Contributor

Designed in the 18th-century Adamesque style, Mrs. Long utilized the breakfast room to entertain guests, eat breakfast with her family, and have meals with her grandchildren. After Mrs. Long's death, Mr. Long ate all of his meals in the breakfast room rather than the formal dining room. There were once four sconces on the walls of the room. Two of the present sconces were donated by Catherine Leland, the great-granddaughter of Mr. and Mrs. Long, while the other two came from the upstairs bedrooms.The art glass window within the breakfast room is one of many art and stained glass pieces within Corinthian Hall. The glass within this room features as much of the original window as artisans could possibly use. The figures within the glass are not specifically labeled, but they do offer imagery in the Greco-Roman style. The plaster ceilings, painted a solid color during the time the room was used for museum exhibits, were refurbished during the renovations..

Art glass bay window in the breakfast room

Additional information on the influences of the original Adamesque style

Website

Frequently used by Mrs. Long for entertaining guests in a less formal space than the dining room, the breakfast room, as the name suggests, also served as a space for family breakfasts each morning. The room was designed in the Adamesque style, popularized in the 18th century. During renovations, construction crews maintained this style through paint sampling and the refurbishment of the plaster ceiling. The art glass bay window in the back of the room features Greco-Roman imagery, and offers an excellent view of the neighborhood. The large table now positioned in the breakfast room represents the table that would have been situated in the space for meals.

The Breakfast Room

Director

Robert A. Long was born in 1850 in Kentucky. He left home at the age of 18 and went west. After trying several business ventures, eventually he owned Long-Bell Lumber Company in Columbus, KS. By the late 1880s, the company needed to expand. At that time, Kansas City was a major lumber center, and its position along the Missouri River and then as a railroad terminus enabled lumber transport nationwide. By 1892, Long owned approximately fifty lumberyards, and by the early 1900s his company was shipping around 4,000 railcars of lumber annually. Long and his daughter Loula were horse enthusiasts and he helped found the American Royal, while Loula was the first woman to compete there. In the early 1920s, and together with J.C. Nichols, Long led the effort to create the Liberty Memorial which is now home to the National World War I Museum.  Long hired famed local architect Henry Hoit of Hoit, Price, and Barnes to design this home, which at a cost of $900,000 was the most expensive home built in Kansas City to that date. Mr. Long christened his new home “Corinthian Hall" in reference to the prominent Corinthian columns on the front. Other buildings on the three-acre property included a Carriage House, Conservatory, the Gatehouse Lodge, a greenhouse, and a carpenter's shed. The Longs lived in the mansion, from its construction in 1910 to 1934.Creation of the MuseumRobert A. Long died in 1934, and the house was listed for sale. After nearly five years of no interest, the family gave the house to the Kansas City Museum Association in 1939. With the goal of converting the home into the museum, the Association came across several significant issues. In fact, although the mansion featured over 50 rooms, the Association determined that renovation was required to expand the size of the rooms to accommodate a standard museum exhibition. These renovations hampered the building’s stance as a historic house, but during the 1950s and 1960s, it was widely regarded as one of the premier natural science museums. For a while, the museum often featured presentations and classes on taxidermy to complement its vast animal dioramas. Now, the Kansas City Museum owns over 100,000 objects and covers a vast variety of historical subjects. Its collections and exhibits focus on local and regional history. Some of its most popular items for researchers include the 1903 Model A Cadillac (the 99th car produced by Cadillac), Miss Shizuoka the Japanese Friendship Doll (one of 58 dolls sent from Japan to the United States in 1927 as part of a doll exchange), and the Native American Indian collection of more than 2,000 Native American artifacts.

Kansas City Museum at Corinthian Hall is Kansas City's oldest and largest museum of local and regional history. The museum is located in one of Kansas City’s first grand residences, Corinthian Hall, which was completed in 1910 as the home of Kansas City lumber baron and philanthropist Robert A. Long. Long's children gave the home to the Kansas City Museum Association in 1939 and the museum opened in May 1940 with exhibits that share the early development and growth of Kansas City and the region. The museum has more than 100,000 items in its collection, which includes a wide sampling of local history from some of Corinthian Hall’s original furnishings to the Dyer Native American Indian collection. In 1980, Corinthian Hall (the R.A. Long House) was listed on the National Register of Historic Places.

Kansas City Museum

Soda fountains were first introduced in Europe, but their popularity spread into the United States, making them a staple in American society for decades. Soda fountains began in drugstores, as the mineral water used to create the bubbly concoctions was considered medicinal. The soda base was quite bitter, leading to the addition of sugary syrups to make the drinks more palatable. Pharmacists, or druggists, played into the popularity of the drinks, creating their own formulas to attract customers while promoting each concoction as a health aid. As the decades passed, the advertisement for soda as a healthy drink transformed into promotion of the concoctions as simply popular and delicious, due to the newfound understanding of certain ingredients being detrimental to the health of consumers.The Liquid Carbonic Company continually contributed to the soda fountain industry throughout the late 1800s and into the early 1900s. Its founder, pharmacist Jacob Bauer, developed "a process to put carbon dioxide into pressurized cylinders for distribution."3 The carbonated water was then sold to drugstore soda fountains, where soda jerks, or the person mixing soda drinks, would add syrups and phosphate to make delectable drinks for customers. This process was popular for decades, with soda fountains reaching their peak popularity in the 1940s. Over time, soda dispensers would be introduced, removing the need for a soda jerk to mix syrups into the carbonated water. As the soda industry grew, and packaged soda drinks became more accessible, soda fountains declined in popularity. By the latter half of the 20th century, soda fountains were no longer a staple for socializing. However, their historic charm and character have led to their re-introduction in many areas of the United States.The Kansas City Museum boasted a soda fountain long before Elixir was created as part of the recent remodel. A donation in 1977 from the children of C.W. and Wilma R. Kirby of Modena, Missouri led to the opening of a drug store and soda fountain exhibit in 1982. The Kirby's were the owners of a drugstore in Modena, which served as a social hub for decades before closing in the early 1970s. The drugstore contents were donated to the Kansas City Museum, and recent renovations to the Museum include a sleek, modern update to the popular exhibit.

As part of the Kansas City Museum's recent renovation, the Elixir Soda Fountain offers museum patrons the experience of an old-fashioned soda fountain in a sleek, modern space. In the 19th century, soda water provided a way for pharmacists to deliver mixtures of effervescent drugs, including stimulants and painkillers, in a pleasing manner for their customers. Over time, more flavors were introduced and soda fountains became popular on their own and were enjoyed with or without pharmaceuticals, especially after the public became more aware of the negative effects of some of the original stimulants and painkillers that had been used in the early years. Since the first soda fountains were found in drug stores, these stores were the first to serve flavored sodas. As a result, soda fountains helped drug stores rebrand as gathering places, and as more sweeteners and even ice cream were added to the mix, drug stores added stools and tables. The museum plans to use Elixir Soda Fountain for special events and offer ice cream, phosphates, and a variety of other traditional soda fountain items within a space that includes historic fixtures from a Modena, Missouri drug store.

Front view of the Elixir Soda Fountain found in the basement of the Kansas City Museum

Elixir Soda Fountain

The billiards room on the lower level of the Kansas City Museum once served as an entertainment room for the Long family. Billiards parlors were popular in the Kansas City area, with 194 in the city in 1911. In addition, wealthy families could afford to add their own billiards room in their mansions. The Long family had two classic Brunswick Monarch billiards tables and a smaller Klondike table. The first Brunswick Billiards table was created in 1845 by the J.M. Brunswick Manufacturing Company, owned by John Moses Brunswick. Brunswick tables became one of the most popular brands for billiards, owners of their tables included Abraham Lincoln. Brunswick Billiards continues to be a top billiards company, evolving their products as games evolved over time. As for the Long family's Klondike table, little is known about the rules of the game although it may have been aimed at younger players. It is unknown if Mr. Long kept the billiards room primarily for his own use or whether his purpose was to entertain guests and business partners, although billiards rooms were usually intended as a space for the men of the house and their invited guests to gather.The basement offered further entertainment for the Long family with the inclusion of a private bowling alley. Unfortunately, the bowling alley was removed many decades ago, but the blueprints offer an idea of what the bowling alley would have looked like. The alley covered most of the basement's hallway and consisted of two lanes, with the pins and bowling balls having options for both adults and children. Many early 1900s mansions sporting a private bowling alley and it was a luxurious addition to the Long family household, demonstrating their wealth at the time.The current billiards room in the Kansas City Museum houses a billiards table and lounge chairs. Patrons are welcomed to choose board games from the side of the room to play with one another, as long as the items are returned in an orderly fashion after their use.

The Long family enjoyed many different forms of entertainment in their home, including a billiards room with a Brunswick Monarch table. They also had a small private bowling alley that appears in the blueprints of the home. Billiards halls and bowling alleys were popular in the U.S. in the late 1800s and early 1900s, although many were limited to members and/or segregated by race. Wealthy families could afford to create their own billiards rooms for entertainment. At the turn of the century, home billiards rooms were usually "male spaces" that were all but completely reserved for male family members and guests. Today, the Kansas City Museum maintains this space for all patrons as both a contributing space to help interpret the history of the home and a place for patrons to enjoy the games that are located throughout the room.

Fireplace in the Billiards Room on the Lower Level of the Kansas City Museum

Billiard Room and Entertainment

Considering its immense size, the Long family home required well-trained staff to run operations at any given time. The staff consisted of as many as twenty-four people, the majority of whom were immigrants from Switzerland, Denmark, and Sweden. There were even staff members, such as Dave Smith, to train horses alongside Robert A. Long's daughter, Loula. Dave Smith and Loula worked together to develop Longview Farm near Lee's Summit, into a highly successful training ground for hackney ponies.The east side of the basement was reserved for chores, while the west side was reserved for the family's entertainment. Such separation did not hinder the efficiency of the staff as they carried out day-to-day chores with the assistance of up-to-date equipment in the home. Designed by architect Henry Hoit, a soft-water system was installed for laundry using rainwater to wash the Long family's clothes. In addition to the advanced laundry system, the basement housed a mechanical room for organ pipes. In order to meet Mr. Long's standards for appearance, the wiring for the house was completely underground.The most advanced feature in the house was the commercial elevator, the first to be added to a family home west of the Mississippi River. At the time of Corinthian Hall's construction, an elevator was a luxurious addition to any private home. A commercial-sized, cable-operated elevator was installed by the Otis Elevator Company, an innovative company since 1853. The Otis Elevator Company continues to this day. With renovations in the 1940s funded by the Women's Division, the Long family's home elevator continued to be maintained and operated until 2007, when Otis ceased making parts for this particular elevator. The elevator car is now parked in the basement, its doors always open, for patrons to observe its craftmanship and, if they choose, take photos of friends and family next to the first commercial elevator installed within a private home west of the Mississippi.

While Corinthian Hall served as the home for the Long Family, the Lower Level (Basement) served many different functions, including providing an area for the staff to complete chores and conduct day-to-day business. The home held many technological advancements for the time that assisted the staff in their daily duties. One such feature was an elevator, and when it was installed in 1910, the mansion became the first private home west of the Mississippi River to have a commercial-sized elevator. The elevator demonstrated the immense wealth that the Long family held, and it was also a practical innovation which aided both residents and staff, along with other modern wonders of the age that were hidden away from view on the Lower Level. For example, the basement held the electrical system, a mechanical room for the pipe organ, and a soft water system for laundry.

The sign located in the Lower Level of the Kansas City Museum

Downstairs at Corinthian Hall: Staff and Technology

Downstairs (Lower Level)

Robert A. Long represents the beginning of the Kansas City Museum's story. After unexpectedly starting a successful logging business in 1884 with his partner Victor Long, the company grew to the point of needing to relocate to a larger city. Robert moved his family of four to Kansas City in 1891. Mr. Long would later embark on the creation of Corinthian Hall, constructed in 1909-1910. The architect, Henry Hoit, designed the property's six separate buildings, one of which is used for the museum exhibits today. The home was state-of-the-art for the time, featuring a commercial elevator, a billiards room, and even a bowling alley. Through the construction of Corinthian Hall, the Long Family's wealth was on permanent display. After the death of Mrs. Long in 1928 and of Mr. Long in 1934, their two daughters, Loula Long Combs and Sally Long Ellis, removed favorite pieces from the home and placed them in their own homes. After auctioning off remaining items, the sisters put the family mansion up for sale. However, due to the Great Depression, it would sit vacant for 5-years, with the home's caretaker Olive Hoggins keeping it presentable.After five years without an offer, the Long sisters donated the property to the Kansas City Museum Association, a new organization in the City. The Kansas City Museum would open its doors on May 5, 1940, wasting no time procuring more objects for display. The new Kansas City Museum displayed exhibits combined from the several small local museums that merged to become KCM, such as the Missouri Valley Historical Society, The Dyer Museum, The Public Library Museum, the Board of Education Museum, etc. The new organization also began to collect more. The first director of the museum, conservationist John Ripley Forbes, helped turn vacant buildings into educational centers for children. After reading an article in Life Magazine, He traveled from his home in Massachusetts to Kansas City in order to help Corinthian Hall become a top quality museum. A force to be reckoned with, Forbes assisted with the rehabilitation of the building that eventually led to all four floors of the space being used for the museum, as opposed to only the first floor used at opening.World War II impacted the museum, causing it to lose much of its Works Progress Administration labor, and with Forbes no longer the director, the museum closed for the war's duration. The museum was sold to the City of Kansas City, Missouri, in 1948, which allowed museum association staff to focus on creating and maintaining exhibits. Natural history and science exhibits were popular in the Museum throughout the 1950s and 1960s, but as the decades progressed, museum staff focused on the museum's relevancy in the city, leading to many continuous changes into the 21st century.The 2000s marked a time of change for the museum. Museum staff aimed to renovate and rehabilitate the space, and plans were made for a complete renovation of the museum. From 2017 until 2021, J.E. Dunn construction worked on Corinthian Hall. Renovations were completed in October 2021, and the newly reopened museum sported rehabilitated architecture and historical facets, and presented new events and attractions for patrons. The museum still maintains a mission of preserving Kansas City's history and cultural heritage, evident in its displays.

Located in the historic Robert A. Long House, constructed between 1909 and 1910 and known at the time as Corinthian Hall, the Kansas City Museum works to preserve and celebrate the history of Kansas City. It places a special emphasis on the city's cultural heritage and the histories of the city's various defining neighborhoods. Museum staff work to collect and preserve artifacts to share stories from Kansas City's diverse history and neighborhoods for public education. The museum also shares the history of the Long Family, in the First Floor galleries with many original artifacts. Corinthian Hall became the city's museum in 1940 and while there have been numerous renovations, many original aspects of the home are still preserved and displayed throughout the space for patrons to enjoy.

First floor main staircase, looking up towards the landing from the left side

Main Lobby

When construction of Corinthian Hall finished in 1910, the Long family moved into a fully furnished house that met all of the detailed instructions that Robert Long had provided to the architect Henry Hoit, and the interior designer William Baumgarten. The living room followed the interior's French influence, but it also served as a slightly less formal space than other rooms on the first floor of the home. As a result, it offered a space for relaxation and comfort for the Long family.With the living room's décor consisting of blue and gold slate with a marble base, and blue damask with salamander and crown motifs on the wallpaper, the Francis I style did not take away from the comfort of the space provided to the family. Cast bronze satyr door handles and a sconce displayed in the room offer insight into the details that were included in the home's construction, adding luxury and décor to even the most mundane aspects of the home. Such additions, along with the general expertise that the home was constructed, led Baumgarten to proclaim:<blockquote>"There isn't a better built house in this country."1</blockquote>Ella Wilson Long, Robert A. Long's wife, frequented the living room as it was one of her favorite rooms in Corinthian Hall. Ella, originally a Pennsylvania Quaker, moved to Columbus, Kansas in 1870. In 1875, she married Robert A. Long, and they moved their family to the Kansas City area around 1890 as his business grew. As the lady of the house, Mrs. Long managed the everyday business of Corinthian Hall, including staff management and daily scheduling, as well as preparing for guests and events. However, even with such a busy life, Mrs. Long found many opportunities to enjoy both leisure time and to contribute to charitable ventures. Both Mr. and Mrs. Long took pride in their philanthropic endeavors.Mr. and Mrs. Long added souvenirs from their travels to their home. A replica and an original work of art in the museum represent the connection between travel and the home's furnishings. Several pieces in the home were acquired by the Longs on their European Grand Tour in 1910. The museum includes a replica of the painting "The Mandolinist" by Eugen von Blaas, an Austrian artist born in Italy. The original painting, sold during the 1934 auction, had hung in the living room since the family's initial move into Corinthian Hall. The current reproduction on display was donated to the museum in 2019 by Sotheby's. The second piece is a bone china tea set that features hand painted scenes from Greek mythology. The china set was used by the Long family, including the grandchildren. Martha Leland, Sally Long's oldest daughter, and Mr. and Mrs. Long's granddaughter, eventually inherited the set as it was one of her favorites from her grandparents' home. She donated the set to the Kansas City Museum in 1990.Along with artwork and utensils used for family time, the family valued musical entertainment, seen through the inclusion of pianos in both the living room and the salon. No member of the family could play the piano themselves, so the player piano in the Salon allowed them to enjoy musical entertainment each day. Although player pianos would one day be replaced by phonographs, the pianos continued to serve as beautiful decorations in the home for the family to admire.Although the family's city-based home was luxurious and well-crafted, Mr. Long dreamed of having a country home like those he saw while growing up in Kentucky. Thus, with the help of Henry Hoit once again, Longview Farm located in Lee's Summit, Missouri, arose. The mansion on the 1,780-acre property, designed by Hoit, served as an escape from the city for the family. Additionally, the property served as a fully-functional farm with 40 buildings and 175 staff members. The farm produced milk for the community and its staff raised livestock. The farm became especially well-known for breeding horses and Hackney ponies, some of which were used by Loula Long Combs, a champion equestrienne in North America and Britain. Loula participated in her first horse show in 1906, one year after the American Royal horse show in Kansas City began, and her career included thousands of awards. Loula moved to Longview Farm in 1917, where she and her husband, Robert Pryor Combs lived until her death in 1971. Loula and her sister Sally donated 146 acres of the Longview property for the construction of Longview Community College.Although not all of the original aspects of the home are preserved, the museum ensures that patrons know which items are original to the home and which are not, and have worked ceaselessly to maintain the historical integrity and architecture of the spaces for the most immersive experience.

One of Mrs. Ella Long's favorite spaces in Corinthian Hall, the Living Room was used for family time and for entertaining close guests. As part of their effort to share the history of the original owners of the home on the first floor, the Kansas City Museum has sought to reacquire original furnishings to show visitors how this room would have appeared. Unfortunately, none of the original furniture has survived. The wood flooring and wall sconces are original features of the room. The magnificent Steinway piano is original to Corinthian Hall, but was originally located in the Salon. The west wall features reproductions of the original wallpaper and one of the paintings. The room features a life-size blueprint of the mantel that would have been present in the room when the Long family lived in Corinthian Hall, giving a further sense of the ornamentation.

A photo of the Steinway piano located in the living room

The Living Room

The formal Dining Room in Corinthian Hall served as a space for both family meals and special events with guests. Baumgarten and Company, the interior design company that furnished the entire home, crafted the formal dining table. The walnut table had sixteen leaves that could be added in order to accommodate 24 dinner guests. The chairs for the table were equally extravagant, with upholstered backs and carved details in the walnut, accentuated with gold leaf.Not just reserved for guests, the Long family also used the dining room regularly. They ate dinner together each day in the dining room, and sources report that the children were expected to arrive punctually for meals. The many clocks that decorated the home were kept in sync, and the organ that was housed in the home was used daily to indicate meal times and twilight. While dining in this room, the family used fine china and crystal, some of which is on display on the far right wall of the room. Mrs. Ella Long preferred to use the Breakfast Room or Sun Parlor for less formal meals. There she entertained close friends or dined with her grandchildren.The most formal dinner event hosted by the Longs occurred in October of 1921. As president of the Liberty Memorial Association, Robert A. Long hosted a dinner celebrating the dedication of the construction of the Liberty Memorial, dedicated to World War I veterans from Kansas City. Three admirals from the war attended the seven-course dinner, emphasizing the Long family's prominence at the time, and acknowledging his role in making the memorial a reality. While the evening was certainly spirited, as strict teetotalers the Longs ensured the dinner was devoid of alcoholic beverages. The Consecration of the Memorial occurred in the following month, and Mr. Long rode in the formal procession. British Admiral of the Fleet David Richard Beatty, as well as the other commanders from the five Allied countries, attended the consecration. Future President of the United States, Harry S. Truman, dispensed flags to the commanders. The Liberty Memorial still stands in Kansas City, Missouri, and is part of the National World War I Memorial and Museum. As Sally and Loula Long grew into adulthood, the Long family expanded, and Mr. and Mrs. Long had every intention of remaining close with their daughters and grandchildren. The eldest daughter, Sally America Long, married U.S. Naval officer Hayne Ellis in 1904. The couple had five children, and Robert and Ella maintained a suite for the Ellis family within Corinthian Hall so they would visit often. Four of Sally's children were born at Corinthian Hall, and the nursery included in the Ellis' suite provided the family with support and comfort. Sally Long and Hayne Ellis were married for 57 years when he unexpectedly passed away while visiting Longview Farm in 1961.The centerpiece of the dining room, the gilded chandelier with over 600 crystal prisms, hung in the Long home from 1910 until 1934 when it was installed in Longview Farm's dining room. The chandelier was returned to Corinthian Hall in 1971 after Loula Long Combs' death. The wall tapestry celebrating Dionysius, once again hanging in its original location, is an ironic inclusion in the family's home. An original brass lion's head from the mantel is also present in the space, and reconstructed lion heads created by Milbank Manufacturing and painted by Katrina Henke now occupy the original placement of the brass pieces.The use of microscopic analysis allowed the architectural preservationists, designers, and historians working on Corinthian Hall's restoration project to determine the original paint colors used on the home's walls. They also determined the initial finishes that woodwork and plaster in the home had, thus allowing them to restore as much of Corinthian Hall's historical integrity as possible. However, for aspects of the home that could not be restored, reconstructions were created. Patrons will be able to differentiate between original aspects and reconstructions based on the light gray paint used on reconstructed portions of the room. The restoration of the dining room, even without all of the original pieces or features, allows patrons to view the extravagance of the Long family's home. Yet the room also offers the importance the family placed on quality time, routines, and maintaining relationships throughout their lifetimes.

Although the extravagant salon served as the most formal room in Corinthian Hall, the Dining Room, designed and decorated in the style made popular by Louis XIV, followed close in formality. The dining room required many restorations, and only about one-fourth of the current dining room exhibit is original to the space. The wood paneling on the north wall, the wall sconces, and the chandelier are all original. However, the wainscoting required complete reconstruction. Additionally, many original furnishings were lost to the 1934 auction or removed during the home's time on the market. Aspects that have been reconstructed are painted a different color than the original pieces, allowing patrons a chance to appreciate the differences between original and reconstructed works. Some of the highlights in the space include the wall tapestry and the gilded chandelier, both of which are original pieces from this room.

A view of the dining room from the living room, Patrons will be able to differentiate between original aspects and reconstructions based on the light gray paint used on reconstructed portions of the room. 

The Dining Room

Robert A. Long was born in 1850 in Shelbyville, Kentucky. His business ventures brought him to Columbus, Kansas, where he experienced difficulties at first. However, after selling lumber from a failed hay business, he came upon a business that would prove to be quite lucrative. The Long-Bell Lumber Company, incorporated in 1884, became Robert Long's, and his partner Victor Bell's, success. Although Robert was established in Columbus, Kansas, he would move his family (and the company's headquarters) to Kansas City in 1891. Soon, Robert struck a friendship with the architect Henry Hoit, which led to many impressive building projects in the early decades of the 20th century.Their first project was the R.A. Long Building, completed in 1907 at 928 Grand Street in Kansas City. The building featured an all-steel frame, the first in the city, and is 16 stories tall. This building served as the headquarters for the Long-Bell Lumber Company. Long-Bell benefitted from Kansas City's position as the country's center for wholesale lumber, and by 1910, the company was the most influential lumber company in the nation. The company's success contributed to Long's wealth, ultimately leading to the 1909-1910 construction of his home, Corinthian Hall, again with architect Henry Hoit. Long also contracted the creation of Longview Farm, located in Lee's Summit, Missouri, completed in 1913. Finally, the creation of the town of Longview, Washington in 1923 demonstrated the reach of the Long Bell Lumber Company in the early 20th century.While building projects were one way that Robert spent his wealth, he was also a top philanthropist within the community. He donated to the Independence Boulevard Christian Church, which also allowed him to contribute to hospital funding, colleges, and mission schools in Asia. His largest contribution was to the Liberty Memorial, which is now part of the National World War I Museum and Memorial. Originally opened in 1926, the Liberty Memorial was a feat of community planning and donations. The Liberty Memorial Association, of which Robert Long was the president, boasted 40-members that raised over $2.5 million dollars for the monument. As a memorial for the Kansas City servicemen who lost their lives during World War I, the project was important to Mr. Long and the community as a whole.Outside of philanthropic ventures and his business, Mr. Long enjoyed time at his home. An avid reader, Robert's favorite room in the home was the library, which featured oak flooring and paneling and a magnificent fireplace and mantel. Robert spent every morning in the library and had an expansive collection of books, all of which were branded with a personalized bookplate. As of 2022, approximately 200 of those books have been donated to the museum by one of great-grandchildren of Mr. Long. Mr. Long also enjoyed the view of North Terrace Park, designed by landscape architect George Kessler, outside of the library windows. The stretch of land gave the home a country-feeling while having the perks of a city home.The main attraction in the library is the detailed fireplace and mantel. The original candelabras and clock displayed on the mantel were purchased by Long in Paris. After the death of Mr. Long, the mantel was moved from the library at Corinthian Hall and installed at Longview Farm, in Lee's Summit. Robert's daughter, Loula, and her husband, Robert Pryor Combs, lived at Longview Farm at the time. It would stay at the farm until the 1970s, when Loula's final will offered it to be reinstalled at Corinthian Hall.

After several failed ventures, Robert A. Long, and his business partner Victor Bell, began a nationally successful lumber company. The wealth Long accrued with the success of this business allowed him to build his luxurious family home Corinthian Hall in 1910. Within his home, Robert had many retreats for himself, including his library. Designed in the Elizabethan style, and featuring a breathtaking mantel, the windows in the room provided an excellent view of North Terrace Park, designed by George Kessler. The quarter-sawn oak flooring and paneling has been preserved within the room. The mantel was removed from the room after the death of Mr. Long; but, was returned and reintegrated into the library in the 1970s.

The Library

Like the rest of Corinthian Hall, architect Henry Hoit designed the Salon while William Baumgarten furnished the space, and the salon served as one of the most heavily embellished rooms in the home. William Baumgarten and Company was well-known by wealthy families across the United States and thrived with numerous home commissions, including Cornelius Vanderbilt's mansion in Rhode Island. As the first producer of French Aubusson-style tapestries in the United States, Baumgarten offered luxurious items for mansions. The company closed in 1914, yet Baumgarten's legacy can be seen through the interior design of many early 20th century mansions.On top of the interior design of Baumgarten, the Long family added their own decorative accents they acquired on their 1910 European Grand Tour. A bone china tea set from Vienna and a Eugen von Blaas painting in the living room are some examples, as well as the French candelabra and clock on the library's mantel. Within the salon, the porcelain tea set came from the family's time in Dresden, Germany, and was passed down to Sally Long's daughter, Lucia, who passed them to her son, Ted Uilein. The set was donated to the museum after spending decades with the family. An original marble-top accent table, although not from the Long's European ventures, is displayed in the salon, displaying embellishments the functional furniture had while the Long family occupied the home. As the salon would have been used for conversation, the exchange of ideas, and entertaining guests, a settee, floor screen, and foot stool original to the space have been returned to the salon, furnishings that were present during the home's prime. Additionally, a period William Knabe piano is displayed in the space to offer the forms of entertainment the Long family may have employed when they welcomed guests into their home. The original custom Steinway piano from the Salon is currently in the Living Room, maintained in playable condition and utilized for house concerts, etc.The architect of Corinthian Hall, Henry Hoit, designed each room in a different style, following instructions provided by Mr. Long. Hoit served as the architect for many of Robert A. Long's projects, including the R.A. Long building, Corinthian Hall, and Longview Farm. Entering the Van Brunt and Howe architectural firm in 1901, Hoit was commissioned for many grand projects, including the Varied Industries Building for the 1904 World's Fair. Along with Mr. Long's projects, Hoit served as architect for other historic buildings in the Kansas City area, most notably the Kansas City Power &amp; Light Building.With Hoit's design, and Baumgarten's décor, the salon in Corinthian Hall became a lavishly decorated room in the Louis XVI style, meant to impress guests the moment they entered the room. The museum's restoration project has recaptured the style of the original salon. The gilt ornamentation on the walls and ceiling was restored, the walls repainted to match the original color, and wall sconces were reinstalled. Multiple wall-mirrors within the space provide extended views of the extravagant décor, offering patrons an immersive experience in the space while also providing opportunities for photos. The salon preserves the Louis XVI style as it was presented in the early 20th century, and promotes the legacy of both Hoit's and Baumgarten's talent.

Salons, popular amongst the wealthy in the early 20th century, offered a sense of intellect and refinement within one's home. Unlike the living room, used mostly by the family for relaxation, the salon would have been used for hosting guests and encouraging conversation. Designed in the Louis XVI style, Corinthian Hall's salon was the most extensively embellished room on the first floor. However, due to redecoration that occurred throughout the 1900s, the Salon served as one of the most difficult rooms to restore. Sconces that were original to the room were reinstalled, wall and ceiling ornamentation was restored, and the color of the walls were returned to their original cream color. Many of the original furnishings from the salon were donated to the Museum in 1963, by Sally Long Ellis.

A photo of the salon in one of the mirrors positioned on the side of the room

The Salon

The "Portraits of Us" murals on the back staircase are more than what they appear. Each inspiring person featured in the mural is placed next to a native Missouri bird, and the clouds in the background signify moving forward as well as moving upward towards justice and unity. The first mural is that of Yackelin Hernandez, a Cuban immigrant who settled in Kansas City in the early 2000s. The artist, Zachary Laman, had the opportunity to have Yackelin as a neighbor, and she impacted both him and his family through her generosity and care.On the second landing, there is a mural of SuEllen Weissman Fried. SuEllen impacted the Kansas City area through her activism, calling for an end to bullying by promoting kindness. In 1982, she co-founded Reaching Out from Within, a rehabilitation program for those who have been incarcerated. This program encourages a transformation within those who are incarcerated, turning to kindness and preparing for re-entrance into the community upon their release. SuEllen's husband, Harvey Fried, was the owner of the garment manufacturing company, the Fried-Siegel Company, and fought for the preservation of the garment district in Kansas City. Both SuEllen and her husband positively impacted Kansas City over the years.The final mural is of Jimmy Beason II, otherwise known as Pahuska. A citizen of the Osage nation, Jimmy is a professor in the Indigenous and American Indian Studies department at the Haskell Indian Nations University in Lawrence, Kansas. This university has a rich history spanning back to 1884 when the first students attended the school for grades one through five. Over the decades, it evolved into the university that it is today, offering courses to prepare Native Americans and Alaskan natives for their futures. Today, around 1000 students are enrolled each semester and the university incorporates Native American and Alaska Native culture into its coursework. Jimmy's involvement at the university allows him to teach and inspire youth, and spread his message. Jimmy focuses on the empowerment of Native Americans, sovereignty, and decolonization, and encourages the use of traditional teachings. His work encourages Native American youth to embrace their cultural heritage, while also fighting for better treatment and respect in the United States.The murals represent the many facets of Kansas City and the empowerment of all people within the area. It reminds us of the importance of justice and unity and supporting one another along the way.

The west staircase in the Kansas City Museum allows access to the main floor, second floor, and third floor of the building. During renovations, artist Zachary Laman painted three murals, one for each floor. Although Laman is originally from Arkansas and includes inspiration from his home state within his work, he is also heavily inspired by Kansas City and locals in the area.

Mural of Yackelin Hernandez, neighbor of muralist Zac Laman

West Staircase

Main Floor

The Grand Stair Landings feature multiple art installations and information preparing patrons for the historical exhibitions on the second floor of the Kansas City Museum. As patrons ascend the staircase, they are met by Marv Graff's sculpture, "Cordon d'Or." Graff creates artwork that combines sculpture, textile design, avant-garde fashion, and historic preservation in order to enliven antique objects while also conveying many different meanings and interpretations. "Cordon d'Or" is a sculpture of an appeared angel, as depicted through its wings, holding a light in its right hand. The sculpture's head is crowned with antlers."Cordon d'Or" is situated next to the stained glass window that is the main highlight of the landing leading up to the second floor. The massive,12-foot by 15-foot, leaded-pane glass window features autumn wisteria leaves and Greek columns. While this window is not the only stained-glass work in the home, it is by far the largest and grandest. As patrons continue to ascend the staircase, they arrive at the second floor, preparing them for exhibitions that are housed in the renovated rooms. "Healing at the Roots," an art installation of wisteria branches designed by Clarissa Knighten, hangs from the ceiling opposite the stained glass window. The branches are from the historic Kansas City Museum grounds, and represent the history behind Corinthian Hall and Kansas City itself.Museum renovations in 2017 transformed the second and third floors from bedroom suites, servant rooms, and a nursery, to expanded rooms housing exhibitions depicting the history of Kansas City. The Kansas City Museum maintains its status as a first-class museum, which began with its first director, John Ripley Forbes. Forbes moved from the East Coast to Kansas City specifically to work on Corinthian Hall, organizing and cataloguing collections for the Kansas City Museum's opening in 1940. His collaboration with the Works Progress Administration (WPA) provided the foundation for the Kansas City Museum's long history among cultural institutions in the city. Two auxiliary groups were developed shortly after the museum's creation: the Women's Division and the Musettes. The Women's Division held fundraising events to support renovation projects, while the Musettes provided outreach to schools and created the first docent program.The Kansas City Museum's success can be attributed to the many individuals and groups who worked diligently to preserve Corinthian Hall and create a world-class educational and cultural space for the city. Continued efforts by the museum staff, supportive groups, and donors maintain the museum's status as a first-class institution that is vital for Kansas City's cultural history.

The second floor landing features multiple art installations, a stained-glass window designed by architect Henry Hoit, and explanations of museum renovations. Museum staff have worked diligently over the years to preserve the integrity of the original Corinthian Hall. While maintaining the Hall's integrity, the second and third floors have been transformed from past bedrooms into state-of-the-art exhibition halls presenting Kansas City history. The second floor landing introduces patrons to the renovated space while preparing them to enter immersive exhibitions that highlight the many eras that shaped Kansas City.

View of the landing stained-glass windows from the second floor lobby

Second Floor Landing

Kansas City's location, situated at the confluence of two rivers, encouraged many settlers to relocate to the area for the promise of prosperity. Unfortunately, settler migration and other phenomenon led to the forced relocation of Native Americans who had long-inhabited the area. Native to the area, the Wahzhazhe (Osage), Kanza (Kaw), Nutachi (Missouria), and Jiwere (Otoe), had lived amicably among one another for decades.Prior to mass settlements in the area, the Osage also had a long-standing relationship with French fur traders beginning in 1673, which proved to be mutually beneficial. Through trade, the Osage received guns and Spanish horses, establishing the Osage Nation as a formidable opponent in battle. Their dominance would last into the 1800s, until American expansion efforts would negatively impact the Osage, reducing their dominance and moving them to a smaller piece of land in present-day Kansas, and later to Oklahoma. Nonetheless, the Osage nation fought against American forces for their land. The first Chief Pawhuska adopted the name "White Hair" after the Osage's defeat of American military forces in 1791. As the Chief attempted to scalp a fallen military officer, a white powdered wig came off of his head and he escaped, much to Chief Pawhuska's surprise.Meriwether Lewis and William Clark traveled through Osage territory during their Corps of Discovery Expedition. Among the expedition crew was an enslaved Black man named York, whose family was owned by Clark's father. York contributed greatly to the expedition, hunting buffalo and other game and navigating waterways and other trails. Although his vote on the expedition was considered equally among the other crew members, he would not become a free man until almost 10 years after the expedition's 1806 end.Slavery was not uncommon in the area. Hemp and tobacco became cash crops in the region, with hemp being made into rope and other fibers, requiring extensive labor. Men, women, and children under the rule of slaveholders were forced to cultivate the crop, creating revenue for slaveholders while receiving no benefits for themselves. While slavery grew in the region, treaties were formulated to lessen Native American presence in the area. For example, an 1825 treaty removed the Osage nation from the area surrounding Fort Osage and forced them further south into a small area of land in present-day Kansas. Additional treaties removed the seven Native American tribes that inhabited Missouri: the Chickisaw, Illini, Ioway, Otoe, Missouria, Osage, and Quapaw. By 1836, there were no Native American tribes living in Missouri, and presently, Missouri houses no federally recognized tribes.Additional treaties removed the Wandat (Wyandot), Shawnee, and Lenape (Delaware) from northeastern areas, such as Ohio and New York, and forcefully relocated them to parts of Kansas. The Indian Removal Act of 1830 would continue such displacement, moving additional tribes, such as the Cherokee and Creek, from their Southern territories to present-day Oklahoma, forcibly marched over the tragic "Trail of Tears." Forced removal of Native American tribes led to the suffering and death of innumerable Native American peoples, and such history must not be glossed-over by Americans today as to prevent such awful measures from occurring once again. Many Native American artifacts are on display within this exhibit, highlighting the artistry and craftsmanship of the many tribes that inhabited the area before displacement. Resources for the Osage, Kaw, Otoe-Missouria, Shawnee, and Wyandotte are included below to provide further information on the tribes in the present-day.The Kansas City region's unique positioning, putting it both within Missouri as it was introduced as a state, and within the Kansas territory, led to many clashes about slavery. Both pro- and anti-slavery settlers lived in the area, although pro-slavery settlers were in larger numbers. The divide led to many deadly clashes in the 1850s up until the Civil War, where pro-slavery settlers sought to gain land away from non-slaveholders. The confrontations led to the phrase, "bleeding Kansas." Guerilla warfare by pro-Confederate Missourians in the area reached a breaking point with their destruction of Lawrence, Kansas, and subsequent massacre of almost 200 men and boys in the town. In order to quell further hostilities, Order No. 11 was issued by Union General Thomas Ewing. The Order would lead to the exile of any Jackson County residents who refused to swear loyalty to the Union. Even with such high stakes, pro-slavery landowners in certain counties, such as Jackson, Bates, Cass, and Vernon, refused to sign the loyalty oath with the Union, sending them into exile. Divides between pro-Confederates and pro-Unionists in the Kansas City area would extend past the results of the Civil War.The Missouri River led to the growth of the Kansas City area due to its use for transporting people and goods. The Kansas City region thrived as it became a major center for commerce and trade. As westward expansion progressed, the area also experienced additional growth with the development of new transportation. Railroads were the transportation of the future, connecting cities to the lifeline of the United States. As the Kansas City area expanded, the need for railroad lines persisted, and would become the impetus for Kansas City's later growth. Prior to the construction of Hannibal Bridge, both Leavenworth, Kansas, and St. Joseph, Missouri were better equipped for growth than Kansas City. However, Mayor Robert Van Horn convinced railroad executives to construct Hannibal Bridge in Kansas City, opening in 1869. The bridge, used primarily for postal-carrying trains at first, had an arch truss design built high enough to allow steamboats to pass underneath. The bridge, designed by civil engineer and "father of aviation" Octave Chanute, thrust Kansas City forward, leading to its growth into a major Midwestern city.

The second floor exhibition galleries map-out Kansas City history. Beginning with the Freedom's Frontier National Heritage Area Gallery, the early history of the surrounding areas in both Kansas and Missouri are covered. An overview of Native American tribes that lived in the area, and their subsequent removal as European settlers displaced them, serves as a foundation for the room. Highlighting the importance of the two rivers that Kansas City is situated near, the exhibit covers the Native Americans and settlers that were drawn to the prosperity of the area. Transportation, relocation, and involvement in the Civil War also serve as highlights within the exhibit, providing patrons with understanding of the early 1800s through the 1870s in the Kansas City area.

The Freedom's Frontier National Heritage Area Gallery

The second half of the 1800s was a period of growth for Kansas City. City limits were extended in the south and the west, immigrants of varying backgrounds moved to the city, and industries began to flourish in the area. Originally incorporated as the "Town of Kansas" in 1850, and later changed to Kansas City in 1889, the city's growth truly erupted after the end of the Civil War with the development of the Hannibal Bridge. The evolution of transportation methods within the city also contributed to growth, and allowed Kansas Citians the opportunity to move more efficiently around the city. Starting with an animal-drawn streetcar railway introduced by Nehemiah Holmes in 1868, community transportation methods evolved into a cable car and electric trolley system. As transportation evolved, so too did the landscape within the City. Urban planner George Kessler, inspired by the City Beautiful Movement, created parks and other landscapes in the area that beautified the city. Kessler designed the park situated outside the library located in Corinthian Hall.Kansas City's growth can also be attributed to many individuals, but it is also important to remember that some of leaders made decisions that limited the freedoms and opportunities of African Americans and other marginalized groups. One such individual was the real estate developer Jesse Clyde Nichols, usually known as J.C. Nichols. The Country Club Plaza and residential areas were designed by Nichols, but he is also known for the implementation and perpetuation of strict racial segregation in his neighborhood developments, enforced by racial codes in deeds and home owners' associations. Such implementations maintained racial segregation within Kansas City neighborhoods well into the 20th Century, demonstrating how the City's growth mostly benefitted certain white Kansas Citians while limiting opportunities for African Americans, immigrants, and the working class.While the period following the Civil War saw limited victories for racial integration such as the Civil Rights Act of 1875, Supreme Court cases like Plessy v. Ferguson in 1896 upheld state and local laws mandating racial segregation in public facilities. Racial discrimination impacted employment opportunities, education, healthcare, home ownership, and many other aspects of life within Kansas City. African Americans, Mexican Americans, immigrants, Jews, and Native Americans all experienced discrimination throughout this period, which extended well into the latter half of the 20th century and left a lasting legacy of racial and ethnic discrimination that is still visible in Kansas City today.Underrepresented communities, including Black and Mexican communities, created and supported their own schools, banks, housing developments, retail stores, and social and entertainment clubs. Churches were also prominent organizations in communities of color, with both the Second Baptist Church and the Allen Chapel AME Church, the oldest Black congregations in Kansas City, still serving the community today. The African American community in Kansas City also created twenty-two Black newspapers, including "The Call," which provided news coverage on the Black community, often ignored in white newspapers.General Hospital No. 2 was created in 1908 after Dr. Thomas Unthank lobbied for its development. The hospital employed many top Black doctors and nurses and served people of color who had been segregated from white hospitals. The Wheatley-Provident Hospital also served the African American community in Kansas City, and employed an entirely Black staff. Founded by Dr. J. Edward Perry in 1902, the hospital evolved from a private practice to the Perry Sanitarium and Nurse Training Association by 1910, and finally to the Wheatley-Provident Hospital in 1918. The hospital grew again in 1925 through a collaboration with Dr. Katherine Berry Richardson, co-founder of the Children's Mercy Hospital, that resulted in the construction of a two-story pediatric ward.Additional individuals contributed to the Black community of Kansas City, including Lafayette Alonzo Tillman and Ida M. Bowman Becks. Tillman served as the second Black police officer in Kansas City and operated a barbershop in the area. He became a police officer after returning from the military, where he had served in the Philippine Insurrection and the Spanish-American War and risen to first lieutenant. Becks was an avid advocate for women's suffrage and African American civil rights in Kansas City. She was nationally known for her eloquent public speaking, which she used as a delegate in the 1921 NAACP convention in Detroit, Michigan. She contributed to the community in many ways, including the organization of the Negro Women's National Republic League. People of color continuously fought for equal rights in Kansas City, and their efforts should always be remembered.Government organizations in Kansas City also experienced growth during this time. The Kansas City Fire Department has offered innovation in fire prevention and fire fighting since its inception. Its youngest chief, George Hale, contributed to such innovation, modernizing techniques through his own inventions. The Kansas City Fire Department won the International Fire Congress competition held in Europe in both 1893 and 1900, demonstrating the department's skills. The Parks and Recreation Department also grew throughout this period and offered services to parts of the community. Community parks served as a form of popular recreation for Kansas Citians, however, segregation was enforced in many parks around the city, limiting activities available to people of color in the area. In 1908, the Park Department hired Elenore Canny to develop recreation activities at Holmes Square Park, a role not normally held by women. She was sworn in as a police officer in 1910, only one of three female police officers in the country at the time, specifically focusing on threats to children. Civilian-led organizations also developed throughout this period. Such organizations included the Kansas City Suffrage League, the Agnes Ward Amberg Club, the Black Women's Club Movement, the National Association of Colored Women, and the Guadalupe Center, among others.Forms of community entertainment also experienced growth at this time. For example, the Priests of Pallas celebration was organized by the business community. From 1887 until 1912, this festival occurred each Fall, including a parade and an elaborate, invitation-only formal ball. Thrown in the honor of the Greek goddess, Pallas Athene, the festival served as a way to promote shopping downtown. Although formally ending in 1912, the festival returned from 1922 to 1924. While Kansas City experienced extensive growth from the 1880s through the 1920s, there was also an unequal distribution of wage benefits, and racial discrimination plagued the city. In order for Kansas City to truly thrive, decades of changes would need to occur, and even with such change, the foundations of inequality can still be seen throughout the city today.

The William T. Kemper Gallery within the Kansas City Museum highlights the early growth of Kansas City from the 1880s into the 1920s. Growing industries are highlighted in the exhibition room along with important organizations that encouraged improvements within the city. Examples of these organizations are the Kansas City Fire Department, Kansas City Parks and Recreation, the Kansas City Suffrage League, and General Hospital No. 2 which served the African American communities of the city from 1930 to the integration of the city's hospital system in the late 1950s. Important individuals of the time are also highlighted along with artifacts that reflect the experiences of immigrants, marginalized communities, and working-class families.

The William T. Kemper Gallery

In the early 20th century, the economy of the city grew along with Kansas City's reputation for entertainment and nightlife that led to the nickname "Paris of the Plains." The stockyards dominated the city's economy and industries in the early years of the 20th century, becoming the first million-dollar industry in the city. A diverse population of employees labored in the stockyards, with over 20,000 workers contributing to the city's movement into the modern age. Additional industries included railroads, automobile production, agricultural production, garment manufacturing, and meatpacking plants, all of which further contributed to Kansas City's economic and social landscape. Much like the stockyards, each industry sported employees of varying backgrounds and brought many immigrants to the area. Immigrants and people of color shaped the city throughout the 20th century, contributing heavily to its growth and success.Immigration to Kansas City reached its height between the 1880s and the 1920s, leading to the development of ethnic neighborhoods. Most immigrants hailed from Mexico or varying parts of Europe. One such immigrant was Joseph Charles Cirese, Sr., for whom this gallery is named. Alone, Cirese immigrated to the United States from Italy at 12 years old. Over a decade later, he married Mary Nigro Gargotta, settling in northeast Kansas City. Joseph, Sr., and Mary had three children: Michael, Lucille, and Joseph. Cirese, Sr., made his name as an entrepreneur by founding Bulldog Battery, Universal Trailer, Eastside Electric and Plumbing, and Cirese Power and Light. He was also a founding shareholder and chairman for the Central Bank of Kansas City, still in operation today. Another prominent immigrant at this time was Rose Shklar Mindlin Jacobson, who emigrated from Russia at a young age in 1888. Rose opened a women's hat shop, Mindlin's, that grew in popularity, leading to the opening of three shops around the city. Her shopfront in the Country Club Plaza was the first store specifically for women in the shopping district, providing women with popular accessories of the time. Other influential immigrants included the midwife and traditional healer Juana Frausto-Castro, whose family served as the first Mexican immigrants located west of Broadway Boulevard, and composer Carl Busch, a Danish immigrant who became director of the Kansas City Philharmonic Symphony.While immigrants and people of color contributed to the growth of industries in Kansas City, they also developed entertainment in the city that became nationally known. One such form of entertainment was Kansas City Jazz. The African American community in Kansas City influenced the city's jazz scene, developing a unique sound that separated Kansas City Jazz from New Orleans or Chicago Jazz. In the late 19th century into the early 20th century, most of the nightclubs in the city were found on 12th Street. Later, the 18th and Vine district developed into an entertainment center for the African American community in Kansas City. Jazz musicians and their careers were protected through the formation of the Musicians Protective Union Local 627, otherwise known as the Colored Musicians Union. Many Jazz musicians such as Bennie Moton and Julia Lee contributed to the Kansas City style.Bennie Moten was a founding member of the Negro Musician's Association and a highly celebrated big band leader of the 1920s. Moten toured the Southwest and Midwest with his first band, the B.B.&amp;D. Trio, to promote Kansas City Jazz to people who may not have heard it before. Julia Lee had an impressive career that spanned four decades, her husky voice recognizable in the Jazz scene. Lee performed at the White House for President Harry S. Truman when he was in office, among other accomplishments she had throughout her career. There were many other jazz musicians that contributed to the Kansas City Jazz scene at the time, and the legacy of Jazz can be seen in the 18th and Vine district, where local leaders and community members have worked together to preserve cultural history in Kansas City.Prohibition was a major backdrop for booming industry and the development of jazz and Kansas City became infamous for "Boss Politics" and government corruption. Prohibition did not appear to impact the sale or consumption of alcohol in Kansas City, and bootlegged liquor was readily available in the city. Police and politicians in the area tended to ignore Prohibition, and Kansans came to town to partake in alcoholic drinks, as Kansas had a prohibition on alcohol since 1881. During this time, Thomas J. Pendergast's beverage company produced sodas with room for the addition of alcohol by consumers. This was only the beginning of Pendergast's less than legal means of operation. He would become the political "Boss" of Kansas City for over a decade."Boss politics" were not a new phenomenon when Tom Pendergast came into power. In fact, Kansas City had restructured its city government in hopes of preventing such politics and control from occurring. In 1925, the city adopted a council-manager government meant to reduce the power of the mayor. In this structure, a nine-member council would select a manager for the city. Unfortunately, this new structure did not work as originally planned, and corruption reigned supreme when the Jackson County Democratic Club, of which Pendergast was chairman, gained five council seats in the first election after government restructure. This imbalance gave Pendergast an upper-hand among council decisions, allowing him a great deal of power as mayor. Pendergast's political machine, one of the most powerful in the country, ruled Kansas City, leading to the city's new nickname of "Tom's Town." Pendergast controlled elections and the underworld of the city, establishing connections with immigrants and people of color he thought would be beneficial to his cause.One such connection included Pendergast's interactions with sports promoter Felix Payne, a powerful Black businessman in the city. As an associate for Pendergast, Payne exercised his influence in the African American community to guarantee Pendergast and his chosen candidates received the majority of African American voters. Although associated with Pendergast's corruption, Payne had his own flourishing businesses, such as the "Kansas City American" newspaper and a nightclub. Pendergast's rule would not last forever, though. The Pendergast machine would end in 1939, after "Boss Tom" was imprisoned for income tax evasion, and John B. Gage became mayor in 1940. A candidate of the Forward Kansas City Committee, a group set on toppling the Pendergast machine, Gage served three mayoral terms focusing on economic improvements for the near-bankrupt city and removing any remaining corruption left from the Pendergast era.Businessmen and women flourished in Kansas City throughout this period, and women gained more autonomy and voice in Kansas City society through Women's Suffrage under the passage of the 19th Amendment. It is important to note that the 19th Amendment did not apply to women of color, and it would be years before voting rights were granted to all women, not only white women. Nell Donnelly Reed was a successful businesswoman in Kansas City, founding the Donnelly Garment Company in 1919 which mass-produced women's ready-made dresses. Although providing many benefits for her employees, she was adamantly against the formation of a union amongst her workers, and would fire anyone who attempted to join one. She was especially against the International Ladies Garment Workers Union. The "Barbecue King" Henry Perry was another successful business owner in Kansas City. He opened the first Kansas City barbecue place in the early 20th century in the Garment District, serving as the foundation for later barbecue joints in the city, such as Arthur Bryant's Barbecue and Gates BBQ. Kansas City barbecue is now nationally known and highly popular.The first half of the 20th century saw many changes for Kansas City that developed a lasting foundation for the city still seen today. Immigrants, the working class, African Americans, and additional people and communities of color contributed heavily to the industry boom in the early 1900s, and contributed to the city's cultural heritage. Although Kansas City had an infamous history of political corruption throughout the 1920s and 1930s, changes were made to improve the city's reputation throughout the second half of the 20th century.

The Joseph Charles Cirese, Sr. and Central Bank of Kansas City Gallery focuses on the period from the 1910s until the 1940s. The era was a time of physical and economic growth for the city, but while Kansas City's industries thrived, so too did its crime. The gallery includes exhibits that center on Pohibition and the rise of "Boss Politics". In Kansas City,Thomas J. Pendergast created a political machine that blended corruption and cronyism with pragmatic responsiveness to at least some of the needs of local residents, in order to secure electoral victory for over two decades. One of the most powerful political machines in the country, The Pendergast Machine lasted from the late 1920s until 1939,when Pendergast was imprisoned for income tax evasion. The exhibit includes the history of the political machine that controlled neighborhoods as well as the development of jazz, women's suffrage, booming industries and growth of the city, and the experiences of immigrants and people of color who contributed to the city's continued growth.

Flourishing Populations & Industries Label

The Joseph Charles Cirese, Sr., and Central Bank of Kansas City Gallery

The period from the 1940s through the 1980s were a time of immense change for Kansas City. As the city aimed to move away from its past "Boss Politics," other issues and tensions came to light. First and foremost, however, the city's economy had suffered greatly from the Great Depression and Pendergast's corrupt political machine. As the city neared bankruptcy, the new mayor, John B. Gage, aimed to achieve economic stability in the city. However, before too many changes could be made, the United States joined World War II in 1941, leading to new industries and jobs for the American people to contribute to the war effort. The War propelled the American economy out of the Great Depression, leading to economic stability in spite of the tragedies that were occurring throughout the world.During World War II, Pratt &amp; Whitney Manufacturing served as a major employer in Kansas City. The company specialized in manufacturing Double Wasp aircraft engines for the U.S. Navy. Many artifacts from the manufacturing plant are on display at the Kansas City Museum courtesy of Hugh Roll, a Kansas City native who worked for Pratt &amp; Whitney. Union Station also saw its largest number of travelers during the war, as it became the hub for railroad passengers. While World War II propelled Kansas City out of the Depression, the city experienced its fair share of tragedies during the war. Many people participated in the war effort by joining the military, especially young men. Unfortunately, World War II had innumerable casualties. One such casualty was Ralph Sifuentes, the first Mexican American from Kansas City's Westside to perish during the war. He went missing in action while in the Mediterranean Sea and declared dead on November 27, 1943. Posthumously awarded a Purple Heart for his sacrifice, Sifuentes' death was memorialized in Kansas City with the American Legion Post 437 named in his honor.After the end of World War II, the passage of the American Housing Act of 1949 led to new housing construction built through private-public initiatives. Housing construction was insured by the Federal Housing Administration. However, such initiatives benefitted mostly white homeowners, displacing low-income families, re-segregating cities, and damaging dreams of homeownership for people of color. The introduction of this Act further exacerbated racial tensions throughout the country, including Kansas City.Kansas City has a long history of racial segregation and discrimination, and local civil rights activists have protested inequality and injustice throughout the decades. After the assassination of Dr. Martin Luther King, Jr., officials in Kansas City rejected requests for schools to close for his funeral. In response, there were school walkouts and protests that turned into rioting. Police used tear gas against students at Holy Name Church, and this, along with years of oppression, sparked violent unrest that ended in injuries and death. Other forms of activism occurred in Kansas City in the fight for racial equality and justice. Founded in 1962 by Leon M. Jordan and Bruce R. Watkins, Freedom, Inc. was an organization that empowered the Black community in Kansas City. Voter registration drives were one way the organization pushed for African American involvement in elections.Individuals also contributed to civil rights in the area, including Lucile H. Bluford and Fred Curls. Bluford was an owner, editor, and publisher of the main Black newspaper, "The Kansas City Call." She was rejected from the University of Missouri's Journalism Master's program, after initially being accepted, due to racial discrimination. She took the issue to the Missouri Supreme Court and won against the University of Missouri in 1941, but the school closed its Journalism Master's program shortly after. Fred Curls was a realtor who actively fought housing discrimination in the city. He worked to expand homeownership among African Americans and also served as part of the founding board for Freedom, Inc. Considering Kansas City had a long history of housing discrimination and redlining to bar African Americans from newer suburbs, Curls' work was extremely important for civil rights in the area.Civil Rights activism expanded in Kansas City throughout the 1960s and 1970s, including activism for Latinx communities and the LGBTQ+ community. The Phoenix Society, founded in 1966 by Drew Shafer, was one of the first organizations in Kansas City advocating for the LGBTQ+ community, beginning with gay and lesbian rights. Shafer's parents assisted with the Society, opening their home as a boardinghouse and helping with the Society's newsletter, "The Phoenix." The Phoenix Society served as an example for later activist groups that formed in Kansas City, all present in political activism to fight discriminations in housing, marriage, and employment.As civil rights activism rose in Kansas City, so too did additional industries. The puppet industry rose in Kansas City thanks to Hazelle Rollins, creator of the puppets photographed below. Her control mechanism was patented, and she maintained affordable prices even as she gained international customers. Professional sports also became a lucrative industry in Kansas City, with the growth of the Kansas City Royals Major League Baseball team and the Kansas City Chiefs football team. Entrepreneur and humanitarian Ewing Marion Kauffman established The Royals in Kansas City in 1968, bringing a major league team to the city. The Truman Sports Complex, spearheaded by Mayor Charles Wheeler, served as the home for both the Royals and the Chiefs with two separate stadiums. Wheeler also oversaw the development of Crown Center, the Worlds of Fun amusement park, and the Crown Center Hotel. The building boom of the 1970s, of which these construction projects were a part, continued to push Kansas City towards a more stable economy free of its past corruption.Overall, the Kansas City Spirit is one of hard work, perseverance, and dedication. While the foundation of racial inequality can still be seen within the city today, the people of Kansas City continue to work towards progress and improvement as time goes on.

World War II led to an economic boom in Kansas City, much like the rest of the United States, pulling the city out of the economic depths posed by the Great Depression. After the War, efforts were made to rebuild the city, fully separating Kansas City from the Pendergast Machine of the 1930s. Reforms led to improvements that boosted the economy and promoted a "Kansas City Spirit." Community entertainment increased through the introduction of professional sports teams, the development of World's of Fun and Crown Center, and an increase in cultural centers. Such growing entertainment proved to become Kansas City's new booming industry, replacing the city's past leading industry: the stockyards. Other industries, such as transportation, greeting cards, and marionette manufacture, thrived as well. However, in the midst of political and economic reform, racial inequality persisted in Kansas City. Civil Rights activists worked diligently to promote the end of racial discrimination, leading boycotts, walkouts, and when tensions rose, protests. Additional activism rose to end discrimination against the LGBTQ+ community. All-in-all, the latter half of the 20th century marked great changes for Kansas City, and set a foundation as it approached the 21st century.

Norman Rockwell's "The Kansas City Spirit"

The Edward F. Swinney Foundation, Bank of America, N.A., Trustee Gallery

The Donald Piper Memorial Medical Collection of St. Joseph Hospital holds over 15,000 pieces of medical equipment and other archival materials, making it one of the largest medical collections in the Midwest. A changing gallery is currently dedicated to displaying items from the collection on the second floor of the Kansas City Museum. The Kansas City Museum acquired the collection from St. Joseph Hospital in 2015, after the collection had been used for museum exhibits in the hospital itself for over 40 years.The idea for a medical museum at St. Joseph Hospital came from Dr. Donald Kirk Piper, who wanted the hospital's stored medical collection to be displayed for public view. Such displays would demonstrate the evolution of the medical practice over the decades. The first display opened in 1972 at St. Joseph's previous location at Linwood Boulevard and Prospect Avenue. In 1977, the hospital moved to a new location on State Line Road and I-435, and space was set aside for the medical collection and main exhibit. "Turn of the Century Doctor's Office," the first museum exhibit at the hospital's new location, opened in 1983 after years of work by staff and volunteers.The medical collection from St. Joseph Hospital covers medical advancements from the 1800s into the 1900s. Established in 1874 by the Sisters of St. Joseph of Carondelet, St. Joseph Hospital has offered medical care for nearly 150 years. The hospital has changed locations. throughout its history. First, in 1917, it moved from its original location on Quality Hill at 7th Street and Pennsylvania Avenue to Linwood Boulevard and Prospect Avenue. Then, it moved again in 1977, to State Line Road and I-435. The medical collection traveled with the hospital, but a portion is now at Corinthian Hall for patrons to view.The displays focus on specific categories of medical development, including optometry, orthopedics, dentistry, surgery, maternity and gynecology, and apothecary work, which would be referred to as pharmacy work today. Two interesting displays in the exhibition room include an anatomical head and a microscope. This particular anatomical head, also known as an ophthalmophantome or "phantom mask," was created by the Austrian Josef Leiter around the year 1890, and was brought to the St. Joseph Hospital by Dr. Ambrose E. Eubank in 1910. The "phantom mask" was used by those studying ophthalmology in order to practice ophthalmic surgery. The microscope on display was created by H&amp;W Crouch of London around the year 1870, and it came in a wooden container with additional lenses, slides, and parts. Such displays demonstrate medical advancements on specific instruments, considering microscopes are still used by doctors and scientists today as well as anatomical heads, although they are more advanced. Thus, practical skills were developed in similar ways throughout time, demonstrating the lasting impact of effective practices.The exhibit not only covers the evolution of medical equipment over the years, but also the evolution of gender equality within the medical field. The collection includes medical uniforms worn throughout the earlier decades of the hospital. The nursing uniform, consisting of a white dress, hat, and shoes, displays how the nursing profession was predominated by women, while medical doctors wore surgical suits and were most often men. The medical profession has expanded in many ways over the decades, and both men and women serve as nurses and doctors, and gendered uniforms of the past are no longer in use."The Ties that Bind Us," an art installation by Renee Cinderhouse, is positioned in the southwest corner of the exhibition room. The installation symbolizes healing and acceptance of change, calling us to embrace our "repairs" and scars rather than hide them away. As hospitals aim to heal those who are injured or sick, "The Ties that Bind Us" perfectly encapsulates the importance of healing and the change that accompanies it.

Founded by the Sisters of St. Joseph of Carondelet, St. Joseph Hospital opened in 1874. In operation for over one hundred years, the hospital serves as an excellent resource to observe medical advancements in the past century. Consisting of over 15,000 pieces of medical equipment and other archives from the St. Joseph Hospital, the Donald Piper Memorial Medical Collection of St. Joseph Hospital is one of the largest medical collections in the Midwest. The collection comes from the medical museum that was housed at St. Joseph Hospital, founded by Dr. Donald Kirk Piper in 1972, and its first museum exhibit in the hospital's second location opening in 1983. The Kansas City Museum acquired the collection in 2015 and is currently displaying a portion of the collection for patrons to see the evolution of medical science.

The Donald Piper Memorial Medical Collection of St. Joseph Hospital

Second Floor

<blockquote>"So we restore a city, what then?...The city is an engine of our society, a machine for problem-solving, a mill to grind issues until they are fine and can be baked into the bread of change."1</blockquote>After the lasting impacts of the suburbanization of the 20th century, Dr. Mindy Fullilove calls attention to the importance of revitalizing urban centers and neighborhoods for ensuring equality and improvements in communities. Urban and neighborhood revitalization has greatly impacted Kansas City throughout the past five decades, and improvements continue to be made today. Innovation sparked by residents led to positive change within the city, and many individuals and organizations contributed to changes within the city that were necessary for growth, equality, and development.While city revitalization can positively impact a community, there have been many instances of negative impacts as well, especially when city revitalization was conducted in the 1950s and 1960s. The Missouri's Land Clearance for Redevelopment Authority, beginning in 1954, led to many negative developments in Kansas City including the Chouteau Courts public housing project that contributed to racial segregation, and the construction of I-35 and I-70 which destroyed cultural sectors of the city. As opposed to revitalization projects conducted by civic organizations, revitalization projects by cities can negatively impact marginalized or under-represented communities through unfair land acquisition practices among impoverished or culturally diverse neighborhoods. This could be seen with the construction of Highway 71 that spanned throughout Kansas City in the early 2000s. While connecting the city, it also divided communities that were once intact.The Northeast neighborhoods in Kansas City were the most negatively impacted by white flight and suburbanization, and by the 1970s there were signs of neglect in the area. Community-based service organizations led the way for neighborhood revitalization efforts in marginalized communities, leading to positive change over the decades and a strong legacy of resilience. Such organizations included Blue Hills Community Services, Kansas City Neighborhood Alliance, Guadalupe Centers, Inc., El Centro, Inc., Westside Housing Organization, and the Ivanhoe Neighborhood Council. An extremely important organization has been the Heart of America Indian Center, or the Kansas City Indian Center, founded in the 1950s and formally incorporated in 1971. The KCIC provided social, cultural, and health services to Native American communities that had been continually marginalized by federal policies that forcibly disbanded and relocated tribes throughout the decades. Community-based organizations have continued to be the catalyst for true positive change within the Kansas City area.Revitalization efforts continued from the 1970s throughout the 2010s. The construction of Crown Center in 1971 and the renovation of the River Market, also known as the River Quay, neighborhood by Marion A. Trozzolo starting in 1972 led to a renaissance in downtown Kansas City. Preserving the city's cultural heritage also gained popular traction in the 1970s with the development of the Ethnic Heritage Committee, later becoming the permanent Ethnic Enrichment Commission, that works to raise awareness of Kansas City's diverse cultural heritage, preserving cultures, and encouraging appreciation of diverse cultures in the community. Improvements in engineering, construction, and emergency management were sought after the tragic walkway collapse at the Hyatt Regency Hotel in 1981, killing 114 and injuring 200 others. Tragedy often leads to impactful change in order to prevent such events from occurring again.Political equity and empowerment became tied to the racial and gender equality movements throughout the 1970s, leading to new political voices that impacted communities. Richard L. Berkley, mayor of Kansas City from 1971 until 1991, was the first Jewish mayor of the city. The city embraced inclusive politics throughout his mayoralty, and Berkley encouraged growth in the city through capital improvement projects. The following two mayors continued to break barriers, with the election of Emanuel Cleaver (1991-1999), the first Black mayor, in 1991, and Kay Barnes (1999-2007), the first female mayor, in 1999. All three mayors contributed to impactful changes in the city that redeveloped neglected areas, such as the 18th and Vine district under Cleaver's leadership, or economic changes such as the relocation of the H&amp;R Block World Headquarters to Kansas City under Barnes' leadership.The 1990s saw many changes and calls for equality and action. Amid the HIV/AIDS Crisis of the early 1990s, the Kansas City Free Health Clinic, SAVE Inc., Good Samaritan Project, and HARCMart formed the AIDS Service Foundation of Greater Kansas City (ASF) with combined organizational funds. ASF raises funds, promotes awareness of HIV/AIDS, and provides extensive services to those impacted by HIV/AIDS. Their continued contributions assist all those impacted by HIV/AIDS, and aids the movement towards more effective medical treatments and an eventual cure for the disease. Calls for revitalization also continued in the 1990s, seen through the introduction of the "bi-state tax" in 1996 that impacted Jackson, Clay, and Platte counties in Missouri, and Johnson county in Kansas. The tax was reserved for Union Station restoration, completed in 1999, which sparked a revitalization boom in downtown Kansas City, Missouri.Such revitalization, along with environmental concerns, led to the development of mass transit within the metro area in the early 2000s. The KC Streetcar and Metro Area Express bus lines connect the city and allow an affordable and sustainable way for residents to traverse through the area. Additional walking and biking trails, as well as bike lanes, have also contributed to expanding forms of transportation within the city. Arts and entertainment districts expanded in the early 2000s as construction on the Crossroads Art District, the Power and Light District, and the Sprint Center arena were completed. Commerce was revitalized in the urban core through the relocation of the H&amp;R Block World Headquarters to Kansas City under the leadership of Mayor Kay Barnes. Kansas City served as Google's first fiber city, and has hosted many business and tech start-ups. The city's continued economic diversification has been beneficial during economic shifts, and growth has continued throughout the 2010s and into the 2020s.In the late 2010s and into the 2020s, focus on environmental protection and conservation has increased. The formation of the Heartland Conservation Alliance has encouraged conservation efforts throughout the community, especially focusing on the Blue River watershed. Additional focuses in the community included embracing Kansas City's music history and remembering the tragedies that occurred due to racial inequality and violence in the past. UNESCO designated Kansas City as a City of Music and part of its Creative Cities Network, acknowledging the city's use of creative means for sustainable urban development. The Community Remembrance Project of Missouri became a partner with the Equal Justice Initiative in 2019, establishing projects to memorialize victims of racial violence and encourage respectful dialogue addressing racial inequality in the United States today. The Bruce R. Watkins Cultural Heritage Center and the Black Archives of Mid-America, among other organizations, are contributing to such educational exhibits and experiences.Neighborhood revitalization occurred at the same time as urban revitalization, propelled by community-based service organizations and dedicated residents within neighborhood communities. This particular exhibit highlights many neighborhoods in Kansas City, including Pendleton Heights, Independence Plaza, Lykins, Sheffield, Indian Mound, and Scarritt Renaissance. An updated city plan for development was recently introduced, entitled "The KC Spirit Playbook." The COVID-19 pandemic brought to light many of the racial and economic disparities that still remain in Kansas City, and continued change and improvement is a goal for city officials.

The rise of suburbs in the mid-20th century led to a decrease in population in city centers and a loss of tax revenue to maintain those areas, causing urban decay. Suburbanization also reinforced housing segregation, with "white flight" taking white Kansas Citians away from urban centers and relocating them to racially and economically restricted suburban developments. Marginalized communities were left in areas that began to decay. However, many individuals and groups worked towards the revitalization of negatively impacted neighborhoods. Additionally, many civil rights groups worked towards the end of racially exclusive housing developments, achieving change throughout the 20th century. While revitalization and civil rights efforts were met with success, rapid suburbanization and racial exclusion in the housing industry still leaves an indelible mark on the city today. Many events shaped the city and impacted its development throughout the past five decades, leading to the vibrant city known today. Now, with numerous culturally diverse neighborhoods, Kansas City's story has become one of collective heritage, perseverance, civic unity, urban improvement, hope, and pride.

A Cultural & Community Restoration: 1970s to Present

"Our City, Our Stories" aims to connect Kansas Citians together through personal stories and experiences by featuring 21 unique, personal stories from Kansas Citians from varying racial, ethnic, and cultural backgrounds. Along with photos, the stories recount personal strength, courage, hope, and unity. One such personal account comes from Samantha, an advocate for the LGBTQ+ community who aims to expand human compassion. Her story is one of courage and resilience, as most of her loved ones left her side after she came out as a transgender woman in 2016. Samantha now speaks at universities, schools, hospitals, and other organizations throughout the city, advocating for equality, diversity, and inclusion. Along with talks, she also contributes to multiple newspapers to promote acceptance and compassion throughout the community.Samantha's story is one of many from the Kansas City metro that highlight perseverance, hope, and compassion. To capture the photographs and stories in "Our City, Our Stories," the Kansas City Museum partnered with nonprofit organization 7 Billion Ones based in Springfield, Missouri. 7 Billion Ones collects personal stories from people of various backgrounds with the mission of connecting and empowering one another - all across the globe. With the Kansas City Museum's local contribution, the museum hopes to continue to document stories to connect and empower all who visit the exhibit. To feature the individual stories, the Kansas City Museum worked with UMKC's Center for Neighborhoods and Kansas City's Sister Cities program.

Kansas City has a diverse population with rich cultural histories that have shaped the city into what it is today. The exhibit, "Our City, Our Stories," features stories from 21 Kansas Citians, each highlighting their own unique racial, ethnic, and cultural background. Although the stories are brief, the exhibit allows patrons an inside look into the lives of Kansas Citians of all walks of life.

Our City, Our Stories

Museums feature both permanent exhibits and temporary exhibits, with permanent exhibits displaying materials from a museum's own collection. Museum collections reflect the mission of a museum. For example, the Kansas City Museum is "home of the whole story" of Kansas City, thus their collection focuses on the vast history of the Kansas City area. Collections, along with reflecting a museum's mission, should also advance its mission and be used for public good and enrichment. Museum staff have a responsibility to make their collections accessible to the public, and this can be accomplished by establishing best practices for collection care and management, as well as specific obligations of the museum. The Kansas City Museum has established policies to uphold professional standards while also ensuring accessibility within their collection.The Kansas City Museum is in what they define as the "forever business," or in other words, aiming to collect, store, display, and preserve historical materials permanently. The museum has public funding specifically reserved for the care and preservation of collection materials, assisting their mission. The museum collection itself is mutually owned by Union Station Kansas City and the Kansas City Museum Foundation. Museum collections largely consist of donated materials, the legal transfer of which is known as accessioning. Donations are confirmed and legalized with signed gift receipts or deeds of gift, transferring ownership to the museum. During the accessioning process, objects are given unique numbers in order to keep track of their whereabouts. Processing donations into a museum collection is time-consuming, including cataloging, photographing and organizing the items. Such measures are taken to ensure the best research use and access by patrons, and use for future lending.Museums also have a process for removing items from their collection known as deaccessioning. There are many different reasons a museum may deaccession materials. If a museum's mission or scope changes, it could lead to the deaccession of certain materials due to their lack of purpose in that specific museum. When deaccessioning is necessary for materials in the Kansas City Museum's collection, the museum ensures that the materials remain in the public domain so that other cultural institutions may accession useful materials. While this is a simplified explanation of the process, there are many policies and checks-and-balances before deaccessioning items. The process of preparing a museum's collection for storage and use is taxing, yet museum professionals rise to the occasion again and again. Overall, museums are cultural institutions that serve the public through providing access to their designated collections in many ways. Museums also provide educational programming and experiences, research opportunities, and entertainment for patrons.The Mirror Ball that once hung in the El Torreon Ballroom is a part of the Kansas City Museum collection, and is now displayed on the third floor. Installed at the El Torreon in 1927, the mirror ball now serves as a reminder of the music and dance scene in Kansas City throughout the 20th century. Donated to the museum in 1976, the mirror ball made an appearance in the 1990 film, "Mr. and Mrs. Bridge," as well as the 2009 documentary film "Cowtown Ballroom: Sweet Jesus." Museum renovations gave the mirror ball new life, bringing it out from storage for the first time in years for patrons to admire as they enter the El Torreon and Cowtown Ballroom exhibit.

The Kansas City Museum houses over 100,000 historical artifacts and archival materials in its collection. Starting in 1939, over 80 years of donations and accessions have built a collection focused on the history of the Kansas City area, following the Museum's mission of being "home of the whole story" for the city. While the permanent exhibits in the museum have been created using the museum's own collection, there are temporary traveling exhibits that will also visit the museum for patrons to enjoy. Museum collections are meant to be used for education and research, as well as enjoyment and enrichment. The accession and acquisition process, collections process, and the deaccessioning process are covered throughout the exhibit. The Mirror Ball from the El Torreon Ballroom also appears in this room, preparing patrons for the following El Torreon and Cowtown Ballroom exhibit.

Information on Donations, Acquisitions, and Accessions

Curating a Museum

Kansas City's music scene has a rich history with legends such as Bennie Moten and the Blue Devils transforming the jazz scene in the 1920s and 1930s. As covered in another exhibit, Kansas City's jazz had a unique sound that was both an amalgamation of regional genres and a style all its own. Even before the popularity of jazz, Kansas City had deep cultural roots in music with orchestras and big bands. Music became a powerful entertainment outlet, leading to the development of dozens of dance and music halls. Throughout the 1920s and 1930s, Kansas Citians attended dances and concerts at such halls by the crowd, leading to vibrant nightlife in the area. During Prohibition, neighboring Kansans would travel to Kansas City, Missouri, where drinks could be found quite easily. After the end of Prohibition, Kansas City continued to provide nighttime entertainment for residents and visitors, with options ranging throughout the night, earning it the nickname, "Paris of the Plains."The El Torreon Ballroom, although short-lived, was a popular dance hall in the late 1920s into the 1930s. Opened in 1927, El Torreon featured its own live band with Phil Baxter as its leader. Offering two separate ballrooms, El Torreon provided dancers with extensive room for hours of entertainment and fun. The dance hall hosted many events, such as college nights, dance marathons, balloon drops, and concerts by visiting musicians. Unfortunately, like many dance halls of the time, only whites could patronize the El Torreon. While African American musicians could perform at the dance hall, they could not attend as a customer. Such segregation demonstrated the deep-seated inequality that permeated Kansas City throughout the 20th century, continuing to leave its mark on the city today.El Torreon closed in 1934 due to the Great Depression, but the building remained, and it would eventually be given new life in many different ways. After its initial closure, the El Torreon was converted into a supper club. This was short-lived, however, and in 1937, the space became a roller rink, a craze sweeping the nation at the time. A pair of clamp-on roller skates displayed at the Kansas City Museum, once shared by the Gorman sisters, shows the equipment used by many in the booming industry. The roller rink remained in business until 1962. Nearly a decade passed before the legacy of the El Torreon Ballroom was re-imagined in The Cowtown Ballroom.Opening in 1971, Cowtown Ballroom operated as a popular, nationally-known rock music venue. Acts such as Van Morrison, Frank Zappa, and B.B. King were only a few of the musicians that performed at Cowtown. Its popularity spiked despite its small stature: the ballroom could only hold 2,000 occupants at once. Cowtown became a hub for the Kansas City counterculture, which grew with the rise of anti-war protests, especially against the Vietnam War, the feminist movement, and the civil rights movement. The counterculture movement embraced individuality and encouraged freedom of expression. The movement also sparked opposition to mainstream media and goods, opting for more "underground" or unknown companies, musicians, and publications. However, while the counterculture persevered throughout the 1970s, Cowtown closed in 1974. Although its life was brief, Cowtown left a legacy in Kansas City.Inhabited by Universal Publishing Company and Holy Cow Music and Vintage Art after the end of Cowtown, the historic building maintained a foothold in Kansas City throughout the years. In 1976, Universal Publishing Company donated the famous mirror ball that once hung over a ballroom in the El Torreon, allowing a piece of history the chance to be shared with the public. The 2000s saw a rekindling of the Cowtown spirit, with various metal and punk bands performing in the space, representing the rise of a new generation's counterculture. With plans of restoration by its current owners, the historic space may once again become a place for community movements and countercultures, or simply a place for fun and engagement, continuing El Torreon's and Cowtown's legacy.

Kansas City has a rich history of music and dance, previously addressed on the second floor with the coverage of the Jazz scene. Music and dance clubs, also known as ballrooms, were highly popular throughout the 20th century. Known as the "Paris of the Plains," Kansas City had many establishments that influenced the city's vibrant nightlife. Located at 31st and Gillham Streets, El Torreon Ballroom opened in 1927 and closed in 1934, due largely to the economic conditions of the Great Depression. The ballroom was converted to a roller rink from 1937 until the 1960s and reopened for live music performances in 1971 as the Cowtown Ballroom. While El Torreon had a house band led by Phil Baxter during the Jazz and Big Band age, Cowtown served as a popular venue for rock music. Although only open as the Cowtown Ballroom from 1971 until 1974, it gained national acclaim during that period as a premiere live music venue and hosted some of the leading stars of the era in addition to eclectic local musical acts.

Kansas City Museum

The Breakfast Room

Introduction

Images

Backstory and Context

Sources

Additional Information