Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
The voices of Norma Navarrete and Ana Laura Rojas personified the sadness of Jennifer Curtis’s violin as she arpeggiated the loss of human movement through her chord progressions. Impervious to any border, the music rose above the murmurings of conversations, the crush of the waves, the silence of the steel.
Armando Alvarez’s photographs have been published several times in the Oxford American, and we love following his work on Instagram, where he posts portraits of overflowing trash cans, hazy Houston landscapes, strangely beautiful still lifes of junk food, and much more. Most recently, we printed his image of an old truck surrounded by fog in our Texas music issue.
On Texas, old newspapers, race music, and two black lives that shaped the history of civil rights.
C. F. Richardson was self-avowedly “militant.” He used the word and lived it. On his draft card he identifies his race as Ethiopian. For a while he was employed as a printer, then as a night-watchman at a white newspaper. Through a connection he got himself hired as an editor at the black-Baptist Western Star, moving from there to the Houston Observer, where he started to write and make his name.
On Texas, old newspapers, race music, and two black lives that shaped the history of civil rights
In 1891, C. N. Love noticed how much money other state’s newspapers were making on his labor and connections. He started the Navasota Echo, one of the first black papers in Texas, “the cheapest and best colored paper published west of the Mississippi,” he boasted, calling it a publication “devoted to the interests of the people in general and the negro in particular.”
An interview with Amanda Shires.
I was trying to be on my own in Lubbock, playing my own songs, but I guess people didn’t see me like that. It was my fault, because I had to pay my rent, so I was still taking sideperson work, which kept me from being known as just that. I had written some songs with Thrift Store, but it was never an idea that I could do it on my own, solo, until Billy Joe told me to. He even said, “There’s no loyalty in side work. This week, fiddle is cool, but next week, it might be a dobro, and then where will you be?”
By early summer, Houston is so muggy that all the edges blur. Temperatures slink into the low 90s and stay there. In certain neighborhoods, the smell of weed lingers, lending the air a permanent tang. Slabs, creeping slowly down the street, broadcast a sound indigenous to the city, a sluggish hazy rhythm that couldn’t have been born in any other town.
In a place where we have few trees and a lot of wind, I’ll risk it and go out on a limb to say that Texas may be a part of the New South. Texas doesn’t believe that, but still, there’s a common bond. Almost. I think it was Leon Stokesbury who I first heard define the Southern poem. He thought such a poem likely included a big dose of heartbreak and comic sensibility featuring family, landscape, and religion in varying degrees and combination. I hear these same quirky, dusty, open-sky, heartfelt mixtures in the songs of Townes Van Zandt, Lyle Lovett, the Dixie Chicks (don’t judge), and more recently, Amanda Shires.