Pictures of Adopted Hoosiers

Comedian Herb Shriner famously said, "I wasn't born in Indiana but I moved there as soon as I heard about it." He wasn't alone. Since its beginnings, the Hoosier State has been a destination for pioneers, settlers, refugees, migrants, escaped and manumitted slaves, industrial workers, and just plain, ordinary farmers, workers, artists, and others. Early on, people must have sensed that nothing better would await them beyond the rich and generous lands of Indiana. And so they stayed.

Johnny Appleseed was an adopted Hoosier. Born John Chapman on September 26, 1774, he was a native of Leominster, Massachusetts. Like Abraham Lincoln a generation later, he was orphaned with the death of his mother. His father remarried. Later in life, the elder Chapman pulled up stakes and moved to Ohio. Johnny had gone west before him, first to Pennsylvania, then to Ohio. It was in Ohio that John Chapman earned his nickname, Johnny Appleseed.

Johnny Appleseed lived a long life. In his later days, he lived in Fort Wayne, Indiana, and that's where he died after reaching his allotted threescore and ten. Johnny's end came on March 18, 1845. He was buried in Fort Wayne, though no one knows exactly where.

Abraham Lincoln (1809-1865) was probably the most famous adopted Hoosier. He was born near Hodgenville, Kentucky, on February 12, 1809. In the fall of 1816, when Abe was just seven years old, his father, Thomas Lincoln (1778-1851), moved his young family to what was then the Indiana Territory. Not long after, on December 11, 1816, Indiana became a state. Like Johnny Appleseed before him, Abe Lincoln's mother and a younger brother died when he was young. Nancy Hanks Lincoln (1784-1818) lies buried in Indiana, near her Spencer County home. Her son said of her, "All that I am, or hope to be, I owe to my angel mother."

Abe Lincoln spent his formative years in the Hoosier State, raised there by his parents and his stepmother, Sarah Bush Johnston Lincoln (1788-1869). In March 1830, he moved with his family to Illinois. He had just turned twenty-one. Kentucky and Illinois have their claims upon the Great Emancipator, but Indiana has its claim, too. I might be biased, but I would call it equal.

In 1964, Scholastic Books published a children's biography, Johnny Appleseed, written by Eva Moore and illustrated by Judith Ann Lawrence. Born in 1942, Eva Moore lives or has lived in Montauk, New York. Also known as J.A. Lawrence and Judy Blish, Judith Ann Lawrence is an author and an artist. She was married to the science fiction author James Blish (1921-1975). Judy has a new book out. You can find out more about it by clicking here.

In 1948, Walt Disney released Melody Time, an animated musical featuring seven short films. One of these is "The Legend of Johnny Appleseed."  I had hoped to find a Hoosier, either native or adopted, who contributed to "Johnny Appleseed," but to no avail. In any case, Simon and Schuster published a children's book adaptation in 1949. It was printed by Western Printing and Lithographing Company as one of its Little Golden Library series. The pictures were by the Walt Disney Company. (There might be a Hoosier hiding in there somewhere.) The adaptation was by Ted Parmalee, about whom I know nothing at all. 

Here's an interior illustration from Disney's Johnny Appleseed. This is romanticized of course, but not by much. If you have been in Appalachia and to the American Midwest, you might have seen scenes like this one. We had a storm just like it yesterday.

Rand McNally & Company of Chicago had its own line of children's books, including those in the Weekly Reader Children's Book Club series. Here is one called Abe Lincoln Gets His Chance, written by Frances Cavanah, illustrated by Paula Hutchison, and published in 1959. I have cleaned up the image a little, as the original I have is a little worn. I found this and the two books above on Johnny Appleseed at the local secondhand store about three weeks ago.

Frances Cavanah was a Hoosier. She was born on September 26, 1897, in Princeton, Indiana, to Rufus Oscar Cavanah and Louella "Lula" Neale Cavanah. Educated at DePauw University, she worked as an editor at Child Life magazine in Chicago. (Sometimes people come to Indiana, and sometimes they go away from it.) Frances wrote dozens of books and lived in Washington, D.C., later in life. She died in May 1982.

The illustrator, Paula A. Hutchison, was born on December 19, 1902, in Helena, Montana. She worked as a teacher, illustrator, and fine artist. She was married to Michael John McGrath (1905-?) and lived in New Jersey. She illustrated many children's books, most of which seem to be biographies and other nonfiction. Paula died on November 5, 1982.

In the fall of 1816, Thomas Lincoln moved his family from Kentucky to Indiana. Part of the reason for the move was for him to get away from some land disputes, but part was also to relocate to what would soon be a free state versus the slave state of Kentucky. Making the trip with him were his wife Nancy and their two children, Sarah and Abe. That made Abe's sister, Sarah Lincoln Grigsby (1807-1828), an adopted Hoosier, too. The illustration is from Abe Lincoln Gets His Chance.

The endpapers of Abe Lincoln Gets His Chance together make this map of Lincoln Country. Plum in the middle is an image of Pigeon Creek Farm, the place in what is now Spencer County where Abe spent his childhood years, from age seven to age twenty-one. Here he was formed and here his mother lies.

Original text copyright 2021, 2204 Terence E. Hanley

Pictures for a Year's End-No. 1

Time has run out for me this year. Before I go, I would like to show a few illustrations by fellow Hoosiers. I would also like to wish everyone a Merry Christmas, Happy Hanukkah, and Happy New Year. May the coming year be better than the one now ending. Or as John Lennon sang, it couldn't get much worse.

Denzil Omer "Salty" Seamon (1911-1997) of Gibson County, Evansville, Terre Haute, and Rosedale illustrated Wings Beyond, a book of poetry by C. David Hay, a dentist and poet, also of Rosedale. The book was published in 1995.

Text copyright 2020, 2024 Terence E. Hanley

Some Drawings by Women Artists-No. 3

Though born in New Jersey, Ursula Koering (1921-1976) was the daughter of a Hoosier and spent part of her childhood in Indiana. She started selling her illustrations when she was in her early twenties. The illustrations shown below are from Tom Stetson on the Trail of the Lost Tribe by John Henry Cutler, published by Whitman in 1948 when she was just twenty-seven. It was the second in a series of three juvenile novels about the character Tom Stetson. You can read my full article on Ursula Koering by clicking here.

Text copyright 2020, 2024 Terence E. Hanley

Some Drawings by Women Artists-No. 2

Next up in this series is Florence Sarah Winship (1900-1987) of Elkhart, Indiana. I have written about her before. Click here to find out more about her and to see more of her art. The front and back cover illustrations here are from Fifty Famous Fairy Tales, published by Whitman in 1954 and 1956.

Text copyright 2020, 2024 Terence E. Hanley

Buffleheads by Mac Heaton (1925-2002)

February is the month in which migratory ducks return to the Midwest--if they weren't already here in January--and one of the cutest and most fun to watch is the little bufflehead. Buffleheads are diving ducks, and where they dive is in our big rivers and lakes. First you'll see the bright white head of the male. Then you'll see him plunge, only to come up again somewhere close by. In its issue of January 1964, Outdoor Indiana had buffleheads on its cover in a portrait by Mac Heaton (1925-2002). If you're lucky and you look hard enough this late winter, maybe you'll see the real thing.

Text copyright 2019, 2024 Terence E. Hanley

Happy Halloween from Clifford and Friends!

If you remember Clifford the Big Red Dog from childhood, then you remember the work of a Hoosier cartoonist and illustrator. His name was Norman Bridwell, and he was born on February 15, 1928, in Kokomo, Indiana. Bridwell graduated from high school in Kokomo and studied at the Herron School of Art in Indianapolis. Clifford the Big Red Dog sprang from his imagination in the early 1960s and found his way into the first of dozens of children's books in 1963. Clifford has also been on television and in all kinds of merchandise. There may one day be a Clifford movie, too.

In addition to creating the Clifford series, Bridwell wrote and drew a series of books, also for Scholastic, about the Witch Next Door. And he was the author of at least three books haunted by monsters. So, from Indiana Illustrators and Hoosier Cartoonists to readers everywhere,

Happy Halloween!

Text copyright 2018, 2024 Terence E. Hanley

Florence Sarah Winship (1900-1987)

Florence Sarah Winship was born on October 28, 1900, in Elkhart, Indiana, to William H. and Louie M. Winship. In 1910 and 1920, she was enumerated in the U.S. census with her family in Elkhart. By 1922, she was in Chicago, the city in which she would live and work for the next two or three decades. Chicago was also the city in which Florence received her art education. As so many Indiana artists have done, especially artists from the northern part of the state, she studied at the Chicago Academy of Fine Arts and the Art Institute of Chicago. In 1922, she traveled to Havana, Cuba. In 1925, she went on a longer trip to France. She returned to the United States on the luxury ocean liner S.S. Paris.

Florence S. Winship moved into the new Palmolive Building in Chicago in 1929. There she kept an art studio while living in the Park Dearborn Apartments with her older sister Katherine L. Winship. I have found a Florence S. Winship in the 1940 U.S. census, in Chicago and working as the operator of a beauty shop. I can't say whether that Florence S. Winship was our artist, but in the 1940s, her career as an illustrator of children's books and coloring book covers began to take off. Her name appeared in a city directory of Elkhart in 1955. She was then listed as an artist. Even so, she kept open her connections to people and places in Chicago. She also did programs at libraries and in front of women's groups in and around that city. These were travelogs and films about animals and nature, some or all of which she shot herself. Of special note is a film called "Come Into My Garden," shot in Florence's own garden in Deerfield, Illinois, and featuring the monarch butterflies for which she grew milkweed and provided habitat over the years.

The books illustrated by Florence Sarah Winship are too many to list here. I'm not sure that anyone could easily come up with a complete or even near complete count. In any case, she worked for many years as a freelance artist for Western Printing and Lithographing Company of Racine, Wisconsin. Her rise in that field seems to have coincided with a decision by Western in the early 1940s to print a series of colorful, durable, and affordable children's books. These were the now classic and near ubiquitous Little Golden Books. Other series issued by Golden Press and Whitman followed, among them Cozy-Corner Books, Tell-a-Tale Books, Top Top Tales Books, Golden Cloth Books, and Golden Shape Books with their distinctive die-cut shapes. Florence specialized in stories about children, animals--especially cats, dogs, and horses--Christmas, ABCs, and counting. She also did covers for Whitman coloring books. Fortunately for us, she signed her works, and so we can find them pretty easily today, more than thirty years after her death.

Florence S. Winship had a long career as an artist on books for children. She died in March 1987 at age eighty-six.

I'll close with the book by which I discovered Florence Sarah Winship, Circus Color-By-Number, from 1966. That's her artwork on the cover. The interior illustrations were by Becky and Evans Krehbiel.

Text copyright 2018, 2024 Terence E. Hanley

John Gannam (1905-1965)

I have just one piece of evidence that illustrator John Gannam was an Indiana artist. From the book Forty Illustrators and How They Work by Ernest W. Watson, et al. (1946):

John Gannam's first art hero was an Indianapolis blacksmith. This swarthy "primitive" dipped brushes into cans of ordinary house paint and, stroke by stroke on the surface of an ordinary wood panel, created the image of a clipper ship under full sail. In the spell of this miracle the ten-year-old lad went home and tried to reproduce the smithy's masterpiece. The seed had been planted. (p. 130)

So unless he was on his own at age ten, John Gannam was a Hoosier . . .

 . . . but not by birth. That happy event occurred on May 24, 1905, in Lebanon--not the Indiana city but the Middle Eastern country, then part of the Ottoman Empire. (1) His birth name was Fouzi Hanna Boughanam, and he was the son of Hanna Ibrahim Boughanam (1873-ca. 1919) and Najla Boughanam (1883-?). On October 11, 1909, at age four, Gannam arrived in New York City with his mother. Coming from Turkey by way of Le Havre, they disembarked from the ship La Gascogne, perhaps with a destination in mind but giving no address. If Gannam lived in Indianapolis as a young boy, he was, by his teen years, in Chicago. The death of his father when Gannam was fourteen forced him into the role of breadwinner for his family. He worked at the Blackstone Hotel in Chicago, also as an errand boy, elevator operator, and employee in a machine shop. Interested in art since childhood, Gannam finally landed a job in an engraving firm at age eighteen. Although he was only a messenger boy, as Ernest Watson pointed out in his profile of 1946, "he was in the presence of art, and by hanging around nights he could learn much about lettering, drawing and the way artists work." (p. 130) Work for an illustration studio and a fashion studio, along with studies at the Chicago Academy of Fine Arts, followed.

In 1926, Gannam went to Detroit with his portfolio in hand and began working for the studio of Gray, Garfield & Ladriere. (2) He spent four years in Detroit working in black and white, mostly in the drybrush technique. In 1930, he moved further east, to the artist's Mecca of New York City, and began selling illustrations to leading magazines, including Collier's, Cosmopolitan, Good Housekeeping, Ladies' Home Journal, and Woman's Home Companion. He also created advertising art for the Air Transport Association, Ipana, Pacific Mills, St. Mary's Blankets, and other clients. Gannam specialized in depicting women and children in interior scenes and worked extensively in watercolor. Walt Reed, a historian of illustration in America, called him "a totally absorbed, dedicated artist" and noted: "To his fellow illustrators, each new painting by Gannam was an inspiring event."

John Gannam married Dorothy F. Merwin on August 30, 1936. They had at least one child, John Gannam, Jr., but were later divorced. John Gannam the elder became a naturalized citizen on February 18, 1957, in New York City. He moved from that city to Newtown, Connecticut, in about 1961. A member of the American Artists' Professional League, National Academy of Art, National Institute of Art and Design, Society of Illustrators, and Watercolor Society of America, he was named to the faculty and board of the Danbury Academy of Arts shortly before his death, which came on January 26, 1965, in a convalescent home in Danbury, Connecticut. He was fifty-nine years old. (Some sources say fifty-seven.) Surviving him were his son, John Gannam, Jr., and his brothers, Fred Gannam, Albert Gannam, and Edward Gannam, all of Chicago. Gannam was buried at New Saint Peter Cemetery in Danbury. In 1981, he was inducted into the Hall of Fame of the Society of Illustrators. You can see a very full gallery of art by John Gannam at the website American Gallery: Greatest American Painters, here.

Notes

(1) The town of his birth may have been Zahlé. The record of his arrival in the United States gave his nationality as Syrian.

(2) Gannam may have worked at Gray, Garfield & Ladriere at about the same time as Norwegian-born artist Arild Weborg (1900-1963).

Further Reading

• Forty Illustrators and How They Work by Ernest W. Watson, et al. (New York: Watson-Guptill Publications, 1946).
• A Complete Guide to Drawing, Illustration, Cartooning, and Painting by Gene Byrnes (New York: Simon and Schuster, 1948).
• The Illustrator in America, 1860-2000 by Walt Reed (New York: The Society of Illustrators, 2001).

A watercolor illustration by John Gannam for Good Housekeeping magazine. The subject matter may have reminded the artist of his homeland in the Levant.

Another woman in pink, though in a far different situation.

John Gannam in his studio, from Forty Illustrators and How They Work.

Update (June 30, 2017): A watercolor drawing by John Gannam from Good Housekeeping, June 1942, illustrating part one of the novel Do You Take These Women? by Viña Delmar. Thanks to Troy for providing the original.

Text copyright 2017, 2024 Terence E. Hanley

Esther Friend (1907-1991)

Illustrator, commercial artist, ceramist, printmaker, and fine artist Esther Friend was born in Hinsdale, Illinois, in 1907. She began her professional career at age twelve when she created a Christmas poster for a neighborhood dry goods store for the grand sum of $2. At fourteen, she started work with a commercial art and advertising agency washing brushes. In exchange for her labor, she received not pay but instruction in drawing and illustration. Esther also attended the school of the Art Institute of Chicago and the Vogue School and spent a year studying art in Paris.

Esther Friend worked as a commercial artist in the same agency where she had, as a teenager, washed brushes. After ten years on the job, she approached Chicago publisher Rand McNally and Company with her portfolio and came away with an assignment to illustrate a children's book. It was the first of her eighty-five illustrated books, mostly to do with babies, children, pets, and farm animals. In her search for subject matter, Esther went to parks, playgrounds, dog shows, zoos, and the children's room at the local library. In addition to drawing pictures for small books, she collected small books, some dating back as early as 1804.

Esther met Carl W. Lichtenstein, her husband-to-be, at a summer place in Eagle River, Wisconsin. Born in Detroit in 1902, Lichtenstein (and his twin brother) grew up in Indianapolis, attended Public School 32, and graduated from Technical High School in 1919. Lichtenstein (and his twin brother) worked for the Flickinger insurance agency in Indianapolis. In 1933, following their summer romance, Carl W. Lichtenstein and Esther Friend were married. They lived for some time in Chicago and began taking lessons together at Hull House beginning around 1939. They also started a business making ceramic figurines and Christmas ornaments called Lichten Ware. Lichten Ware was sold in stores all over the country, from Hawaii to Florida, and is still available through dealers and collectors.

By the 1950s, Esther Friend and Carl Lichtenstein were in Indianapolis, where she continued in her career as an illustrator. She also exhibited her paintings, drawings, prints, and sculptures. Esther Friend, a widow, died at Hooverwood nursing home in Indianapolis on December 13, 1991. She was eighty-four years old.

Above, a gallery of covers of books illustrated by Indianapolis artist Esther Friend.

A Lichten Ware figurine, created by Esther Friend and her husband, Carl W. Lichtenstein.

Esther Friend, a photographic portrait from Ruth Mac Kay's column "White Collar Girl" in the Chicago Tribune, December 12, 1947, page 38.

In observance of International Women's Day, March 8, 2017.

Text copyright 2017, 2024 Terence E. Hanley

George C. "Bob" Bales (1920-2016)

George Carson Bales, nicknamed Bob, was born on April 5, 1920, in Terre Haute, Indiana. His parents were William F. Bales (1891-1960), a farmer, and Beatrice Myer Bales (1896-1977), a farmer's wife and a postmistress at the Dana, Indiana, post office for thirty-seven years. Bob had an older brother, Jack Truitt Bales (1918-2011), who was an aviator, engineer, and real estate developer. You can read more about him on the website Find A Grave, here.

In addition to their many accomplishments on their own, the Bales brothers had connections to fame and accomplishment through their family. They are descended from Mordecai Beall (1739-?), who served in a Maryland military unit during the Revolutionary War. (Beall's son William changed the spelling of the family name.) They are also descended from Thomas White, a member of the Boston Tea Party. Hoosiers will recognize Dana, where Beatrice Bales worked as postmistress, as the hometown of war correspondent and author Ernie Pyle (1900-1945). According to Pyle's biographer, Jack and Bob Bales are the step-grandsons of Pyle's Aunt Mary Bales. (1) It was from Pyle that Bob Bales received his first set of oil paints, a Christmas gift in 1931. Pyle visited his relative Jack Bales, who called him "Uncle Shag," in the South Pacific during World War II and wrote about eating fried chicken from Indiana, canned by Aunt Mary and sent halfway around the world.

The Bales family lived in Vermillion County, the skinniest county in Indiana, when the boys were young. Both Jack and Bob matriculated at the University of Illinois, Jack to study law and Bob to study art under visiting portraitist Robert Philipp (1895-1981). (2) Bob went on to study portraiture under Will Foster (1882-1953) in Los Angeles, and under Robert Brackman (1898-1980) in New York City. (3)

Bob Bales graduated from the University of Illinois in 1941 and went into the U.S. Army. During World War II, he flew C-46s in the European Theatre. He was also qualified as a pilot and observer on B-24s. (Jack Bales was also an aviator during the war and served in the South Pacific.) Separating in December 1945, Bob studied art in Los Angeles and went to work for the Walt Disney studios on the strength of just one drawing he carried to his job interview. He worked as an illustrator on Song of the South (1946), the Little Toot and Pecos Bill segments of Melody Time (1948), and The Wind in the Willows (1949).

Bob returned to active duty in 1947 and served as a pilot in the southeast and east Asia region, deploying to the Philippines in 1950 with the 18th Fighter-Bomber Wing. In July 1950, at the start of the Korean War, he volunteered to go to the peninsula, where he helped establish a forward airfield, only to tear it down again as North Korean and Chinese forces advanced on the position. He was the only professional artist on the peninsula during that first hard winter. Using Jeep gas as paint thinner, he executed eight rapid-fire canvases, reducing his brushes to mere nubs in the process. Bob's Korean paintings were later part of a group of canvases he donated to the U.S. Air Force.

From 1952 to 1963, Bob was instrumental in the development of the U.S. Air Force art program, eventually serving as chief and retiring in 1963 as a lieutenant colonel. He joined the staff of Pepperdine University, earning a doctorate in business administration in 1971 and rising to the level of a vice-presidency within the university. He retired to Birmingham, Alabama, his wife's hometown, in 1980.

In addition to being an artist, aviator, and university administrator, Bob Bales was the author of Jet Aces of the Korean Conflict (1957), Ernie Pyle: A Hoosier Childhood (2002), and Ernie Pyle's Southwest (2003). After his death, his widow, Peggy Bales, remarked, "He lived life to the fullest like no one I ever knew." Among the other accomplishments of his long life and career: Eagle Scout, varsity wrestler, horseshoe pitcher, member of the Society of Illustrators, skin diver, and hunter. Bob Bales died on December 13, 2016, at age ninety-six.

Notes

(1) See The Story of Ernie Pyle by Lee G. Miller (New York: The Viking Press, 1950), p. 394.

(2) Born Moses Solomon Philipp, the artist was known as Robert in his youth. He later changed his name legally. George Carson Bales--with no Robert in sight--is nicknamed Bob. Could he have followed the example of his famous teacher?

(3) Philipp and Brackman both painted portraits of movie stars. I wonder if those connections helped Bob Bales break into moviemaking as an artist at the Walt Disney studios.

"USAF Friends Near K-9, Korea" by George C. Bales. K-9 was near the coast in far southern South Korea. I was stationed in the central part of the peninsula, south of Seoul, more than forty years later. Despite the passage of those four decades and more, I can say that this doesn't look very much different from the place where I served.

Revised and updated on December 6, 2019.
Text and captions copyright 2016, 2024 Terence E. Hanley

Elizabeth Buchsbaum Newhall (1909-1942)-Part Two

Elizabeth Buchsbaum provided the illustrations for the biology textbook Animals Without Backbones: An Introduction to the Invertebrata, published in 1938. The authors were her older brother, Ralph Morris Buchsbaum (1907-2002), and Ralph's wife, Mildred Shaffer Buchsbaum (1912-1996). Elizabeth's drawings are in black and white and are characterized by great clarity and simplicity. Generations of biology students have studied and learned from her work. Apparently, one of the great graphic artists of the twentieth century was also a student of Elizabeth Buchsbaum. I'll let the artists themselves tell the story . . .

Here is the cover for the second edition of Animals Without Backbones, written by Ralph M. Buchsbaum and Mildred Shaffer Buchsbaum and illustrated by Ralph's sister Elizabeth M. Buchsbaum. The crosseyed planarian has become a standard image in biological illustration. It's one I remember from my own childhood reading.

Here is an interior illustration from the book, showing a colonial animal called an Obelia. Note the great clarity and simplicity of the drawing. (I have slightly altered the image by recoloring the background to an even tan color.)

Elizabeth Buchsbaum's depiction of planarian anatomy is also clear and readable. (Again I have recolored the background.)

According to undocumented sources on the Internet, Dutch artist M.C. Escher (1898-1972) is supposed to have been inspired by the drawings of Elizabeth Buchsbaum. Is there truth in that claim? I don't know. There isn't any doubt that Escher's flatworms look a lot like Elizabeth Buchsbaums' flatworms, but then both are based on real animals. Update (Dec. 5, 2018): According to Sherry Buchsbaum, granddaughter-in-law of Maurice and Mabel Buchsbaum, M.C. Escher was indeed influenced by Elizabeth Buchsbaum's depiction of planaria. See her comment below.

Here is Elizabeth's grasshopper from Animals Without Backbones . . .

And here is Escher's. I think a stronger case can be made that Escher was inspired by Elizabeth's grasshopper, depicted in both drawings in an almost orthographic projection. (Oddly, grasshoppers are in the order Orthoptera.) But if Escher was influenced by one drawing, why not by the other? And if that's the case, then an Indiana illustrator has her place in the study of one of the most renowned artists of the twentieth century. Either way, the art of Elizabeth Buchsbaum Newhall lives on, even now, seventy-four years after her death. Update (Dec. 5, 2018): In her comment below, Sherry Buchsbaum has pointed out that M.C. Escher's grasshopper came before Elizabeth Buchsbaum's. With that being the case, I wonder whether she was instead influenced by him.

To close out this article about Elizabeth Buchsbaum, I would like to mention her younger brother, Robert E. Buchsbaum. He was born on December 25, 1912, in Chicago and received his bachelor's (1936) and master's (1937) degrees from the University of Chicago. Buchsbaum was a conductor (of the Gary symphony and others), an oboist, an instructor of music, and an executive at Coronet Recording Company. After a very long and productive life, he died on January 31, 2001, in Columbus, Ohio.

Text copyright 2016, 2024 Terence E. Hanley