The 981 Project Podcast

De: Tamela Rich
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  • Join Tamela Rich for dispatches from all 981 miles of the Ohio River: people, places, history, culture, and more.

    the981project.com
    Tamela Rich
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Ciencias Sociales Escritos y Comentarios sobre Viajes Mundial
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Episodios
  • It's April Trivia Time!

    It's April Trivia Time!
    Apr 27 2025
    I’m sending this from somewhere between North Carolina and Phoenix, Arizona during my trip to visit family. I had to delay my motorcycle trip by five days waiting for the turbulent storms to dissipate in the lower Midwest and upper South, which has led to extremely high waters along our beloved Ohio River. The Associated Press has revived historical memories of the Great Flood of 1937, which killed 385 people and left approximately one million homeless from Pittsburgh to Cairo, Illinois. I wrote my last newsletter about the Covington flood wall murals, which have been doing strong work this spring, and I’m continuing the theme today with flood wall mural trivia. Note to my fantastic new subscribers:Monthly trivia is for sport. It’s not a test of intelligence or character. I couldn’t answer these questions without a significant amount of research, either! Do your best and enjoy learning something new. Oh, and if you do, would you share the quiz with someone else?QUESTIONSAnswers in the footnotes.* Who painted the Covington flood wall murals?a) Diego Rivera started them before his death. His large frescoes helped establish the mural movement.b) Robert Dafford painted them all. He’s an internationally acclaimed mural artist and blues enthusiast from Louisiana who has painted more than 400 murals in the United States and Europe.c) Thomas Hart Benton, a Missouri native who was at the forefront of the Regionalist art movement. His fluid, sculpted figures showed everyday people in scenes of life in the United States.d) Shepard Fairey, an American contemporary artist, activist and founder of OBEY Clothing who emerged from the skateboarding scene. * What is the primary purpose of the murals? Only one applies.a) To advertise local businessesb) To beautify the city with abstract artc) To depict and preserve the region’s layered historyd) To showcase modern Kentucky life* What river(s) does the Covington flood wall protect against? More than one may apply.a) Kentucky Riverb) Licking Riverc) Ohio Riverd) Sciota River* The mural that features the Roebling Suspension Bridge highlights a major architectural achievement linking Covington and Cincinnati. What role did this bridge play in regional commerce, and why was its construction significant for Covington’s identity? More than one answer may apply.* It facilitated the transport of goods between Covington and Cincinnati, strengthening the region’s role as a key industrial hub.* Until the invention of the Model T, it was primarily a pedestrian bridge that connected two cultural districts in the region, boosting tourism and art exchange.* Its engineering innovation—as the first major suspension bridge in the U.S. to use wire cables—made it an architectural marvel of its time while helping solidify Covington's identity by connecting it to the economic and cultural heart of Cincinnati.* It was the first bridge to connect Covington to the rest of the United States, fostering a boom in agricultural exports.* The mural known as Resident Artists, features Frank Duveneck and John Farney. Which of the following is true of these artists? Choose wisely.* The inclusion of John Farney and Frank Duveneck suggests that Covington’s cultural history was primarily shaped by international art movements rather than local artists.* The inclusion of Frank Duveneck and John Farney highlights Covington’s strong cultural and artistic legacy, which extended beyond its industrial growth in the late 19th century.* A mural depicting the Latonia Race Track shows a lively day at what was once one of the most prestigious Thoroughbred tracks in the country. Which of the following is true about the mural and what it represents, historically? Choose one.* In the mural, the jockey in red silks wears a badge with the initials “A.J.” This is widely understood to be a tribute to Alonzo “Lonnie” Clayton, one of the most successful Black jockeys in American horse racing history.* The mural shows the grand reopening of the racetrack in the 1950s, after World War II prompted a decades-long closure.* The jockeys in the mural are all modeled after famous Triple Crown winners, despite none ever racing at Latonia.* The mural known as Covington Churches features several of Covington’s historically and architecturally significant churches, depicting the city’s religious diversity. True or false: One of the houses of worship in that mural is a Jewish temple.* Also depicted in that mural is the Western Baptist Theological Institute, founded in Covington in the 1840s. The seminary owned a large amount of land in the region. What happened to this land after the seminary dissolved over disagreements about whether ministers could enslave people?a) The land was sold to local businesses for commercial development.b) It was repurposed as a public park and remains a popular site for community events.c) The land became part of Northern Kentucky University's original campus and other civic ...
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    26 m
  • What the Walls Remember

    What the Walls Remember
    Apr 23 2025
    In 2023, I wrote about the flood wall murals in Covington, Kentucky, and the stories they tell have stayed with me. Robert Dafford, a historical muralist, led the team that painted scenes capturing the city’s development along the Ohio River as well as similar projects in Paducah, and in Portsmouth, Ohio. From the first Americans to call the region home and the colonists who displaced them, to the influence of German immigrants and religious communities, Dafford’s artistry can turn even the most disinterested onlooker into a history lover.Dafford’s murals are more than decorative—they’re acts of historical recovery. The Meeting at the Point initially seems like a typical scene of early American exploration, but a closer look reveals a Native American figure in the background—a silent witness to the coming displacement. Kennedy's Ferry and Landing celebrates economic prosperity, but if you zoom in, Dafford quietly acknowledges the labor of African-Americans powering the region’s boom. These subtle inclusions tell a fuller story—exactly the kinds now being scrubbed from classrooms, parks, and other public spaces.This trend is not abstract. For example, in Florida and Texas, new curriculum laws restrict how teachers can address slavery, systemic racism, and the civil rights movement. Florida even blocked an Advanced Placement African American Studies course, declaring it “lacking in educational value.” At the federal level, the National Park Service recently stripped Harriet Tubman and slavery from its Underground Railroad webpage, reframing the Underground Railroad not as a network for escape from slavery, but as “one of the most significant expressions of the American civil rights movement” that “bridged the divides of race.” This effort to obscure the harsh realities of slavery and downplay the profound struggle for freedom reflects a broader trend: sanitizing painful aspects of history. This erasure of difficult truths is even taking place in The U.S. Naval Academy, whose library removed hundreds of books on civil rights and the Holocaust under new guidelines targeting so-called “divisive” materials. In Washington, D.C., the words “Black Lives Matter” have been scrubbed from the street outside the White House—wiped out not by the hands of vandals, but by city officials, likely in response to shifting political winds. What began as a powerful public statement now serves as a reminder of how quickly symbols of justice and accountability can be erased.In today’s partisan political climate, with interest groups trying to reshape what version of history we pass down and how we understand our cultural roots, I sometimes wonder if these murals would even get the civic green light today. Would Dafford’s quiet insistence on including inconvenient truths survive a public meeting?As a travel writer, my work often takes me on a journey through history, inspired by the places I visit and the people I encounter. A small historical marker can spark deep research as I unravel stories of where people lived, fought, or died. History feels more real to me when it’s tied to specific places and personalities, and the murals invite us to engage with history in the very places where it unfolded, offering a powerful, accessible form of education. They serve as a reminder that history is not just something to learn from books, but something we can experience firsthand—woven into the fabric of the spaces we inhabit. No admission fee. No curated exhibit. Just layers of story, waiting for someone to pause and take it in. These murals stand in sharp contrast to the ongoing debate over Confederate monuments. I’ve had many conversations with people who argue that these statues should remain—not as celebrations of the Confederacy, but as tools for teaching history. They view them as reminders of a painful past, something we shouldn’t forget or remove from public gaze. On the surface, that sounds reasonable. How can we learn from history if we don’t confront it?But here’s the problem: Confederate monuments don’t just teach history—they glorify a past rooted in white supremacy and the brutal exploitation of human beings. These statues were often erected not in the immediate aftermath of the Civil War, but decades later, during the height of Jim Crow and the Civil Rights Movement, as assertions of white dominance. They are not neutral. They were designed to send a message—and they still do.Removing Confederate monuments has nothing to do with erasing history—and everything to do with refusing to honor a legacy of inhumanity. If our goal is education, there are better ways. Germany offers a powerful example. The country teaches the history of the Holocaust in depth and with gravity, but you won’t find statues of Hitler or Goebbels in public squares. Instead, you’ll find memorials to the victims—stumbling stones set into sidewalks, museums, and plaques that acknowledge...
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    10 m
  • What time is it? Trivia Time.

    What time is it? Trivia Time.
    Mar 29 2025
    Hello, friends. For my personal update, I’ve been working with Joan Lunden on her legacy memoir, which will be published in March of 2026. Joan was the longest-running female host ever on early morning television, and her post-Good Morning America career has been equally fascinating and full. I’ll let you know when she settles on a title and cover design. Next week, I’m headed out on my motorcycle to visit family in Arizona. I'm thinking of stopping in Roswell, New Mexico, because I am a connoisseur of roadside kitsch and conspiracy theories. The weather should be splendid. I’ll post the occasional picture on Instagram if you’re interested. I’ll be back on the Ohio River in late August/early September for a BMW motorcycle rally in Athens, Ohio. If you’d like to get together, please reach out. I’d love to meet you in person.Alright, on to the quiz. If you’ve read The Ghosts of Eden Park, you’re familiar with the role of the Ohio River in bootlegging, but it’s been used for lots of other illicit businesses over the years. Let’s see how you do with these ten questions.Note to my fantastic new subscribers:Monthly trivia is for sport. It’s not a test of intelligence or character. I couldn’t answer these questions without a significant amount of research, either! Do your best and enjoy learning something new. Would you share this quiz with someone else? Please?QUESTIONSAnswers in the footnotes. Have fun!* Going back to the 18th and early 19th centuries, Ohio River criminal syndicates capitalized on the river's ever-growing traffic to evade taxes or to smuggle contraband humans and goods. We’ll come back to the trafficking of humans in a later question. What goods were the basis for most of the criminal activity along the river? More than one may apply.* Tobacco and alcohol * Counterfeit currency* Everyday goods like textiles and grains* Newport, Kentucky, became a major hub for organized crime in the 1940s and 1950s while neighboring Covington, Kentucky, and Cincinnati, Ohio, did not. Which of the following reasons best explains Newport’s “success” as a crime town? More than one applies.* It was small enough that local law enforcement could be easily influenced, but close enough to a major city (Cincinnati) to draw in big-money gambling customers.* Figures like Newport Police Chief Frank "Screw" Andrews openly worked with crime bosses rather than against them.* Unlike Ohio, Kentucky had looser gambling laws, creating a gray area where illegal casinos could flourish with little state interference.* Newport had a history of vice industries dating back to the 1800s, including brothels and saloons that made illegal activity feel like "business as usual."* Las Vegas-style casino operators, like Moe Dalitz (who later helped develop the Vegas Strip), used Newport as a testing ground before heading west.* Newport, Kentucky, was known as a mini Las Vegas due to its numerous illegal casinos. Which famous mob family was heavily involved in running these operations? Hint: It’s the oldest of the “Five Families” that dominate the New York and New Jersey region.a) The Genovese Familyb) The Gambino Familyc) The Dalitz Family* Which Ohio River city was used as a stand-in for New York City to film the recent gangster movie, The Alto Knights, starring Robert De Niro?* Pittsburgh* Cincinnati* Louisville* The Fugitive Slave Act of 1850 effectively criminalized freedom for escaped enslaved people, which was a major force in Ohio River border states. While it didn’t classify freedom seekers as criminals by legal definition, it subjected them to punishment, forced capture, and denial of rights in ways that mirrored criminal prosecution—without any of the legal protections given to actual criminals. Which of the following is true of this Act? More than one applies.* Unlike other legal systems where crimes have statutes of limitations, a fugitive slave could be hunted for life—even if they had lived freely for decades. * Anyone who helped a fugitive slave—whether by providing shelter, food, or transportation—could face fines of up to $1,000 (roughly $35,000 today) and six months in prison.* Slavery was legal under U.S. law at the time, so escaping from bondage was considered a violation of property law, similar to stealing a horse—except the “stolen property” was the person’s own body.* Freedom seekers were subject to hot metal branding, known as the “scar-based identification system.” This was believed to deter repeat escape attempts.* Blackbirding is the nickname for kidnapping free Black people and illegally selling them into slavery. If you watched the movie or read the book, Ten Years a Slave you will know about this history. Which of the following statements best describes how blackbirding networks operated north of the Ohio River before the Civil War? Choose one.* They were loosely organized groups of bounty hunters who only targeted escaped enslaved people.* They...
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    33 m
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