The band of the "Asylum for Colored Insane" in Goldsboro, North Carolina. Date unclear.

Folklorist Sarah Bryan shared this photograph with me this week.  She first saw it in an exhibition in Goldsboro, N.C. at Cherry Hospital which was originally named Asylum for Colored Insane.  The Asylum was founded in 1877 by the North Carolina General Assembly.  After admitting its first patient in 1880 the name was changed several times and it became Cherry Hospital in 1959. I grew up 65 miles east of Goldsboro.  When I was a kid, if you did something deemed stupid or crazy, people would say, “Keep doing that and you’ll end up in Cherry Hospital.”  Thelonious Monk’s father spent the last two or three decades of his life there; hence, my original specific interest, which Sarah knew about.  But this photograph makes me think of a lot more work to be done beyond Thelonious, Sr.  You can make out some nurses in the background of the photo.

Along with the regrettable social and political impetus and ramifications of the existence of this institution at its inception, I’m haunted by what might be the date of this photograph.  On the wall next to the picture there was an ambiguous card indicating the picture may date to 1900.  If true, it could complicate some elements of jazz history.  To my knowledge, brass sections like this weren’t known to exist in places like rural North Carolina.  I’m not enough of a historian of this period to verify the date by the clothing.

-Sam Stephenson

Downtown Shelby, NC. January 28, 2012. Photo by Helen Woolard.

Saturday I drove 180 miles west to Shelby, North Carolina to conduct an interview for a project that will reveal itself soon (knock on wood).  Photographer Helen Woolard went with me.  For countless many, Shelby will always be known as the hometown of North Carolina State University basketball icon David Thompson.  DT and the University of North Carolina’s Phil Ford were the two best players to ever play in the Atlantic Coast Conference (the rest are chumps).  It occurred to me to try to find DT’s childhood home.  While wandering around downtown as Helen was shooting photographs, I sent a note to a listserv of college-basketball-oriented folks, asking if anyone had DT’s childhood address.  Nobody did.  Next time I’ll do more preparation.  An old friend on the listserv ran into DT at the State-UVA game in Raleigh later that night and mentioned to him that I had inquired about his home address earlier in the day.  It sounded like he was amused.

Phil Ford, by the way, was from Rocky Mount, the same hometown as Buck Leonard, Thelonious Monk (see, JLP is one degree away from anything), and Allan Gurganus.  I hope these small towns are still producing people like this.

Downtown Shelby was marked by more evergreen ‘live oak’ trees than I think I’ve ever seen in a downtown like that.  I find these towns to be fascinating, maybe because I grew up in a similar one.  In some ways these towns are all the same (the confederate soldier statue in front of the courthouse), but they are all different.

-Sam Stephenson

p.s. (I recently found UNC coach Dean Smith’s childhood home in Emporia, KS).

I’ve told the story about how I got into W. Eugene Smith’s work a million times.  In short (here goes again, with a new nuance), I had begun research on a book about Pittsburgh when my Pittsburgh-native wife gave me a camera for Christmas 1996.  In January 1997 I was in a camera shop in Raleigh when a clerk asked me if I’d ever seen Smith’s Pittsburgh work.  I left the shop and went to the public library in Cameron Village and I checked out Jim Hughes’ biography of Smith, Shadow and Substance.  I read the book, wrote Jim a letter, and he generously sent me a new copy of his book with a signature and note of encouragement.  I returned the borrowed copy to the library.  In April of that year I made my first visit to Smith’s archive at CCP, with the support of DoubleTake magazine.

Flash forward to yesterday:  I grabbed lunch with friend Dave Simonton who gave me a stunning gift.  It’s the copy of Shadow and Substance that I checked out 15 years ago this month.  (Or, it almost certainly is.  It’s doubtful that the Cameron Village branch would have had two copies of this book).  Dave found it in a used book store in Raleigh.

When Dave showed me these stamps and markings on the back binding, I was speechless.

I wonder, if Cameron Village had not had this book, if my curiosity would have continued.  The internet search engines and their results were in nascent stages 15 years ago (if they existed at all), so a search wouldn’t have yielded much, and with slow dial-up access it wasn’t the inspiration it can be today.

There are people I’d sign up to spend 15 years studying – Monk, Coltrane, Joe Mitchell, Bernard Malamud, and John Berger come to mind this minute – but Smith wouldn’t have been on the list.  It just happened.

-Sam Stephenson

I’ve been working on the Kansas parts of Gene Smith’s Sink and my nephew Hank Stephenson has been working as my research assistant.  This morning, in the WPA Guide to 1930’sKansas (1939), he came across this passage in the “sports and recreation” section of the book (P. 117-118).

“The jackrabbit drive is peculiar to western Kansas. Advertised for days in advance for handbills and local newspapers, the drive usually starts on Sunday and is attended by great crowds of spectators. A certain area, covering perhaps thousands of acres, is surrounded by beaters armed with clubs and sticks; guns are banned. Hundreds of people take part. Slowly the lines close in on all sides, flushing the rabbits into a large pen or wire enclosure at a central point, where they are clubbed to death. The daily ‘kill,’ which in many instances exceeds 6,500, is reported by the local press. Denounced in other sections as a sadistic display, the drive is defended in the Western part of the State as an economic necessity, since the rabbits feed on green wheat.”

Curious, Hank then found this stunning 1934 video.

When word of this tradition spread, apparently, there was outrage.  Hank found this quote courtesy of the Kansas Historical Society:

“Eastern Kansas residents, who had no jackrabbit problems, were among the critics, prompting some farmers to propose that the rabbits be driven to the eastern part of the state.  The farmers tried to ship live rabbits to eastern states, but Ohio game and wildlife officials realized how destructive jackrabbits were and canceled their order.  Residents of western Kansas rounded up about 1,200 live rabbits to ship to Indiana; the press in Kansas City, Omaha, and Denver as well as the Pathé newsreel company covered this attempt.”

Thousands of bludgeoned bunnies

-Sam Stephenson

Invisible Man. Court Theater. Chicago. 2012.

Tomorrow I head to Chicago for the official opening of Invisible Man, the first-ever adaptation of Ralph Ellison’s novel for stage or screen.  The play is directed by Christopher McElroen, who is also directing the ongoing theater project mentioned in this blog many times, Chaos Manor. There are several good behind-the-scenes blog entries about the preparations for Invisible Man on the Court Theater’s site.

Update 1/20:  HERE is a good article on the production from the Chicago Tribune.

-Sam Stephenson

Pianist Keiko Matsui

This is a heads-up regarding an intriguing event in NYC next week involving jazz, Japan, and my friend the writer Roland Kelts, who I met for the first time in Tokyo last February and with whom I conducted a conversation about my trip in Smith’s footsteps in Japan for A Public Space this past September.  Roland and I have pondered collaborating on something in Japan in the future.  In the meantime, I’m still trying to understand and write well about Gene Smith’s reasons for saying he felt like he’d been from in Japan in a former life.

-S.S.

A recent New York Times photo blog post brought attention to my former office mate, Margaret Sartor.  While Margaret was working on her Gedney book, What Was True, I was working on Dream Street.  We sat about six feet apart and helped keep each other’s wits about us during those uneasy projects.  In my library those two books are side by side.  Margaret’s husband, Alex Harris, by the way, is the one largely responsible for sending me on the Gene Smith path fifteen years ago this month.  It could have been a cold, rainy day like today.  I was working part-time in Quail Ridge Books, struggling in grad school, wondering what was going on.  Alex, as editor of DoubleTake magazine, gave me a phone call and offered support for me to visit Smith’s archive in Arizona and research his unfinished Pittsburgh project for a piece.  And now look.  Good heavens.  Somebody make it stop.

-S.S.

I’m working on a new project that involves contributions from Rosanne Cash.  More on that later.  Meanwhile, my colleague Kate Joyce alerted me to this remarkable interview with Rosanne.  I didn’t know she was raised by a strict Catholic mother and (I knew) southern Baptist father.  Gene Smith was raised similarly, with a converted, severe Catholic mother with southern Baptist heritage and a less pious father.

I appreciate this interview conducted by Krista Tippett.  Toward the end (of the raw interview feed, which you can find at the link above), Rosanne acknowledges Tippett as being at the top of her field.  I agree, based on this sample.  Most interviewers in the arts (and sports and politics) doom everything by including the answer in the question.  As Tippett says, it’s hard for the subject to transcend the question.

-S.S.

~44 pounds.

“Someday I think you should come down and weigh my scrapbook.” -W. Eugene Smith

We have now heard all of the digitized audio material made from the tapes found in W. Eugene Smith’s collection. These notebooks hold the paper version of my notes as well as the contributions of fellow listeners Hank Stephenson, Will Harris, Beth Turner, Lauren Brenner, and Margaret Hennessey. Special thanks to these individuals for sharing in the discovery of Smith’s audio. And to Sam Stephenson, for creating the Jazz Loft Project and allowing me to hear this collection, in addition to sharing in the discovery of the wonders found in and beyond Smith’s recordings.  We are grateful for the support of our friends at the Center for Creative Photography at the University of Arizona Libraries as well as our friends here in Durham at the Center for Documentary Studies at Duke University.

This work would not have been possible without the generous support of the Reva and David Logan Foundation. Likewise, we are deeply grateful to the Heirs of W. Eugene Smith.

We are also thankful for crucial funding from the National Endowment for the Humanities, the National Historical Publications and Records Commission, the National Academy of Recording Arts and Sciences (The Grammy Foundation), the Duke University Office of the Provost, the Gladys Krieble Delmas Foundation, Ken and Amelia Jacob, and Kimpton Hotels.

Many people have contributed to this listening and cataloging work. In thinking of people to thank, the list begins to grow towards the size of the list of names of people who passed through the loft at 821 Sixth Avenue. And there is a good deal of overlap in these two lists. We are very fortunate and most thankful to have met and heard the stories of many who lived in, worked in, and visited this loft building.  And we are fortunate to collaborate with a wonderful community of partners, archivists, audio  engineers, colleagues, advisors, work study students, interns, friends, and fellow Rome builders. Thank you!

At this juncture, we are working with our partner institutions on the next steps in the prospect of archiving this enormous collection so  that it may be made available to the public in the future.

-Dan Partridge

Photo by Harlan Campbell.

Tin House has linked my Sonny Clark playlist via Spotify.

-S.S.