John Hammond’s knack for discovering talent was so uncanny, so unparalleled in the history of American music, that it’s regularly celebrated. It is, however, rarely examined. Perhaps, that’s because scrutiny can come off as suspiciousness poisoned by ungratefulness.
There are a few potential parallels between modern and antebellum religious leaders. Many modern religious leaders seemingly hope to set aside thorny issues such as LGBT rights and immigration so they can refocus on their core religious missions.
It’s such an incongruous moment to perpetuate Founders Chic, to applaud the man who is the ideological father of Wall Street, the debt economy, deportation, militarism, and the criminalization of protest. I can’t sing to that.
Early record men, therefore, most resembled movie producers, not movie directors. Ultimately, their control derived from the power to grant or to deny access to capital. “I invented Louis Armstrong,” said Ralph Peer in a 1959 interview with Lillian Borgeson.
Paris is only a five hour drive from my home in the Netherlands. I have strolled its streets many times, undoubtedly also those covered in blood after the November 2015 attacks. I have also passed through San Bernardino, California, and have stood regularly at the former World Trade Center site. Yet as I commemorate those victims of religious terrorism, I cannot but remember my meetings with black civil rights activist Bob Moses and his colleagues of the Student Nonviolent Coordinating Committee (SNCC). Their haunting tales of life in Mississippi in the 1960s wryly challenge some politicians’ and media pundits’ current claim to exclusivity for the term “terrorism” only in relation to Islam, reminding us that the most bloody and consistent trajectory of terrorism in the United States occurred under the banner of white supremacy.
After the 2015 riots in Baltimore and elsewhere, I was struck—though not surprised—by many of the media’s depictions of its black inhabitants, as if they were irrational, self-defeating hoodlums, rather than emphasizing stories like that of Wayne, one of several hundred students in Baltimore’s public schools who participate in the Algebra Project (AP). Wayne had been kicked out of several schools until his AP involvement made him realize “what I can do inside of school and how I can help other people.”
My mother and her only sibling, my aunt, are losing their memories. Though their short-term memory has all but disappeared, their shared memories of childhood still remain vivid. One of their neurologists described the brain’s storage of memory and the onset of dementia as a file cabinet, with the most recently filed folders disappearing first, and the ones stored long ago as the last to go.
Gina Mahalek: What is Kīkā Kila? What does it sound like?
John W. Troutman: Kīkā Kila is a Hawaiian expression for describing both a type of guitar and a technique for playing it. The instrument, also known as a “steel guitar,” a “lap steel,” a “dobro,” or a “Hawaiian guitar,” among other names and associations, developed in the Islands in the 1880s and 1890s. Players would physically modify a “standard” guitar, add steel strings to it, and fabricate finger picks and a steel bar, about 3” in length (the instrument is named after this bar). After creating new, open tunings for the guitar, players would place the guitar in their laps, pluck the strings with finger picks on one hand, and then, with their other hand, slide the steel bar along the strings, located high above the fretboard. The technique created an entirely new sound for the guitar, one that better mimicked both the gentle rising and falling of a somber human voice as well as the melodic acrobatics that Hawaiian falsetto singers were becoming known for at the time. Hawaiians soon began creating all sorts of other sound effects on the steel guitar, and very quickly, it became the most important accompanying (as well as lead melodic) instrument in Hawaiian music.
“Are you a Boy Scout?” I am frequently asked this question at history conferences or during social conversations after stating that I study early American Boy Scouting. Perhaps it’s my short haircut, or my normative white guy appearance. The question may also stem from an (accurate) perception that many current and former Boy Scouts and adult leaders are enthusiastic readers and amateur producers of histories of the organization and their local councils, troops, and summer camps. Scout history associations, newsletters, websites, networks, and historical memorabilia swap meets facilitate the exchange and consumption of such histories and memories. Thus, conference audiences and other people I meet are often confused when I report that I was not a Boy Scout. They seem surprised that somebody would study a youth organization like Scouting if that person had not been a member. I suspect other historians who study youth organizations and summer camps get similar queries.
If he were still alive, Orson Welles (1915-1985) would be 101 years old today. Welles is remembered as one of America’s most important filmmakers, but before he became famous for his movies, Welles ruled the airwaves.
Fisher warned that allowing young men to “stumble into citizenship,” assuming it only begins at age twenty-one, leads them to believe that civic responsibility is primarily limited to voting or paying taxes: “A boy cannot live his boy life entirely separate from any sense of responsibility to society and then be expected as a man to live a full-orbed citizenship.” Fisher’s statement suggests that our current social and educational structure in which adolescents are isolated from broader community interactions, mature responsibilities, and opportunities for personal growth endangers the very foundation of America’s democratic society by restricting young people’s awareness of the broader community and experience of citizenship.
But this current conversation is not the first time Americans and political leaders have attempted to talk honestly about slavery. In the 1930s, the federal government began an unprecedented and revolutionary discussion of slavery and its legacy by hiring unemployed writers to interview the last living generation of African Americans to have experienced slavery. The Federal Writers’ Ex-Slave Project sparked conversations between direct descendants of Confederate slaveholders and former slaves. This project, with its radical objective of recovering and reclaiming African Americans’ experiences with slavery and freedom, along with its failings and limitations, has much to tell us about why conversations about the past of slavery remain so difficult for Americans today.
Donald Trump’s suggested ban on Muslims entering the United States and the creation of a Muslim “registry” has been widely (and wisely) condemned. But from my perspective in the classroom, I see how the ideas are already affecting young people. Amid the rows of Catholics, Jews, agnostics, and evangelicals in my religion courses sit dozens of students hailing from the Middle East and South Asia. Their presence is a very good thing. Like most of my students, they are open, curious, and eager to learn. And they are baffled and intimidated by Trump’s rhetoric.
In arguing that the jury had to find Laura “not guilty by reason of insanity,” Quint and Cook hoped to focus their attention around four central issues. At the heart of their case, they argued, was the notion that Laura was unconscious and irrational at the time of the murder. In contrast to the prosecution, which had relied on gossip and rumor to condemn Laura’s character, they would base their case on the latest scientific findings and medical expertise. By calling to the stand doctors with advanced knowledge and training, they would prove that Laura—much like Mary Harris before her—was a victim herself, captive to the effects of severe organic disease. Especially when her menstrual cycle approached, she experienced recurring bouts of hysterical mania that left her without control of her actions or awareness of events. Thus, no matter how heinous the act appeared, she was not responsible for its commission.
The Ku-Klux began as a name. It was chosen by a group of young former Confederates in Pulaski, Tennessee, in May or June 1866. Pulaski, the seat of Giles County, is seventy-four miles south of Nashville, connected to the city by the Nashville and Decatur Railroad. The war’s shadow fell heavily on the nation, but Pulaski bore a disproportionate share of suffering. While it was never itself a battlefield, Federal troops had occupied it, and it was in close proximity to some of the war’s most deadly fighting. Union troops camped in Pulaski in the days before the bloody Battle of Nashville, and were a frequent presence throughout the war. These strains may have contributed to the area’s fraught postwar atmosphere.
Protestant aversion to organized religion is everywhere, even on the sign on the front lawns of churches. Smart congregations are dropping the Baptist or Methodist or Presbyterian label and replacing it with soft generic names like Willow Grove or Saddleback. They are becoming nonspecific “communities” and “fellowships” associating themselves with some broad spiritual aspiration, like “resurrection” or “hope” or “reconciliation.”
The audience eagerly anticipated a larger-than-life figure, a novelist, journalist, sailor, war correspondent, exponent of modern marriage, sportswriter, and, most recently, a gentleman farmer-rancher. His audience reached from the workers with “hard hands and strong arms” to the affluent bourgeoisie of “placid . . . sedentary existence.” Awaiting his appearance in the hall, many in the audience opened purses or dug into trouser pockets to snap up the ten-cent “‘genuine’ blood red flags, the ‘Jack London souvenirs of a great and momentous occasion.’” The fiery female union organizer from the coalfields, Mother Jones, was in the hall, and her shout-out later in the evening was to be memorable for its typical “crisp” and “clipped speech.” The atmosphere was amiable, though the speaker was overdue because his train was late. When London finally took the stage at 9:15 P.M., no one in the audience (not even the New York Times reporter) guessed that the celebrated Jack London was half-sick from lingering effects of the flulike grippe. This was America’s epicenter of capitalism, and Gotham could flatten a man who didn’t show himself fit in body and mind. Such a man wouldn’t last one round.
I started out thinking that the garden statue was kind of a cliché. Imagine just going out and buying a mass-produced plastic image and thinking there is something special about it! Commercial statuary seemed to trivialize Francis’s meaning, to make him less challenging. Instead of a figure who calls for drastic change, radical poverty, and absolute devotion—a saint who was active in the wider world—our vision is limited to a pretty statue and birdbath on our private property. But I came to change my views. There’s a real spiritual side to this, and also a cultural critique.
As we travel home this Thanksgiving, it is worth taking time to reflect on the various meanings of this holiday—personal, collective, regional, and national. A product of nineteenth-century sectional, socio-sexual, and imperialist imperatives, Thanksgiving is far from a physically satisfying celebration involving a return to an uncomplicated home.
Gina Mahalek: Very briefly, what is Liberated Threads about?
Tanisha C. Ford: Liberated Threads is about how everyday women turned getting dressed into a powerful political act that transformed the cultural and political landscape of the 1960s and 70s around the world. Often, when we study the social movements of the mid-twentieth century, we focus on policy issues, the fight to integrate public spaces, and big events, such as marches and protests. But, in Liberated Threads, I argue that we need to focus on everyday acts such as getting dressed in order to understand how everyday people engaged in movement politics. Most people were not involved in formal political organizing. They were not members of Black Freedom movement organizations. But, they were engaged in the fashion culture of the time. I wanted to explore the various ways that fashion and style connected people to the global movement for black freedom.