Search Results for: The New Yorker

We Stand on Guard for Bieber

Dominic Lipinski / AP, Photo illustration by Katie Kosma

Soraya Roberts | Longreads | August 2018 | 18 minutes (4,330 words)

Stratford, Ontario, doesn’t announce itself. The first time I traveled there, in mid-February, I drove into its center before knowing I was actually in it. I had not noticed a sign. All I had seen were miles of flat snowy farmland — the odd silo, field upon field — a row of frosted evergreens lining the horizon. Stratford, population 31,465, is like any other small tourist town in Ontario — shabby strip malls, magisterial churches, brick Main Street, overpriced eateries. Like so many Canadian cities, it’s the kind of place where a kid could be born and, happily enough, have just as much chance of staying as leaving.

People generally visit Stratford in the summer for its renowned Shakespeare festival, but I went during the off-season. A couple of miles ahead of the town center, my boyfriend and I passed what appeared to be a school bus holding zone — about a dozen of them, parked like blocks of life-size Legos — before arriving at the Stratford Perth Museum. It was 10 a.m. on a Saturday, the opening time for the press day of the “Steps to Stardom” exhibit, which traced Justin Bieber’s life, all 24 years of it, back to his Stratford childhood. It was quiet. The exhibit scarcely announced itself either, aside from two festive planters flanking the entrance, each festooned with curlicued silver-sprayed twigs wrapped in bows and billowy purple gauze, a color that, for those in the know, announces JUSTIN BIEBER as surely as it might have once announced royalty. In the next room, even quieter, the “Railway Century” exhibit politely stood by with its black-and-white photographs of the industry that had built the town that had built Justin Bieber. Read more…

A Thereness Beneath the Thereness: A Jonathan Gold Reading List

Jonathan Gold poses for a portrait during the 2015 Sundance Film Festival in Park City, Utah. (Photo by Larry Busacca/Getty Images)

For the past four decades, Jonathan Gold tirelessly catalogued the ebb and flow of cuisine in Los Angeles, and in the process, became known as the “food writing poet” of the city. That poet, who was diagnosed with pancreatic cancer this past month, died last week at the age of 57. In his New York Times obituary Ruth Reichl, who published Gold in Gourmet magazine, said of the writer-critic,

Before Tony Bourdain, before reality TV and ‘Parts Unknown’ and people really being into ethnic food in a serious way, it was Jonathan who got it, completely. He really got that food was a gateway into the people, and that food could really define a community. He was really writing about the people more than the food.

According to David Chang, no one knew more about Korean cuisine than Gold, and the critic, whose career began as a music journalist, became the foremost expert on the various regions of the world. Some opine his speciality was Mexican and Central American cooking, having eaten at every pupuseria, taco stand, and restaurant along the 15.5 mile stretch of Pico Boulevard. But really, Gold’s expertise wasn’t limited by borders. Read more…

The Cowboy Image and the Growth of Western Music

Photo by Michael Ochs Archives/Getty Images

Bill C. Malone and Tracey Laird | Country Music USA | University of Texas Press | June 2018 | 25 minutes (6,531 words)

The emergence of the western image in country music was probably inevitable. Long before the process of commercialization began, the cowboy had been the object of unparalleled romantic adulation and interest. Given the pejorative connotations that clung to farming and rural life, the adoption of cowboy clothing and western themes was a logical step for the country singer.

The increased emphasis on western themes and attitudes appeared unsurprisingly in the westernmost southern states ─ Louisiana, Oklahoma, Texas ─ and in California. In these areas, country music assumed forms differing from those in the more easterly southern states. Oklahoma, Louisiana, and Texas, although southern in traditional orientation, embodied significantly different elements. All three were touched by the oil boom of the early twentieth century, and each possessed population groups that stood apart culturally while simultaneously influencing the dominant “Anglo” element of the state. Oklahoma and Texas were settled, for the most part, by former residents of the older southern states, who had brought with them their values, traditions, and institutions. Louisiana, on the other hand, can be perceived as a land of at least three great cultures: a Roman Catholic, “Latin” culture in the South; an “Anglo,” Protestant culture in the north; and an African American culture whose influence could be felt throughout the state. Immigrants brought slaves and the cotton culture to all parts of the Southwest, making Texas and Louisiana parts of the southern economic and political orbit. They also transported their evangelical Protestantism to southwestern soil and brought with them many features of their folk heritage. Some of the old British ballads survived the westward migration, although they had lost many of their former characteristics. In some Texas communities, such as those found in the Big Thicket, a heavily forested area in the eastern part of the state, old ballads and old styles of singing endured well into the twentieth century. Many of the East Texas communities were, and remain, replicas of the older southern environment. And, in many of them, folk traditions died slowly.

Listen to music writer Will Hermes’ interview with Bill Malone and Tracey Laird on the Longreads Podcast here (read as transcript).

Texas folk music, then, was basically southern derived. Texas rural musicians used instruments common to the rest of the South, sang in styles similar to those of other rural southerners, frequently attended house parties where old-time fiddlers held sway, and learned to read music at the shape-note singing schools. But despite its close cultural affiliation with the South, Texas had a culture all its own ─ a culture produced by the mingling of diverse ethnic strains: southern “Anglo,” black, German and Central European (especially prevalent throughout the southern part of the state), Mexican, and Louisiana Cajun (in the area extending from Beaumont to Houston). A passion for dancing was common among all these groups, and in this heterogeneous society, musical styles and songs flowed freely from one group to another, modifying the old southern rural styles. While rural music was prevalent and pervasive, it differed substantially from that produced in the Southeast or in the Deep South.

The discovery of oil at Spindletop, near Beaumont, in 1901 was the first of a series of finds in southeastern Texas, southwestern Louisiana, Oklahoma, and Arkansas in the years extending up through World War I. The discovery of the great East Texas oil field in the early 1930s, along with the rapid industrialization that began during World War II, further set Texas apart from the other southern states. While these factors contributed to Texas’s uniqueness, they are probably less important than the fact that it was also part of the West. In fact, to most Americans, Texas was and is the West. And this West was a glorious land peopled by cowboys.

The romantic concept of the West, shared by most Americans, has a history virtually as old as the nation itself. James Fenimore Cooper’s early novels describing the restorative qualities of the frontier were not substantially different, nor less romantic, than the themes emphasized later in Bret Harte’s stories, in the western “dime novels,” or in such books as Owen Wister’s The Virginian. Thus, the cowboy and the West had been bathed in romance long before Hollywood and the television industry began their exploitations of the theme. The American people also had long demonstrated a general interest in the songs of the cowboy ─ beginning with Nathan Howard Thorp’s Songs of the Cowboys, 1908, and John A. Lomax’s Cowboy Songs and Other Frontier Ballads, 1910 (as a matter of fact, as early as 1907, when “San Antonio” appeared, Tin Pan Alley tunesmiths had experimented with “cowboy” themes). Although a few concert-musicians such as Oscar Fox (from Burnet, Texas) and David Guion (from Ballinger, Texas) made classical arrangements of a few cowboy songs, the western theme did not make any significant impact on American music until the 1930s. Guion’s version of “Home on the Range,” first performed in 1930 in a New York play called “Prairie Echoes,” became the most popular arrangement of the song and was said, perhaps apocryphally, to be President Franklin Roosevelt’s favorite song. Such songs became so widely circulated in the 1930s that even Tin Pan Alley reverberated with the melodies of the range. The farther Americans became removed from the cowboy past, the more intense became their interest in cowboy songs and lore. Hillbilly singers and musicians did much to implant the romantic cowboy image in the minds of their American audiences.

Before the 1930s, a few musicians recorded songs that genuinely reflected the cowboy heritage. The concert singer Bentley Ball ─ who did many programs of patriotic and traditional songs, many of them in colleges ─ recorded “The Dying Cowboy” and “Jesse James” for Columbia in 1919. Charles Nabell, in November 1924, recorded some cowboy songs for Okeh, along with other types of traditional material. Several of the early cowboy singers came from Texas, and their songs, for the most part, reflected genuine cowboy experience. Carl Sprague, for example, may have done most to generate an immediate interest in the recorded songs of the cowboy. He grew up on a South Texas ranch near Alvin where he learned many of the songs (most of them from his cowboy uncle) that he later recorded for Victor. His 1925 recordings of cowboy songs — topped off by the immensely popular “When the Work’s All Done This Fall” — mark him as one of America’s first singing cowboys. While attending Texas A&M, Vernon Dalhart’s success as a singer of traditional songs convinced Sprague that a similar market for cowboy singers might exist. He traveled to New York and had a successful audition with Victor Records; his earliest recordings had a sound very similar to that of Dalhart, including guitar and studio violin. Singing, however, was never more than a hobby with Sprague, and aside from his recordings, he made few commercial appearances. For many years he was on the coaching staff at Texas A&M, and, in addition, he attained the rank of major in the United States Army.

The romantic concept of the West, shared by most Americans, has a history virtually as old as the nation itself.

Jules Verne Allen, on the other hand, had actually experienced the rugged life of a working cowboy before he embarked on his career as a radio singer. Born in Waxahachie, Texas, Allen began working cattle in Jack County, west of Fort Worth, at the age of ten. From 1893 to 1907 he worked as a rough string rider and bronco buster from the Rio Grande to the Montana line. Unlike Sprague, he used cowboy music as the basis for a professional career. During the 1920s and 1930s, Allen sang over numerous radio stations, including WOAI in San Antonio, where he performed as “Longhorn Luke.” Like most of the pioneer recording performers of the 1920s, Allen and Sprague drew most of their material from turn-of-the-century cowboy life, although some of their songs were learned directly from the Lomax collection.

Other cowboy singers of the early commercial period varied widely in the amount of actual range experience they possessed. The Cartwright Brothers (Bernard and Jack) grew up in Boerne, Texas, directly on the route of “the long drive” that proceeded on to Kansas. Essentially a fiddle band, the Cartwrights performed a variety of songs. Their version of “Texas Rangers,” however ─ marked by Bernard’s haunting fiddle ─ is one of the greatest performances of a cowboy song heard on early commercial records. Carmen William “Curley” Fletcher, from California, was a rodeo performer and itinerant hawker of songs long before he made any commercial recordings. His greatest claim to fame came through his writing in 1915 of the poem that became the basis for “The Strawberry Roan,” which he sold on broadside sheets. The song became one of the most popular western numbers, performed usually with a chorus added by the California radio singers Fred Howard and Nat Vincent. At least a couple of the pioneer cowboy singers, Goebel Reeves and Harry McClintock, were southerners whose wanderlust drew them west, where they worked at a wide variety of occupations. Both men, for example, spent some time in the famous radical labor union the Industrial Workers of the World (IWW, or Wobblies).

Our knowledge of the otherwise shadowy figure of Goebel Reeves comes from the pioneering research done by Fred Hoeptner. Known as “the Texas Drifter,” Reeves was born in Sherman, Texas, in 1899. Before his death in California in 1959, he had enjoyed a varied career that led him across the United States and around the world. Although he came from a respectable middle-class family (his father served in the Texas legislature), Reeves deliberately chose the life of a hobo. During the course of his wanderings, he enlisted in the army, saw front-line service in World War I, worked as a merchant seaman, became active in the IWW, toured the vaudeville circuit, performed on radio, and recorded under several names for such companies as Okeh and Brunswick. In his recording career as a singer and yodeler ─ he claimed to have taught Jimmie Rodgers the yodeling style in the early 1920s while living in New Orleans ─ Reeves introduced some of the most interesting examples of both cowboy and hobo songs found in American music. These included the well-known “Hobo’s Lullaby” (which he claimed to have written), “The Hobo and the Cop,” “Railroad Boomer,” and the cowboy songs “Bright Sherman Valley” and “The Cowboy’s Prayer.”

Harry McClintock was as well traveled as Reeves, having also been a merchant seaman, a soldier, and a hobo. Born in Knoxville, Tennessee, he roamed widely throughout the United States and became a member of the IWW in the early twentieth century. Because of his musical talents, McClintock was a welcome addition to the Wobblies, who had a well-known fondness for singing and whose Little Red Songbook became virtually the bible for labor/protest singers in America. McClintock’s claim that he wrote “Hallelujah, I’m a Bum” and “Big Rock Candy Mountain,” two of the world’s most famous hobo songs, has never been seriously challenged. Once he settled down from his wanderings, McClintock began a career as a radio cowboy singer as early as 1925 on KFRC in San Francisco. “Haywire Mac,” as he was often called, also recorded for Victor from 1927 to 1931. Along with superbly performed cowboy songs such as “Sam Bass,” “Jesse James,” and “Texas Rangers,” McClintock’s labor songs make him one of the important progenitors of western music.

John White and Otto Gray contributed to the shaping of western music by presenting it widely to a national audience. White was an unlikely “westerner,” hailing from Washington, DC. However, he was the first person to introduce cowboy songs on radio to a New York audience (on NBC from 1927 to 1936). He also recorded cowboy songs, as well as hillbilly material, from 1929 to 1931, under several pseudonyms including “the Lonesome Cowboy.” White specialized in the history of cowboy songs, and over the years he did more than any other person to describe the origins of the ballads, and he dispelled much of the romantic claptrap that had gathered around them.

Otto Gray, a prosperous rancher from near Stillwater, Oklahoma, pioneered in the commercialization of cowboy music. In about 1923, he assumed the leadership of a string band that earlier had been composed of real cowboys ─ the McGinty Cowboys (named for Billy McGinty, an Oklahoma rodeo performer). Gray’s group had the distinction of being one of the few country groups publicized in Billboard, although Gray paid for most of the advertising. From 1928 to 1932, Gray and his Oklahoma Cowboys made a tour of radio stations throughout the country and performed on the northeastern RKO vaudeville circuit. Momie Gray (Otto’s wife) was the featured singer of the organization, specializing in sentimental songs. The Oklahoma Cowboys were a highly professional group that possessed most of the characteristics of slick show-business organizations. A special publicity man traveled in advance of the group, and appearances on radio stations provided further exposure. Two agencies, the Weber-Simon Agency in New York and the William Jacobs Agency in Chicago, handled the group’s RKO bookings. The Gray performers, dressed in plain, western-style clothing, traveled in Gray’s $20,000 custom-built automobile, which was wired for sound reproduction and had a radio receiver and transmitter.

If Otto Gray contributed significantly to the commercialization of “western” music, Jimmie Rodgers played an equally important role in fusing it with country music. As discussed earlier, Rodgers spent the last few years of his life in Texas and conducted many of his most successful tours there. He took great pride in the Texas heritage and the romantic cowboy past. The modern concepts of the “singing cowboy” and of “western” music may very well date back directly to Rodgers.

Scores of singers who modeled themselves after Jimmie Rodgers emerged in the 1930s, and most of them gave themselves “cowboy” titles and dressed in western attire. Young Hank Snow, for example, in far-off Nova Scotia, dressed in cowboy regalia and called himself “the Yodeling Ranger.” In even more remote Australia, Robert William Lane performed under the name of Tex Morton, described himself as “the Boundary Rider,” and sang cowboy songs with a bizarre, trilling yodel about both the Australian bush and the Texas Plains. Others, like Ernest Tubb, included few cowboy songs in their repertories but wore cowboy boots and ten-gallon hats. Since the western attraction was irresistible, even young hillbilly singers from the Deep South or from the southeastern mountains, whose associations with cowboys came only through story and song, embraced the western image and imagined themselves “way out west in Texas for the roundup in the spring.”

Perhaps because of Rodgers’s close association with Texas, many of the successful Texas hillbilly performers ─ Ernest Tubb, Lefty Frizzell, Floyd Tillman, Bob Wills, Tommy Duncan ─ credited Jimmie Rodgers as their inspiration. One of the most important of these individuals, and the one who completed the “romantic westernizing” process begun by Rodgers, was Orvon Gene Autry. Autry owed most of his initial success to the fact that he could perform Rodgers’s repertory in Rodgers’s yodeling style. Autry was born on a horse farm near Tioga, Texas, on September 29, 1907, but moved to Oklahoma with his parents while in his teens. Although his father was a horse trader, one finds that Gene experienced little of the cattle ranch life that his promotional material later stressed. At any rate, he left the “ranching” life as quickly as he could, working as a railroad telegrapher and singing at every opportunity.

According to a much-repeated story, confirmed by Autry himself, Will Rogers inspired his decision to become a professional musician. One day in 1927 the great humorist came to Chelsea, Oklahoma, where Autry was working as a telegrapher for the St. Louis and Frisco Railroad, heard the young man singing and strumming his guitar, and strongly encouraged him to go to New York and become a professional. Autry’s first trip to the big city in 1927 was unsuccessful, but he returned to Tulsa and got a job on KVOO as “the Oklahoma Yodeling Cowboy.” Returning to New York in 1929, he made his first records for Victor, accompanied by the Marvin Brothers, Johnny and Frankie. In December of the same year, Autry began a crucial association with Arthur Satherley, who recorded him for the American Record Company (ARC), producer of records for chain stores and for Sears. It was through the association with the Sears Conqueror label that Autry made it to WLS and the National Barn Dance.

In Chicago after 1931, Autry was an immediate success. His appearances on the Barn Dance and on his own radio program, Conqueror Record Time, made him one of the most popular performers in WLS history. His records, released on Sears labels, were those most prominently displayed in the Sears-Roebuck catalogue. As a result of his growing popularity, a number of Gene Autry songbooks and guitar instruction books began to appear in the early 1930s. An ad for a Gene Autry “Roundup” Guitar, priced at $9.95, reminded the reader that Autry had become a famous performer “simply because he learned to play a guitar while on the ranch.” Autry’s promotional mentors, Art Satherley and Ann Williams of the WLS production staff, capitalized on the “western” motif and advertised him as a singing cowboy long before the bulk of his recorded repertory came to include western numbers.

With Autry ensconced as a singing movie cowboy, hillbilly music now had a new medium through which to popularize itself.

In his early years as a professional singer, and on through the WLS period from 1931 to 1934, Autry remained a hillbilly singer, only rarely singing anything of a western variety. In both song selection and in style of performance, he revealed his indebtedness to the southern rural tradition. His Jimmie Rodgers imitations were among the best in country music, and his own “compositions” (written or cowritten with people like Jimmie Long) included such songs as “A Gangster’s Warning,” “A Hillbilly Wedding in June,” “Gosh, I Miss You All the Time,” and “My Old Pal of Yesterday.” In 1931, he recorded one of the biggest-selling hits in hillbilly music’s then-short history, “That Silver Haired Daddy of Mine,” recorded as a duet with the song’s co-composer, Jimmie Long. Autry’s many and varied recorded selections even included at least one labor song: “The Death of Mother Jones,” recorded on at least seven labels, which applauded the life of the famous and radical labor leader. While the song seemed rather remote from the type one would expect from a cowboy singer, it nevertheless reflected the passion for social and economic justice that many people felt during these Depression years.

Autry’s success on the Chicago radio stations and on record labels gained him in 1934 the position that made him the best-known cowboy in the United States and one of the most famous hillbilly singers. In that year, he arrived in Hollywood and began his career as the “Nation’s Number One Singing Cowboy.” Beginning with a small part in Ken Maynard’s In Old Santa Fe, he then starred for thirteen episodes in a strange cowboy/science-fiction serial called The Phantom Empire. Autry went on to a featured role in 1935 in Tumbling Tumbleweeds, a film that also included his old sidekick from Chicago days, Lester Alvin “Smiley” Burnette. In the following decades, he made more than ninety movies for Republic, Columbia, and Mascot, eighty-one of which included the multitalented Burnette, who usually played a bumbling character, Frog Millhouse. While becoming one of the most popular and wealthy actors in Hollywood, Autry also created the stereotype of the heroic cowboy who was equally adept with gun and guitar. Autry was not the first individual to sing in a western movie ─ Ken Maynard had done so as early as 1930 ─ but he was the first to institutionalize the phenomenon. With Autry ensconced as a singing movie cowboy, hillbilly music now had a new medium through which to popularize itself. The silver screen further romanticized the cowboy and helped shape the public idea of western music.

After signing his Hollywood contract, Autry made a radical shift in his repertory from “country” themes to “western” motifs. Instead of singing songs about the mountains, he came increasingly to perform songs with such titles as “Ridin’ Down the Canyon,” “The Round-up in Cheyenne,” and “Empty Cot in the Bunkhouse.” Both in Autry’s singing and in the instrumentation that accompanied him, one hears a distinctly measurable change in the records he made from 1929 to 1939. As the one-time hillbilly singer reached out to a larger audience, he smoothed out his presentation of material with a lower vocal pitch, well-rounded tones, and honey-coated articulation. Instrumentally, Autry’s sound exhibited a similar evolution, particularly after the violinist Carl Cotner became his musical director. Soft guitars, muted violins, a melodious but unobtrusive steel guitar, an accordion, and occasionally even horns could be heard as background instrumentation, as he and his directors sought a sound that would give no offense to America’s broad urban middle class. Whatever vocal sound was featured, however, Autry demonstrated a mastery of it. No country singer has ever shown more versatility.

Autry’s popularity inspired other movie companies to present their own versions of the singing cowboy. In searching for likely candidates, the companies usually delved into the ranks of country music, acquiring acts that had already established themselves on hillbilly radio shows or on record labels. Following Smiley Burnette, the Light Crust Doughboys became the first country group to join Autry in a movie (Oh, Susanna!). Some Autry sidemen went on to become important entertainment personalities in their own right. Johnny Bond, Jimmy Wakely, and Dick Reinhart, for example, came to Hollywood in 1940 (as the Jimmy Wakely Trio) and joined Autry’s Melody Ranch radio show in September of that year. Reinhart became one of the early exponents of the honky-tonk style, with songs like “Fort Worth Jail” and “Truck Driver’s Coffee Stop.” Wakely eventually starred in many movies of his own, became one of country music’s smoothest singers, and made several seminal recordings, such as “One Has My Name (The Other Has My Heart)” (one of the first successful “cheating” songs in country music). Bond remained on the Melody Ranch program until it ended in 1956, playing the role of a comic sidekick and opening the show each Sunday with the bass guitar run introduction to “Back in the Saddle Again.” Bond also became one of country music’s greatest songwriters, creating such songs as “Cimarron” (a song about a small river in Oklahoma, and performed by all western groups), “I’ll Step Aside,” “Old Love Letters,” and “I Wonder Where You Are Tonight” (now a standard in both bluegrass and mainstream country music).

A long line of hillbilly singers made only occasional appearances in western movies, usually as supporting actors for such leading cowboy stars as Charles Starrett and Johnny Mack Brown. The Sons of the Pioneers appeared in numerous movies, while Bob Wills and his Texas Playboys were in about eight. A few singers, such as Ernest Tubb, Jimmie Davis, and Bill Callahan, made only rare appearances.

Other singers, however, became leading men and posed at least modest challenges to Autry’s dominance. Atlanta-born Ray Whitley, the writer of “Back in the Saddle Again” and the designer of one of country music’s most popular guitars, the Gibson SJ-200, became a movie star in 1936 after an earlier successful career in New York as a cowboy singer. Tex Ritter also began his movie career in 1936, and, in the fifty-six movies that he eventually made, he became the most believable of all the singing cowboys. The most successful challenge to Autry, though, came from Roy Rogers, who signed with Republic in 1937. His visibility in American public life would last, because of television, well into the 1960s. The singing cowboy genre also persisted in American movies on into the 1950s, with Arizona-born Rex Allen being its chief exponent after 1949. In many ways, this last singing cowboy was the best singer of them all. Allen’s rich voice ranged from a deep bass to a sweeping tenor ─ a sound that almost no other country singer could equal.

Largely as a result of Hollywood exploitation, the concept of “western music” became fixed in the public mind. After the heyday of Gene Autry, the term “western” came to be applied even to southern rural music by an increasing number of people, especially by those who were ashamed to use the pejorative term “hillbilly.” Not only did the public accept the projection, but even most hillbilly singers became fascinated with the western image and eventually came to believe their own symbols. Autry was the first of a long line of country singers who clothed themselves in tailored cowboy attire; in the following decades, the costuming became increasingly elaborate and gaudy, with the brightly colored, bespangled, and rhinestone-laden uniforms created by Nudie the Tailor (Nudie Cohn, born Nuta Kotlyarenko in the Ukraine in 1902) in Los Angeles being the most favored fare. Eventually, most country performers, whether they hailed from Virginia or Mississippi, adopted cowboy regalia–usually of the gaudy, dude cowboy variety.


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Along with the clothing, country bands and singers ─ particularly in the Southwest and on the West Coast ─ adopted cowboy titles. Singers with names like Tex, Slim, Hank, Red River Dave, the Utah Cowboy, and Patsy Montana, and groups with such titles as the Cowboy Ramblers, Riders of the Purple Sage, Radio Cowboys, Swift Jewel Cowboys, Lone Star Cowboys, and Girls of the Golden West (Dolly and Millie Good) abounded on radio stations (and record labels) all over the nation. Radio and record promoters, of course, were very much alive to the appeal of the western myth, and they often encouraged musicians to adopt appropriate western monikers. Millie and Dolly Good, for example, were farm girls from Illinois who sang and yodeled in sweet, close harmony. Their agent advised them to dress like cowgirls, gave them the romantic title Girls of the Golden West, and then, after scanning the map of western Texas, attached to their promotional literature the statement that they were born in Muleshoe, Texas. The Girls very carefully preserved this fiction to the end of their performing career.

Patsy Montana’s career was similarly shaped by romantic conceptions of the West. She was a singer and a fiddler from Arkansas named Rubye Blevins, but on the West Coast in the early 1930s, Stuart Hamblen renamed her Patsy Montana, and she thereafter cultivated the performing image of the cowgirl. Although much of her career saw her appearing as a “girl singer” with such groups as the Prairie Ramblers, Patsy made dramatic history in 1935 when “I Want to Be a Cowboy’s Sweetheart” became the first huge hit by a woman country singer and a virtuoso yodeling piece that still influences the style of women singers (Austin country-rock singer Marcia Ball, for example, made the song and yodel standard parts of her repertory in the late 1970s).

Many of the “western” entertainers performed cowboy songs, usually highly romanticized, but more often their titles and attire were the only ties they had with the “West.” Several musicians, however, stayed rather close to the cowboy repertory. Some of them had been performing long before Gene Autry achieved Hollywood fame, and many of them, such as “Haywire Mac” McClintock and the Crockett Family (John H. “Dad” Crockett and his five sons, originally from West Virginia), had performed on California radio stations since at least 1925. Other early California groups included Len Nash and his Original Country Boys, broadcasting from KFWB, Hollywood, as early as March 1926; Sheriff Loyal Underwood’s Arizona Wranglers; Charlie Marshall and his Mavericks; and perhaps the most important (and certainly the most interesting), the Beverly Hillbillies.

Largely as a result of Hollywood exploitation, the concept of “western music” became fixed in the public mind.

The Beverly Hillbillies were the brainchild of Glen Rice, station manager at KMPC in Los Angeles. Reversing the trend toward adoption of western names during the 1930s, Rice used the eastern moniker Hillbillies for the group of western musicians that he assembled around the accordion player Leo Mannes (renamed Zeke Manners) and conducted a ballyhoo campaign alleging that a group of strange and primitive musicians had been unearthed in the hills of Beverly. The band made its debut on KMPC on April 6, 1930, and remained a popular feature throughout the decade. Over the years the Hillbillies included several fine musicians, such as Manners, who had no background in country music but had been attracted to California because of the lure of Hollywood. A few Hillbillies were genuine country boys, such as the sky-high yodeler Elton Britt (James Britt Baker), who came from Arkansas in 1930, and Stuart Hamblen, who came from Texas in the same year. Britt went on to become one of country music’s most gifted yodelers (virtually the last of that once-hardy breed) and a leading soloist during the 1940s. Hamblen, the son of a Methodist minister in Abilene, Texas, was a fixture on West Coast radio from 1930 to the 1950s. He hosted his own shows in Hollywood after 1931, boosted the careers of other performers, wrote many of the most successful songs of the decade (including “My Mary,” “Texas Plains,” “Golden River,” and “My Brown-Eyed Texas Rose”), was the first country performer signed by Decca in 1934, and became sufficiently known to become a candidate for Congress in 1938.

The western group that ultimately became the most famous, and the most frequently emulated, was the Sons of the Pioneers. They sang virtually every type of country song and even ventured into popular music, but the majority of their melodies dealt with western themes. Perhaps more than any other group, they preserved a western repertory and exploited the romantic cowboy image. More “western” stylistically than any other group, they were among the least western in terms of origin. Bob Nolan (Robert Clarence Nobles) was born in New Brunswick, Canada, but he moved with his parents to Tucson at the age of fourteen. In Tucson he found himself fascinated with the desert, a feeling that never left him and eventually inspired some of country music’s greatest songs, such as “Cool Water,” “Tumbling Tumbleweeds,” and “At the Rainbow’s End.” Tim Spencer, also an outstanding songwriter, was born in Missouri but grew up in Oklahoma, Texas, and New Mexico. Roy Rogers came from southern Ohio.

The three musicians came to California in the early 1930s and soon fell into a pattern common to most country singers during the decade, moving from group to group before they formed their own organization. Roy Rogers, the prime organizer of the trio, was born Leonard Slye in Cincinnati, on November 5, 1911, but grew up on a small farm near Portsmouth, in southern Ohio. Here he garnered his earliest musical training from his Kentucky-born mother and his mandolin-and-guitar-playing father. In 1931 he and his father moved to Tulare, California, and worked as migratory fruit pickers. In the following three years, beginning with a duo called the Slye Brothers (Leonard and a cousin), he worked with several western-style groups until the Pioneer Trio was formed in 1933. Renamed the Sons of the Pioneers the following year, the trio soon became noted for their smooth, inventive harmonies and yodeling, and for the finely crafted songs that Nolan and Spencer created. They became so famous for their harmony that their instrumental accompaniment is often forgotten. Two extraordinarily talented brothers from Llano, Texas, Hugh and Karl Farr, joined them in 1934 and 1935. The Farrs were jazz-influenced country musicians whose progressive styles were sometimes obscured by the vocal emphasis of the Pioneers. Hugh Farr, who also sang a low-down bass with the group, was one of the hottest fiddlers of the period, and his brother, Karl, was a master of both the rhythm and single-string styles of guitar.

The Pioneers won extensive popularity on the West Coast with an early-morning radio program on KFWB in Hollywood, but 1936 proved to be their banner year. By this time their radio transcriptions were being widely circulated, and the group became a featured act, along with Will Rogers, at the Texas Centennial in Dallas. Leonard Slye left the group in 1937 after signing a movie contract with Republic Studios. At this point he changed his name, first to Dick Weston, and later to Roy Rogers. His performances after this time were made on an individual basis, and he eventually rivaled Gene Autry as America’s most popular singing cowboy (Rogers was also one of country music’s finest yodelers). He was replaced in the Sons of the Pioneers by Lloyd Perryman from Ruth, Arkansas, whose natural tenor was the first the group had ever had, and who gave them an even closer harmony than they had earlier possessed. The Sons of the Pioneers underwent numerous personnel changes after 1937 but have never disbanded. Their songs moved into the repertories of country singers everywhere, and their style of harmony was widely copied, most effectively by Foy Willing (originally Willingham) and the Riders of the Purple Sage, who appeared with Monte Hale and Roy Rogers in Republic Pictures from 1942 to 1952.

The flourishing singing cowboy industry inspired the emergence of songwriters, including two of country music’s finest ─ Fred Rose and Cindy Walker ─ who made their debuts as country composers in the 1940s when they wrote songs for movies (Rose for Autry, Walker for Bob Wills). The interest in western music in the 1930s, however, was not confined to country performers and their supporters. Writers from Tin Pan Alley also reacted to the western craze, and the entire nation was soon humming western-style tunes such as “Gold Mine in the Sky,” “There’s a Home in Wyoming,” and “I’m an Old Cowhand.” Some of these tunes were written by easterners who had never been near a cow, but the Happy Chappies at least lived in California in the midst of the Hollywood industry. The Chappies were a pop-singing duo named Nat Vincent and Fred Howard who wrote or arranged such songs as “When the Bloom Is on the Sage,” “Mellow Mountain Moon,” “My Pretty Quadroon,” and “Strawberry Roan” (the last a musical adaptation of Curley Fletcher’s earlier poem). The most successful of the western-oriented popular songwriters was a Bostonian, William J. (Billy) Hill. Hill’s birth and musical training gave no indication of his future success as a western songwriter. Born in Boston in 1899, he studied violin at the New England Conservatory of Music and performed for a short time with the Boston Symphony Orchestra. In 1916 he traveled west, riding the rails and working at odd jobs until he had seen most of the western states. He returned to New York in the late 1920s after becoming thoroughly acquainted with western life ─ including everything from camp cooking to cowpunching. In New York he worked as a doorman at a fashionable hotel and composed songs occasionally. Over the years his compositions ranged from popular melodies like “The Glory of Love” to hillbilly songs like “They Cut Down the Old Pine Tree” and “The Old Spinning Wheel.” His chief success, however, came with western-style songs like “Call of the Canyon,” which were distinguished for their beautiful melodies and for rhythms that suggested the gait of a horse. He experienced his most spectacular success in 1933 with “The Last Roundup,” the song that really awakened the general public to the romantic West while becoming the most popular tune in the country. Performed by both hillbilly and popular groups, its appeal may have stimulated a greater interest in the more “authentic” country and western material and ensured a greater national following for country music.

Most of the western bands in California and the Southwest used Billy Hill’s material, but his New York songwriting ventures were directed primarily at big-city popular-music audiences. Although country music has always encountered its coolest reception in the Northeast, particularly in the city of New York, country-style entertainers have always achieved some prominence there on local radio stations. Ethel Park Richardson, for example, did much to educate New Yorkers about the beauties of folk culture between 1933 and 1935 with her weekly dramatizations on WOR and the NBC Network. Each week she was assisted by such singers as Frank Luther, Carson Robison, and Tex Ritter as she dramatized a famous folk song. Luther and Robison had been in New York since the 1920s, but Ritter was one of several cowboy singers who kept New Yorkers range conscious during the mid-1930s. Others included Texas Jim Robertson, a deep-bass singer from Batesville, Texas; Zeke Manners and Elton Britt, who had moved from California; Dwight Butcher, a Jimmie Rodgers disciple from Tennessee; Ray Whitley, who sang regularly at the Stork Club and on WMCA; and Wilf Carter, the Nova Scotia yodeler who performed over CBS as Montana Slim.

The most singular of all the cowboy singers in New York, however, was Woodward Maurice “Tex” Ritter. Born in Murvaul, in deep East Texas, January 12, 1905, Ritter grew up far removed from the scene of much cowboy activity. He attended the University of Texas for five years (singing in the university glee club under the direction of Oscar Fox) and then went to Northwestern Law School for one year. Throughout his youth he had collected western and mountain songs, and therefore had a storehouse of interesting songs when he began singing on KPRC in Houston in 1929. In 1930, he joined a musical troupe on a series of one-night stands through the South and Midwest. By 1931, he had gone to New York, where he joined the Theatre Guild and began his acting career with a featured role in Green Grow the Lilacs (a short-lived play that eventually became the basis for the musical Oklahoma). With his thick Texas accent and storehouse of cowboy lore, Ritter quickly emerged as a New York sensation. He became greatly in demand for lecture recitals in eastern colleges on the cowboy and his song. During the fall of 1932, he was the featured singer with the Madison Square Garden Rodeo and from there went on to a recording contract with ARC and a program slot on WOR entitled The Lone Star Rangers, one of the first western radio shows ever featured in New York City. From 1932 to 1936, he appeared on other New York stations, including the WHN Barn Dance, where he acted as cohost with Ray Whitley. Then, inevitably, in 1936, he made the first of several movies, Song of the Gringo. Ritter, however, was not a cowboy, but was instead a very believable interpreter of cowboy songs. Impressionable easterners were easily convinced that he came, not from a small East Texas community and a college background, but from a working cattle ranch. And Tex very skillfully lived up to the part.

Tex Ritter’s exploitation of the western theme was typical of what was happening all over the United States in the mid-1930s. From New York to California, individuals responded to the western myth, and “cowboy” singers and groups sprang up in all sorts of unusual places. “Western” became a rival and often preferred term to “hillbilly” as a proper appellation for country music. It is easy to understand, of course, why “western” would be preferred to the seemingly disreputable backwoods term. “Western,” specifically, suggested a music that had been developed by cowboys out on the Texas Plains or in the High Sierras; more generally, it suggested a context that was open, free, and expansive. In short, the term fit the American self-concept.

***

Listen to music writer Will Hermes’ interview with Bill Malone and Tracey Laird on the Longreads Podcast here (read as transcript).

Excerpted from Country Music USA. Copyright ©1968 by the American Folklore Society. Copyright © 1985, 2002, 2010, 2018 by the University of Texas Press. All rights reserved.

An Igbo Slaver’s Descendants Reckon With History

LONDON - MARCH 29: HMS Northumberland (L) escorts a replica 18th century wooden square rigger ship 'The Zong' (R) on a choppy River Thames on March 29, 2007 in London, England. Today's events form part of the 200th anniversary of the abolition of the slave trade act. The Zong was at the centre of a court case in 1783, after 133 slaves were thrown overboard in an insurance scam. The resulting public outrage led to the rise of the Abolitionist movement. (Photo by Peter Macdiarmid/Getty Images)

For the New Yorker, author  dives into the history of her great-grandfather, an Igbo slave trader and palm merchant who participated in the transatlantic slave trade. “African intellectuals tend to blame the West for the slave trade, but I knew that white traders couldn’t have loaded their ships without help from Africans like my great-grandfather,” the author writes. She reveals a complex caste system that pre-dated European influence, and shows how current generations of her family are accounting for their ancestor’s relationship to the suffering of many.

On the first day of the fast, members of my family met in small groups in London, Atlanta, and Johannesburg. Some talked on the phone, and others chatted on social media. Thirty members gathered under a canopy in my parents’ yard. With tears in his eyes, my father explained that, in Nwaubani Ogogo’s day, selling and sacrificing human beings was common practice, but that now we know it to be deeply offensive to God. He thanked God for the honor and prestige bestowed on our family through my great-grandfather, and asked God’s forgiveness for the atrocities he committed. We prayed over a passage that my father texted us from the Book of Psalms:

Who can understand his errors?
Cleanse me from secret faults.
Keep back Your servant also from presumptuous sins;
Let them not have dominion over me.
Then I shall be blameless,
And I shall be innocent of great transgression.

During the ceremony, I was overwhelmed with relief. My family was finally taking a step beyond whispering and worrying. Of course, nothing can undo the harm that Nwaubani Ogogo caused. And the ohu, who are not his direct descendants, were not invited to the ceremony; their mistreatment in the region continues. Still, it felt important for my family to publicly denounce its role in the slave trade. “Our family is taking responsibility,” my cousin Chidi, who joined from London, told me. Chioma, who took part in Atlanta, said, “We were trying to make peace and atone for what our ancestors did.”

On the final day, my relatives strolled along a recently tarred stretch of road to our local Anglican church. The church was established in 1904, on land that Nwaubani Ogogo donated. Inside, a priest presided over a two-hour prayer session. At the end, he pronounced blessings on us, and proclaimed a new beginning for the Nwaubani family. After the ceremony, my family members discussed making it a yearly ritual. “This sort of thing opens up the mercy of God,” my mother, Patricia, said. “People did all these evil things but they don’t talk about it. The more people confess and renounce their evil past, the more cleansing will come to the land.”

Read the story

 

Great Reviews Of Movies I Have Never Seen: A Reading List

In a movie theater, rows of red velvet chairs sitting empty in front of a blank screen.
Image by hashi photo via Wikimedia Commons (CC BY 3.0)

Sara Benincasa is a quadruple threat: she writes, she acts, she’s funny, and she has truly exceptional hair. She also reads, a lot, and joins us to share some of her favorite stories (and some of her friends’ favorites, too). 

I will admit upfront that I haven’t seen as many films as I feel I should. I’ve written one, an adaptation of my third book, DC Trip. It was scary to contemplate: I thought, “I haven’t seen enough films to write a film.” And then someone pointed out that the average male aspiring screenwriter would never let that stop him, and I figured this was correct.

I realized — and this is applicable for any job, really — I shouldn’t negotiate from a place of “I’m so lucky anyone would consider me for such a gig.” I should negotiate from a place of “Hell yeah, I can knock this out of the park and I deserve this gig! I will learn what I need to learn, ask questions, do the work, and figure it out as I go along. And I will do a very good job.” And I started watching more films, because while you learn a lot by doing, you also learn a lot by watching. Plus, if you want to do something for a living, it’s only respectful to your art form of choice to, you know, actually study it.

Conveniently enough, I also recently got sober, which means I’ve got more time on my hands now that I don’t spend one to two days a week functioning at the intellectual level of a toaster oven. Did you know that if you replace alcohol with water, you’ll sleep better at night and have a superior command of syntax in the morning? True facts, my friends. You’ll also have to deal with a bunch of stuff you were ignoring, like credit card debt and emotional scars, but you can escape that temporarily at your local movieplex!

Read more…

Clocking Out

Getty

Livia Gershon | Longreads | July 2018 | 9 minutes (2,261 words)

On May 1, 1886, 80,000 workers marched through the streets of Chicago. As soldiers and private police aimed their rifles into the crowd, “no smoke curled up from the tall chimneys of the factories and mills,” the Tribune reported. “Things had assumed a Sabbath-like appearance.” Chicago, an industrial boomtown, was the center of what became that day a mass labor action; more than 300,000 workers staged a strike across the country. The participants were skilled and unskilled, immigrant and native-born, revolutionary and reformist. What drew them together was a common demand, expressed in a popular labor song that many of the marchers sang: “We want to feel the sunshine / And we want to smell the flow’rs / We are sure that God has willed it / And we mean to have eight hours.

Read more…

An Alexandria Ocasio-Cortez Reading List

NEW YORK, NY - JUNE 26: Progressive challenger Alexandria Ocasio-Cortez celebrartes at a victory party in the Bronx after upsetting incumbent Democratic Representative Joseph Crowly on June 26, 2018 in New York City. Ocasio-Cortez upset Rep. Joseph Crowley in New York’s 14th Congressional District, which includes parts of the Bronx and Queens. (Photo by Scott Heins/Getty Images)

I was in Canada when I watched Alexandria Ocasio-Cortez do what many, myself included, thought was the impossible: win the nomination as the Democratic Congressional candidate for New York’s District 14, beating incumbent party boss Joe Crowley, one of the most powerful machine Democrats in New York City, who hadn’t been challenged since he was essentially handed his congressional seat nearly two decades ago.

I watched it on Twitter, sensing the shock of my colleagues in the New York press corps. Those of us who were natives had grown up in, and continue to live in, a New York City that is ruled by money at every turn. Politics is no exception; if anything, it is the rule. Candidates in New York are typically taken seriously based on the weight of their “war chest,” how much money their campaign has accrued. In one campaign funding quarter, incumbent party boss Joe Crowley had out-raised her 30-to-1.

And yet. She had done the impossible. And in doing so, she had shown us — the press, and also voters — what is possible. It is hard to believe something is possible if you have never seen it happen before. Now we’ve seen it happen. Now we know.

I could not tear my eyes away from Twitter, from the impossible becoming real before my eyes. It felt too magical. I kept waiting for someone to say, no, we spoke too soon. No, we were wrong. Instead I saw video footage, filmed by NY1, the local news channel I grew up watching, depicting Ocasio-Cortez at the moment she realized it, too: That she had made the impossible a reality.

I watched it over and over. Ocasio-Cortez’s eyes widen, her hands flutter in agitation, then go to cover her mouth. She is overwhelmed. She reaches out one hand and grips the shoulder of the NY1 reporter, unconsciously, the way one reaches out blindly for any stability in a moment of reeling. Her other hand is still covering her mouth. She is still in shock, her eyes still so wide. She looks a little terrified, and who can blame her? How completely terrifying must it be to commit such magic, to make the impossible real for a generation who’d never seen it? A woman near her is crying now. It’s been only a matter of seconds so far. The NY1 reporter says something to her, and Ocasio-Cortez takes her hand from her mouth, looks at the reporter as if seeing her all of a sudden, and then she is back, and she is on, and she shakes her head with a little dip of conviction, a little dip that said, to me, I’m ready.

I wondered, what that must be like, to do something so tremendous, and then to have barely seconds to recover from it? I was awed by her grace and temerity. And I wasn’t scared for her, not even a little bit. She was ready.

***

That moment made me wonder, though, if some part of her had braced herself for the outcome so many people had said was inevitable: a stinging loss. All that effort for nothing — though it wouldn’t have been nothing, for she had activated voters, and pushed Crowley to the left, enough that he backed a Medicare for All bill that he’d previously scoffed at.

But still, how could she not have anticipated the possibility of losing? She had been ignored by television media, and by much of the mainstream political media. When they did write about her, her defeat seemed preordained. “It’s an understatement to say the underfunded Ocasio-Cortez has an uphill battle,” POLITICO wrote in February, near the end of a long piece about progressive candidates nationwide. Crowley was “heading into an all-but-certain victory,” POLITICO New York wrote in June, just before the primary.

But even those stories contained tacit hints about the potential for an Ocasio-Cortez victory. The June story reported:

“The No. 4 House Democrat’s longtime colleagues in the New York delegation say they’re not worried about his primary — and brushed aside any idea that the race could hurt Crowley’s ambitions to become Speaker one day.

‘Everybody is supportive of Joe and how he’s running the race,’ said Rep. Gregory Meeks, who represents parts of Queens and Nassau County. ‘The fact that Joe is the chair of the Queens Democratic Party and how he’s held that organization together — he’s got Democrats working together — works in his favor of his leadership as chair of the Democratic Caucus.'”

Perhaps voters finally asked: Working together for what? A sharply divided nation in which racists no longer feel the need to wear masks when they rally, safe with their hatred out fully in the open? A city in which economic disparity seems to widen year after year? Apartments that are affordable for few, if any, and healthcare out of reach for most, while this party boss takes cash from real estate and pharmaceutical companies?

Or, as Ocasio-Cortez herself told POLITICO in February:

“What this is about is that if we reelect the same Democratic Party that we had going into this mess, then we’re going to have the same exact result,” Ocasio-Cortez said. “In order for the country to move forward, the Democratic Party has to transform.”

And she wasn’t universally ignored by media outlets. She was profiled by the Village Voice as early as last year, in June 2017, and WNYC later that year. Mic profiled her in February of this year, and Splinter News in March 2018. Ozy, Elite Daily, Refinery29, The Cut and Vogue all followed. The Intercept wrote about her repeatedly, and Politico Media’s Michael Calderone quoted Intercept reporter Ryan Grim at her election night party:

“She represented the perfect contrast to Crowley’s model of politics,” Grim said. “Our theory is that big money corrupts politics. The corollary to that is there is another way to do politics. Otherwise you’re just nihilists. People like Alexandria Ocasio-Cortez, who are doing that kind of politics, are important to highlight, to show there is an alternative.”

I couldn’t help but recall here what an anonymous Democratic operative, fearful of offending Crowley, told POLITICO New York for their June article: “Once there is an initial threat, a challenge in his dominance, it changes people’s perception on the Hill about his power.”

Hopefully, others like Ocasio-Cortez will see this and feel emboldened to take on the political machines in their own communities. New York’s is powerful, with deep roots — but often lazy, a laziness that sometimes seems intentional, in light of the low voter turnout that results. (I wrote last year for The New York Times about efforts to counter this in Brooklyn.) Per POLITICO New York:

“Crowley’s dominance over the Queens machine — formally known as the Queens County Democratic Organization — remains unchallenged. He’s been in charge since 2006, shortly after former Rep. Tom Manton, who had molded Crowley as his political protege, died of cancer. Since then, both supporters and detractors say Crowley has run a well-oiled operation that controls everything from the Queens judicial system to who wins local city and state elections, who gets on the ballot and who can tap into the resources available at the disposal of the operation.

Still, interviews with several Democratic operatives, elected officials and political advisers show the Queens County operation’s bark may be worse than its bite. The county has power, but it has a nearly non-existent ground operation; it does not deliver votes or ensure that people hit the polls on election day. Rather, it offers candidates a friendly “how-to” map for running for office in Queens which includes everything from who to hire for consulting to ensuring a specific ballot line.”

It’s hard not to be hopeful that Ocasio-Cortez’s victory will extend to other candidates like her all over the country who are brave enough to challenge the antiquated machine politics around them.

After all, her victory was also one for “millennial” publications, according to HuffPost. POLITICO’s Calderone detailed how outrage at The New York Times’ dismissive characterization of Elite Daily, Mic and Refinery29 as “websites most often associated with millennial and female audiences” as opposed to “national” outlets provoked such outrage that “national” was changed to “traditional.”

Here is a reading list about Ocasio-Cortez, including González-Ramírez’s piece and others.

1. “The Most Powerful Democrat in Queens Must Finally Compete,” Ross Barkan, the Village Voice, June 19, 2017 

The Voice article gives crucial background on how Crowley came to power — as, essentially, a prodigal son of New York City machine politics. Most gallingly, and personally for Ocasio-Cortez, it shows how that same machine politics has brought wealth to only a select few, due to the hardship of those who most need their elected officials’ assistance — as Ocasio-Cortez and her mother did when her father died of cancer.

The day-to-day operations of the Queens party have remained in the hands of a trio of Crowley- and Manton-aligned lawyers for three decades.

These men — Gerard Sweeney, Michael Reich, and Frank Bolz — have a law firm that has earned millions in Surrogate’s Court, where the estates of people who die without wills are processed, and from representing banks foreclosing on people’s homes. The judicial system in Queens is effectively under Crowley’s control, since no one becomes a judge or receives a court appointment without staying in the county organization’s good graces.

2. “Can Local Candidates Ever Defeat the Political Machine?” Brigid Bergin, WNYC and CityLab, November 7, 2017

Bergin’s story looked at Ocasio-Cortez and three other women in Queens hoping to destabilize the borough’s entrenched political machine. Perhaps most interesting in her story is context she provides for the responses she gets from Crowley, like the following (among others):

“The way the Queens Democratic Party machine has worked, they operate on a politics of exclusion,” said Ocasio.

I asked Crowley what he says to people who see how the local party operates and say, the system is rigged.

“I think ‘rigged’ is an interesting word to use when the judges in this county are elected by the people,” Crowley replied. That’s technically true, but slightly misleading: Judicial candidates are nominated by the party. In a one-party town, voters don’t have much choice at the polls.

3. “Meet the young progressive Latina trying to oust one of the most powerful Democrats in the House,” A.P. Joyce, Mic.com, Feb. 28, 2018 

After Ocasio-Cortez’s primary victory, a Twitter user posted a photo of the suburban house where she grew up, claiming that it proved the urban roots she claimed were a lie.

But she’d never denied that she grew up in a privileged zip code. As far back as February, she told Mic that her father moved her family to a neighborhood with better opportunities, but most of her extended family remained in the Bronx, where her father continued to commute for work.

The experience of living between the two worlds of New York’s poorest borough and its more affluent suburbs gave Ocasio-Cortez an early firsthand look at some of the inequities facing the country.

“I grew up with this reality and understanding of income inequality as, ‘When I’m in this zip code I have these opportunities, and when I’m in that zip code I don’t have these opportunities,’” she said.

“At a very young age I knew it was wrong. I knew that the fact that my cousins didn’t have adequate resources or adequate public services and good schools, and I did, was something that just didn’t strike me as right.”

4. “Talking With Alexandria Ocasio-Cortez, the Woman Challenging One of New York’s Political Kingmakers,” Clio Chang, Splinter, March 22, 2018 

Chang’s Q&A with Ocasio-Cortez is thorough and well worth a read — particularly the context she provides on the call to abolish ICE, and the hopes she has for New York and national politics at large.

In order for our country to move forward both parties have to transform fundamentally. On the Democratic side, we need to be the party of working people again and no one has stepped up to the plate. People have been too scared in New York’s frankly very intimidating political environment.

5. “A Primary Against the Machine: A Bronx Activist Looks to Dethrone Joseph Crowley, The King of Queens,” Aida Chavez and Ryan Grim, The Intercept, May 22, 2018 

The Intercept did multiple stories on Ocasio-Cortez, but its initial profile is a really compelling retelling of the story of Ocasio-Cortez’s call to activism — in part due to the chaos that ensued after her father’s death — and a good explanation of how the Queens political machine flexes its power, especially when it comes to the court system.

“Crowley’s allies in the machine, Ocasio-Cortez charged, ‘defend him in court and they bump his opponents off the ballot,’ referring to ballot challenges filed with the Board of Elections against candidates Crowley did not support or who oppose the machine. Last year, as DNAInfo reported, a candidate in a City Council primary was booted from the ballot for not having enough valid signatures; she said she was bullied for not ‘kissing the ring’ of the party boss, Crowley. In that race, Crowley supported Assemblyman Francisco Moya, who went on to defeat Hiram Monserrate, a former council member and state senator who was expelled from the legislature after a 2009 conviction for assaulting his girlfriend.

The machine has a tight relationship with developers. Ocasio-Cortez noted in a follow-up email that Crowley’s organization reaped large sums of real estate money before the Queens machine installed the new City Council speaker, Corey Johnson, who has since led the council in rezoning neighborhoods for luxury developments — pricing out local families and constructing high rises when the city already has 275k vacant units.'”

6. “This Berniecrat Aims to Unseat a Queens Power Broker,” Daniel Malloy, Ozy, May 23, 2018

The update to this article states, “Ozy told you about her first,” which likely isn’t true — unless their readers don’t have access to the Village Voice, WNYC, CityLab, Mic, Splinter and The Intercept. But their profile is good nonetheless, opening with a glimpse into Ocasio-Cortez’s campaigning efforts and sweet details about her personality and background.

“There were times when Ocasio-Cortez would wonder whether it was worth it, especially when she’d drag herself home to her Bronx apartment after midnight, her campaign materials crammed into a Trader Joe’s bag. But this is the mid-February moment when she passes the point of no return: She’s quitting her day job to campaign full-time through the June Democratic primary, living off her savings and her partner’s income. Her social media and volunteer following, as well as the community members she meets, won’t let her quit. ‘It is simultaneously so exciting and terrifying,’ she says.”

7. “28-Year-Old Alexandria Ocasio-Cortez is Pushing For Millennials’ Future Through Politics,” Hannah Golden, Elite Daily, June 12, 2018

Elite Daily’s look at Ocasio-Cortez emphasizes her youth, with good reason: to show the importance of having legislators who by necessity need to take a long view on complicated issues. As Ocasio-Cortez tells the publication, most members of Congress “won’t have to deal with 20-foot storm surges, but we will.”

“If elected, Ocasio-Cortez could be the youngest woman ever elected to the House. According to the Congressional Research Service, the average age of a House member at the beginning of this session was 57.8 years, and 61.8 years for a senator. That’s one of the highest averages in the legislature’s history. Under the U.S. Constitution, House representatives must be at least 25 years old (and senators 30) when they take office. The youngest member of Congress currently is fellow New Yorker Elise Stefanik, who was 30 years old when she took office in 2015.

In fact, it’s out of a sense of responsibility as a young person that Ocasio-Cortez is daring to take on a high-profile member of her own party. ‘Congress is too old, they don’t have a stake in the game,’ she says. Issues like climate change and the rising costs of higher education and housing, she adds, aren’t being addressed by the current representation.

8. “Meet The Bronx-Born Puerto Rican Challenging One Of The Most Powerful House Democrats,” Andrea González-Ramírez, Refinery29, June 13, 2018

Andrea González-Ramírez’s story is full of important and notable statistics and data and great quotes from Ocasio-Cortez, but perhaps the one that struck me the most was that Ocasio-Cortez had at one point decided she would not like to run for office.

“But Ocasio-Cortez argued that for all the power Crowley wields in Congress, he has failed to serve the people of Queens and the Bronx. Though she never planned to run for office because she didn’t like the culture behind it, she decided she couldn’t continue to stand-by.

‘While it’s not that nothing has happened in the Bronx, it feels that we are dealing with the same problems 20 years later,’ she said. ‘I’m an organizer here and I know no one ever sees him, he doesn’t have a presence in this community. It would be different if he was around.’

(In 2011, the New York Post reported that Crowley lived in Virginia and was raising his family there, though he maintains a house in Queens.)”

9. “The 28-Year-Old at the Center of One of This Year’s Most Exciting Primaries,” Gabriella Paiella, The Cut, June 25, 2018 

The Cut’s profile gives further context to Ocasio-Cortez’s previous stance against running for office.

“Ocasio-Cortez’s candidacy has made the race one of this year’s most buzzed-about primaries, even if she didn’t have political ambitions until recently. ‘I counted out that possibility because I felt that possibility had counted out me,’ she told the Cut. ‘I felt like the only way to effectively run for office is if you had access to a lot of wealth, high social influence, a lot of high dynastic power, and I knew that I didn’t have any of those things.’

And while she may be running a long-shot progressive campaign against a powerful old-guard opponent, she’s determined to run on her own terms. The weekend before the Democratic primary, for instance, Ocasio-Cortez opted to fly down to the U.S.-Mexico border to address the Trump administration’s child-separation policy instead of doing last-minute campaigning.”

10. “28-Year-Old Alexandria Ocasio-Cortez Might Just Be the Future of the Democratic Party,” Bridget Read, Vogue, June 25, 2018

Vogue’s Q&A with Ocasio-Cortez, a week before her victory and right before she left the city to visit a detention center in Texas, contains great answers about her background and political positions, including this on how abolishing ICE should not be a “fringe” position.

“One of the biggest dangers of this administration is the erosion of norms, which is pretty typical for authoritarian regimes. This is one of the problems when it comes to immigration. My opponent has literally called ICE “fascist”, yet he refuses to take the stance of abolishing it, which, to me, is morally incomprehensible. Words mean something, and the moment you have identified something as fascist, that with it carries a moral responsibility to abolish it. That’s what I’m talking about when we say that norms have been eroded: that we literally have elected officials arguing to basically retain fascist agencies.”

11. Alexandria Ocasio-Cortez Victory Has Striking Similarities to a 1972 Trailblazing Win,” Amanda Farinacci, NY1, June 27, 2018

My love for this little story is certainly related to being a local news nerd and native New Yorker, but I think it also proves my earlier point about how an entire generation of New Yorkers had never seen a win like Ocasio-Cortez’s in their lives: The last time anything like this happened was with Elizabeth Holtzman in 1972.

“There were no news cameras present when Elizabeth Holtzman did the unthinkable 46 years ago, beating Emanuel Celler in the Democratic primary for the congressional seat he held for a remarkable 50 years.

Tuesday night, Holtzman couldn’t help but think of that moment as she watched Alexandria Ocasio-Cortez pull off an equally implausible victory.

‘I was excited for her and I felt obviously a real bond there,’ Holtzman said. ‘I said, “Oh my goodness, nobody gave her a chance.”‘”

12. “Alexandria Ocasio-Cortez Is Driving New Energy and Money to Progressive Candidates,” Daniel Marans and Kevin Robillard, HuffPost, July 4, 2018

And now for a post-victory story, because of course Ocasio-Cortez’s work has only just begun. This HuffPost story opens with a candidate forum in Michigan, 600 miles from New York, where the mere mention of Ocasio-Cortez’s name elicits excited cheers from the crowd. Since her victory, established politicians who couldn’t be bothered to take the risk of endorsing her are now rushing to curry favor with her, while she is using her platform to endorse young, progressive candidates all over the country.

“Earlier in the day, Ocasio-Cortez had used her massive Twitter platform to endorse El-Sayed. He has since picked up an additional 2,500 Twitter followers and is awash in national press inquiries.

Ocasio-Cortez, a 28-year-old former Bernie Sanders organizer who just a few short weeks ago was scolding establishment Democrats on Twitter for ignoring her campaign, now has 600,000 followers hanging on every 280-character missive ― far more than the typical rank-and-file member of Congress.

And those same establishment Democrats are now knocking on her door. A little over a week since her upset of Joe Crowley, the Democratic Party boss of Queens County, Ocasio-Cortez finds herself as an unlikely kingmaker.”

Gone Gray

Pierre-Joseph Redouté via Rawpixel / CC, Andreas Kuehn via Getty, Photo illustration by Katie Kosma

Jessica Berger Gross | Longreads | July 2018 | 21 minutes (5,335 words)

 

We’re in London, somewhere between the British Museum and Piccadilly Circus. It’s Thanksgiving week, and my then 9-year-old and I have been winding our way through the late November afternoon on a marathon walking tour of the city. But now we’re lost. I stop a woman who looks to be in her mid-40s, about my age, to ask for directions, and I quickly realize that she’s one of them: attractive, fashionable in an appealingly unconventional way — and with completely, unabashedly gray hair. Forget the directions. I peel off my hat to show her what’s doing underneath, where I have three months’ worth of roots. “Brilliant. Keep going,” she says. “You won’t regret it.”

For years, and more and more in the past year or two, I’d see them on the street — the striking silver hair on an artist type in her 40s on the sidewalk in Brooklyn or the Lower East Side; the shock of a long gray braid down the back of a fiftysomething woman at a thermal spa in Iceland; the short, gray bangs and bob on my sixtysomething neighbors at the farmers market in rural Maine. The surprising beauty of a woman in her 30s with unexpected, natural gray. Not to mention all the millennials — and Kim Kardashian — dying their hair bottle gray.

Throughout my 30s I’d been a vigilant hair colorer, doing whatever it took to remedy and right the gray roots growing out from my middle part. I can’t remember exactly how old I was when coloring my hair went from an occasional, even enjoyable, splurge — an optional luxury — to a required part of regular beauty maintenance and of my looking professional and pretty. But as I entered my 40s, I found my feminist and aesthetic selves at war each month when I sat in the salon chair.

Then the world changed. The New York Times needle impossibly tipped the wrong way: Trump was elected. During that bleak late autumn and winter, after the fall foliage–filled weekends of knocking on doors for Hillary, I cried myself to sleep and woke up to the steady drum of anger and disbelief. Then, almost a year later, the Harvey Weinstein story broke, and I spent my evenings half ignoring laundry and bath time and bedtime, so that I could keep up with the #MeToo news cycle. Twitter went from a procrastination time suck to a daily engagement in feminist dialogue, with a fervor the likes of which I hadn’t felt since Women Studies 101. We’d entered a time of resistance against our abuser and pussy-grabber in chief and his cronies, and like so many women, I’d absolutely had it with the constraints of patriarchy.

Now more than ever, I resented — even hated — the dye. Having to dye my hair was one more patriarchal rule I didn’t have time or patience for. And Trump’s ridiculous orange dye job made me see the deceptive element in hair color and want to run even farther from the bottle. It’s not just that I didn’t want to keep up with the hassle and expense of coloring my roots a dark brown every four weeks and highlighting the rest of my hair every few months. I wanted to become the kind of woman who could give myself permission to go gray, who’d embrace authenticity and realness, and stop running from the reality of aging and mortality. But could I do it?

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Getting Tricked by Helen DeWitt

Sportpoint / Getty

Brittany Allen | Longreads | July 2018 | 7 minutes (1,809 words)

Different writers call for different verbs. With Mary Karr, I go galloping. E.M. Forster wants to waltz. I hopscotch with George Saunders and craft, as in beaded amulets, with Helen Oyeyemi. Elena Ferrante is usually trying to slap me, and Denis Johnson is plummeting: out of windows, out of planes. Reading Helen DeWitt is puzzling, but not the kind of puzzling that will eventually resolve and make some pretty picture on a box.

There is the urge to go spelunking through her books, to descend into the mad caves and walk the corridors and labyrinthine tunnels, in search of meaning (or…treasure? Uh-oh, here goes the metaphor). But I discovered — about five stories in to DeWitt’s bursting, bizarre new story collection, Some Trick (New Directions) that the most pleasurable way to be with her fiction calls for a verb that requires no gear. What you really ought to do with DeWitt’s prose is dance with it. But I’m not talking waltz: these words want a fast-paced, hectic, muscular dance. Picture a foxtrot, breakdance, 15-step. I had the most fun getting “tricked” when I elected, as a reader, to live for the flash of poetic symmetry in a DeWittian gesture, parseable in the middle of some huge, hectic movement — the revelation sentence, the left turn ending line, the belly laugh one-liner out of seemingly nowhere. Less joy came from digging through the dark matter and attempting to make some neat narrative from the many objects in this collection. In DeWitt’s case, it is best to simply follow this dizzy mind where it leads, and be delighted. Prepare to sweat on the journey, though. Read more…

How Brooklyn Lost Itself

AP Photo/David Boe

For New Yorker Robert Sullivan, the act of giving directions functions as a barometer of a city’s health, because at the heart of all urban environments, both ones that thrive and ones that fail, is something very basic: human interactions.

At Places JournalSullivan looks at the way his post-industrial Brooklyn has become a lucrative real estate commodity and brand after its post-millennium revival, and he shows how the fabric of urban life has not necessarily strengthed along with the property values. He uses this idea of directions to direct readers’ attention to ways that the booming, “revitalized” Brooklyn has used post-industrial space and history for the benefit of business and real estate interests, and made public space a private commodity. Touring new and old Brooklyn, he shows how revitalized post-industrial spaces, like Brooklyn Bridge Park, depend, as he puts it, “upon the conception of the old city as being not only dead but also valueless: a wasteland.” This narrative erases people of color in many Brooklyn neighborhoods. It erases the contributions of blue collar workers. It downplays the city’s industrial past and historic vibrancy, suggesting that industry is the enemy of urbanity, and that true vibrant urban life began after industry died. This isn’t just happening in Brooklyn. It’s a problem for many urban neighborhoods, and “the more I give directions,” he says, “the more I worry that we are somehow terribly lost.”

To describe the park, and how in fact it does feel, it is necessary to borrow the terminology of the real estate industry and to refer to it as an amenity. Brooklyn Bridge Park is an amenity underwritten by the costly residences that overlook the recreational spaces, by the Pierhouse penthouse that cost more than $10 million and by the $1,000 per-night Liberty Suite with the “curated seating area” at the 1 Hotel. But when you spend time in the park, you begin to feel that the public has come up short in the partnership; that in return for the underwriting, the park has become an extension of the condos and the hotel. Which is completely understandable: the owners of multimillion-dollar condos might well want to feel that the expansive green spaces visible from their floor-to-ceiling windows somehow belong to them. But for the public, the community, the concept feels flawed. It’s as if the purpose of the park were to sell the condos, which would be like creating the Grand Canyon only after you have developed the lodge with the scenic views.

But what feels most disturbing to me is that in Brooklyn Bridge Park, history too has become an amenity. Here I would direct you to the signage, which is itself intended to direct you towards the history of the site — towards the narrative of decline and death, reclamation and revival. The park is filled with markers along the walkways and in front of buildings, markers that underscore the before and after of the narrative. If you read them casually, you might think they are genuine historic markers. But if you read them more closely, you recognize that they operate not as communal notes on local history but rather as points of brand awareness. And, crucially, the brand is not so much the park but rather the transformation of the old industrial wasteland into the new recreational amenity.

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