Our T-Bone Slim project is soon at its official end. This two-year project has brought together international research group that are interested in transnational poetics of the migrant left from the perspective and in context of T-Bone Slim.
Our group has met monthly for two years and finally we met in person for the first time in August 2023 in Kälviä for T-Bone Slim Symposium. Our trip to Ostrobothnia was full of joyful meetings, interesting presentations, and exciting cultural program.
Fig. 1. T-Bone Slim research group and invited guests posing in “T-Bone Slim stance” under Kälviä sign.
Before the T-Bone Slim Symposium, some of us met at FinnFest 2023 in Duluth, Minnesota in July. FinnFest’s Jim Leary invited us to talk about T-Bone Slim and the project for the United States Finnish audience. The days were filled with interesting discussions with present day US Finns as well as a field trip to Work People’s College building near Duluth and Työmies publishing premises in Superior, Wisconsin. T-Bone Slim mentions Work People’s College and Duluth often, and it was a delight to see these places.
Fig 2. Work People’s College building in July 2023. Work People’s College building is now a residential building.Fig 3. These days Työmies building has a candy store.
Database News
After warm summer days and interesting discussions, a database construction work-filled fall followed. As the project’s research assistant, I have been very intensely working with T-Bone Slim materials and data – his texts, manuscripts, and photos – for the past 3,5 months. These months have included organizing and re-organizing the data, naming and re-naming hundreds and hundreds of documents, listing and checking metadata, and most of all, transcribing some 690 000 T-Bone Slim’s written words. The corpus is in total 1440 pages and includes 820 051 words. I was happy to receive help from our collaborator Owen Clayton’s research assistant Kayleigh Mansell, who transcribed additional 130 000 words. That is a lot of T-Bone Slim’s words! 1295 articles and manuscripts to be exact.
I am happy that I got to investigate his writings from this perspective. Reading, even cursory reading as I used the aid of optical character recognition (OCR), his texts has given me a unique perspective to his political ideas and rhetoric. The transcribed texts will come promptly in use, as the project’s researchers will write articles about and related to T-Bone Slim for the project’s final publication. More about that later!
Processing the materials and constructing the Database and Corpus has been a constant learning process. Even if I consider myself organized and consecutive, I would do some things a bit differently if I started the project now. Here is a short check list for future reference for anyone constructing smaller or larger databases/ datasets. These could even be helpful for someone “just” collecting research materials.
Take notes on ALL metadata from the beginning. The more information you gather the merrier you will be at the final lap of you project. I like to collect information in Excel sheets (as you will find out when you upload the T-Bone Slim Database). You can add endless number of columns in an Excel sheet to cover all the details regarding your data: who provided it, where it was originally from, date, own notes, document ID’s, links etc.
Abstracted data means transforming the qualitative data, for example T-Bone Slim’s texts, into a quantitative, computer readable form. If you dream of abstracting the data, I found Ahnert et al. book The Network Turn : Changing Perspectives in the Humanities (2020) very helpful. Warning: Data abstraction process will probably throw you into a constant spiral of “abstract it all” and “my data is totally biased”. Deciding and clearly describing what you are focusing on and how is highly recommended. The abstraction process should be guided by your research questions, not the other way round.
Organize and name your files systematically and coherently. Write a documentation or notes while you are processing the materials. This will become helpful in the later phases and if and when you need to write a documentation about your database.
The database creation and construction is now in its final stage. I am happy to announce that the material package for future T-Bone Researchers has been transferred to the Language Bank of Finland. The T-Bone Slim Database and Corpus will be published in Language Bank in 2024. We will host a hybrid launch-party after the Database and Corpus is published. Stay tuned for more T-Bone Slim research news!
Please, follow the project’s blog and Facebook page to hear the latest news.
Since the last time we posted about the T-Bone Slim corpus and database, a lot has happened. The team has presented in conferences, planned a joint publication, and most importantly organized the “T-Bone Slim – New Interpretations” seminar to be held in August at Kälviä. The seminar is a hybrid event. The presentations can be followed both via Zoom and on-site at the premises of the Central Ostrobothnian Folk High School (Keski-Pohjanmaan kansanopisto) in Kälviä. See full program and register here.
One of the many things we have been doing recently is a blog text about T-Bone Slim in the Finnish Literary Society’s “Vähäisiä lisiä” blog. The text is written in Finnish by our PI Kirsti Salmi-Niklander. This text lead to an inquiry about the data and sources of information on T-Bone Slim in our research. This blog post is an extensive answer to that inquiry.
T-Bone Slim has written hundreds of columns (at least 1042 to be exact) for various IWW newspapers, mainly in English. In addition, we have managed to discover some texts written and/or published in Finnish. And then there is also manuscripts. All of these materials are collected into T-Bone Slim database and corpus that will be published in the Language Bank of Finland. Most of the database building work has been collecting, organizing, writing meta-data, summarizing, abstracting, and transcribing the materials. This all is happening in the background and there is not much to show publicly yet.
The database and corpus will be as open as possible to all researchers, family historians and anyone interested in T-Bone Slim’s writings. The openness of the materials depends on the copyright and permissions among other things. Currently the materials are from 14 different archives in four countries and two continents. Thus, the puzzle has a lot of pieces. Slowly and surely it is all coming together. The corpus and database already have an URN. The corpus and database will be available after it is published (approx. late 2023) here: http://urn.fi/urn:nbn:fi:lb-2022111621.
While we all wait for the database to be completed and published, we have compiled a list of T-Bone Slim resources and information sources already available online for those who are interested. We will update the list if and when new materials come to our attention. The list is not exhaustive and for example all the numerous contemporary articles about T-Bone Slim have been excluded.
T-Bone Slim’s Texts Available Online and in Books
Currently, some texts written by T-Bone Slim are available online. Franklin Rosemont’s anthology Juice is Stranger than Frictionis available online as a pdf. Some of T-Bone Slim’s manuscripts are available digitised at the Newberry Library collections.
Some of T-Bone Slim’s texts is translated in Finnish by Ville-Juhani Sutinen in a book titled Mielipuolipiteitä ja muita kirjoituksia (T-Bone Slim & Sutinen, Savukeidas kustannus, 2013).
Other Resources
T-Bone Slim in geni.com. Compiled and managed by Marko Leppänen.
Database of re-recordings of T-Bone Slim’s songs in the Internet Archive.
Owen Clayton’s academic article “Puns, Politics, and Pork Chops: The ‘insignificant magnitude’ of T-Bone Slim” (Journal of Working Class Studies 2019, 4(1): 6–23). Clayton is a collaborating researcher in the project and a senior lecturer in English Literature at the University of Lincoln. His new book “Vagabonds, Tramps, and Hobos” is coming out in July 2023.
Audio recording of Owen Clayton’s presentation “’Laureate of the logging camps’: the representation of labor and labourers in the writing of T-Bone Slim” in Michigan State University Libraries in 11 February 2021,
Aunt Molly Jackson & T-Bone Slim:
At the Crossroads of Art & Research
Part 3: Recording “Crossbones Scully” Then & Now
Featuring a new in studio video release!
My role as a musician, independent researcher, and relative of T-Bone Slim places me at a unique crossroads of art, research, and family history. With that perspective in mind, in this three part blog series, “Aunt Molly Jackson & T-Bone Slim, at the Crossroads of Art & Research,” I share my thoughts on the origins of a mysterious folk song, the fascinating woman who wrote it, the relationship between folklorist and informant, and how this research relates to T-Bone Slim.
In Part 1, I introduced the song and its composer, Aunt Molly Jackson. In Part 2, I discussed Aunt Molly’s biographical history, her connection to the Communist Party USA, and tensions between the IWW and Communists. This final part of the blog series will be an examination of the historical recordings of “Crossbones Scully,” release of my new in-studio recording/video of the song, and a discussion of the relationship between the Kentucky folk singer and the folklorists who studied her.
1939 Recordings
While the precise date of composition is unknown, famed folklorist and song collector, Alan Lomax, recorded two renditions of Aunt Molly singing “Crossbones Scully” in New York City during the spring of 1939. These a capella recordings are available online through the American Folklife Center (AFC) at the Library of Congress, catalogued as AFS 2539B and AFS 2556A respectively. The acetate disc jacket sleeve notes for AFS 2556A state that Molly’s half brother, Jim Garland, suggested the name and that “Molly says it was inspired by T-Bone Slim’s stories.” From this documentary evidence we know that Aunt Molly was claiming the song was about T-Bone Slim as early as 1939, and apparently her brother chose the title. Two other versions of the song were recorded by Mary Elizabeth Barnicle in the fall of 1939, her recordings are catalogued as Disc 155, side B, and Disc 157, Side A at the Archives of Appalachia. Notably, Barnicle’s jacket sleeve documents the song’s title as “T-Bone Scully.”
Fig 1. Scan of the jacket sleeve for AFS Disc 2556, Side A. (Archie Green Collection at the Southern Folklife Collection UNC Chapel Hill’s Wilson Library). Copyright: Archie Green Family.Fig 2. Scan of the Jacket Sleeve for Disc 157 Side A. (Mary Elizabeth Barnicle Cadle Recordings at the Archives of Appalachia East Tennessee State University).If as Archie Green theorized, that Aunt Molly may have co-opted the identity of an IWW hero, why did she let her brother title the song “Crossbones Scully?” Or “T-Bone Scully?” Wouldn’t it have been more clear and effective to simply call it “T-Bone Slim” if the goal was to “misappropriate” the identity of the Wobbly poet laureate? And by that same token, if the song is indeed about T-Bone Slim, why choose a name that creates confusion and vagueness as to the identity of the song’s protagonist? In either of these cases, the choice of song title seems mysterious, perhaps even deliberately so.
Pseudonyms & Monikers
During his lifetime, Matti V. Huhta made use of a number of pseudonyms in addition to the moniker T-Bone Slim, but no evidence has surfaced that “Crossbones Scully” was ever one of them, and my own efforts thus far have not discovered a single reference to anyone using the appellations “Crossbones Scully,” or “T-Bone Scully.” Furthermore, T-Bone Slim research to date has not uncovered any court records or stories—other than Aunt Molly’s own account—of Matti V. Huhta serving a jail sentence for beating up and robbing a “rich old geezer.” The gaps in the current biographical narrative of T-Bone Slim’s life are substantial though, so it’s likely there are significant events which remain unknown. New findings indicate that he did spend time behind bars on at least two occasions, and an undated letter written to his sister Sofie—my great grandmother—sometime during the last decade of his life states, “My case is coming up next Friday; so pull for me hard. Of course I win—now or later.” The letter indicates a great deal of concern and a sense of injustice that will be made right in the future if not in the present. He signs the letter, “Joe Hilger,” a pseudonym which invokes the memory of Joe Hill, the most legendary IWW martyr who was killed by firing squad on November 19th, 1915 in Utah.
The Folklorists & The Folk Singer
“Aunt Molly’s Truth was often greater than the facts.”—John Greenway (Wilgus 1967)
During her lifetime, Aunt Molly Jackson was interviewed and studied by many folklorists including Alan Lomax, Archie Green, Mary Elizabeth Barnicle Cadle, and John Greenway. Many if not all of these scholars and song collectors came to view her as an “unreliable informant,” who at times fabricated events and claimed authorship of songs composed by others. Still, their respect for her as a genuine representative of folk tradition and as a tireless fighter for the working class and poor was not diminished.
“She was folklore itself, at its best, and its best is that it won’t stop growing, and it can’t be beaten. We won’t see her like again ever, now….”—Alan Lomax (Wilgus 1967).
Fig. 3. Lomax playing guitar on stage at the Mountain Music Festival, Asheville, N.C. United States Asheville North Carolina [Between 1938 and 1950]. (Library of Congress)Fig. 4. Photo of Aunt Molly Jackson in Daily News Greensboro, North Carolina, 23 November 1935. Photographer: Unknown. (Greensboro Public Library).According to Aunt Molly Jackson biographer, Shelly Romalis, the folk singer also distrusted and resented many of these same folklorists, accusing them of “momicking” her songs and writing “nothing but lies.” Both Molly and her half-sister, Sarah Ogan Gunning, claimed Alan Lomax never had permission to put the recordings he made of their songs into the archives at the Library of Congress, and that not a penny was paid to them (Romalis 1999, 165). Only one commercial recording of Aunt Molly’s music was produced and released during her lifetime. Kentucky Miners Wife (Columbia 15731) was recorded on December 10th, 1931, days after Aunt Molly first arrived in New York City. She maintained that she never received any payment or royalties for that recording either. (Romalis 1999, 114)
Fig. 5. Scan of Aunt Molly Jackson’s letter to Alan Lomax, 2 September 1939. From Pistol Packin’ Mama Photo plate (the 6th) after p. 88. (Archie Green’s private research materials).
“Molly’s truths fell by collectors’ and folklorists’ waysides, unvalidated, discredited. How do I, as a writer of their stories, know who to believe? Does the truth of one mean the lies of another? We know that everyone remembers selectively, fictionalizes, informants, and writers alike; as scholarly gatekeepers, we and our editors (not our informants) have the final say in published words.” (Romalis 1999, 197)
The song “Crossbones Scully” was documented by at least four of the folklorists who collected Aunt Molly’s songs—Alan Lomax, Mary Elizabeth Barnicle, John Greenway, and Archie Green. Unfortunately, none of them took enough of an interest in the ballad to question her about its subject matter and origins in any detail.
“To put it bluntly, the ballad may not have appealed to any listeners… Molly’s account troubled me in 1957, but did not lead me to undertake a detailed case study. Her ballads, awkward lines, weak plot, and dated posture blocked the opening that might have spurred my study… ‘Crossbones Scully’ does not rank with aunt Molly‘s best ballads. We find no evidence that it entered tradition, or that she prized it after leaving New York.”—Archie Green (Archie Green Collection, SFC)
So why did Aunt Molly perform “Crossbones Scully” for both John Greenway in 1951, and Archie Green in 1957 if she didn’t value the song, almost two decades after recording it twice for Alan Lomax and twice for Mary Elizabeth Barnicle in 1939? Green speculated that Greenway likely heard the Lomax recordings thus peaking his interest in the song and leading him to ask Aunt Molly about it. However, the transcript of Archie Green’s own interview with the Kentucky folk singer perhaps indicates another possibility—that Aunt Molly may have brought up “Crossbones Scully” of her own accord simply because she felt it was an important song.
“Archie Green: Aunt Molly, of all the songs that you wrote, which song became best known to other people. People outside of Kentucky. Other students and singers. Which is your most popular song Aunt Molly?
Molly: You mean that I wrote myself? Well, always what I’d go to these musical divisions of the colleges to entertain. After they found out that I had wrote that song its in the book maybe Jim named it T Bone Skully that song. That’s a day we’d had a big seaman strike in New York and we had a big party to collecting funds for the seamen and I met this here T Bone Slim. I composed a song from that and he told me he said I laughed so about that he said aunt Molly, he says. I’m ___ that big top silk hat on my head and that suit and he says my old ragged shoes. And dog gone me he says I’m taking the old geezer’s shoes off, and I aim to throw my old ragged shoes down here come a dog gone police man he says. And they give him a year and one day for that.”—Archie Green & Aunt Molly Jackson interview (Archie Green Collection, SFC)
Fig. 7. Transcript of Archie Green’s 1958 interview with Aunt Molly Jackson(Archie Green Collection at the Southern Folklife Collection UNC Chapel Hill’s Wilson Library). Copyright: Archie Green Family.I find it fascinating that in the transcript, Archie Green straightforwardly asks Aunt Molly what is her most popular song, and rather than mentioning “Hungry Ragged Blues,” “I Am a Union Woman,” or “The Death of Harry Simms,”—which are arguably some of her more well-known compositions—she brings up “Crossbones Scully,” a song which Green described as unappealing and dated. To me this could be an indication that “Crossbones Scully,” while perhaps not her most popular song, was still valued by Aunt Molly, a song she wanted to have documented and heard. Could that explain why she recorded it a total of four times, instead of once or twice as is the case with the vast majority of her hundred’s of archived audio recordings? It could be possible that Aunt Molly, rather than answering Archie Green’s question about her most popular song, instead chose to speak about a lesser-known song, but one that was perhaps more important to her.
Aunt Molly Jackson died in 1960. Many years have passed and all of the folklorists who knew her and documented her life and music are also deceased. No scholars ever made a study of “Crossbones Scully” or took much interest in the song during the lifetime of its author, and it may be unlikely that any new evidence of its origins will come to light. Therefore, we are left mostly with speculation. Do we take Aunt Molly’s word that she met T-Bone Slim and wrote a song based on factual or at least partially factual events? Did she make up the narrative out of whole cloth but choose T-Bone Slim’s identity to be the fictional protagonist—before or after she composed the song? Is there a hidden story behind “Crossbones Scully” as Archie Green believed?
Fig. 8. Photograph of Aunt Molly Jackson from the Kentucky Folklore Record 1961 Memorial Issue. This image is part of a group of research materials collected by Alan Lomax (Alan Lomax Collection, Manuscripts, Big Ballad Book. 1961-1991). Photographer: Unknown. (Alan Lomax Collection at the Library of Congress American Folklife Center).
I’ve spent many hours going down the “Crossbones Scully” rabbit hole, and researching Aunt Molly Jackson. Ultimately, I don’t know if she ever met my great granduncle, but I found the mystery surrounding her song to be intriguing and compelling enough of a reason to make a new recording of “Crossbones Scully” for my upcoming T-Bone Slim album, Resurrection. You can check out a live in studio video of the song at the YouTube link below. It was a unique recording experience for myself and the other musicians because we actually played along to Aunt Molly Jackson’s AFS 2539B recording from 1939, accompanying her voice with our instruments. I hope Aunt Molly would approve of this posthumous collaboration, it’s meant to pay homage to her music and legacy. I’m keeping my fingers crossed that we didn’t “mommick” it up…
Video: John Westmoreland’s recording of “Crossbones Scully” with violinist Jennifer Curtis, and bassist Ron Brendle. Recorded Live at Overdub Lane Studio in Durham North Carolina.
Aunt Molly Jackson & T-Bone Slim:
At the Crossroads of Art & Research
Part 2: Who Is Aunt Molly Jackson?
Fig. 1. Illustration of Aunt Molly Jackson by Russell Theodore “Butch” Limbach. Unkown Author. The Communist Party USA’s newspaper The Daily Worker, 2 December 1931, University of Illinois at Urbana-Champaign Library, Urbana, IL.
My role as a musician, independent researcher, and relative of T-Bone Slim places me at a unique crossroads of art, research, and family history. With that perspective in mind, in this three-part blog series, “Aunt Molly Jackson & T-Bone Slim, at the Crossroads of Art & Research,” I share my thoughts on the origins of a mysterious folk song, the fascinating woman who wrote it, the relationship between folklorist and informant, and how this research relates to T-Bone Slim. Stay tuned for a new recording and video release at the end of Part 3.
In Part 1 of the series, I discussed a fascinating song, “Crossbones Scully,” written by Kentucky folk singer, Aunt Molly Jackson—allegedly about T-Bone Slim. In this second part I take a wider view of Aunt Molly’s life history and try to contextualize her artistry and activism in relationship to political ideology.
Born Mary Magdalene Garland—but using “Molly” as a first name—Aunt Molly Jackson grew up amid the cultural and socioeconomic environment of rural southern Appalachia at a time when grave exploitation of workers was institutionalized by the mining industry. Low wages paid in “scrip”—which could only be used to purchase inflated goods at the company store—as well as the practice of deducting extraneous expenses directly form a miners paycheck left many workers and their families in dire circumstances. Hunger, disease, and egregious safety standards in the mines contributed to high mortality rates amongst the population.
At the age of twelve, Molly began serving her community as a nurse and midwife which earned her the affectionate title “Aunt Molly”. Customarily midwives were referred to as “Granny” but being so young “Aunt” was thought to be a better fit in her case. Claims have been made by Aunt Molly and others that she delivered hundreds or even thousands of infants during her years as a midwife. She herself married twice before the age of twenty, and is believed to have had two biological children both of which died in infancy. Her second husband, Jim Stuart, was killed in a mining accident circa 1917 and soon after she married another coal miner, Bill Jackson, whose last name became part of her official identity as a folk singer for the remainder of her life.
“People just opened their mouths like the birds in the trees, and whatever melody come to them and whatever was on their minds, they just sang it out and that’s a folksong.”—Aunt Molly Jackson (Romalis 1999, 159)
Fig. 2. Photo of Aunt Molly Jackson. Photographer: Unknown/ possibly Herndon Evans. The Milwaukee Journal, 8 December 8, 1935 (Milwaukee Public Library).Fig. 3 Photo of Aunt Molly Jackson. Photographer: Unknown. Baton Rouge LouisianaMorning Advocate, 8 December, 1935 (East Baton Rouge Public Library).
Steeped in the traditions and lore of the Kentucky mountains, learning songs and stories passed down from older relatives—“knee to knee” as it’s been called in Appalachia—Aunt Molly Jackson began composing her own songs at the age of four. However, she would have likely remained an obscure figure were it not for the activism of the Dreiser Committee (also known as the NDPP) during the early days of the Harlan County War (see also the Raye 2020). Authors Theodore Dreiser, John Dos Passos and other prominent communist intellectual figures from New York City traveled to Harlan County in the fall of 1931 to document and raise national awareness about the conditions of exploitation and oppression unfolding in Kentucky. On November 7th, 1931 Aunt Molly attended a gathering at Glendon Baptist Church in Bell County and gave her own testimony to the committee, after which she proceeded to burst into song, belting out a version of her “Hungry Ragged Blues.” The performance left such an impression on Dreiser that he felt she would make an ideal symbolic representative for the miners’ cause. Aunt Molly through her appearance, manner, and actions projected a rural Appalachian cultural authenticity that was lacking in a movement comprised of urban intellectuals from the north.
“These women grabbed the gun thugs and stripped them naked while some of the local men took off through a cornfield after the strikebreakers. After four women had managed to hold down one of the gun thugs, my sister Molly took his pistol and shoved the barrel right up his rectum. Never did this particular gun thug show his face there again.”—Jim Garland (Romalis 1999, 86–87; about gun thugs see Raye 2020)
Aunt Molly, for her part, seemed happy to go along with Dreiser’s vision. She accepted an invitation from members of the Dreiser Committee to travel to New York City in an effort to help raise funds and publicity for the cause. It’s also been alleged that after Aunt Molly’s performance of “Hungry Ragged Blues,” she was arrested and only released by Judge David Crockett Jones on the condition that she leave Kentucky, so perhaps there were compounding factors which led to her exodus from the Appalachian coal country. (Collett 2006)
Communism & the IWW
In late November of 1931, Aunt Molly Jackson boarded a northbound bus headed for New York. Upon her arrival on December 1st, she was thrust into the public eye. Many newspaper articles were published about her, and on a couple of occasions she performed for crowds of workers numbering in the thousands. She also went on a performance and speaking tour, collecting money to send back home to the striking miners in Harlan and Bell Counties. Many of these public events were organized as communist gatherings, and as such Aunt Molly was on the fringes of mainstream society despite receiving publicity in major press outlets such as the New York Times. Her own relationship to the communist party however appears to be opaque.
“The only ism we knew in Kentucky was rheumatism; I never heard tell of such thing as a communist or a radical until I was 50 years old when I come to New York. I got all of my progressive ideas from my hard, tough struggles and nowhere else.”—Aunt Molly Jackson (Wilgus 1961)
Whether or not her assertion about learning of communists and radicals only after leaving Kentucky is literally true, Aunt Molly’s point that her ideas and values come from her own life experience and not any ideology is certainly believable. By late 1931 however, she did have connections to communist circles, and some of her songs carry overt references to Communist organizations such as, “I am a Union Woman,” with a refrain that states “Join the NMU, come join the NMU.” The NMU (National Miners Union) was a Communist union which attempted from 1931–1932 to organize rural miners in Kentucky—an effort which met with limited success (on NMU see Soodalter 2016).
Interestingly, a December, 1931 issue of the Communist newspaper, the Daily Worker, features an interview with Aunt Molly as well as a separate article disparaging the IWW’s and UMWA’s (United Mine Workers of America) organizing efforts in Kentucky.
“The UMWA and the IWW are betraying us (– –) Now, when we are once more organizing, under the National Miners Union leadership, to strike against starvation, the UMWA and the IWW are again trying to step in in order to betray us. We must be on guard against these agents of the coal operators.”—Unknown author (Daily Worker, 2 December 1931)
Fig. 4.Daily Worker, 2 December, 1931 (University of Illinois at Urbana-Champaign Library).
T-Bone Slim, in his writings for the IWW in late 1931 also commented on the events in Kentucky, such as the following statement from the IWW’s Industrial Worker, published the very same day that Aunt Molly Jackson made her pivotal performance for the Dreiser Committee.
“There is no such thing as freedom of silence. No man has the right to contain in himself the thought, the knowledge, the experience, the eloquence, the prestige that might remove injustice from our fair land ( that might arrest the so called legal murders now in the making in the state of Kentucky…”—T-Bone Slim (Industrial Worker, 7 November 1931)
Fig. 5. Cropped excerpt from T-Bone Slim’s column in Industrial Worker, 7 November 1931 (University of Michigan, Joseph A. Labadie Collection).
Days later in an article for another IWW periodical, Industrial Solidarity, we find T-Bone Slim weighing in on the subject of aid for the striking workers in Kentucky in relationship to the activities of Socialists and Communists.
“The socialist party has aided the Kentucky miners in their hour of gloom—not blindly as some people do but with their eyes open. Not only did they give but they took the trouble to trace their gift and found it in a communist office—heluva place for a needy miner to be? The presence of the gift in possession of ‘comrades’… indicates extensive lack of consideration, if not complete contempt for the suffering miners.” T-Bone Slim (Industrial Solidarity, 17 November 1931)
Fig. 6. Cropped excerpt from T-Bone Slim’s column in Industrial Solidarity 17 November 1931 (University of Michigan, Joseph A. Labadie Collection).
The above excerpts quoted from the Daily Worker and T-Bone Slim’s Industrial Solidarity column exemplify the distrust, and animosity which sometimes characterized the dynamic between the Communist Party and the IWW. Folklorist Archie Green’s skepticism that Aunt Molly ever truly met T-Bone Slim derives largely from his awareness of that tenuous historical relationship.
“Plainly put, IWW’s and communists during sectarian years, worked together on various jobs, but did not fraternize in meetings or social events. At times, the ideological differences between them led to bloodshed. Many Wobblies were among the earliest critics of Stalinism on the American left. Communists responded both by denigrating, anarchist values and appropriating Wobbly lore.”—Archie Green (Archie Green Collection, SFC)
Putting aside Archie Green’s skepticism for the moment, it’s important to mention that both T-Bone Slim and Aunt Molly Jackson lived in New York City during the 1930’s and early 1940’s. In a geographic sense it’s certainly not out of the question that they could have crossed paths, and Green himself acknowledges that regardless of ideological tensions between the IWW and the Communist Party, it’s not impossible the two songwriters met.
Further evidence that perhaps T-Bone Slim did have some connection to communist MWIU members can be found in an anecdote from Communist MWIU organizer, Al Lannon, who claimed that T-Bone Slim was invited to perform at a 1933 Communist event in New York City.
“Hoping to capitalize on lingering IWW sentiment among seamen, Lannon set up an open-air meeting at Thames and Broadway featuring T-Bone Slim. Lannon gave the singer a big introduction, expecting the singer to open with his well-known ‘Popular Wobbly.’ T-Bone Slim began yelling at the crowd about ‘those fuckin’ bastards down in Alabama’ who had framed the Scottsboro Boys. An embarrassed Lannon hustled the living legend, away from the microphone. They later made T-Bone Slim, an honorary member of the Port Organizing Committee, allowing him to sell The Marine Workers Voice along the waterfront.” (Lannon 1999, 45–46; about the Port Organizing Committee see Bailey 1993)
Al Lannon’s assertion is quite interesting—especially the bit about T-Bone being pulled off stage—if true it certainly lends credibility to Aunt Molly Jackson’s claim that she met T-Bone Slim in person. I’m somewhat skeptical that T-Bone Slim ever became a member of the Port Organizing Committee and sold Communist newspapers on the New York waterfront, but if further supporting evidence comes to light my opinion is of course subject to change. Archie Green speculated in some of his writings on the topic of “Crossbones Scully,” that Aunt Molly Jackson may have been attempting to “misappropriate” the identity of an IWW hero (Archie Green Collection, SFC), the same question could be asked of Al Lannon’s claim. Ultimately, the veracity of either or both Aunt Molly’s and Al Lannon’s T-Bone Slim encounters may never be known, it could be impossible to prove whether these stories are completely true, completely fabricated, or partially true and partially fabricated.
In part 3 of the series I will discuss archival recordings of “Crossbones Scully,” the relationship between Aunt Molly Jackson and the folklorists who studied her, and release a new video of the song filmed in studio during production of my forthcoming T-Bone Slim album, Resurrection.
“Who can rescue Molly’s ‘Crossbones Scully’ from obscurity? Who will pose fresh questions about its meaning to present day guardians of radical tradition?… In my view, the hidden story behind Aunt Molly‘s ‘Crossbones Scully’ is more intriguing than the narrative of a poor sailor robbing a rich geezer.” —Folklorist Archie Green (Archie Green Collection, SFC)
My role as a musician, independent researcher, and relative of T-Bone Slim places me at a unique crossroads of art, research, and family history. With that perspective in mind, in this three-part blog series, “Aunt Molly Jackson & T-Bone Slim, at the Crossroads of Art & Research,” I share my thoughts on the origins of a mysterious folk song, the fascinating woman who wrote it, the relationship between folklorist and informant, and how this research relates to T-Bone Slim. Stay tuned for a new recording and video release at the end of Part 3.
The song “Crossbones Scully” was composed by Kentucky folksinger and union activist, Aunt Molly Jackson (1881–1960), who became a forceful advocate for the plight of impoverished coal miners and their families in Eastern Kentucky during the 1930’s. Folk music icons such as Pete Seeger have credited her as a major influence (Romalis 1999, 101), and Woody Guthrie once wrote that she was the “best ballad singer in the whole country.” (Guthrie 1967, 139)
The title of Aunt Molly’s aforementioned song may to some readers bear a resemblance to the nom de plume of Matti V. Huhta—T-Bone Slim— the illustrious hobo, songwriter, poet, and IWW (Industrial Workers of the World) columnist. In fact the first publication of “Crossbones Scully” in print comes from folklorist John Greenway’s chapter on Aunt Molly for his 1953 anthology, American Folk Songs of Protest, which lists the title simply as “T-Bone Slim” (Greenway 1953, 264). A spoken word introduction Aunt Molly recited to Greenway during an interview in 1951 precedes the lyrics.
“This is the story of T-Bone slim. He told me how he got put in jail for a year and a day. He said he had tried to get a job for two months, and had been picked up as a vagrant different times till he had become desperate. He had not eat a bite in two days, he said, and it had been 10 weeks since he had lain in a bed. He was so cold and hungry he said he was desperate. When he saw this old ‘big shot,’ as he called him, he just knocked the big shot down, and took his suit of clothes, watch, money and all. Just as he was taking off the old man’s shoes he saw some men coming and he ran off with the fine suit on and a high top hat, and when they saw him with his old rags and shoes and that high silk hat and that fine suit of clothes, they grabbed him and pulled him before the judge. He said when they turned him out and he did not have a cent and he could not get a job for food and rent. He said he did not want to steal and rob; he said he began to wonder how he could find a job. He said he was almost out of his mind when he went down on the waterfront and joined the seamen’s picket line. I was leading the picket line and I met him there. In the Seamen’s union hall he told me this story. I remembered it all, and a few days later I composed this song. Old T-Bone Slim got sunk in a ship when World War II come along. He was a good union seamen, but he is dead and gone.”—Aunt Molly Jackson (Greenway 1953, 264)
The Story of T-Bone Slim?
While Aunt Molly Jackson’s introduction clearly indicates that her song is indeed about T-Bone Slim, it may be helpful to take a step back and consider a broader perspective of the song, the folksinger who composed it, as well as the folklorists who collected and studied Aunt Molly’s life and compositions.
“Let me confess that I can’t get this song out of my mind. All the forces that pushed me to ballad scholarship in the 1950s have converged again. Molly’s maritime song has become a metaphor for the questions I neglected to ask in visits with her.”—Archie Green (Letter to Shelly Romalis April 21st, 1992, Archie Green Collection, SFC)
In her introduction to “Crossbones Scully,” Aunt Molly is speaking in verse. In a sense it’s as if she’s already singing the song, and as such may be favoring musicality and rhyme over dry facts. In my view this versification adds an enigmatic and mysterious air to the narrative she describes. But to state it as plainly as possible, in “Crossbones Scully” we have the story of a desperate out of work sailor, cold and hungry, who comes across some wealthy old “big shot,” knocks him down, robs him, and as a result gets thrown in jail for a year and a day. Upon his release the sailor is still desperate and contemplates that out of necessity he may have to repeat his crime. Ultimately, the unlikely hero goes down to the waterfront and joins the seamen’s picket line which Aunt Molly is leading. The sailor recounts his story to her at the seamen’s union hall and she composes a song out of it. Aunt Molly concludes her introduction stating “Old T-Bone Slim got sunk in a ship when World War II come along. He was a good union seamen, but he is dead and gone.” As Franklin Rosemont pointed out in the biographical introduction of his anthology Juice is Stranger Than Friction: Selected Writings of T-Bone Slim (1993), it’s factually inaccurate to say that T-Bone Slim’s ship was sunk during World War II. Rather, he fell, was murdered, or jumped off, and the boat itself—a scow—was certainly not sunk. That being said, in a more poetic sense, could it be—as Rosemont considers a possibility—that Aunt Molly is tying T-Bone Slim’s demise to the US entry into World War II?
Fellow researcher Dr. Saku Pinta noted in his blogposts, Who Killed T-Bone Slim Part I &Part II, that the last published article of T-bone Slim’s career appeared in the Industrial Worker on April 4th, 1942. Within that article references are made to the blackout drills which had begun to take place in New York at the end of 1941.
“To say the least, blackout is a promise, a prophecy, foreboding eternal darkness.”
“When New York City is bombed, say May 10-20, you may be sure I will not run.”
T-Bone Slim’s body was found floating in the East River at Pier 9 in Manhattan on May 15th. The question arises, is it a coincidence that T-Bone Slim’s final article speaks of “prophecy,” “foreboding eternal darkness,” and a bombing between May 10th–20th which happens to coincide with the time frame of his own death? Is it possible that in a veiled manner T-Bone is ominously predicting the end of his own life? Dr. Pinta’s blogposts offer thoughts and reflections on the matter including consideration of the possibility that T-Bone Slim’s death could have been connected to the US intelligence collaboration with organized crime on the waterfront of New York City, ”Project Underworld,” which began in the spring of 1942. Bearing this additional information in mind, I do wonder whether Aunt Molly’s account of T-Bone Slim’s ship being sunk “when World War II come along,” might be a metaphor implying he was murdered and that somehow his death was related to the onset of US involvement in WWII. Of course, another possibility is that it’s simply a poetic way of mourning the loss of a sailor.
Despite Aunt Molly’s introduction to “Crossbones Scully” in John Greenway’s, American Folk Songs of Protest, another distinguished folklorist, Archie Green, has cast doubt on the idea that she ever truly met T-Bone Slim and wrote a song about him.
“I am uncertain whether Molly had actually met T-Bone Slim and heard him tell a story about going to jail after robbing a big shot, or had read such an account in either an IWW or CP (Communist Party) publication, or had heard the anecdote from a third person.“—Archie Green (Archie Green Collection, SFC)
In Part 2 of this three-part series I will explore the background and biography of Aunt Molly Jackson, her ideological affiliation, as well as the divisive relationship which existed between the IWW and the Communist Party USA.
Authors: Kirsti Salmi-Niklander, Marija Dalbello, Lotta Leiwo, Saku Pinta and John Westmoreland
Music, Research, and Activism Conference 2023
T-Bone Slim project’s researchers Kirsti Salmi-Niklander (PI), Lotta Leiwo (research assistant), Saku Pinta, Marija Dalbello and musician John Wesmoreland held a T-Bone Slim themed roundtable at Music, Research, and Activism Conference on 11 May 2023. The conference brought together researchers and practitioners engaged in activism and knowledge production around music. This short conference report is combined from the roundtable abstracts.
Our project’s roundtable “T-Bone Slim – a songwriter, an activist and a hobo” was chaired by Saijaleena Rantanen who first introduced the project and T-Bone Slim’s life to the hybrid audience. In the first presentation, PI Kirsti Salmi-Niklander and research assistant Lotta Leiwo discussed about music and poetry in Ashtabula and Erie during T-Bone Slim’s childhood and youth. Their analysis focuses in the Finnish-language books and newspapers published in Ashtabula in the late 19th century, preserved in the National Library of Finland. These fragmentary materials provide some new perspectives to the transnational influences of T-Bone Slim’s poetry. For example, he uses religious satire but also seems to compare himself to the Christ that was often called “Jerusalem Slim” in IWW context. Christ was considered as the first radical and religion had just misinterpreted his message. Salmi-Niklander have observed radical re-evaluations of Christ’s life also in Finnish working-class writing during the same period. Religion is an interesting perspective to Slim’s texts when we know his connection to religious temperance movement – a fact that has been discovered in this project. Furthermore, both Finnish and transnational cultural influences can be observed in T-Bone Slim’s writing: these include the use oral and hybrid genres (proverbs, wellerisms, riddles, rhymes), neologisms and language-twists.
Saku Pinta has observed apologies in the Finnish-language translations of T-Bone Slim’s texts in the Finnish-language IWW daily newspaper Industrialisti. Pinta spoke in his presentation about T-Bone Slim’s forgotten contemporaries and colleagues in the IWW Movement. In his presentation “The Mysteries of Other Popular Wobblies”, Saku Pinta first gave an overall context of the music and culture of the IWW with reference to two of T-Bone Slim’s lesser-known contemporaries: the Finnish American songwriter and poet George Blad and Canadian songwriter and humourist Pork Chop Slim. Pinta explored themes of anonymity, class, and cultures of resistance within the many worlds that T-Bone Slim inhabited.
The working-class poets who wrote about incarceration or migratory life often intended their poetry to be sung to familiar Christian tunes or known popular melodies. Focusing on the period of the late 1910s and early 1920s, Marija Dalbello discussed several narrative poems and ballad-like compositions and presented a preliminary analysis of ”The Rebel Worker group poets” who were active in the late 1910s and early 1920s. They were associated with Leland Sanford Chumley, an IWW activist and editor/business manager of The Rebel Worker, a New-York based bi-weekly newspaper. For example, “My Wandering Boy” is a poem about a jailed migrant worker (‘wandering boy’) intended for public recitation. “We’ll Be There” is a Lew Maisel poem to be sung to the “tune” of T-bone Slim’s “They go wild, simply wild, over me” (itself a parody of a popular 1917 song). Whether performed in barrooms, ballrooms, protests, or jail, these forms reveal a sensibility that Jacques Rancière identifies in the working-class emancipation of the body.
Lastly, musician, researcher, and great grandnephew of T-Bone Slim, John Westmoreland, performed new renditions of some of his Finnish American relative’s published and unpublished songs and poems. Brief reflections and commentary was given between the musical performances as well as an introduction consisting of T-Bone Slim’s own words as printed in his April, 5th 1924 column in the Industrial Worker “Mostly Song”:
“Now, it happens that I have written a few songs —a few songs as rotten as the system itself —no more and no less —ROTTEN. And, I maintain that under proper conditions my songs would have been SWEET as the voicings of an unsuccessful candidate cooing under the protecting wings of the administration. And since this be so and since my songs can not be blamed for the conditions that are, I stand unsullied of any taint of responsibility for the terrible straits in which labor finds itself today and the singing of my songs can not make things any worse than they are.”
Image: John Westmoreland performing “Mostly Song” at the Music, Research, and Activism Conference on 11 May 2023. Live video from conference dinner can be viewed on YouTube.
For us, Music, Research, and Activism Conference was a “warm-up” for the upcoming T-Bone Seminar we are holding at Kälviä and Kokkola in August 18–19. This time, on MRA conference most of us met online as we usually do every month when we have our project meeting, but in August we finally meet in person here in Finland.
In the seminar, we will give longer presentations on the topics we have been researching during the project but also offer a lot of very interesting cultural programme with art, music and storytelling. The seminar programme will be hybrid so one can follow the presentations via Zoom as well as in person. Cultural programme is available only on site at Jokikylätalo at Kälviä on 18 August and at Kahvila Saha at Kokkola on 19 August. The programme will be published on June 1 on our website’s event page. On that date, the registration for the seminar opens as well. We hope to meet you there!
Technocracy and T-Bone Slim’s Break with Ralph Chaplin
One of many mysteries in T-Bone Slim Studies is why he did not publish any new material for two and a half years, between Oct 1933 and April 1936.[1] However, in recent research trips to the Labadie Collection at the University of Michigan and the IWW Collection at Wayne State’s Walter P. Reuther Library, I think I have found the answer.
There is no central location of T-Bone Slim’s writings, scattered as they are in several different libraries and special collections. His complete works have never been collected and published. Indeed, such an undertaking would be very difficult since, as the T-Bone Slim and the transnational poetics of the migrant left in North America project has uncovered, the total number of his published pieces is over 1000. Getting an overview of his work is challenging, but the large number of articles he wrote also leads to a mystery of why he did not seem to publish any original material between Oct 1933 and April 1936.
The reason is that he had a personal and political falling out with Ralph Chaplin, the then-editor of Industrial Worker. Author of the famous song ‘Solidarity Forever’, as well someone who had gone to jail during the years of repression during and immediately after WWI, Chaplin was something of a literary giant not just for the Wobblies but on the American Left in general. He was a ‘Great Man’ within a movement that did not believe in Great Men.
Ralph Chaplin and Technocracy
Chaplin was also something of a political wanderer, someone whose politics shifted over time and meandered into some dark corners. By the early 1930s, he had become a devout follower of Technocracy, a movement that sought to replace political democracy with rule by experts, in particular scientists and engineers. In the US the Technocracy Movement was led by Howard Scott, and in Canada by, among others, Joshua Haldeman, Elon Musk’s grandfather (whose views shape Musk’s own projects in the 21st Century). In a Technocratic society, energy would be the default ‘currency’ (pun intended), with experts constantly monitoring how much energy individuals and organisations needed. In theory the amount of energy could be the same for all people, which made Technocracy appealing to some on the Left, like Chaplin. However, Technocracy’s status as an anti-capitalist or even ‘Left Wing’ movement was much contested, and today most scholars see it as a fascistic phenomenon.
Chaplin’s aim in taking over the editing of Industrial Worker was to make the paper more ‘professional’, which meant moving away from opinion pieces and towards more news coverage. Chaplin’s intention for this increased news coverage was, however, that it would be written from a hard-line party position, in effect making the paper less diverse and more propagandistic. His approach, which divided the IWW, meant that there would be less tolerance for the bizarre and sometimes politically-opaque writings of T-Bone Slim.
T-Bone Slim on Technocracy
In the period before Chaplin took over on 17th May 1932, Slim had been publishing regularly, sometimes having several pieces in a single issue. He wrote for the paper for 17 months during Chaplin’s editorship but tensions soon emerged. These tensions spilled out onto the pages of the Industrial Worker, but they did so in ways that were implicit rather than explicit. On 7th Feb 1933, Slim wrote an attack on ‘bosses’ and at the end sarcastically signed off as ‘T-bone Slim, Technocrat (Not connected with trust)’, the trust in question being Scott’s Technocracy Inc. If this was a dig at Chaplin, it was subtle. It is often difficult to work out the meaning of Slim’s sarcasm, but it does seem that tensions with his editor were rising.
For the 7th March 1933 issue, Chaplin seems to have requested pro-Technocracy articles from several of his writers, including Slim. While the other published pieces are straightforward peans to Technocracy, Slim’s article was different. He wrote: “it is almost unbelievable that an adding machine puts the essence of victory into Labors [sic] hands…along comes a set of mathematicians, impervious to all sentiment, and dissect the Industrial World in cold blood”. The quote drips with irony, even sarcasm, so that we might infer that it is indeed ‘unbelievable’ that Technocracy has solved the longstanding contradictions of capitalism. This kind of ironic prose was certainly not what the propagandistic Chaplin expected from his authors.
On the 4th April, Slim once again had technocracy in his sights, writing “A Technocrat is one who rubs elbows with work, is on speaking terms with it.” Given how derisive Wobblies were about managers who did not perform the work they expected from others, this is hardly a ringing endorsement! On the 4th July, he followed this up with: “Beware of practical men. They dream only of what can be, not of what should be.” While this quote is not definitely about Technocrats, I would argue that it is an attack on a movement led by ‘practical’ engineers and scientists such as Howard Scott.
Slim’s Fluctuating Writing Career
By October, Slim’s articles vanished. No other wobbly papers existed by this time and so he seems to have simply stopped publishing. A note held in the Reuther Library indicates that some writers who once appeared in the Industrial Worker were now staying away, as they no longer wished to appear in a paper edited by Ralph Chaplin. Slim seems to have been among this group. He does not appear in the paper again for two and a half years, notably returning within only three issues of Chaplin’s departure, once the Editorship had passed to Fred Thompson. His first article back, on 11th April 1936, attacks the concept of leadership, presumably with the ‘Great Man’ Chaplin in mind, and, once again, critiques those whom he calls ‘practical men’. By now the Wobblies had turned away from Technocracy and, over time, would come to see Chaplin as a troubling, even Right Wing figure.
Slim’s handwritten notes held in the Newberry Library, it seems to me, mostly date from the period just discussed. Indeed, some of the material in those notes would appear in the paper during the late 1930s under Thompson, who claims to have been given a stack of Slim’s earlier writings, almost certainly the Newberry notebooks. As research continues, we are beginning to see how different archives build up a more complete picture of the fluctuations of Slim’s career.
Notes:
[1] Slim had had publication gaps before, but this is by far the longest. Earlier gaps are often to do with illness or being away for work.
The Industrial Workers of the World (I.W.W.) collection in the Rare Book & Manuscript Library at Columbia University documents the immigrant working class struggle from a century ago. Most of the documents are from the period between 1916 and 1922, the time of unrest and war, I.W.W.-led strikes, strikers’ imprisonment, and trials. This atmosphere was echoed through the letters, letter-poems, and some envelopes (yes, envelopes!) leading back to L.S. Chumley, a “wobbly” activist and editor of the Rebel Worker.
Through their transmission, the envelopes’ surfaces can accumulate information such as postal markings and inscriptions. They record interpersonal epistolary exchange. The envelopes are the skins that transmit the correspondents’ touch alongside the letters’ writing, folding, sealing; then tearing, cutting, un-folding them, and reading. In the envelopes, epistolary texts travel — enclosed, safe, and protected. They rarely survive in archival contexts to document transmission. So, when possible, I like to examine them as evidence. I found three such envelopes in my “dig” that carried an ‘excess’ of meaning, real and imagined.
The First Envelope: A Drawing
On the face of my first archival envelope is a pencil drawing in the style of I.W.W. satirical cartoons that depicts a mail carrier, whistling “Toot Toot,” a sack-full of packages on his back, hand-delivering a letter addressed to “L.C. [sic] Chumley” at 1001 W. Madison St. in Chicago, Illinois. The sender is “The Can Opener Publishing Co., Apts. 25 & 41, CC Can, 440 No. Dearborn St., Chicago, Illinois” (Fig. 1). This ‘publishing company’ was in the Cook County jail, its punned name a sarcastic reference to the ‘can’ (jail) and anything that could be ‘canned.’ The drawing is signed by Raymond Corder. This illustration makes it possible to imagine what this emptied out envelope contained. It could have been used by the ‘canned’ Wobblies to send their writings to Chumley. In the satchel or the envelope arriving to Chumley’s door could be any of the Wobbly letters or poems found in this collection. It could have been the narrative poem “Bisbee” (dedicated to the I.W.W. organized miners’ strike and deportation of over 1,000 strikers, their families, and other citizens in July 1917) including this message to the editor by someone who self-identified by their prison cell and the I.W.W. card numbers:
Dear Sir
How about it, too raw?
I would like to see this little reminder in the Rebel Worker I am up against it or I would write you a decent letter
Yours truly
Card 575210 No. 300.
Fig. 1: Envelope addressed to L.S. Chumley, illustrated by Raymond Corder, ca. 1916-1917. Industrial Workers of the World collection, 1916-1922, Rare Book & Manuscript Library, Columbia University in the City of New York. Click the image to view it in full size.
Alternatively, the emissary could be delivering the vision of another working-class poet Richard Brazier titled “The Girl Across the Way,” which he wrote in jail in the “year of conspiracy, 1917” and sent it to Chumley. Or it could be the prose poem, with the opening: “On Land or Sea wherever you may be stearing [sic] the ship in the tempests breath or behind prison bars of freedom bereft you who gain riches regardless of danger … ,” and closing: “To fellowworker Chumley. If you have use for this [,] put in the Rebel Worker Wigand Allen.”
The Second Envelope: A ‘Defaced’ Container
Browsing on, I find the envelope from Underwood’s News Photo Service series, World Events in Pictures. A diagonally placed note in black and red alerts to its intended contents (stereographs): “Press Matter, For Editor.” In branded stationery, the envelopes may ‘own’ their content but scribbled on its face is another message. I find the words “Secret Prison Newspaper” in a collector’s or archivist’s hand (Fig. 2). Intended for delivery of stock photos, it doubles as a container for prison journalism. This envelope was meant to keep, not send or receive.
Fig. 2: Underwood & Underwood envelope with inscription “Secret Prison Newspaper.” Industrial Workers of the World collection, 1916-1922, Rare Book & Manuscript Library, Columbia University in the City of New York. Click the image to view it in full size.
The Third Envelope: The Blast
Found in the archival folder labeled “Various envelopes,” is one postmarked 1940 with instruction to be filed “with other documents of Blast & E. Goldman” that, surprisingly, contained a letter. The letter was signed by Alexander Berkman and Emma Goldman, dated August 15, 1916. (Fig. 3a-b).
Fig. 3a-b: Circular letter signed by Alexander Berkman and Emma Goldman, July 22, 1917. Industrial Workers of the World collection, 1916-1922, Rare Book & Manuscript Library, Columbia University in the City of New York. Click the image to view it in full size.
Hiding in this envelope was the appeal to save Berkman’s paper The Blast and informing the supporters of intimidation and raids suffered by the editorial staff and offices. This was written less than a month following the anarchist-suspected explosion in San Francisco on July 22, 1917, at a rally favoring the United States entering the war (IISH) and before the couple’s deportation on the “Red Ark” that left Ellis Island on December 21, 1919 (Minor 1919).
As archival materiality, envelopes are surfaces and containers. Like drawers or folders, they are anatomic structures epitomizing archival intimacy in which the researchers’ sensations attract micro-readings.
by MARIJA DALBELLO
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This is the second in the series of blogs From my Archival “Digs” that focus on archival stories. I relate to documents in the mode of “drifting” (Dalbello 2019) in order to present their histories but also the aesthetic emotions and sensations that characterize archival disclosures.
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References
Dalbello, Marija. (2019). “Archaeological Sensations in the Archives of Migration and the Ellis Island Sensorium,” Archaeology and Information Research, a special issue of Information Research 24 (2), http://informationr.net/ir/24-2/paper817.html. Accessed January 30, 2023.
International Institute of Social History. (1917-1919). FBI File on Emma Goldman and Alexander Berkman Archives, https://search.iisg.amsterdam/Record/ARCH01724. Accessed January 30, 2023.
Minor, Robert. (1919). Introduction to Deportation: Its Meaning and Menace.
Preston, Louisa. (2022). Sketch of Marija Dalbello presenting, “A Hauntological Manifesto for Book History,” at the panel Manifestos! co-organized with Beth Driscoll and Claire Squires, presented at annual meeting of the Society for the History of Authorship, Reading, and Publishing, Amsterdam, July 2022.
Entering the collection of the Industrial Workers of the World (I.W.W.) in the Rare Book & Manuscript Library at Columbia University documents the immigrant working class struggle from a century ago. Among the various pamphlets, prison manuscript newspapers, and correspondence, I found a small letter, written in careful semi-cursive, each letter separate, words distinct, and lines slightly apart and ventilated. The letter is signed by “T-bone Slim” (Fig. 1a and Fig. 1b).
This blog post gives the story of the letter and interprets its significance for this project.
Fig. 1a: T-bone Slim letter to L. S. Chumley, February 13, 1922. Industrial Workers of the World collection, 1916-1922, Rare Book & Manuscript Library, Columbia University in the City of New York. Click the image to see it in full size.Fig. 1b: Transcription and excerpt from T-bone Slim letter to L.S. Chumley, February 13, 1922. Industrial Workers of the World collection, 1916-1922, Rare Book & Manuscript Library, Columbia University in the City of New York. Click the image to see it in full size or view transcribed text in pdf format.
The letter is dated February 1922 and is addressed to “Felloworker” [sic] L.S. Chumley I.W.W. in New York City. He signs off, “T-bone Slim” and offers an afterthought: “P.S. Am pulling out.” Is Matti Valentin Huhta referencing that he is leaving Minneapolis or rejecting the proposal by Leland Stanford Chumley to write? The opening refers to the accidental receipt of “your comm.” [communication]. “I happened to be here — may the Lord forgive me!” [“here” is underlined in the original]. We can imagine the letter writer on what could be a freezing day of February 1922 in Minneapolis, Minnesota. We can only fill in the gaps as to what would be the “accidental communication” reaching Huhta — a written note, a message, or a rumor — which prompted him to respond. The abrupt “Am pulling out” leaves an opening, it cries for interpretation. This epistolary moment connects two fellow-workers, one of them in New York City and the other in Minnesota. They are in different moments of their activist engagement. At that time, Chumley had a long history of organizing restaurant and food workers and about to open his own establishment in New York City. On the other hand, Huhta had started writing for the I.W.W. newspapers. The figures of Slim and Chumley converge in the historical situation of which this letter is a trace.
The letter from Slim to Chumley is an important document for our project because it dates from the period when Huhta was emerging as the columnist for the English-language labor movement press. In 1921, he had started gaining visibility as a professional writer. According to the project database listing of his known documents and published writing (Kone foundation Project “T-Bone Slim and the transnational poetics of the migrant left in North America”), he wrote 46 columns for the English-language I.W.W. newspapers that year. This is also the first known professional letter from the beginning of his career as a writer, labor-movement poet, and newspaper columnist. (Apart from this we do have Huhta’s personal correspondence.) He was then 40 years old. So far this is the first hand-written document he signed by a pseudonym that he was to use for some of his writing. The February 1922 letter is preserved among the materials of the early I.W.W. archives at Columbia University because of its connection to Chumley correspondence.
Significantly, the letter self-references writing. Slim refers to his “literary-blossoms” in the form of “booklet material” (not yet columns in Solidarity, Industrial Worker, and Truth). In a half-joking tone that later epitomized his style, its writer projects a unique and singular voice. He is concerned with expressivity and affects projecting his moods. The evocative pseudonym “T-bone Slim” brings out half pictorialist, half etymological moment conveyed by the juicy “T -bone steak” that humorously conveys outrage and a program of social justice.
The steak could be contrasted with the “slim” existence of a migrant worker, possibly a figure of a starving artist, the life that Huhta himself may have experienced. At the same time, the lightness and joviality of the name resonates with the existential moment in the lives of the “starving labor” and food precarity — the trope of “hunger” that often organized the discourse of labor. The name became emblematic, recorded in the caricature accompanying his editorials (Fig. 2).
Another actor in this epistolary moment and the recipient of the letter is Leland Stanford Chumley. His notes and correspondence relative to labor organizing is preserved in the same collection where I found the Slim letter from the time that marked a professional transition for both of them. Chumley was known as activist in the labor movement who raised awareness about the conditions of workers in the restaurant and other food industry in the 1910s and early 1920s (Rachleff 2005). Formerly organizer and “one-time stagecoach driver,” he opened a restaurant later known as Chumley’s in Greenwich Village in 1922, which remained a meeting place “for Wobs, other radicals and well-known writers and artists” (Rachleff 2005: 123; Saraniero 2020). Like many such museum-like sites in the palimpsest of New York City, Chumley’s remained a place of memory — erased by gentrification of neighborhoods, which locals fondly remember through their disappearance, when yet another New York “institution” of the “old school” gets turned into a boutique or residence. Chumley’s has not re-emerged from the New York covid lockdown in 2020. Ironically, the closing may call attention to an enduring precarity of the food industry and restaurant business.
Fig. 3: Former Chumley’s location in Greenwich Village, 86 Bedford St., New York City. Photographed by Marija Dalbello.
The site of the historic venue remains – at the unmarked address at 86 Bedford Street in Greenwich Village (Fig. 3), with signs on two entrances: “not Chumley’s” and “Froggy’s” (with a number for deliveries). This researcher lives and passes this site on her neighborhood walks, now enhanced by the discovery of its connection to Slim.
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This is the first in the series of blogs From my Archival “Digs” that focus on archival stories. I relate to documents in the mode of “drifting” (Dalbello 2019) in order to present their histories but also the aesthetic emotions and sensations that characterize archival disclosures.
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References
Dalbello, Marija. (2019). “Archaeological Sensations in the Archives of Migration and the Ellis Island Sensorium,” Archaeology and Information Research, a special issue of Information Research 24 (2), http://informationr.net/ir/24-2/paper817.html. Accessed November 20, 2022.
Preston, Louisa. (2022). Sketchbook drawing of Marija Dalbello presenting, “A Hauntological Manifesto for Book History,” at the panel Manifestos! co-organized with Beth Driscoll and Claire Squires, presented at annual meeting of the Society for the History of Authorship, Reading, and Publishing, Amsterdam, July 2022.
Rachleff, Peter, editor. (2005). Starving Amidst Too Much and Other IWW Writings on the Food Industry. Chicago: Charles H. Kerr.
T-Bone Slim ja hankkeemme tutkijoita Tervetuloa, tervemenoa-podcastissa
(In English below)
Siirtolaisuusinstituutti tuottaa Tervetuloa, tervemenoa -nimistä podcastia, joka “kertoo Suomeen tulleiden ja Suomesta lähteneiden kiehtovia tarinoita ja selittää ilmiöt niiden takana”. Podcastin uusin jakso käsittelee T-Bone Slimiä, hänen aikansa poliittista ja historiallista kontekstia sekä IWW (International Workers of the World) -musiikkia ja runoja. Jaksossa esiintyvät hankkeemme tutkijat Saku Pinta ja Saijaleena Rantanen sekä taiteilija-tutkija John Westmoreland.
Vaikka jakso käsitteleekin aihetta myös laajemmassa historiallisessa kontekstissa ja peilailee aihetta myös nykypäivän aktivismiin, summaa tämä jakso hyvin ja selkeästi sitä kaikkea mitä olemme tässä Koneen säätiön rahoittamassa ‘T-Bone Slim and the transnational poetics of the migrant left in North America’ -hankkeessa tutkineet. Samalla tulee esille, kuinka tärkeää laajempikin historiallisen ajanjakson ja aikaisemman tutkimuksen hahmottaminen on niin T-Bone Slimiä kuin nykypäivänkin aktivismin ilmiöitä tutkittaessa. Vaikka olemme varmasti hieman puolueellisia, suosittelemme lämpimästi kuuntelemaan! Podcastin lopussa summataan hyvin sitä, miksi T-Bone Slimin ja hänenkaltaisten historialliseen marginaaliin jääneiden yksittäisten ihmisten tutkiminen on merkityksellistä.
Kuuntele podcast alla olevasta soittimesta tai erillisestä linkistä täältä (avautuu uuteen välilehteen). Tervetuloa, tervemenoa -podcast löytyy myös useimmista ilmaisista podcast-sovelluksista sekä Spotifysta.
***In English***
T-Bone Slim and Our Researchers in Tervetuloa, tervemenoa podcast
The Migration Institute of Finland produces a podcast called Tervetuloa, tervemenoa [Welcome, Farewell], which “tells the fascinating stories of those who have come to and left Finland and explains the phenomena behind them”. The latest episode of the podcast looks at T-Bone Slim, the political and historical context of his time, and IWW (International Workers of the World) music and poetry. The episode features our project researchers Saku Pinta and Saijaleena Rantanen and artist-researcher John Westmoreland.
Although the episode also deals with the topic in a broader historical context and mirrors the topic in contemporary activism, it sums up well and clearly everything we have been researching in this Kone Foundation funded project ‘T-Bone Slim and the transnational poetics of the migrant left in North America’. At the same time, it shows how important it is to have a broader historical perspective and an outline of previous research when studying both T-Bone Slim and contemporary activist phenomena. While we are certainly a little biased, we highly recommend a listen! The end of the podcast sums up well why it is relevant to study T-Bone Slim and individuals like him who have been historically marginalized.
Listen to the podcast from the player above or from a separate link here (opens in a new tab). The Tervetuloa, tervemenoa podcast is also available on most free podcast apps and Spotify. The podcast is mainly in Finnish.
![Image of a paper with a scanned image of the jacket sleeve. There's some handwriting on the sleeve: " 22) A) Crossbones Scully (This name suggested by [unclear name] - Molly says t was [unclear] by T-Bone Slim's stories). [unclear] "Oh twll me how Iäll have to wait for a job," variant melofy - Hentation [?] Blues. B) The [unclear] Ranger (my father's favorite son [unclear] want to sing it as [unclear] like him as of can).](https://blogs.helsinki.fi/tboneslim/files/2023/05/P3.-Fig.-1-1939Recording-Jacket-scaled.jpg)
![Image of a paper with a scanned image of the jacket sleeve. There's some handwriting on the sleeve: "Aunt Molly Jackson, 19 Oct. 1939. 1. T-Bone Scully 2. Ma[unclear] had an old black cow. BC 157. #212."](https://blogs.helsinki.fi/tboneslim/files/2023/06/P3.-Fig.-2-Disc-157-Side-A-Jacket-Sleeve.png)
![Black and white newspaper clip portraying five men standing and leaning towards sitting Aunt Molly Jackson. They seem to be singing. Image caption: "Hillbilly turns collegiate- Aunt Molly Jackson, Kentucky mountain ballad singer, leads a class of New York university folk culture students in singing one of her own mountain ballads. The pipe-smoking hillbilly has composed several songs, and delights in telling the story of how she "made up" the ballad "Mr. Cundiff, Won't You Turn Me Loose?" when she was thrown into jail at the age of 10. That song, according to Molly, won over the jail and [blank] also several plugs of chewing tobacco for her."](https://blogs.helsinki.fi/tboneslim/files/2023/06/P3.-Fig.-4-Aunt-Molly-Greensboro-Daily-News-Photo.jpeg)
![Handwriting on a paper. "Sep the 2 1939 NYC. mr alan lomax is ancer to your letter i am not interested in you useing eney of my story or songs as i am riting a book of my own i want to use all of my songs an storys in my own book, so do not [unclear] eney of my songs or story, whatever you do if you so i am shure you will be sariy [?] from molly jackson [address unclear] NYC"](https://blogs.helsinki.fi/tboneslim/files/2023/06/P3.-Fig.-5-Aunt-Molly-1939-Letter-to-Alan-Lomax.png)
![Typed text on a paper. "Tape #2838 song I said sadly blow that weeping willow, just like me it's stands alone. I have had no one to love me since my mother's dead and gone. I was seven then. A.G.: That's a beautiful song. Molly: Oh it is beautiful. I got all the words written. A. G.: Aunt Molly, of all the songs that you wrote which song became the best known to other people. People outside of Kentucky. Other students and singers. Which is your most popular song Aunt Molly? Molly: You mean that I wrote myself? Well always I'd go to these musical divisions of the colleges to entertain. After they found out that I'd wrote that song its in the book maybe Jim named it T Bone Scully ["T Bone Scully" underlined] that song. That's a day we'd had a big seaman strike that ["that" crossed over] in New York and we had a big party to collecting funds for the seamen and I met this here T-Bone Slim ["T-Bone Slim" underlined] Side B: I composed a song from that and he told me he said I laughed so about that that he said Aunt Molly he says. I'm [blank] that big top silk hat on my head and that suit and he says my old ragged shoes. And dog gone me he says I'm taking the old geezers shoes off and I aim to throw my old ragged shoes down here come a dog gone police man he says. And they give him a year and one day for that. Interviewer: Could you just give us the first few lines of that. How it went? Molly: I want to tell you firsta about that. So they foun ["they foun" crossed over] after they found out in these places you know Charles Haywood ["Charles Haywood" underlined] if he was in the musical [ends in the middle of the sentence]"](https://blogs.helsinki.fi/tboneslim/files/2023/06/P3.-Fig.-8-Archie-Green-Aunt-Molly-Transcript.jpeg)
