 00:08:53,666
HOMETOWN TO ACHIEVE FAME AROUND

235
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THE WORLD.

236
00:08:54,366 --> 00:08:57,133
BY MAINTAINING HIS RESIDENCE AND

237
00:08:57,133 --> 00:08:58,566
FAMILY IN INDIANAPOLIS,

238
00:08:58,566 --> 00:09:00,600
MONTGOMERY KEPT ONE FOOT BACK IN

239
00:09:00,600 --> 00:09:02,533
INDIANA BUT BY THE 1960s, HE

240
00:09:02,533 --> 00:09:04,066
WAS NO LONGER A STEADY PRESENCE

241
00:09:04,066 --> 00:09:05,833
ON THE INDIANA CLUB SCENE.

242
00:09:05,833 --> 00:09:08,000
HIS DECREASED VISIBILITY WAS ONE

243
00:09:08,000 --> 00:09:10,766
OF MANY SIGNS INDIANA AVENUE WAS

244
00:09:10,766 --> 00:09:12,500
ENTERING AN ERA OF SLOW AND

245
00:09:12,500 --> 00:09:13,533
PAINFUL EROSION.

246
00:09:13,533 --> 00:09:15,266
INDIANA AVENUE HAD OVER 300

247
00:09:15,266 --> 00:09:17,800
BUSINESSES IN THE 1930s, A

248
00:09:17,800 --> 00:09:19,633
BLACK COMMUNITY BOULEVARD LINED

249
00:09:19,633 --> 00:09:21,933
WITH PUBS, RESTAURANTS AND MUSIC

250
00:09:21,933 --> 00:09:22,266
VENUES.

251
00:09:22,266 --> 00:09:23,733
THE FACTORS THAT SEALED THE FATE

252
00:09:23,733 --> 00:09:25,833
WAS THREE FOLD, DECLINE OF

253
00:09:25,833 --> 00:09:27,466
ECONOMIC ACTIVITY OF ALL SITES,

254
00:09:27,466 --> 00:09:29,200
HIGHWAY CONSTRUCTION AND URBAN

255
00:09:29,200 --> 00:09:31,466
RENEWAL AND DESEGREGATION.

256
00:09:31,466 --> 00:09:32,833
GAMBLING AND ILLEGAL LIQUOR

257
00:09:32,833 --> 00:09:34,533
FRONTS WERE THE FIRST MAJOR

258
00:09:34,533 --> 00:09:37,533
DOMINOES TO FALL HINDERED BY NEW

259
00:09:37,533 --> 00:09:38,833
RESTRICTIONS AND SELECTIVE

260
00:09:38,833 --> 00:09:40,766
POLICING THAT HAD BEEN A

261
00:09:40,766 --> 00:09:41,133
CHALLENGE.

262
00:09:41,133 --> 00:09:42,233
THE BLACK MIDDLE CLASS ALSO

263
00:09:42,233 --> 00:09:43,733
BEGAN TO SEEK OUT OTHER VENUES

264
00:09:43,733 --> 00:09:46,066
AS MUSICAL AND ENTERTAINMENT

265
00:09:46,066 --> 00:09:47,333
TASTES CHANGED OR LIKE MANY

266
00:09:47,333 --> 00:09:49,866
OTHER AMERICANS, MORE OFTEN, TO

267
00:09:49,866 --> 00:09:50,966
WATCH TELEVISION.

268
00:09:50,966 --> 00:09:52,766
INCREASING CRIME DETERRED MANY

269
00:09:52,766 --> 00:09:54,533
AVENUE GOERS AS WELL.

270
00:09:54,533 --> 00:09:57,800
THE PLACES GROUPS GATHERED FOR

271
00:09:57,800 --> 00:09:58,800
DECADES DWINDLED.

272
00:09:58,800 --> 00:10:00,866
JAZZ GAVE WAY TO ROCK AND SOUL

273
00:10:00,866 --> 00:10:01,966
IN POPULARITY.

274
00:10:01,966 --> 00:10:04,000
THOUGH THE AVENUE HIGHLIGHTED

275
00:10:04,000 --> 00:10:05,933
SOME PERFORMERS, BOTH LOCAL AND

276
00:10:05,933 --> 00:10:08,800
OUT OF TOWN, INCLUDING A YOUNG

277
00:10:08,800 --> 00:10:10,433
JIMI HENDRIX, IT NO LONGER

278
00:10:10,433 --> 00:10:12,233
FUNCTIONED AS THE MAIN STEM OF

279
00:10:12,233 --> 00:10:18,766
CULTURAL ACTIVITY IN

280
00:10:14,766 --> 00:10:19,766
INDIANAPOLIS' BLACK COMMUNITY.

281
00:10:19,766 --> 00:10:21,100
THE EXPANSION OF THE HIGHWAY

282
00:10:21,100 --> 00:10:23,933
SYSTEM THAT RINGED

283
00:10:23,933 --> 00:10:25,400
INDIANAPOLIS -- THE HIGHWAY 65

284
00:10:25,400 --> 00:10:27,533
AND 70 EASED COMMUTER'S TRAVEL

285
00:10:27,533 --> 00:10:28,933
THROUGH AND AROUND THE CITY.

286
00:10:28,933 --> 00:10:30,733
THE EXPANSION CREATED

287
00:10:30,733 --> 00:10:31,866
CATASTROPHIC PROBLEMS FOR THE

288
00:10:31,866 --> 00:10:34,166
GREATER INDIANA AVENUE AREA AS

289
00:10:34,166 --> 00:10:35,300
CHURCHES THAT ANCHORED THE

290
00:10:35,300 --> 00:10:36,700
COMMUNITY TO THE AVENUE WERE

291
00:10:36,700 --> 00:10:39,466
RELOCATED AND ENTIRE

292
00:10:39,466 --> 00:10:40,833
NEIGHBORHOODS WERE REPLACED TO

293
00:10:40,833 --> 00:10:46,400
MAKE ROOM FOR THE INTERSTATE.

294
00:10:46,400 --> 00:10:48,866
ALONG WITH CONSTRUCTION CAME

295
00:10:48,866 --> 00:10:51,266
URBAN RENEWAL AND DESEGREGATION.

296
00:10:51,266 --> 00:10:52,000
PREVIOUSLY AFRICAN AMERICANS

297
00:10:52,000 --> 00:10:54,800
HADN'T BEEN ABLE TO SIT IN WHITE

298
00:10:54,800 --> 00:10:56,133
RESTAURANTS, PATRONIZE THE

299
00:10:56,133 --> 00:10:57,666
RIVERSIDE AMUSEMENT PARK OR

300
00:10:57,666 --> 00:10:58,933
FREQUENT DOWNTOWN DEPARTMENT

301
00:10:58,933 --> 00:10:59,300
STORES.

302
00:10:59,300 --> 00:11:01,566
AS LEGAL SEGREGATION BEGAN TO

303
00:11:01,566 --> 00:11:03,433
EASE IN THE 1950s AND '60s,

304
00:11:03,433 --> 00:11:04,666
THEY STARTED TO SPEND THEIR

305
00:11:04,666 --> 00:11:09,966
DOLLARS IN THE WIDER ECONOMIC

306
00:11:09,966 --> 00:11:14,600
SPHERE.

307
00:11:14,600 --> 00:11:16,433
THE GARDENS HOUSING DEVELOPMENT,

308
00:11:16,433 --> 00:11:18,333
AN EARLY CROWN JEWEL OF FEDERAL

309
00:11:18,333 --> 00:11:20,500
HOUSING PROJECTS, AND ONCE A

310
00:11:20,500 --> 00:11:21,733
BASTION FOR AFRICAN AMERICANS

311
00:11:21,733 --> 00:11:23,666
LOOKING FOR A BETTER RESIDENTIAL

312
00:11:23,666 --> 00:11:26,700
QUALITY OF LIFE WAS EVENTUALLY

313
00:11:26,700 --> 00:11:39,200
CLOSED AND MANY BUILDINGS

314
00:11:28,433 --> 00:11:46,500
LEVELED IN THE 1980s.

315
00:11:42,500 --> 00:11:47,000
♪♪♪♪

316
00:11:47,000 --> 00:11:49,300
TODAY THE ONLY STRUCTURES OF

317
00:11:49,300 --> 00:11:51,166
INDIANA AVENUE'S GOLDEN AGE THAT

318
00:11:51,166 --> 00:11:54,666
STILL STAND ARE THE MADAM WALKER

319
00:11:54,666 --> 00:11:56,466
THEATER AND 8 OF THE ORIGINAL 24

320
00:11:56,466 --> 00:11:56,866
UNITS.

321
00:11:56,866 --> 00:11:59,133
THE AVENUE HAD BEEN CREATED BY

322
00:11:59,133 --> 00:12:01,966
FREED SLAVES AS A HOME FOR THE

323
00:12:01,966 --> 00:12:02,700
EMERGING AFRICAN AMERICAN

324
00:12:02,700 --> 00:12:04,300
CULTURE OF THE 20th CENTURY.

325
00:12:04,300 --> 00:12:05,400
MUSIC RIPPLED THROUGH THE

326
00:12:05,400 --> 00:12:06,600
STREETS, HERITAGE HAD FORMED IN

327
00:12:06,600 --> 00:12:08,000
THE BUILDINGS AND VENUES THAT

328
00:12:08,000 --> 00:12:09,666
LINED THE BLACK BOULEVARD.

329
00:12:09,666 --> 00:12:12,133
A LANDMARK HOUSING PROJECT HAD

330
00:12:12,133 --> 00:12:13,166
GIVEN RESIDENTS THE OPPORTUNITY

331
00:12:13,166 --> 00:12:15,700
FOR A SAFER AND BETTER LIFE.

332
00:12:15,700 --> 00:12:17,033
FROM THE BAND ROOM TO THE

333
00:12:17,033 --> 00:12:18,700
STANDING ROOM CROWDS OF THE

334
00:12:18,700 --> 00:12:20,100
MADAM WALKER THEATER, JAZZ HAD

335
00:12:20,100 --> 00:12:21,400
BEEN THE LIFEBLOOD OF A SMALL

336
00:12:21,400 --> 00:12:23,500
COMMUNITY AND THE AVENUE THAT

337
00:12:23,500 --> 00:12:25,000
HELPED FOSTER ITS BIRTH.

338
00:12:25,000 --> 00:12:27,366
WEST MONTGOMERY, THE INK SPOTS,

339
00:12:27,366 --> 00:12:29,733
LEROY CAR AND THE HAMPTON

340
00:12:29,733 --> 00:12:31,300
FAMILY, FREDDIE HUBBARD, J.J.

341
00:12:31,300 --> 00:12:32,733
JOHNSON AND OTHERS HAD MADE

342
00:12:32,733 --> 00:12:34,066
LOCATIONS SUCH AS THE COTTON

343
00:12:34,066 --> 00:12:36,666
CLUB AND SUNSET TERRACE,

344
00:12:36,666 --> 00:12:38,466
GEORGE'S AND THE MISSILE ROOM

345
00:12:38,466 --> 00:12:39,466
ARTISTIC LANDMARKS THAT EXIST

346
00:12:39,466 --> 00:12:40,700
NOW ONLY IN THE HISTORICAL

347
00:12:40,700 --> 00:12:42,966
RECORD AND A FEW REMAINING

348
00:12:42,966 --> 00:12:43,333
MEMORIES.

349
00:12:43,333 --> 00:12:44,633
FOR HALF A CENTURY INDIANA

350
00:12:44,633 --> 00:12:46,233
AVENUE HAD PROVIDE ADD THRIVING

351
00:12:46,233 --> 00:12:48,666
POINT OF CONVERGENCE FOR CULTURE

352
00:12:48,666 --> 00:12:50,066
AND COMMERCE, ENTERTAINMENT AND

353
00:12:50,066 --> 00:12:51,766
ART AND LIFE AND LOVE.

354
00:12:51,766 --> 00:12:54,233
MUSIC FUELED THE SCENE, BUT THE

355
00:12:54,233 --> 00:12:56,000
PEOPLE WERE THE AVENUE, THE YOU

356
00:12:56,000 --> 00:12:57,700
ONES THAT ABSORBED THE SOUNDS

357
00:12:57,700 --> 00:12:59,800
ADD ENCOURAGED THE -- THE STREET

358
00:12:59,800 --> 00:13:01,000
BURNED BRIGHT WITH THE FIRE OF

359
00:13:01,000 --> 00:13:10,700
JAZZ AS IT ETCHED ITS PLACE IN

360
00:13:03,333 --> 00:13:13,833
THE LEGACY OF AMERICA.

361
00:13:13,833 --> 00:13:17,866
>> TO LEARN MORE ABOUT JAZZ'S IN

362
00:13:17,866 --> 00:13:19,366
INCREDIBLE HISTORY IN INDIANA,

363
00:13:19,366 --> 00:13:22,733
GO TO THE WFIU NIGHT LIGHTS

364
00:13:22,733 --> 00:13:25,933
PROGRAM PAGE.

365
00:13:25,933 --> 00:13:27,466
>>> INDIANA TRAIL BLAZERED

366
00:13:27,466 --> 00:13:29,200
IMPACT ON THE STATE'S CULTURAL

367
00:13:29,200 --> 00:13:30,966
HERITAGE IS CLEAR, FROM MUSIC TO

368
00:13:30,966 --> 00:13:32,600
SPORTS, BUT THEY'VE ALSO

369
00:13:32,600 --> 00:13:34,466
IMPACTED OUR NATURAL HISS

370
00:13:34,466 --> 00:13:36,400
HISTORY AND ONE SUCH HOOSIER

371
00:13:36,400 --> 00:13:37,566
RECOGNIZED THE NEED TO PRESERVE

372
00:13:37,566 --> 00:13:39,200
THAT HISTORY FAR BEFORE

373
00:13:39,200 --> 00:13:43,600
CONSERVATION BECAME PART OF OUR

374
00:13:40,800 --> 00:13:44,300
ENVIRONMENTAL NARRATIVE.

375
00:13:44,300 --> 00:13:48,866
>> TURKEY RUN IS A VERY UNIQUE

376
00:13:48,866 --> 00:13:52,200
STATE PARK IN NORTHERN INDIANA.

377
00:13:52,200 --> 00:13:55,533
THESE COOL SHADY GLENS, OL'

378
00:13:55,533 --> 00:13:57,400
GROWTH TREES, EASTERN HEMLOCK

379
00:13:57,400 --> 00:13:58,866
TREES OVERLOOKING BEAUTIFUL

380
00:13:58,866 --> 00:14:00,700
CREEKS AND VALLEYS AND IT LOOKS

381
00:14:00,700 --> 00:14:02,633
THIS WAY BECAUSE OF SOMETHING

382
00:14:02,633 --> 00:14:05,033
THAT HAPPENED A MERE 12,000

383
00:14:05,033 --> 00:14:05,900
YEARS AGO.

384
00:14:05,900 --> 00:14:07,800
THAT WAS THE END OF THE TIME OF

385
00:14:07,800 --> 00:14:09,700
THE LAST GLACIER IN THIS PART OF

386
00:14:09,700 --> 00:14:10,700
THE STATE.

387
00:14:10,700 --> 00:14:17,333
AND WHEN THAT GLAISH GLACIER MELTED,

388
00:14:17,333 --> 00:14:20,333
THAT STUFF RECORD OUT OF THE

389
00:14:20,333 --> 00:14:21,600
GLACIER AND TORRENTS RAN THROUGH

390
00:14:21,600 --> 00:14:23,966
THE CRACKS AND CREVICES AND

391
00:14:23,966 --> 00:14:25,933
CARVED OUT THE FAMILIAR TRAIL

392
00:14:25,933 --> 00:14:27,966
SYSTEM WE KNOW TODAY.

393
00:14:27,966 --> 00:14:32,766
A MAN NAMED SALMON SALMON CAME BACK IN

394
00:14:32,766 --> 00:14:35,533
1821 CAME THROUGH AS A SCOUT FOR

395
00:14:35,533 --> 00:14:38,433
WILLIAM HENRY HARRISON TRYING TO

396
00:14:38,433 --> 00:14:39,833
FIND SAFE PASSAGE FOR THE

397
00:14:39,833 --> 00:14:40,166
TROOPS.

398
00:14:40,166 --> 00:14:41,533
WHEN HE RESIGNED HIS COMMISSION

399
00:14:41,533 --> 00:14:43,666
FROM THE ARMY HE WAS PAID WITH A

400
00:14:43,666 --> 00:14:45,300
LAND GRANT, AS MANY OFFICERS

401
00:14:45,300 --> 00:14:47,833
WERE IN THOSE DAYS, AND IN 1823

402
00:14:47,833 --> 00:14:49,633
CAME HERE AND BOUGHT THE FIRST

403
00:14:49,633 --> 00:14:51,733
288 ACRES OF WHAT LATER BECAME

404
00:14:51,733 --> 00:14:53,333
TURKEY RUN STATE PARK.

405
00:14:53,333 --> 00:14:54,666
WE'RE VERY LUCKY BECAUSE THIS

406
00:14:54,666 --> 00:14:57,233
MAN WAS REALLY AN EARLY

407
00:14:57,233 --> 00:14:57,700
CONSERVATIONIST.

408
00:14:57,700 --> 00:14:58,633
IT'S BECAUSE OF HIM THAT WE

409
00:14:58,633 --> 00:15:00,533
STILL HAVE OLD GROWTH TREES AND

410
00:15:00,533 --> 00:15:03,066
IT'S BECAUSE OF HIM THIS IS A

411
00:15:03,066 --> 00:15:03,366
PARK.

412
00:15:03,366 --> 00:15:05,433
WHEN HE DIED, THE TIMBER BUYERS

413
00:15:05,433 --> 00:15:08,000
OF ARIZONA WERE COMING IN FORCE.

414
00:15:08,000 --> 00:15:09,366
THEY WANTED TO BUY TURKEY RUN

415
00:15:09,366 --> 00:15:11,033
AND CUT DOWN ALL THE TREES.

416
00:15:11,033 --> 00:15:13,566
A COMMITTEE HEADED BY RICHARD

417
00:15:13,566 --> 00:15:15,633
LIEBER, A COMMISSION ACTUALLY,

418
00:15:15,633 --> 00:15:17,433
WAS LOOKING INTO ESTABLISHING A

419
00:15:17,433 --> 00:15:19,266
SYSTEM OF STATE PARTS IN

420
00:15:19,266 --> 00:15:19,666
INDIANA.

421
00:15:19,666 --> 00:15:21,133
RICHARD LIEBER CAME HERE TO SEE

422
00:15:21,133 --> 00:15:23,066
TURKEY RUN AND FELL IN LOVE WITH

423
00:15:23,066 --> 00:15:24,166
THE PLACE, HAD TO HAVE IT.

424
00:15:24,166 --> 00:15:25,733
SO HE INITIATED A CAMPAIGN TO

425
00:15:25,733 --> 00:15:27,566
RAISE THE FUNDS TO GET THE

426
00:15:27,566 --> 00:15:28,966
PEOPLE THE PEOPLE OF INDIANA

427
00:15:28,966 --> 00:15:31,933
EXCITED ABOUT SAVING TURKEY RUN.

428
00:15:31,933 --> 00:15:33,000
THESE STATE PARKS WERE

429
00:15:33,000 --> 00:15:34,933
ESTABLISHED NOT JUST TO CONSERVE

430
00:15:34,933 --> 00:15:38,033
LAND BUT TO PROVIDE A PLACE FOR

431
00:15:38,033 --> 00:15:40,833
PEOPLE TO COME TO GET AWAY FROM

432
00:15:40,833 --> 00:15:43,733
ALL THE STRUGGLES AND STRESSES

433
00:15:43,733 --> 00:15:45,733
IN THEIR LIVES AND TO JUST SOAK

434
00:15:45,733 --> 00:15:48,600
UP NATURE, RELAX, AND PULL SOME

435
00:15:48,600 --> 00:15:49,900
PEACE INTO THEMSELVES.

436
00:15:49,900 --> 00:15:51,400
WE HAVE A LOT OF SPECIAL EVENTS

437
00:15:51,400 --> 00:15:53,066
COMING UP AT TURKEY RUN.

438
00:15:53,066 --> 00:15:54,733
THE FIRST WEEKEND IN MAY IS OUR

439
00:15:54,733 --> 00:15:56,100
WELCOME BACK WEEKEND ON ALL OF

440
00:15:56,100 --> 00:15:56,966
OUR STATE PROPERTIES.

441
00:15:56,966 --> 00:15:59,033
YOU CAN PARTICIPATE IN HIKES AND

442
00:15:59,033 --> 00:16:01,333
WORKSHOPS AND ALL KINDS OF MAKE

443
00:16:01,333 --> 00:16:02,700
AND TAKE ACTIVITIES TO KIND OF

444
00:16:02,700 --> 00:16:04,666
GET YOU BACK OUT INTO NATURE AND

445
00:16:04,666 --> 00:16:05,633
READY FOR THE SUMMER.

446
00:16:05,633 --> 00:16:07,466
AND SO I WOULD ENCOURAGE ANYONE

447
00:16:07,466 --> 00:16:09,733
WHO CAN TO COME OUT AND VISIT AN

448
00:16:09,733 --> 00:16:10,766
INDIANA STATE PARK THIS YEAR.

449
00:16:10,766 --> 00:16:12,366
IT DOESN'T HAVE TO BE TURKEY

450
00:16:12,366 --> 00:16:12,633
RUN.

451
00:16:12,633 --> 00:16:14,133
THEY ARE ALL SPECIAL IN THEIR

452
00:16:14,133 --> 00:16:17,500
OWN UNIQUE WAYS, AND IT IS A

453
00:16:17,500 --> 00:16:24,866
RENEWAL PLACE, SOMEPLACE THAT

454
00:16:18,566 --> 00:16:26,800
YOU CAN COME AND FEEL BETTER.

455
00:16:26,800 --> 00:16:28,433
>> WANT TO VISIT?

456
00:16:28,433 --> 00:16:30,300
THE INDIANA DEPARTMENT OF

457
00:16:30,300 --> 00:16:32,066
NATURAL RESOURCES IS SPONSORING

458
00:16:32,066 --> 00:16:34,633
SUMMER STAYCATION SPECIALS FOR

459
00:16:34,633 --> 00:16:35,333
MULTIPLE STATE PARKS.

460
00:16:35,333 --> 00:16:36,566
LEARN MORE ABOUT HOW TO EXPLORE

461
00:16:36,566 --> 00:16:38,933
AND HOW TO STAY AT TURKEY RUN BY

462
00:16:38,933 --> 00:16:43,633
VISITING THEIR WEBSITE

463
00:16:43,633 --> 00:16:44,033
IN.GOV/DNR.

464
00:16:44,033 --> 00:16:46,766
>>> FOR YEARS OUR NEXT MUSICAL

465
00:16:46,766 --> 00:16:47,900
GUESTS HAVE BUILT THEIR

466
00:16:47,900 --> 00:16:50,533
FRIENDSHIPS INTO A SUCCESSFUL

467
00:16:50,533 --> 00:16:53,833
BAND, MELDING '80S AND '90s

468
00:16:53,833 --> 00:16:56,033
ROCK WITH MODERN POP.

469
00:16:56,033 --> 00:17:01,666
MEET "THERE ARE GHOSTS."

470
00:16:58,566 --> 00:17:08,966
♪♪♪♪

471
00:17:08,966 --> 00:17:10,633
>> THERE ARE GHOSTS FORMED IN

472
00:17:10,633 --> 00:17:12,200
TWO PHASES.

473
00:17:12,200 --> 00:17:15,466
SO FIRST IT WAS ANDREW AND MIKE

474
00:17:15,466 --> 00:17:17,666
PLAYING WITH TONY, GUITAR

475
00:17:17,666 --> 00:17:19,833
PLAYER, ALSO MY HUSBAND.

476
00:17:19,833 --> 00:17:21,433
AND I WASN'T PART OF IT IN THE

477
00:17:21,433 --> 00:17:22,766
BEGINNING AND NEITHER WAS JOHN,

478
00:17:22,766 --> 00:17:24,533
OUR OTHER GUITAR PLAYER.

479
00:17:24,533 --> 00:17:27,233
AND SO I KEPT HEARING THE SONGS

480
00:17:27,233 --> 00:17:29,600
AND I WAS SINGING ALL THE SONGS

481
00:17:29,600 --> 00:17:31,000
AND I STARTED TO REALLY LIKE A

482
00:17:31,000 --> 00:17:32,666
LOT OF THE MUSIC THAT THEY WERE

483
00:17:32,666 --> 00:17:35,033
DOING, AND THEN I JUST ONE DAY

484
00:17:35,033 --> 00:17:37,000
WAS LIKE, SO, CAN I JOIN THE

485
00:17:37,000 --> 00:17:40,600
BAND AND BE THE SINGER?

486
00:17:40,600 --> 00:17:43,166
WHEN IT ALL CAME TOGETHER, IT

487
00:17:43,166 --> 00:17:44,300
JUST CLICKED.

488
00:17:44,300 --> 00:17:46,133
OUR GOALS WERE TOTALLY ALIGNED

489
00:17:46,133 --> 00:17:48,833
IN THAT WE WENT TO JUST MAKE

490
00:17:48,833 --> 00:17:50,700
GREAT MUSIC, FUN MUSIC, WHATEVER

491
00:17:50,700 --> 00:17:52,366
WE WANT, SPEND TIME TOGETHER,

492
00:17:52,366 --> 00:17:54,400
PLAY SHOWS, AND JUST HAVE IT BE

493
00:17:54,400 --> 00:17:56,200
SOMETHING THAT FEEDS US

494
00:17:56,200 --> 00:17:57,300
CREATIVELY AND THE FACT THAT

495
00:17:57,300 --> 00:17:58,700
WE'VE ALL KNOWN EACH OTHER IN

496
00:17:58,700 --> 00:18:00,533
SOME FORM OR ANOTHER FOR OVER 20

497
00:18:00,533 --> 00:18:03,400
YEARS IS A HUGE BENEFIT.

498
00:18:03,400 --> 00:18:04,866
WE'RE FIVE BEST FRIENDS WHO

499
00:18:04,866 --> 00:18:06,400
HAPPEN TO PLAY IN A BAND

500
00:18:06,400 --> 00:18:06,766
TOGETHER.

501
00:18:06,766 --> 00:18:11,233
SO THAT MAKES FOR A REALLY GOOD,

502
00:18:11,233 --> 00:18:12,233
CREATIVE, PRODUCTIVE

503
00:18:12,233 --> 00:18:12,666
ENVIRONMENT.

504
00:18:12,666 --> 00:18:13,933
WE'RE SERIOUS ABOUT WHAT WE DO,

505
00:18:13,933 --> 00:18:15,633
BUT WE WANT TO HAVE A LOT OF FUN

506
00:18:15,633 --> 00:18:18,366
DOING IT, AND SO WE ERR ON THE

507
00:18:18,366 --> 00:18:19,733
SIDE OF FUN WHEN IT COMES DOWN

508
00:18:19,733 --> 00:18:21,166
TO IT.

509
00:18:21,166 --> 00:18:24,633
DESCRIBING YOUR SOUND TO SOMEONE

510
00:18:24,633 --> 00:18:26,100
IS ALWAYS DIFFICULT.

511
00:18:26,100 --> 00:18:27,800
THE WAY THAT I WOULD DESCRIBE IT

512
00:18:27,800 --> 00:18:30,133
WOULD BE ALTERNATIVE COLLEGE

513
00:18:30,133 --> 00:18:33,200
ROCK MUSIC OF THE LATE '80s

514
00:18:33,200 --> 00:18:34,733
INTO EARLY '90s.

515
00:18:34,733 --> 00:18:37,166
WHEN I'M PERFORMING, I AM TRYING

516
00:18:37,166 --> 00:18:38,800
REALLY HARD TO STAY AS PRESENT

517
00:18:38,800 --> 00:18:40,066
IN THE MOMENT AS I CAN BECAUSE I

518
00:18:40,066 --> 00:18:43,200
HAVE A TENDENCY TO GET SUCKED

519
00:18:43,200 --> 00:18:44,833
INTO MY OWN HEAD, AND THAT'S NOT

520
00:18:44,833 --> 00:18:46,966
WHERE YOU WANT TO BE, YOU KNOW,

521
00:18:46,966 --> 00:18:48,133
WHEN YOU ARE PERFORMING.

522
00:18:48,133 --> 00:18:49,733
THE WHOLE POINT IS TO GET IT OUT

523
00:18:49,733 --> 00:18:50,833
OF HERE AND OUT THERE.

524
00:18:50,833 --> 00:18:52,966
WHAT I REALLY TRY TO FOCUS ON IS

525
00:18:52,966 --> 00:18:54,100
JUST CREATING THAT CONNECTION

526
00:18:54,100 --> 00:18:55,933
WITH AN AUDIENCE TO REALLY HAVE

527
00:18:55,933 --> 00:18:58,233
PEOPLE FEEL THE EMOTION OF A

528
00:18:58,233 --> 00:19:00,600
PARTICULAR SONG OR FEEL JUST THE

529
00:19:00,600 --> 00:19:02,966
ENERGY AND THE LOVE THAT WE HAVE

530
00:19:02,966 --> 00:19:05,033
TOGETHER AS A BAND AND AS

531
00:19:05,033 --> 00:19:07,066
FRIENDS AND BRING THEM INTO

532
00:19:07,066 --> 00:19:07,366
THAT.

533
00:19:07,366 --> 00:19:08,566
WHAT YOU HOPE AT THE END OF THE

534
00:19:08,566 --> 00:19:11,533
DAY IS SOMEONE LIKED YOUR MUSIC,

535
00:19:11,533 --> 00:19:12,700
ENJOYED COMING OUT AND SEEING

536
00:19:12,700 --> 00:19:14,733
YOU PLAY, AND THAT THEY'LL WANT

537
00:19:14,733 --> 00:19:16,000
TO LISTEN TO YOU AGAIN.

538
00:19:16,000 --> 00:19:17,566
MY PERSONAL DEFINITION OF

539
00:19:17,566 --> 00:19:20,300
SUCCESS AS A MUSICIAN IS TO KEEP

540
00:19:20,300 --> 00:19:20,966
DOING IT.

541
00:19:20,966 --> 00:19:24,100
IT IS A VALUABLE FORM OF

542
00:19:24,100 --> 00:19:24,500
EXPRESSION.

543
00:19:24,500 --> 00:19:26,933
IT IS A GREAT CREATIVE RELEASE.

544
00:19:26,933 --> 00:19:29,633
IT'S A GREAT STRESS RELEASE,

545
00:19:29,633 --> 00:19:32,266
JUST A PLATFORM, THE CHANCE TO

546
00:19:32,266 --> 00:19:33,566
GET OUT AND DO SOMETHING

547
00:19:33,566 --> 00:19:36,066
DIFFERENT THAN WHAT YOUR

548
00:19:36,066 --> 00:19:37,000
DAY-TO-DAY EXISTENCE IS.

549
00:19:37,000 --> 00:19:39,600
IT'S A LOT MORE INTERNAL IN

550
00:19:39,600 --> 00:19:42,333
TERMS OF WHAT I FIND MOTIVATES

551
00:19:42,333 --> 00:19:45,400
ME EACH DAY IS BEING ABLE TO

552
00:19:45,400 --> 00:19:47,533
EXPRESS MYSELF, TO WRITE ABOUT

553
00:19:47,533 --> 00:19:49,133
DIFFERENT THINGS, TO SEE HOW I

554
00:19:49,133 --> 00:19:51,600
CAN USE MY VOICE TO EXPRESS

555
00:19:51,600 --> 00:19:53,766
DIFFERENT EMOTIONS AS WELL AS

556
00:19:53,766 --> 00:19:55,800
BEING SURE THAT I'M SPENDING

557
00:19:55,800 --> 00:19:57,666
TIME WITH PEOPLE THAT I REALLY

558
00:19:57,666 --> 00:19:59,900
LOVE AND WE JUST GET A CHANCE TO

559
00:19:59,900 --> 00:20:03,200
MAKE GREAT MUSIC AT THE SAME

560
00:20:01,533 --> 00:20:03,766
TIME.

561
00:20:03,766 --> 00:20:08,633
>> AND NOW, WELCOME "THERE ARE

562
00:20:06,600 --> 00:20:21,533
GHOSTS."

563
00:20:10,200 --> 00:20:44,266
♪♪♪♪

564
00:20:44,266 --> 00:21:01,433
♪♪♪♪

565
00:20:46,400 --> 00:24:14,233
[SINGING]

566
00:24:14,233 --> 00:24:16,133
>> THE BAND WILL BE PERFORMING

567
00:24:16,133 --> 00:24:18,433
THIS WEEKEND AS WELL AS OTHER

568
00:24:18,433 --> 00:24:19,300
UPCOMING PERFORMANCES THROUGHOUT

569
00:24:19,300 --> 00:24:19,900
THE SUMMER.

570
00:24:19,900 --> 00:24:27,533
LEARN MORE AT THEIR WEBSITE

571
00:24:27,533 --> 00:24:28,233
THEREAREGHOSTSUSBANDCAMP.COM.

572
00:24:28,233 --> 00:24:29,000
THAT'S ALL WE HAVE FOR TONIGHT.

573
00:24:29,000 --> 00:24:30,466
WE HOPE YOU GET OUT THERE AND

574
00:24:30,466 --> 00:24:31,933
DISCOVER NEW COMMUNITIES AND

575
00:24:31,933 --> 00:24:33,166
MAYBE SOME NEW FRIENDS.

576
00:24:33,166 --> 00:24:34,933
ONCE AGAIN BEFORE WE GO "THERE

577
00:24:34,933 --> 00:24:38,400
ARE GHOSTS."

578
00:24:36,533 --> 00:25:50,066
GOOD NIGHT.

579
00:25:35,066 --> 00:26:05,066
♪♪♪♪

580
00:26:05,066 --> 00:26:06,066
>> PRODUCTION SUPPORT FOR

581
00:26:06,066 --> 00:26:07,033
"THE WEEKLY SPECIAL" IS PROVIDED

582
00:26:07,033 --> 00:26:07,966
BY...

583
00:26:07,966 --> 00:26:09,200
IU SCHOOL OF PUBLIC HEALTH

584
00:26:09,200 --> 00:26:10,100
BLOOMINGTON, ADDRESSING PUBLIC

585
00:26:10,100 --> 00:26:11,833
HEALTH NEEDS BY PREVENTING

586
00:26:11,833 --> 00:26:13,333
DISEASE, PROMOTING HEALTH AND

587
00:26:13,333 --> 00:26:14,866
IMPROVING QUALITY OF LIFE ACROSS

588
00:26:14,866 --> 00:26:16,800
THE STATE AND AROUND THE WORLD

589
00:26:16,800 --> 00:26:18,066
THROUGH RESEARCH, TEACHING AND

590
00:26:18,066 --> 00:26:21,433
COMMUNITY ENGAGEMENT...

591
00:26:21,433 --> 00:26:24,400
SMITHVILLE FIBER, THE GIGACITY

592
00:26:24,400 --> 00:26:27,266
COMPANY, FIBER INTERNET, HD, AND

593
00:26:27,266 --> 00:26:28,366
DIGITAL IPTV IN SOUTHERN

594
00:26:28,366 --> 00:26:29,500
INDIANA.

595
00:26:29,500 --> 00:26:30,566
MORE INFORMATION AT

596
00:26:30,566 --> 00:26:34,033
SMITHVILLE.COM...

597
00:26:34,033 --> 00:26:36,733
THE AL COBINE RECOGNITION

598
00:26:36,733 --> 00:26:38,366
ENDOWMENT FUND, ESTABLISHED BY

599
00:26:38,366 --> 00:26:40,100
FRIENDS AND FAMILY OF AL COBINE

600
00:26:40,100 --> 00:26:42,400
TO SUPPORT JAZZ INITIATIVES ON

601
00:26:42,400 --> 00:26:45,000
WTIU AND WFIU...

602
00:26:45,000 --> 00:26:45,666
AND WTIU MEMBERS, THANK YOU.