Founded in 1858, Shattuck Military Academy in Faribault was one of the oldest and most respected college preparatory boarding schools in the Midwest. Shattuck was known for its rigid military discipline, strong academics, and were used to dealing with students who had been expelled from other schools. Enter Marlon Brando. After being expelled from his local high school for reportedly riding a motorcycle through the halls, Marlon Brando was sent to Shattuck Military Academy in 1941. Brando’s father, Marlon Brando Sr. attended Shattuck in the early 1910s and hoped the rigid program would sort his son out.
By all accounts, Brando was a popular but roguish cadet. Teachers at Shattuck have said that Brando was not disrespectful, but a prankster and a “character.” In his autobiography “Brando: Songs My Mother Taught Me,” he recalled the bell that rang every fifteen minutes to remind students to attend drills, meals, classes, and other duties. One night, Brando recalled that he climbed the bell tower, removed the 150-pound clapper and carried it about 200 yards away and buried it. When school authorities found it missing the next morning, Brando organized a student committee to find out who committed the crime to divert suspicion from himself. The ploy worked, and Brando said that he would take the burial place with him to his grave.
Here is the cast of a Womanless Wedding in Worthington. The Womanless Wedding took place on February 2, 1927.
Womanless Weddings, often staged by men’s civic and fraternal groups, were popular entertainment prior to the advent of television. They consisted of a mock wedding in which males dressed the roles of the entire wedding party, including the bride, mother of the bride, bridesmaids, and flower girl. These events were often fundraisers, since many in the community were more than willing to pay admission to see their male neighbors dressed in female attire. The men in this photo were raising money for the Woman’s Relief Corps, Auxiliary of the Grand Arm of the Republic.
Photo courtesy of the Nobles County Historical Society.
As the nineteenth century began to wind down, the residents of Minneapolis and St. Paul became eager to establish institutions that would nurture American culture while enhancing a reputation of philanthropy within the music and art communities of the Twin Cities. The task of enriching residents with these types of cultural institutions was taken up by notable names like William Dunwoody and James J. Hill—both contributors and trustees of The Minneapolis Society of Fine Arts, and T.B. Walker—founder of the Walker Art Gallery. From there, establishing schools of fine art and music education was made a priority. The first of these schools, St. Agatha’s Conservatory of Music and Art, was established in 1884. The Northwestern Conservatory of Minneapolis (1885), The Minneapolis School of Art (1886), and the St. Paul School of Fine Arts (1894) followed soon after.
Originally established under the name St. Agatha’s Conservatory and Convent, the school was conceived by the Sisters of St. Joseph of Carondelet, St. Paul Province, under the guidance of Mother Seraphine (a.k.a. Ella Ireland—sister of Archbishop John Ireland). The initial school and convent was located in a rented home at Tenth and Main Street in St. Paul. It housed twenty sisters who taught in parochial schools around the city. The convent was intended to be entirely self-supporting. Classrooms were added so the sisters could teach music and needlework in the evenings in order to generate the funds needed to run the facility.
Nicholas Brewer was a prominent 19th-century portrait and landscape painter. He was born in Olmsted County and was raised on a farm along the Root River. He was a student at the National Academy of Design in New York, where he also exhibited. Once he moved back to Minnesota, Brewer painted a crucifixion scene in the Cathedral of St. Paul. He was highly sought after as a portrait painter in the Twin Cities. He painted portraits of notable citizens such as Theodore Hamm, Frank Kellogg, and John Ireland, among others. This photo from 1900 shows Brewer in his St. Paul studio. The large portrait on the right is of Father Thomas J. Ducey, founder of St. Leo’s Roman Catholic Church in New York City.
Photo courtesy of the Minnesota Historical Society
Names like Louis Comfort Tiffany and Gustav Stickley are well rooted in many American’s minds as two of the key players in interior design and the decorative arts of the early twentieth century. For the emerging upper-middle class in Minneapolis, it was a craftsman closer to home that excelled in creating handsomely-crafted pieces locally. John Bradstreet’s position as a tastemaker in the city was solidified into history when the Minneapolis Journal eulogized him in 1914 by proclaiming, “If this section of the country is to furnish a name that will be known to the America of one hundred years from today, that name is more likely to be that of John Scott Bradstreet than any other.”
Bradstreet got his start in Minneapolis in 1878 when he established a custom furniture business partnership with Edmund Phelps. The firm grew steadily over the next five years, and their showroom eventually occupied six floors of the Syndicate Block on Nicollet Avenue in Minneapolis. Bradstreet wasn’t only building his business; he was earning a reputation for being the city’s leading interior decorator and furniture designer. In 1884, Phelps sold his share of the business to pursue other ventures. That same year, Bradstreet partnered with the Thurbers of Gorham Manufacturing and formed Bradstreet, Thurber, and Co.
George Engesser’s Circus was based in St. Peter, Minnesota. It was one of the largest motorized circuses in the US from the 1920s until the start of WWII. This poster advertises What Happened to Ole – one of the many Ole Shows put on by the circus. George’s father, Matthew, founded the Engesser Brewing Company in 1916.
Photo courtesy of the Nicollet County Historical Society.
Such a beautiful instrument. Students from The College of St. Scholastica in Duluth playing harps at a recital in 1957. Pictured left to right are Dea Bowden, Betty Dunlap, Ann Sander, Vivian Schuldt, Elverna Stalvig, and Diane Smith.
Photo courtesy of The College of St. Scholastica.
This hand-blown, enamel-painted window can be seen on the grand stairway landing of the American Swedish Institute (formerly the Turnblad mansion). The ornate window is a reproduction of the painting Valdemar IV Atterdag Holding Visby to Ransom by Carl Gustaf Hellqvist. The Danish King Valdemar IV is seen sitting on his throne to the right with his army in the background. The Danish have threatened to destroy the town of Visby, Sweden unless the citizens give up all their valuable possessions. The mayor of Visby is seen in the center with his fist clenched. His beautiful wife is by his side looking toward the heavens for divine intervention. The original painting was too small to be placed in the space allowed for the window, so the craftsman extended the length by placing himself in the artwork on the left side.
Minneapolis’ most prominent citizens were shocked to learn that the Minnesota State Fair would take up permanent residence St. Paul. When the announcement was made, these citizens sprung into action to plan a fair in their city to rival the one in St. Paul. In 1885 the idea was born to create an exposition centered around industry and technology instead of around agriculture. Minneapolitans rallied around the idea that industry and technology were the future of Minnesota, and agriculture was the past.
By December 15, 1885 supporters had raised over $250,000 in public funds and began discussing where to build a modern building to house the exposition. Eventually, the site of the Winslow House Hotel in southeast Minneapolis was chosen and the hotel was quickly razed so construction could begin as soon as possible. The committee in charge of planning the exposition wanted the first fair to begin in August 1886 — so they had less than nine months to construct the building and create exhibits for the fair. The design of Isaac Hodgson and Son was chosen and the cornerstone was set on May 29, 1886 with much fanfare. The idea of the exposition and the modern building were so popular with the citizens of Minneapolis that over 5,000 people attended the public ceremony.
Betty Crocker was born in a boardroom of The Washburn Crosby Company of Minneapolis in 1921. A flood of questions from the public about baking had overwhelmed the company. In a brilliant marketing move, Washburn Crosby created a personality to answer all of the inquiries individually. They combined the last name of a recently retired company executive, William Crocker, with the first name Betty because it was thought to sound warm and friendly. Next, they decided that it would be more intimate to sign responses with Betty’s name in handwriting rather than a typed valediction. Betty Crocker’s signature came from a secretary who won a contest among the female employees of Washburn Crosby. That signature is still used as Betty’s today.
In 1924, Betty Crocker acquired a voice with the radio debut of the nation’s first cooking show on WCCO radio. The Betty Crocker Cooking School of the Air became such a big hit that it expanded to thirteen other regional radio stations. Each station had their own “Betty” who read from a script produced in Minneapolis. The Betty Crocker School of the Air ran for twenty-four years, making it one of the longest running radio shows in history. In 1928, the top six milling companies, including the Washburn Crosby Company, merged together to form one — General Mills.