Fort Knox and Phony Crisis

Trump and Musk are planning a big inspection of Ft. Knox. They will find that there is little or no gold there. They will probably work with Fox to hype this news and treat it as crisis and use it to make cuts. It’s a lot of nonsense. But nonsense as politics has a long history. Ft Knox has always been pure theater.

Roosevelt took the United States off the domestic gold standard in the Gold Reserve Act of 1934. The Act made it illegal for private citizens or banks to hold “monetary gold,” requiring that they turn in any such hoards to the Treasury in exchange for paper dollars at a price set by Roosevelt. You could no longer redeem paper dollars be for gold, except at the discretion of the Secretary of the Treasury, a provision designed for foreign exchange.

Under the Roosevelt’s 1934 act individuals could still own gold jewelry or keep their gold dental fillings. But anyone owning “monetary gold”—coins or bullion—had to sell it to the Federal Government at higher than market rates. The Act ended the domestic gold standard and gave FDR control over the money supply to an extent not seen since the Civil War.

To reassure people jittery about money, Roosevelt built an entirely new vault to hold the gold the Treasury bought, at Fort Knox in Kentucky. The vault was pure theater: there was no shortage of space in existing vaults. There were no demands for more space coming from banks. As J.M. Keynes noted, all the gold in the world could fit easily in the cargo hold of the Queen Mary. The exterior dimensions of the Fort Knox vault itself are only forty by sixty feet, so clearly the gold required no vast space. Roosevelt used the construction of Fort Knox to create an impression of permanence and natural solidity.

In the bank panic of 1792, banker and historian Bray Hammond wrote, Hamilton’s Bank of North America tried to stave off a run by having its porters “carry its specie busily to and from the cellar in order to give magnified notion of what it had.” The bank’s managers, he added, “ostentatiously brought in deposits of gold and silver that had unostentatiously been carried out a little while before.” The show of specie money reassured the jittery customers, saving the bank from failure. Hammond himself recalled, as a young bank clerk in Iowa during the panic of 1907, employing the same dodge: heaping impressively large piles and sacks of low value coin in plain view, and ostentatiously counting it, in order to give the impression of overflowing vaults.

With Fort Knox, the government made a great show of moving its bullion to Kentucky. Press releases described the elaborate precautions needed. “Fifty armored trains to carry Federal gold,” announced the New York Times. Soldiers and submachine gun-toting Treasury agents rode with the gold as it moved by rail on a secret route. False “dummy” trains decoyed would-be thieves. Tanks and soldiers on foot protected armored trucks as they drove the yellow bars from railhead to vault. Although the Treasury kept both the actual moving day and the amount moved secret, it took pains to call attention to fact of the move, and to the gold’s enormous but unspecified value.

The elaborate and well-publicized precautions demonstrated unmistakably that the US owned the gold, that the gold was immensely valuable, and that it now sat in an impregnable fortress in the nation’s heartland. “It is the greatest treasure of all time,” wrote Popular Mechanics: “the strongest, best guarded, least expensive, most sensible strongbox owned by any nation.” Popular magazines and newspapers seized on the vault as a symbol of security and strength: several accounts noted that any potential invaders would have to “first fight their way across the Appalachians” just to approach the Fort. They also repeated Treasury department press releases describing the vault’s extraordinary security measures, including electric fences, a moat, steel and concrete walls of unknown but doubtless staggering thickness, a bombproof roof, poison gas booby traps and an emergency flooding system. The Treasury Secretary Henry Morganthau hinted at other forms of protection, too secret and awful to mention. “We thought Fort Knox would be a safe place,” Morgenthau answered cryptically when a reporter asked why he chose Fort Knox: “you know what I mean—safe.”

Fort Knox amounted to a performance of government, government as security, as impregnability: “security theater.” So even as the US left the gold standard, in the public imagination Fort Knox symbolized the connection between government and money, and the security of both. See for example, Yosemite Sam’s encounter with Fort Knox in 14 Carrot Rabbit (1952)

It was the subject of the James Bond movie Goldfinger, in which the Villain wants to irradiate all the gold in ft. Knox so his gold will increase in value, which made no sense at the time and still makes no sense.

It’s true that many people understand the dollar isn’t backed by gold, but enthusiasm for the gold standard has a long history among conservatives..Senator Rand Paul’s father, Congressman Ron Paul, would regularly demand inspections of of the vault. Th gold standard has a deep hold on the conservative imagination. The right wing site The Babylon Bee recently ran an article on how the vault was full of IOUs, and Forbes asked “Who has been in Ft; Knox’s Gold Reserves?”

FDR aimed to save capitalism, and the nation, from the great depression and he used the theater of Ft. Knox to strengthen faith on the money supply. Trump and Musk, on the contrary, are perversely trying to undermine confidence in the dollar. I expect that next week they will make a big show of the gold being “gone,” and use that absence A: as an excuse for more cuts in public spending, and B, to drive people to crypto, since Trump is a crypto huckster now.

Don’t be fooled by the hype: gold in Ft Knox has not mattered one bit since at least 1972, that is, for more than fifty years. This is theater by malign actors, trying to undermine the republic for their own ends.

About

Professor in the Department of History and Art History, George Mason University momalle3@gmu.edu

From Philadelphia, PA. Research interests: Mostly in the era from 1865-1919. History of music, history of technology, history of money and exchange, digital media and digital history, history of immigration and family history

In 2022 I published a book on the life of Francis O’Neill. O’Neill left Ireland at 17, and worked as an itinerant sailor for four years, He wound up as a cop in Chicago, eventually rising to Chief of police by 1901. He was also obsessed with Irish folk music, and used his authority as chief to compile several huge collection of tunes, The book, The Beat Cop: Francis O’Neill and the Invention of Irish Music was published by the University of Chicago in May 2022, looks at immigration and culture making, focusing on the relationship between collecting and policing.

In Fall of 2024 the University of Chicago Press will publish The Color of Family: History, Race and the Politics of Ancestry, based partly on the fact that two of my ancestors, one born in Ireland were declared to be colored people by the state of Virginia. The book teases out the various changes made to citizens’ names and relationships over the years, and how they affected families as they navigated what it meant to be “white,” “colored,” “mixed race,” and more. It explores the interplay of genealogy and history, showing how the documents that establish identity came about, and how private companies like Ancestry.com increasingly supplant state and federal authorities—and not for the better.

I’m currently researching a book on the relationship between music and machines, focusing on the esthetic preference for uniformity. Musical practice is very machine-like, demanding repetition and consistent, repeatable results. Music and machines have alwsy had a close relationship.

My colleague Matt Karush and I, with a lot of help, made an NEH-funded website, Hearing the Americas, that contextualizes and explains early twentieth century pop music.

Education

BA Temple University in History and American Studies.

MA and Ph.D University of California, Berkeley.

Taught at

NYU 1988-1990, postdoc and visiting prof

Vassar College, 1990-1994

George Mason University, 1994-present

Selected Publications

Keeping Watch: A History of American Time (Viking/Penguin 1990)

Face Value: The Entwined Histories of Money and Race in America (Chicago 2012)

The Beat Cop: Francis O’Neill and the Invention of Irish Music (Chicago 2022)]

The Color of Family: History, Race and the Politics of Ancestry (Chicago, 2024)

Recent articles 

“’The Ten Dollar Founding Father’: Hamilton, Money and Federal Power,” in Claire Potter and Renee Romano, Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (New Brunswick, NJ 2018).

“Dark Enough as It Is: Eddie Lang and the Minstrel Cycle,” in The Journal of Social History September 2018

“Like an Imposter, Through the Ranks of Good Society: Shinplasters and Everyday Life in the Antebellum US,” forthcoming in Nigel Dodd and Federico Neiburg eds. A Cultural History of Money in the Age of Empires (London, Bloomsbury, 2019)

Recent projects

With Mathew Karush and the Rosenzweig Center for History and New Media, “Hearing the Americas.