Category: History

In the 1920s, North Carolina was ranked as the largest textile producer in the country, employing thousands, especially in the Piedmont. But as the Great Depression ushered in the 1930s, nearly one-quarter of all North Carolinians were out of work.

Textile workers who held onto their jobs faced long hours, low wages, and dangerous working conditions.  Consequently, they joined unions and went on strike for livable wages and safe working conditions. Throughout the 1920s and 1930s, mill employees across the state struck until their demands were met. For example, in 1921, at Cannon Mill locations in Charlotte, Concord, and Kannapolis, an estimated 9,000–11,000 people went on an 8-week strike. 

Using Chronicling America, we can research these strikes and find out more about the history of organized labor in North Carolina.

Readers can see the same reasons  behind the strikes. Many mention wage reductions, especially impactful during the years of the Great Depression. Sometimes these wage cuts were documented to be as high as 25%. 

Over a dozen strikes occurred in the state between 1931 and 1933, many related to how much employees were being paid. In December 1931, a small strike at the Klumac Cotton mill in Salisbury was called. In July 1932, 6,000 struck in High Point for three weeks, and in August, roughly 500 at mills in Rowan County walked out, all in response to wage reductions.

One of the other common reasons for strikes was because of “stretch-out.” Officially called “scientific management,” it was a time management system that was designed to save companies money by making workers more efficient, leading them to do more in less time.

However, mill workers saw it as a way to cut jobs and have fewer people do more work without an accompanying rise in pay. Mill workers called it “stretch-out” as they felt they were stretched to their limits. In August 1932, over 1,000 workers in Rockingham and Spindale walked out, demanding an end to “stretch-out,” and restoration of their wages to pre-cut pay levels.

Textile workers struck for other reasons as well. Hosiery mill workers in High Point demanded the same pay for a 40 hour week that they previously received for a 55 hour week. One Spindale strike petitioned for the removal of a specific superintendent. Mill strikes persisted well into the 1930s, with hundreds or thousands of workers often stopping work for weeks on end.

Most strikes were nonviolent, although there were exceptions. The most infamous strike occurred in Gastonia in June 1929 where violence broke out and strike organizers were killed. In February 1932, a strike of 500 cotton mill workers in Bladenboro ended after three officers were shot, although “[n]o one was wounded seriously.” One fearful 1937 editorial wrote that striking inevitably meant violence and death – “Bloodshed follows a Southern textile strike almost as inevitably as night follows day.”

State and national governments often intervened in settling or ending strikes. In 1921, National Guard troops were ordered to Concord to “take complete charge of the textile strike situation,” which only broke after a visit by Governor Cameron Morrison. In 1929, it cost the state over $27,000 and $12,000 to again put National Guardsmen on duty during textile strikes in Marion and Gastonia, respectively.

Morrison was not the only governor to involve himself – in 1932, Governor O. Max Gardner persuaded 5,000 strikers in High Point to submit to arbitration. The following year, the State Department of Labor stepped in to settle strikes in Concord and in Forest City.

A strike’s success was not always guaranteed – neither was positive reception. In 1934, mill workers in Mecklenburg County were “hot” for a strike, but those in Rutherford County, Gaston County, Marion, and High Point all responded negatively. One editorial in The Independent (Elizabeth City) asked why people across the state were striking, and if the cause was “hunger, communism or a general state of dissatisfaction…” 

In 1933, President Roosevelt signed the National Industrial Recovery Act, which set minimum wages for textile workers in the South – about $12 a week. In September 1934, a massive national strike was held, but many textile workers felt that because of a lack of union support, membership was not important, and union numbers in North Carolina never recovered.

The oft-told story is that the telephone officially came to North Carolina on March 10, 1879. That is typically seen as the day when Major Bowling W. Starke, the manager of the Western Union Telegraph Co. office in Raleigh, strung a wire that carried his voice from his office to his home four city blocks away.

Chronicling America, the archive of historic newspapers created by the Library of Congress, suggests otherwise. You might have heard 1879 was the year of the telephone, but our research says something different.

It was actually a year earlier, on April 14, 1878, when Starke made the first telephone call from Raleigh to Wilmington. Maj. Bowling W. Starke connected to Wilmington, and Governor Vance conversed with former Confederate Attorney General George Davis. Several men formed a choir to sing several hymns, “which were re-duplicated by singers in Wilmington.” The “melodies were perfectly audible,” and the first long-distance telephone call in North Carolina was a success.

People immediately saw the potential for the telephone as a tool to connect people in new and exciting ways.

The Western Sentinel (Winston-Salem) declared the telephone to be “the greatest achievement of modern science” and later said that it had “scarcely ceased to be a cause for amusement…” The Farmer and Mechanic (Raleigh) later facetiously predicted that telephones would eliminate the need for church services and houses of worship. 

A frantic rush followed to connect cities and citizens via telephone. The “telephone craze” was on. A month after Vance’s telephone call, the towns of Winston and Salem were “completely cobwebbed with telephones”.

The Farmer and Mechanic imagined that Raleigh “must look like a big cob-web” with all the telephone wires stretched across the city. The excitement was so palpable that one newspaper advertisement simply advertised that people could come look at the telephone at a local drug store.

In 1879, Starke threaded the city of Raleigh with additional telephone wires, and communication was soon established between Raleigh and Durham. A few days later, several houses in Chapel Hill, including the home of Julian S. Carr, had telephones.

By the end of 1879, The Raleigh News reported 96 telephone wires in Raleigh, including the Supreme Court room, with more to come. In May 1880, telephone wires between Charlotte and Greenville, SC were established. It was prophesied that soon the telephone would “be so common that everyone can sit on his doorstep and talk with everybody else.”

Some articles highlighted citizens’ efforts to establish a telephone exchange in town. Telephone exchanges, offices that connected callers via switchboards, were big news for any town. A telephone exchange meant more people in town had phones and that they could talk to people further outside of their community. New telephone exchanges were always newsworthy.

In preparation for their telephone exchange, the Asheville Citizen included instructions on how to call someone, and how you should answer the phone (“What will you have?”). Once it was established, the Asheville telephone exchange answered more than 15,000 calls in June 1890 alone – “the biggest month’s work” up to that point. 

Throughout the state, people were excited at the possibilities the telephone presented. Part of that excitement involved just making civic life more convenient. Doctors could be quickly called in case of emergency, as could fire departments.

Cotton factories in Catawba, Lincoln, and Gaston counties built a telephone system to process orders faster. The Farmer and Mechanic editorialized that once Raleigh residents could call cities like Richmond or Augusta, “the saving in postage, in time, and in mistakes, will be wonderful.” The telephone represented a major change for North Carolinians.

Over the years, many classic films have been produced and shot in North Carolina. But the story of the first educational film ever made here begins in 1921. Using the state newspapers available on the Library of Congress’ Chronicling America website, we can track its history.

In May 1921, the State Board of Education announced they would outline the history of Roanoke Island, from the British colonists’ ships landing in the 16th century to the 1920s. Captain Albert O. Clement, a photographer from Goldsboro, was initially slated to direct a “picturization” and W.C. Crosby, the director of the Division of School Extension in the state Department of Education, would assist.

A movie being filmed in North Carolina was a big deal, and even bigger for the people living on location in Dare County. Filming was scheduled for that September, and it would not be a historical recreation “in pageant form, but with an eye to reality.”

The movie was to be directed by Elizabeth Grimball, a veteran theatre play producer, and Dr. Frederick H. Koch, professor of dramatic literature and playwriting at UNC-Chapel Hill. Mabel Evans Jones, the Dare County school superintendent, was to help with production and distribution.

$3,000 in state money was appropriated for the project. One editorial in the Elizabeth City Independent argued that $3,000 wouldn’t be enough to do the project justice, and that the producers would have to rely on “donated properties, donated costumes, and such amateur theatrical talent…” Normally, a project of this size at the time would have required more than $50,000.

Indeed, as pre-production began, nearby counties volunteered their manpower to make the movie a reality. Money and other supplemental resources were brought in by the State Fishing Commission and the U.S. Coast Guard. The people of Roanoke Island built ships and sets. A number of citizens from across the state, including several newspapermen from Greensboro and Raleigh, volunteered to act in the movie.

Production for “The Lost Colony” began on September 20th, and there was an excitement in the air surrounding the filming. 150 cast members came from nearby towns – 100 were from the town of Manteo alone.

Producers from the Atlas Educational Film Co. in Chicago were present on set, as well as historian Frederick A. Olds.

News coverage of the filming was very favorable, with reporters remarking on the elaborate scenes, the depth of the story, and the striking colors of the costumes (the film was, of course, in black-and-white).

Filming was finished by the 27th. Although there was some grumbling that the film wouldn’t be entirely historically accurate, reporters were gleeful when Crosby promised the finished product would be viewable by around November of that year. Indeed, it premiered on November 7, 1921 in the Supreme Courtroom in Raleigh.

Evidently, Crosby had also promised the people of Manteo that they would be the first people to see it. When Raleigh papers reported that the film would be shown all over the state before Manteo, the town was incensed. They were also hurt that the leading actors were from outside the community and didn’t reflect the time and energy put in by the people of Manteo.

It was quickly rectified – the first public showing would be in Manteo after all, on the night of November 19. The film would be shown in Elizabeth City after that. One writer reckoned that “everybody in Elizabeth City will try to see the great historical film…” 

And they did. On November 22 alone, an estimated 3,200 people paid admission to see the first movie ever filmed there. This was the “greatest day’s business” ever recorded by the Alkrama Theatre in Elizabeth City. The 1920 census recorded 8,925 living in Elizabeth City at the time, which would mean nearly 36% of all residents turned out to see the movie.

Hundreds entered the theater without paying, crowding out the doors. Hundreds more were turned away, and the lobby and street outside were so full of people that the police threatened to close the venue. This made theater manager John Burgess “so hot in the collar” that he and the police chief nearly came to blows.

Reviews were mixed. The Independent said it was “lacking in many dramatic details, but as far as it went it was good.” Another editorial remarked on the irony of watching English colonists exact violence against the native Americans living here, arguing that the contemporary colonizing of the Philippines and Haiti prove that “we haven’t progressed much in the more than three centuries since.”

Directed by Elizabeth Grimball and written by Mabel Evans Jones, “The Lost Colony Film” was to be the first in a series entitled “North Carolina Pictorial History,” but none ever followed. The film is available as part of the North Carolina Collection in Wilson Library, and it is available to view on a kiosk in the North Carolina Collection Gallery.

Every summer, people from around the country visit Manteo, North Carolina, to see an outdoor drama called “The Lost Colony,” a dramatization of the famous failed colony on Roanoke Island. By exploring historic North Carolina newspapers, we can see how that play began and how it became a yearly production.

On July 4, 1937, Paul Green, a professor of drama and philosophy at UNC Chapel Hill, showcased the history of Manteo as the location of the failed Roanoke Colony by staging the first showing of “The Lost Colony” at the specially-built Waterside Theatre. In 1936, Green was approached by W. O. Saunders, editor and publisher of The Daily Independent from Elizabeth City, N.C. Saunders was inspired by the Passion Play of Oberammergau, Germany, to create an outdoor drama for North Carolina, and he wanted Green to be the show’s playwright. Because 1937 marked the 350th anniversary of the birth of the first English child in North America, the lost Roanoke colony into which she was born provided a fitting subject for the production.

Like the play at Oberammergau, The Lost Colony took the effort of the entire community, as well as a few federal agencies, to make Manteo ready to stage the outdoor drama. The sponsors of the play partnered with the Works Progress Administration, the Civilian Conservation Corps, the Federal Theatre, the North Carolina Historical Association, the Roanoke Island Historical Association, and the Carolina Playmakers to stage the show. Those organizations provided actors, stage management, and building labor to complete the Waterside Theatre and amphitheater seating for the audience.

The Lost Colony opened to a crowd of 2000 on its first night, despite the difficult drive required to get to Roanoke Island. An early review had only positive things to say about the production value; the acting by Federal Theatre actors, Carolina Playmakers, and local residents; and singing by the Westminster Choir of Princeton, New Jersey.

A later review by the Roanoke Rapids Herald gave less favorable reviews for the accommodations provided for the audience. They noted that the town was not prepared with restaurants to feed the thousands of people who were coming to the town for the play, that the outdoor seating was uncomfortable to use for the two-hour runtime, and that parking conditions trapped attendees long after the play had finished. Despite those complaints, that review still noted the excellence of the show itself and the impressions it had made on the reviewer.

The play continued to bring large crowds to Manteo throughout the summer, the largest of which formed when President Roosevelt visited Roanoke Island to celebrate the birth of Virginia Dare. The crowd so overwhelmed the town that the hotels in Manteo and Nags Head were completely filled, so residents opened their private homes as guest lodgings.

Roosevelt’s visit brought national attention to “The Lost Colony.” By October 1937, locals were calling for the play to become a yearly production and pushing for the area to become a state park instead of “turning the site over to National Park Services.” Still, in 1941, nearby Fort Raleigh Historic Site and the Waterside Theater were transferred to the National Park Service.

Today, The Lost Colony still runs every summer at the Waterside Theater—with the notable exceptions of four years during World War II and Summer 2020, when it did not run due to COVID-19.

Additional Resources:

https://www.ncpedia.org/anchor/paul-greens%C2%A0-lost-colony

https://www.ncpedia.org/fort-raleigh-national-historic-site

Green, Paul, and Laurence G. Avery. 2001. The lost colony: a symphonic drama of American history. Chapel Hill: University of North Carolina Press.