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This Woodville sign welcomes visitors to the former home of John and Presley Neville. Photo courtesy of Neville House Associates.

Community Spotlight—Woodville

The Community Spotlight series features the efforts of Rivers of Steel’s partner organizations, along with collaborative partnerships, that reflect the diversity and vibrancy of the communities within the Rivers of Steel National Heritage Area.

By Emma Michaud, Communications Intern

Woodville: Where the Chickens Call Home

They might not know it, but a flock of chickens residing at a National Historic Landmark in Bridgeville just had the view from their run upgraded. Their coop sits beside Woodville (aka the Neville House), which was built by John Neville who gained historic notoriety for his role in the Whiskey Rebellion. And the view from the run? Well, it overlooks a recently restored exterior porch.

Situated on two acres of former farmland, Woodville, which was constructed between 1774 and 1780, has been preserved by the Neville House Associates since the mid-1970s.

The Woodville property contains the John and Presley Neville house, a chicken coop, a demonstration kitchen garden, a shed, privy, a still house, and a recreated cabin. Photo courtesy of Neville House Associates.

“This place is such a gem,” said Susan O’Toole, who has served as the president of the Neville House Associates since 2019. “I’ve always felt this was very important—that Woodville should be cherished, preserved for people to learn our history.”

Susan began volunteering at Woodville in 1985. In time, she joined the board of directors and served as vice president before taking on her current role.

“It becomes a real passion for you, you know. Every year, I learn something new! Raising my kids, I would take them there and they didn’t get the bug from me . . . but they would help out sometimes,” she said with a laugh.

Susan and her other volunteers with the Neville House Associates work to recreate life in southwestern Pennsylvania from 1780 to 1820. The Woodville property contains the John and Presley Neville house, a chicken coop, a demonstration kitchen garden, a shed, privy, a still house, and a recreated cabin. Woodville is the oldest house open for tours in Western Pennsylvania and it is mostly in its original condition.

“There’s a lot to learn from history,” Susan wisely said.

Woodville, as seen from the interior of the property.

One of Woodville’s stories overlaps with John Neville’s role in the Whiskey Rebellion.

Having previously served as a general the American Revolution, John Neville had amassed considerable acreage in the Chartiers Valley including approximately 1,200 acres of land that housed his primary residence, Bower Hill, which was situated just up the hill from Woodville. He had also earned an appointment as the local tax collector.

In the years after the American Revolution, the government created an excise tax on whiskey to help pay back debt from the war. To the farmers in Western Pennsylvania, the new whiskey tax that Neville was charged with collecting was unfair for a variety of reasons, and they began to organize in protest.

On July 17, 1794, Major James McFarlane led hundreds of militiamen to Bower Hill, with the intent of forcing Neville to resign from his position and turn over the tax records. Following a day long battle, they burned Neville’s house on Bower Hill, as well as the other outbuildings.

Fortunately, Woodville was spared, as it was occupied by Neville’s son Presley at the time of the incident. In the ensuing years, the home was occupied by only two additional families.

Some of the chickens at Woodville.

During a visit to Woodville, you can learn more about the history of the home, its role in the Whiskey Rebellion, and the story of its preservation and restoration . . . which brings us back to those chickens and the new porch.

The Neville House Associates recently received a Mini Grant from Rivers of Steel to help with the restoration of Woodville’s wraparound porch. Prior to this year, the original covered wooden structure was showing its age. Now restored using more durable modern materials, the porch retains its original appearance and should stand the test of time. With the continued preservation, the Neville House will remain an indoor/outdoor historical museum for people to experience and learn about for years to come.

Additional support for the porch was provided by Colcom Foundation, Schoonmaker Foundation BNY Mellon, Americana Corner, National Association of Colonial Dames of America Allegheny County Chapter, and Roman Family Charitable Trust.

The restored porch faces the road and wraps around one side of the home.

Programming at Woodville includes Whiskey Rebellion Day, cooking demonstrations and workshops, educational events for students, self-guided tours, and more, including the upcoming the Twelve Days of Christmas event on Sunday, December 15, 2024. To begin the evening, guests are welcome to join the Annual Christmas Service of Lessons and Carols from 4:00 to 5:00 p.m. at Old St. Luke’s Church free of charge. Afterward, at Woodville, experience how the Twelve Days of Christmas were historically celebrated by touring the site by candlelight from 5:30 to 9:00 p.m. Tours are $10 for adults and $5 for children. No need to register in advance.

To learn more about the mission and programming at Woodville, visit https://woodville-experience.org/.

About the Mini-Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant Program.

Creating Legends: Graffiti Writers of the Past, Present, and Future

By Jordan Snowden

At the Carrie Blast Furnaces, energy and creativity have replaced molten iron as the leading commodities supporting their surrounding communities with the help of Rivers of Steel and local and non-local artists through festivals, events, and educational programming.

For the heritage nonprofit’s latest upcoming project, Creating Legends: Graffiti Writers of the Past, Present, and Future, graffiti artists from around the world will mix and mingle with one another and with residents of Pittsburgh and Mon Valley communities. The project is presented by Rivers of Steel in partnership with Hemispheric Conversations Urban Arts Project (HCUAP).

Running from October 14 – 20, this multilayered, community-based program serves as a weeklong residency for select artists to engage with youth, create new murals, and participate in free public events at The Warhol and Carrie Blast Furnaces.

Or, as Scott Brozovich, Rivers of Steel’s graffiti coordinator and teaching artist, put it: “Creating Legends serves as a way to work with legends—like New York graffiti writer pioneers and United Graffiti Artists, aka UGA, founding members Henry 161 and Mike 171—to create new legends.

“I think the part that gets slept on a little bit is the ‘creating,’” says Brozovich. “You know, because we’re bringing legends out, but that’s not the purpose of the program. The program, in my eyes, is to use people like Henry and Mike to inspire others to become legends themselves.”

Chris McGinnis, Rivers of Steel’s senior director of programs & regional partnerships, understands the excitement of bringing famous artists to the region and the impact it can make on youth but also acknowledges what programs like this can do for the communities over time.

“Our graffiti arts programs are anchored in the legacy of our region’s postindustrial past,” said McGinnis. “Not unlike a moth to a flame, creatives of all types have been lured by the Carrie Blast Furnaces, including the graf writers in the 1980s and ’90s. But more importantly, our program is also centered on our region’s future. By working with youth and partnering with an array of collaborators—HCUAP, individual artists, community centers including Rankin Christian Center and Dragon’s Den—we can build skills, create confidence, and spark interest among our communities’ youngest artists, while also crafting something beautiful for everyone whose eyes rest on the murals.”

The 2024 Program at a Glance

Creating Legends kicks off on Monday, October 14, with a community event during Rankin Christian Center’s Fall Festival. All of the Creating Legends artists—from the Netherlands’ hip-hop-leaning graphic muralist Mr. June to local artists working with HCUAP, including Shane Pilster who helped develop Rivers of Steel’s graffiti arts program—will be available for a meet and greet, as well as a live community painting session. Alongside music and food options are pumpkin carving, games, and a portrait mural session.

Come Wednesday, Mike 171 and Henry 161, known worldwide as The Boys from the Heights, join self-taught multimedia Venezuelan-American artist Ally Grimm at Homestead’s Dragon’s Den to speak with students about the artists’ backgrounds in the graffiti medium.

Front-runners of style-writing graffiti, The Boys from the Heights helped launch the graphic art form as a global cultural phenomenon and were some of the first graffiti artists to be written about in The New York Times during the 1970s. Grimm, meanwhile, will offer a more modern take on graffiti, as over the years her signature monochromatic style has evolved from paper to canvas, and now murals and digital installations found in cities across America, as well as the virtual world with augmented reality and non-fungible tokens.

That same day, across the river at the University of Pittsburgh’s Center for Creativity, Roberto Seminario aka Sef, a graffiti artist from Peru whose realistic aesthetic focuses on themes of innocence and purity, and renowned Parisian street artist REVER will share their stories while creating accompanying live paintings.

Thursday, Creating Legends offers another student-focused educational leg, when Sef, REVER, Mr. June, and Grimm visit associate professor of communication Caitlin Bruce’s class at the University of Pittsburgh to share their stories, followed by a Q&A session.

Creating Legends opens back up to the public on Friday at The Andy Warhol Museum’s theater for a Q&A panel discussion featuring all of the artists involved, moderated by Emma Riva, a member of HCUAP. Riva is an art writer based in Pittsburgh. Her work has appeared in Artforum, The Art Newspaper, Newcity, The Pittsburgh Jewish Chronicle, Belt Magazine, and more. She also serves as the managing editor of UP Magazine—an international graffiti and street art publication—and is the online editor of Pittsburgh’s TABLE Magazine.

Henry 161

Riva, who grew up in New York’s Washington Heights—where The Boys from the Heights did—is looking forward to the event. “I’ve done a couple of combinations at this point with different panelists, but this is the third discussion I’ve moderated with Mike [171] and Henry [161], so I feel like I know them pretty well, and they’re really fun people to talk to that have super inspiring stories.

“They’re both sweet people and positive examples of masculinity that are at a point in their lives where they want to share their stories with the world because they were some of the first graffiti writers in the U.S.,” says Riva. “They are some of the originators of the movement, and we’re lucky in Pittsburgh—in any of these arts institutions—that they speak and we get to be near them, to hear from them, while they’re still around.

Mike 171

“I’m always really excited to speak with people in the graffiti community because they are always such big personalities and take some elitism out of being creative,” says Riva.

Saturday, the fun moves to Carrie Blast Furnaces, where the artists will hang out and work on creating new pieces. Mr. June and Grimm are set to paint solo murals, while Sef and REVER are set to paint together. Meanwhile, The Boys from the Heights will lead a special version of the Hands-On Graffiti Tour before turning the spray cans over to guests, offering a chance to paint with the legends themselves.

Closing out the week on Sunday is a paint party at Trace Brewing’s Clement Way legal wall, featuring snacks, drinks, music, live painting, and murals by Dejouir Brown and Juliandra Jones, both of whom currently work with Brozovich to lead Rivers of Steel’s graffiti arts student programs.

For Brozovich, youth engagement is an essential element of the program. “This really means something to me because I didn’t get chances like this as a kid,” says Brozovich. “No one came into my school and was like, ‘Hey, you don’t have to go work in the local factory . . . you could do something else.’ That’s a big part of what the program is—showing youth that you can be something more than just your average worker; you can be a legend.”

Artworks by Michael Walsh (left) and Carlos Mare (right) created during the Industrial Grit and Graffiti program in 2022.

The Foundation for Creating Legends

In 2022, Rivers of Steel launched Industrial Grit and Graffiti, a program held at the Carrie Blast Furnaces that was dedicated to exploring the intersection between metal arts and graffiti.

For one week that summer, graffiti arts pioneers Carlos Mare, né Rodriguez, (aka Mare139) and Pittsburgh’s own Michael Walsh joined three local artists to collaborate, learn from one another, and push their personal boundaries and intersections of graffiti sculpture art. Some of those works, including Mare’s sculpture showcasing the movement of breakdancing, are still on display at the Carrie Blast Furnaces.

The program also connected with residents in the nearby communities in the Monongahela Valley—places shaped by both their industrial and postindustrial heritage—for interactive events, ranging from tours and workshops to internships and residencies. These activities, dubbed the Community Learning Series, also culminated with an artists’ talk at The Warhol Museum in December of 2022.

“What’s really nice about the organization is that it’s preserving this whole industrial space for artists to come look at it, be inspired by it, and then go make art,” said Mare in a 2023 video about Industrial Grit and Graffiti. “The opportunities that Rivers of Steel offers someone like me and Michael, who believe very strongly in the ethos of hard work, smart work, forward-thinking work, work that does not come easy—this is a place for people like us.”

Walsh echoed that sentiment, saying, “I was somehow, in these abandoned sites, almost taken over by this industry and the ghost of its spirit. The amount of energy that was expelled here, if you think about that, is pretty hard to grapple with. I think it’s only appropriate that someone from a city like Pittsburgh would work in this medium and continue to.”

While one of the purposes of Industrial Grit and Graffiti was to show how graffiti art can extend to other mediums and opportunities, the format was also a hit with the creatives who participated.

“I want to make this available in the way of encouraging other graffiti artists to work in the industrial arts and work with their hands . . . and 3D art and also work in the ever-emerging and expanding digital realm,” says Walsh.

“Industrial Grit and Graffiti was Rivers of Steel’s second major initiative that used graffiti as an inspiration for creative placemaking and community building,” said McGinnis. “It was borne out of the Murals on a Mission project. Now, picking up where the 2022 program left off, Creating Legends embraces that momentum and features public murals, community-based collaborations, and culminating public events.”

A canvas painted during a Murals on a Mission community event.

McGinnis also acknowledged the support he received from muralist Ashley Hodder. “Ashley was essential in getting Creating Legends off the ground, from early-stage collaboration in drafting the grant requests to connecting us with participating artists and helping coordinate their murals and locations. It was great to have the opportunity to work with her again.”

Creating Legends was made possible through contributions from The McKinney Charitable Foundation, The Heinz Endowments, and the McElhattan Foundation.

Get Involved

Join Rivers of Steel & Hemispheric Conversations Urban Art Project for a panel discussion featuring nationally recognized muralists and graffiti artists Mr. June, Sef, Mike 171, and Henry 161 at The Warhol Museum on Friday, October 18. The conversation, moderated by Emma Riva, will reflect on how the project is bringing together local, national, and international muralists to celebrate the origins of graffiti and its influence across generations. It is co-presented with The Andy Warhol Museum. The event is free, but registration is required. Sign up here.

Also, don’t miss the opportunity to join the special version of the Hands-On Graffiti Tour at the Carrie Blast Furnaces on Saturday, October 19, led by Mike 171 and Henry 161—The Boys from the Heights. Register here.

So grab your spray paints or simply your listening ears, and come, learn, have fun, and who knows—you may just be the next graffiti legend!

Jordan Snowden is a freelance writer based in Pittsburgh whose work has been published in The Seattle Times, Pittsburgh City Paper ,and elsewhere. She also runs @jord_reads_books, a book-focused Instagram account where she connects with other bookworms. In her free time, Jordan can be found with a book in her hand or DIYing something with her husband.

Gledaj! sketching workshops explore Maxo Vanka’s perspective. Photo by Lynne Squilla.

Community Spotlight—Gledaj! Sketching Workshops

The Community Spotlight series features the efforts of Rivers of Steel’s partner organizations, along with collaborative partnerships, that reflect the diversity and vibrancy of the communities within the Rivers of Steel National Heritage Area. Today’s story explores the Gledaj! Sketching Workshops that capture the spirit behind the inspiration Maxo Vanka took from Pittsburgh’s vistas.

By Lynne Squilla, Contributing Writer

Visions of Carrie

On a hot, sunny day in late July 2024, a group of 30 people gathered at the towering Carrie Blast Furnaces National Historic Landmark. Holding sketchbooks, easels, brushes, pencils, and pens, the group listened to some inspiration from local artists then quietly dispersed across the grounds, each looking around intently before settling down to create their own visions of this remarkable site.

This was the second Carrie Furnaces Gledaj! Sketching Session since 2023, conducted by the Society to Preserve the Millvale Murals of Maxo Vanka (SPMMMV). It has become a happy collaboration between the Society and Rivers of Steel, sponsored in part by a Rivers of Steel Mini-Grant. The images these visitors created were diverse and breathtaking, capturing the power, beauty, and spirit of this National Historic Landmark. The experience tied together two of our area’s important industrial heritage sites, raising awareness of these treasures and their impact on the region and the world.

Sketching at Carrie. Photo by Anna Doering.

Croatian-born artist Maximilian “Maxo” Vanka was a classically trained artist who constantly sketched birds, animals, people, situations—and industrial structures. These Gledaj! sketching sessions were inspired by his bold murals emblazoned on the walls of St. Nicholas Croatian Church in Millvale.

“Maxo Vanka loved the grit and muscularity of Pittsburgh,” said Anna Doering, executive director of SPMMMV, pointing out that he first came here in 1935 and drew the dramatic landscape of factories and furnaces, as well as bridges, rivers, and the then newly constructed Cathedral of Learning.

Recruited by St. Nicholas’ priest, Father Albert Zagar, to fill the blank walls of his Croatian-Catholic church on a hill in Millvale, Vanka crafted 25 murals in two great bursts of energy in 1937 and 1941. They are a mix of religious imagery and poignant scenes of life for the Croatian immigrants who came to toil in Pittsburgh’s coal mines, iron furnaces, and steel mills.

“Look at The Immigrant Mother Gives Her Son for Industry, and there are blast furnaces in the background,” Doering reflected, referencing the murals. “Also in The Simple Family Meal. And Injustice: the flames at the feet of that figure [can be compared to] the flames of industry. Behind Father Zagar on the altar mural, you can see smokestacks and downtown Pittsburgh.”

Maxo Vanka’s mural showing Father Zagar, Croatian immigrants, and smokestacks of Pittsburgh. Courtesy of SPMMMV.

“So, tying the murals to Carrie and Rivers of Steel,” she continued, “the synergy is that both organizations are trying to preserve these parts of Pittsburgh’s history: its industry, its past, its workers. We’re telling very similar stories about the immigrant experience.”

The original concept for the sketching sessions came from a meeting between Doering and Pittsburgh-born architect John Martine, who traveled Europe drawing landmarks and landscapes. He also has a prestigious solo art career, along with connections to historical and preservation organizations. Martine remains involved in the sketching sessions that have featured other Pittsburgh sites and neighborhoods, with guidance from other local painters, architects, graffiti and mural artists, and educators.

Rick Landesberg, founder of Landesberg Design and retired faculty at Carnegie Mellon University’s School of Design, led the Carrie sketching session in 2023, and in 2024 he was joined by designer, artist, and CMU professor, Laura Vinchesi.

Rick Landesberg at the Carrie Blast Furnaces. Photo courtesy of Rick Landesberg.

“I have always kept a sketchbook,” says Landesberg. “It is an observational tool that helps you look. So, even if you only draw moderately well, it forces you to look carefully at things. The energy of observing goes to the page. How often do you really look at something for six minutes? You sure do when you’re drawing. You own it!”

This concept of intense observation closely parallels Vanka’s approach. His mantra was the Croatian word Gledaj!, which translates to Look! See! The term became the theme for SPMMMV’s sketching sessions, as well as the title of a past collaboration with Rivers of Steel at its Bost Building in 2023: Gledaj! The Gaze of Maxo Vanka. More than 130 of Vanka’s early drawings and preparatory sketches for the murals were on display.

In particular, Vanka’s views of Pittsburgh’s rivers, bridges, and industry seemed appropriately placed in the Bost Building, which received National Historic Landmark recognition for its role in the1892 labor lockout and strike most commonly referred to as the Battle of Homestead.

Landesberg was impressed by how the Carrie sketch participants, who had a range of skill levels, took Vanka’s Gledaj! message to heart, keenly studying the sights before drawing them.

For Shaun Slifer, a multidisciplinary artist, founder of Justseeds Artists’ Cooperative, and creative director for the West Virginia Mine Wars Museum, it was his first visit to Carrie, though he had been aware of it and had visited the Vanka murals multiple times.

“I was doing a lot of Gledaj-ing,” he laughed. “It was a great way to spend a Sunday. I had no idea what any of the structures were for, not having grown up here with the mills. I drew this high-up room with corrugated walls, like a tree house. It did make me want to take a tour of the site to learn more!”

A sketch by Sue Mals. Photo courtesy of Sue Mals.

Two-time sketching session participant and retired engineer Sue Mals added, “The more you quiet your mind, the more you see. While sketching, I did think about all of the many feet that trod before where I was seated to do my sketching. It was an interesting dichotomy that it was rather quiet with just some bird song in the air while I was sketching, whereas when the Carrie Blast Furnaces were operational, a loud cacophony of sounds would have been in the air.”

What emerged from the four-hour sessions were bold charcoal portraits of the furnaces, fine-lined ink pen renditions, soft watercolors and pastel visions, playful crayon depictions, and simple felt marker silhouettes. Some of the representations were even reminiscent of Vanka’s sketching technique.

“The styles that came out of it were quite broad,” noted Landesberg. “I was surprised at how many brought watercolors and brushes. Some folks really stretched their medium. The work of one artist—Gideon Kossoff’s charcoal drawings—were really loose, really active. He went at it with great energy, though he is, in person, a really soft-spoken guy.” Many of the participants focused on the behemoth Furnaces #6 and #7, while others like Slifer zeroed in on some small detail of a gear or bolt or tree nestled within the massive structures. In 2023, one of the artists even placed paper on the surface of one of the edifices and made a textured rubbing.

A sketch by Shaun Slifer. Photo courtesy of Shaun Slifer.

“I got interested in seeing the plants growing up through the slag and rust. I drew a crumbling wall,” Slifer explained. “The place was eerie but wonderful.”

Charles Lucas had worked in U.S. Steel’s Open Hearth #4 as a college student and currently takes commissions to paint religious icons. It was his second session at Carrie, and he felt a connection between the industrial remnants and Vanka’s images of workers: “There’s the image of the fallen worker and the women weeping for him. That’s the worker—the ‘grunt’—that’s who some would say worked at Carrie. But they weren’t. Those guys were amazing and knew how to do their jobs.”

“Carrie is a strange and magical place,” Landesberg said. “It’s peaceful now, like a cemetery, but a violent place when it was active. It has a drama to it, though now sitting still and silent. And just in sheer physical, graphic terms, it is an amazing place.”

A charcoal image of furnace #7 and the gas washer sketched by Gideon Kossoff. Photo by Lynne Squilla.

Just as Rivers of Steel has done with the Carrie Blast Furnaces, the Bost Building, and the Pump House, SPMMMV works to preserve the Vanka murals and their stories inside St. Nicholas Croatian Church in Millvale by constantly devising innovative programming that appeals to an ever-broadening audience. The partnership with Rivers of Steel has allowed both organizations to reach visitors who might not otherwise know about these sites or the Pittsburgh history and universal lessons they represent.

“With Gledaj! helped by the Mini-Grants, SPMMMV can launch new programs and ideas, test them out as outreach, which helps us to establish an idea and make it sustaining or find new support for these efforts,” Doering explained. “We can also reach out to other organizations, and having this matching component is always vital to show donors new reasons to give.”

Doering was pleased by how much the groups enjoyed the sessions in 2023 and 2024. “People loved getting out to places they’d previously never been to, getting together with new people with similar interests, and engaging around the Vanka murals’ stories. These timeless stories are a gift to every generation, connecting us to shared history and lived experiences that influence our region and our country today. Unique sites like these make Pittsburgh a one-of-a-kind destination.”

Slifer put it more simply: “I just thought it’s great that two organizations that I think are cool are doing something together!”

Carrie was just one location for SPMMMV’s Gledaj! Sketching Sessions. Since 2023, the program also brought groups to Pittsburgh’s South Side and Polish Hill neighborhoods, as well as Allegheny Cemetery. On September 8 there will be a session at Allegheny Commons in the North Side, and on October 6 inside St. Nicholas Croatian Church and Millvale environs to sketch from the murals themselves, along with the surrounding postindustrial neighborhood. For more information or to reserve a space in the sketching group, visit https://vankamurals.org/events-activities/sketching-sessions/.

About the Mini Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant Program.

Lynne Squilla is a skilled and creative storyteller. She honed her craft as a writer and producer / director of original scripts, documentaries, articles, web content, stage, and other live presentations. While her work has taken her across the globe, she’s rooted in the Mt. Washington neighborhood of Pittsburgh, and has a passion for sharing stories about our region’s past.

Check out Lynne’s previous article on Rivers of Steel’s new workforce development program.

The Golden Age of Carrie Baseball

Barney Terrell traces the origins of Carrie Furnaces’ baseballs teams from the earliest mention in 1895 through their final season in 1923 in this article about the players and the recreational culture that supported them.

The Carrie Nine & the Industrial Baseball Leagues

In the 1890s and the first decade of the 1900s, baseball was everywhere in the United States. Between 1876 and 1901, no fewer than six major leagues fielded teams. “Fast” minor leagues with high-quality teams proliferated to feed the increasing hunger for recreation and competition. Every town had its own ball club, and many business owners sponsored teams of amateur players. Industrial leagues were common in the Monongahela River Valley, serving not only as a source of pride for the mills, but also as a source of recreation and release in a time of brutal working conditions.

The Carrie Furnaces were no exception. June 22, 1895, saw the first mention of a Carrie Furnace ball club in local newspapers in a 17 – 14 defeat at the hands of the Consolidated Steel and Wire team. This Carrie Nine—a name referencing the number of players in the starting lineup—was likely brought together for weekend games to play against nearby mills in Braddock and amateur nines from Rankin and Swissvale.

The Pittsburgh Press, June 24, 1895 pg. 9

Between 1895 and 1907, the Carrie Furnaces likely had a team every summer. These teams scheduled games themselves and sometimes passed a hat through the crowd to take up a collection for the players. While not a part of established leagues, these teams served to promote athleticism, public goodwill, and comradery among industries, their employees, and rapidly expanding cities. Baseball was a sport where an individual could excel, but the outcome of a game was usually decided by the efforts of the team. Even the most uneducated, poorest, or least experienced players could make their mark by superior play. The Homestead Steel Works operated its own baseball league, occasionally supporting a dozen teams, each from a different part of the mill.

The Carrie Furnace Baseball Club & the Twilight League

In 1908, the Carrie Furnace club burst back onto the amateur scene in Pittsburgh, posting a 16 – 5 record between May and October. The team was dubbed The Millers in honor of their starting center fielder, H.V. Miller, who was a member of the chemical division at Carrie and performed testing on metal samples and gas. As the caption of the following picture points out, most of the club was drawn from the offices and chemical division at Carrie. The club played on Friday and Saturday afternoons, generally tracing the schedule of the Homestead Business Men’s League. This league was a “twilight” league for several years, fielding teams of grocers, plumbers, city employees, and office workers from the Homestead Works. Games were played at 5:30 p.m., meaning that all of the players were professionals during regular business hours. The majority of the workers at Carrie or Homestead worked six-day weeks of 72 hours or more and could perhaps catch a few innings of the games after their shift ended. Club backers, such as chief clerk Thomas Kenney, supplied uniforms and equipment and split scheduling duties with Theodore Hirsch, the assistant superintendent at Carrie. Hirsch’s son, Theodore Jr., was a student at Pitt as well as an apprentice in the electrical department at the Homestead Works.

The Millers were led on the field by two players: their namesake, Miller, and Fred Hosmer. Miller was a strong-hitting and superb center fielder. Fred Hosmer split his time between the outfield and third base. In three games for which box scores exist, Hosmer handled 15 chances at third base without an error—an exceptional defensive performance!

Gloves were common in baseball for over a decade by 1908, but most games were played on poorly kept fields and often extended into near darkness. Those factors, combined with the discoloration of the single ball used throughout the game, reflect the challenges in the game that one might not consider as factors today.

The Pittsburgh Press, October 11, 1908 page 22

At least two in Carrie’s club played college-level baseball before working at the iron mill and were the strength of the club. Hosmer played while studying chemistry in Maine. In the above photo, Philip Marks is mentioned as “formerly with Washington-Jefferson College team.” To be a truly competitive team in this time period, the most important positions were the pitcher and catcher. A pitcher who could throw quality curve balls and off-speed pitches (variously called in/out shoots and drops) gave a team a leg up. If one of those pitchers was on the team, however, you needed a catcher who could handle the speed and movement of the pitches. With Hosmer and Marks, Carrie had both. In Joseph Watters, they even had an extra catcher as good as Hosmer.

The next season, however, Marks left to take a job at National Tube in McKeesport, where he managed a team in the West Penn Amateur League. Watters also did not play for Carrie the next year, and the Carrie team disbanded in late August after having difficulty scheduling games.

The career of Philip Marks did not end at National Tube, however. He decided to go into medicine and spent nearly 30 years as the director of Pittsburgh’s Bureau of Infectious Diseases.

Pittsburgh Press, Feb 20, 1955 Page 10

A Return to the Amateur Scene with the Tri-Borough League

Carrie team baseball returned for a third time to the amateur scene in 1919. That year, teams from Braddock, Rankin, and Homestead formed the Tri-borough League. “Tri-borough” was a commonly used name for any amateur league in the Pittsburgh district—and the 1919 edition was at least the fourth since 1900. Pittsburgh, like much of the United States, saw an explosion of amateur and semipro teams in the years following World War I. By 1925, according to Rob Ruck in Sandlot Seasons, Pittsburgh featured more than 200 semipro and amateur teams in dozens of leagues.

The 1919 team was one of the strongest teams in the Tri-borough League. Ross Calihan, a chemist, played for both the 1908 Carrie team and the 1919 edition. He was about 35 years old in 1919 and appeared in only five games. The leader on the field for the team was Eddie Brannagan. Eddie and his brother Joe played for Carrie, while one of their other brothers, Tom, played for North Braddock. Eddie was a fast runner and good fielder, and led the Tri-borough League in stolen bases in 1919.

Pittsburgh Daily Post, July 27, 1919 page 21.

The Brannagans also performed in musicals and plays at the Carnegie Theatre in Braddock, while Joe was also a member of the Braddock Men’s Chorus. Their father played baseball in the 1880s and served as an umpire in the Oil and Iron League, where he likely saw the rise of Hall-of-Famer Rube Waddell. (George Edward “Rube” Waddell was from Butler County and played for several teams, including the Homestead Athletic Club and the Pittsburgh Pirates, in a peripatetic career. While an outstanding pitcher for six years for the Philadelphia A’s and St. Louis Browns, he is better known for chasing fire engines and appearing in vaudeville acts, according to legendary tales shared by his manager, Connie Mack.)

Besides Eddie Brannagan, Ernest Morgan was the best hitter on the team and is recorded as one of the fastest men in the league. Levi “Larry” Kilbury was called the team’s “Iron Man” by The Pittsburgh Press. On days that he was not pitching, Larry played catcher and corner outfield. Jess Cook, a machinist at Carrie, was the other main pitcher for the team. Their manager was Jim Lose, a mechanical engineer at the Furnaces who was originally from Kansas. Lose worked at Carrie for nearly 15 years and later served as executive vice president at U.S. Steel before his retirement in 1956. Larry Kilbury and Braddock’s Jess Scott were talented enough pitchers to get invitations to try out for minor league teams in Western Pennsylvania.

The Carrie Furnace club finished third in the Tri-borough League in 1919 and was invited back to play in 1920. However, Carrie lost its best pitcher in Jess Cook In their first game, Eddie Brannagan took the mound against McClintic Marshall and was torched for 11 runs. (McClintic Marshall was a large independent steel company involved in the construction of the Gulf Tower in Pittsburgh and the Panama Canal locks, among other projects. Located on land adjacent to the Carrie Furnaces, it was founded in 1900 by H.H. McClintic and Charles D. Marshall with funding from Andrew Mellon.)

The 1920 Tri-borough season was short for the Carrie Furnace club. On June 18, 1920, the league cut four teams to improve the quality of play; Carrie Furnace, St. Josephs, the Swissvale Windsors, and the Korch Crescents were dropped from the league. Between them, the teams had a record of 4 wins and 15 losses. The Carrie Furnace club lost its first five games. Only one of their players, Eddie Brannigan, was snapped up by another club—the same McClintic Marshall team that hit him hard in the opening game of the season. During the next five years, the Carrie Furnace team still played games against amateur clubs on the weekends but never got back into an established amateur league. Larry Kilbury was the captain of the club in 1922 and 1923 and scheduled games for the team.

The population of Pittsburgh more than doubled between 1890 and 1920 to 588,000. Baseball was, for immigrant workers in the mills and rural migrants coming into the cities, a common touch point—an introduction of the “American Pastime” and industrialized society. The Carrie Furnace teams between 1895 and 1925 featured immigrants, men from Pittsburgh: doctors, scientists, machinists, and railway engineers. While the “golden age” of Carrie Baseball was short, it is a great reminder that each individual who worked on the site has a story all their own.

Barney Terrell is a tour guide, historian, and researcher for Rivers of Steel and is a tour facilitator at The Frick Pittsburgh. He is a member of the Society for American Baseball Research, a true crime author, and a trivia host.

A Conversation with Curator Ron Baraff

The exhibition Safety First is on view at the Bost Building through November 15. Recently, Carly McCoy, Rivers of Steel’s communications director, sat down with Ron Baraff, the exhibition’s curator and the director of historic resources and facilities, to learn more about the culture and influence of the “safety first” mantra.

Safety First Q&A

Carly McCoy: Thanks, Ron, for sitting down with us today to chat about the new Safety First exhibition at the Bost Building in Homestead. I understand this installation is a new look at a topic visited by Rivers of Steel about 15 years ago for an exhibition. How is this display different, and why was it important to you to revisit this theme?

Ron Baraff: We went into the wayback machine for this one! The original installation was a great success and an exhibition that we hated to take down, so this seemed like an opportune time to revisit it. Working under the belief that repetition is the best way to enforce a message, “safety first” was and still is the mantra at all iron and steel facilities. Workers must always be on their guard, for their lives and livelihood depend upon their safety. Reminders are found at every turn—from the locker room to the work floor, and from the meeting hall to the boardroom. Safety is paramount. Safety means success for all.

CM: As you alluded to in your response, “safety first” is a phrase that is ubiquitous in this region—and I imagine other places with steel heritage. It’s embedded in our region’s culture. Would you say it crossed over into America’s collective consciousness?

RB: The term “safety first” is truly ubiquitous—not just in this region but worldwide. It is part of the common vernacular not just in industry, but for everyone. It has been used in marketing campaigns for anything from baby strollers to driving schools and video games. Hollywood has embraced the slogan, using it as a title for movies and television series. Why, Harold Lloyd, the great silent-film comedian, based arguably his most well-known film Safety Last as a play on the slogan. It is everywhere and eminently identifiable.

CM: What types of artifacts can people expect to encounter, and how did they come to be part of Rivers of Steel’s archival collections?

RB: The Safety First exhibition incorporates manuals, posters, signs, personal protection devices, and artifacts from our collections that allow visitors to see and experience what workers were exposed to on a daily basis to ensure their safety and promote an accident-free environment in the workplace.

CM: When you consider this exhibition, how are individual workers represented as compared to the collective “worker”?

RB: Throughout the twentieth century, measures were instituted by management, workers, and unions alike to lessen the dangers of the industrial workplace and maintain steady production rates. The culture of safety was ingrained into the everyday work practices of the mill through training classes, films, manuals, posters, signs, personal protection devices, and tools. Many of these daily reminders of Safety First made their way into the personal belongings of the workers. Rivers of Steel has been fortunate to be the repository of the keepsakes from the closets and attics of area steelworkers and their families. These artifacts didn’t come from the corporations, but rather from the workers themselves. They were an integral part of their everyday lives, ensured their survival and success and, thereafter, their memories of the workplace.

CM: You could argue that signage is at the heart of this exhibit, as it is the medium through which the safety messaging was communicated. What’s intriguing to me about signs is how the typography and images are so very reflective of the time and place in which they were created. What do the signs in the show say to you about the context in which they were created?

RB: One of the most effective means of delivery for the message of “safety first” was through posters and banners. Many of the posters used vivid and often humorous graphics and catch phrases to convey their message. Among the best of these posters are from the Jack Boot collection, which are dominant within the exhibition. They are so strikingly of their era—the 1960s and early 1970s. They are relatable, bright, and kitschy. Their message stays with you through their appeal and imagery.

CM: Tell us more about the Jack Boot series.

RB: Jack Boot was a graphic designer and printer from Munhall who made many of the most memorable posters in our collections. They use humor, vivid colors, striking imagery, and catchy phrasing to make their point. Jack’s widow donated the collection to Rivers of Steel several years ago, and they still stand as one of my personal favorites. They are memorable and creative but stay on point to ensure that the workplace culture always puts the emphasis on safety first!

CM: When’s a good time for people to view the Safety First exhibition?

RB:  The exhibition is on view Mondays through Fridays, from 10:00 a.m. through 3:00 p.m. through November 15, 2024 at the Bost Building in Homestead. Visitors are welcome to stop by, but it is helpful if tickets are purchased in advance—just so we know you will be visiting us!

If folks are not familiar with the Bost Building, it is a National Historic Landmark owned and managed by Rivers of Steel, designated so for its role in the Homestead Lockout and Strike in 1982. Today it serves as the visitors center for the Rivers of Steel National Heritage Area, in addition to offering permanent and temporary exhibitions in its galleries. It is also the headquarters for Rivers of Steel and the home to our archival collections.

Carly V. McCoy is the director of marketing and communications for Rivers of Steel.

With a passion for lifelong learning, Carly’s role as director of marketing & communications for Rivers of Steel allows her to draw from her experiences, both professional and personal, to amplify the many assets of the Pittsburgh region—celebrating its history, heritage, artistry, and innovation of its residents to encourage heritage tourism, community engagement, and economic revitalization.

Her previous articles include 2023 Collaborations and Beyond, The Historic Preservation of the Carrie Blast Furnaces, and A Decade-Long Journey for a 120-Year-Old Building.