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Canadian Folk Music BULlEllN 34.4 (2lXXJ) ...21 A Peak in Darien Books RichBJdThomas Wright & CatbJynWeUer. Castles iD the Air: Nasic" SkXies of British Colambia'. 1860s Gold Rush WiDter Quarters Pr=, Box 15 Miocene, Williams Lake, B.C. V2G 2P3; D<Bmie Doyle. Aloag 1.« Sevea ShOIe: Fo1bcmgs aDd Other Wri6ags by Harold, SteVe aDd DODDie Doyle. Ac.-a Press, P.O. Box 22024, Cbarlottetown, P.E.I. CIA 9J2 2(XXI. IO8pp <cwellDer@~grwp.com>; <hIIp:ll~grwp.com> Recordings Angus Maclel.l. The Silent ODes: A Lcpcy of the HigblaDd Cleannccs. TORCDOOI T(X1j1ti1 PrWIcUOIIS,P.O. Box 303, Kincardine, Oat N2Z 2Y8; <[email protected]>; <www.t.-quil.net> The Fables. A Time. 02 50876. Tilkmark Music & Disuibution Ltd., Suite 1400, 1791 Balrington St., Halifax, N.S. B3J 3LI; <www.tidemark.ca>; <www.tbefables.com> Arnie Naimau &. Chris Coole. S SuiDp Attached-Vol. 2. M02CA.Merriweather Rec...Js, 100 Famide Quartct. ADd Then There W= Tbrec. PBM 467. FarI.;de Quartct, c/o John Chapman, 63 Crawftrd R~ Dr, Aunn, 0Dt. lAG 4SI; <www.iDteriog.com/-ngged>; <[email protected]> MaDasaDDr., Thompson,Man. R8N lZ2 Nakai, EaIIm, CIipmau &. Nawaog. In a Di_t Place. CR-7042 Caay... Rec...JsPrWIcu=, 4143 Nmb I~ St, Suite 6, P~, AZ 85016, USA; <~com>; AengusFiDDan.Fool'sGoId. SVPOI. ShelterValley~s, 376 NickersonDr., COOwrg,Out. K9A <www.C&D~.com> IA9; <~ey.com>; <www.sheltenalley.com> The Prairie Higgiers FlUID D to 0 PHOOI. Prairie Higgiers, c/o Joe Mini:, II Weir ~., David Francey. TtXD Screen u.,..- LKR 1001. Laker Music, Box 539, Ayer's Oiff, P.Q. JOB laI; S~, Sask. S7H 3A8; <jminl:@sk.sympalico.ca> < [email protected]>; < www.davidfrancey.com> Rick ScIC. MatiDg FKe&. JES1OOS-CD.Jester Rec...Js, Box 923, 1101 - 1001 W. Brwdway, Ft3xrUDi<BI From TheretoHae. FU02. RogerHokbtock, 3851 W. 22udAve, Vancouver,B.C. V6S Vaacoover, B.C. V6H4E4; <ri~.com> 1J8; <[email protected]> Jamie Sltider. WalkiDg no- the BuatiDg Tnil. Jamie Snider, Box 434, PictDII, OIlt. KOK 2TO Lennie Gallant. Lifeline. 02 50735. Lennie Gallant, P.o. Box 33012, Quinpool R.P.O., Halifax, N.S. B3L 4T6; < lelmie@cbatsubocom>; < www.cbatsubo.com/lennie>; RevenantRecocds, HuDtI:r River, P¥kjy Tutty The RoviDgJewcl PAOS.Prairie Druid Music, 21911tb St. E, S~, SIsk. S7N OES; RR#3, Rustico, P.E.I alA INO; <wui~sk.sympatico.ca >; < www3.sk.sympalico.ca/wuidiand/> -' Live. ~e Gallant (as above); <wwwlenniegallantcom> Varioos. Six SuiDgs Nmth of the s...Ier: Vol. I. BCDI28. Baealis Rec..mDg 0>.,67 Mowat Ave., Suite 233, TocODtO,0Dt. M6K 3E3; <[email protected]>; <www.iaterlog.com/-brc> -' 1k Open WjDckJW.CK80196. Lennie Gallant (as above); RevenantRecocds (as above) KeD Whiteley. LisleoiDg. BCD127. BtYeaIisRec.xdiDg 0> (as above) James~. MiDing foc Gold: Twenty Yean of ScmgWritiDg. BCDI29 ~ ReccxWngCo., 67 Mowat Ave. , Suite 233, T<XUDto,Out. M6K 3E3; <[email protected]>; <www.interlog.com/-brc> Ricbanl ThomasWright &. CatbJYDWeDer, with Ken Hamm &. The Wake Up Jw:s» Band. Rmgh But Jerry Holland CrysIaI Clear. P-O200-CD.Junia Pro<1Ictions,367 JohnsonRd., QC(X"ge'sRiver, N.S. HODeat Miner. Wiater Quart= ~, Box IS Mi<x:eDe, WiUiams Lake, B.C V2G 2P3; B I Y 3CI; < jerry@cranfoc~. com >; < www.jerrybolland.com> <[email protected]>; <bttp:II~.com> DaveYooag1'rio. Taleofdlc Fiugera. JUST 143-2. J1IstiDTime Rec.-dsIs:. , S4SS_~, suite 101, Lenka Uchtenberg. Deep IDside: New Jewiab Music. SRD712. Sunflawer Reconls, 246 Haddington Mon1r~, QC H4P IP7; <www.justin-time.com> Ave., T<ronto, Out. MSM 2P9; <[email protected]>; <www.lenkalichtenberg.com>; < www.lndieCanada.com> Comptes rendus I Reviews Books Peter D. Goldsmith. Making People's Music: Moe Asch and Folkways Records. Washington, DC: SmithsonianInstitution P, 1998. Poet Tom Waymantitled an anthology of essayson Cana- hungry marketnearly bankruptedhim. For one thing, storesand dian nationalism and culture after a phmse from novelist Ken jobberscan return significant amountsof unsoldmerchandise af- Kesey: "Canadawas a country we hadn't considered."Have we ter a period of time. All three-manufacturer, distributor, and beenthere before?I was anxiousto read this new biography of merchant-have credibility to maintain, and if one or more can- the founderof FolkwaysRecords, partly becauseI was interested not meet a demand,the lost credibility may make it difficult to to seewhat I'd learn about the Edith Fowke, Helen Creighton, makesales later on. A manufacturermust gaugemarket demands Marius Barbeauitems in the Folkways catalog. Zip. There's carefully, but the factory owner doesn't makedecisions alone- only one Canadianreference, and it presentsa mistake. That though he has no one to whom he may return unsold merchan- mistake, a reference to Alan Mills as a "French Canadian" dise. (My impressionis that, in the traditional music area, those singer, may not be important, in the scale of things, but it small labels who've managedto scorepublishing hits havebeen reinforces, not only that Canadais marginalized,but also how able to usethat incometo ride thesesorts of waves.Thus, Chris Quebecremains submarginalized! Strachwitz's Arhoolie records benefitted from the Rolling Nevertheless,Goldsmith tells an importantstory-important Stones'use of Fred MacDowell's "You've Got To Move." Not for Canadiansinterested in their culture, for folkies of all that the MacDowell song was a hit, but it was on a hit album.) stripes, and for anyone seriously interestedin modem North Keepall of that in mind when you rememberAsch' s policy Americanculture. I won't attemptto precis either Asch's career neverto let a record go out of print. (I'm not sure that this need or the generalizationin the previous sentence,but considerone always havebeen strictly applied-there were a couple of duds fact about the situation of Folkways and all small, independent in the catalogue,artistically, sociologically, financially-but I labels: it takesmoney to makemoney. The few times that Asch certainly appreciatethe principle.) Keep it in mind when you camenear to having a hit on his hands, the requirementsof a realizethat salesof Wade Hemsworth,Joseph Allard, and Aunt 22... BULlEllN de musiquefolklorique canadienne34.4 (2000) Molly Jacksonmust havebeen counted not in hundreds,but in probably have found a more lucrative field than peddling re- dozens,maybe in digits. cordedspoken word and folk and avant gardemusic, with a little At Asch's death, Folkways was taken over by the Smith- jazz hereand there. sonian Institution. The Institution continues to release new recordings (as well as regroupings from Asch's earlier files). And, of course,as a 60s boy, I knew that in many waysthe The SmithsonianFolkways catalog on their website lists nearly story of Folkways Recordsis the story of that decade'sportion 50 recordingsof Canadianmusicians. These are primarily tradi- of the folk muusic revival. Discussingthe recent reissueof the tional, non-revivalist singers and instrumentalists; Folkways Anthology of American Folk Music (known also as the Folk- probably accountsfor the largest single store of these in the waysAnthology or the Harry Smith Anthology)in ~e New York world. A significant proportion of thesewere available by the Review of Books, Geoffrey O'Brien, wrote, "The 1997 reap- end of the 60s-many were the first examplesof their genresand pearanceof the Anthology inevitably raisesas many questions performers, and too many remain so. Quebecand the Maritimes about the late Fifties and early Sixties as it does about the late have, of course, done more to document their own older Twentiesand early Thirties [when the original recordingswere traditions than most of the rest of Canada,but it's still easierfor made]" (46). As much could be said about the entire Folkways someonein Vancouver (let alone Cincinnati or Newcastle)to catalog,without which the 60s could not havehappened-and I discover, say, Quebecoisaccordion or Newfoundland ballads meanmore than the revival, I meanthe rock revival which fol- through a Folkways recording than through any other venue. lowed the folk revival and was fertilized by it. Goldsmith's Canada has produced its equivalents of, oh, Red House or accountof Asch's interaction with suchvarious peopleas Lead Windham Hill, which documentsinger-songwriters, but it really Belly, Woody Guthrie, Mike and Pete Seeger,Ralph Rinzler, hasn't yet looked at itself through the eyes of an Arhoolie or and Harry Smith offers a great deal of insight into this era and Folkways. (The Society has made a few not-particularly- can sparkmany of discussions. successfulattempts, but our record can hardly be called im- Having read Making People's Music, I logged onto the pressive.) SmithsonianFolkways website. I'd learnedthat they were now But the Canadianangle was only one reasonI wanted to offering the entire catalogon CD (previously only selectedtitles read this book. For one thing, there's Asch himself, a fascinat- were so available, though they'd dub cassettesof any title, ing man; he had his feet in several camps,scientific, political, keepingit all available-contemporary technologyallows them commercial, cultural, but he seemsnever to havefully commit- to custommake CDs), and I was curious about how much new ted himself to any of them. Or perhapsit'd be more correct to materialis being issued.I didn't noticeany new Canadianitems, say that he was so deeply involved in all of them that he was I'm afraid to say. However, I was also worried aboutwhether or simply torn. To say that Asch's motives were mixed offers only not they were continuing the tradition of giving political song- the inevitable. Supposeyou camefrom a nationwhich, after sev- writers a forum. Pete Seegeronce noted that in some Arabic eral centuriesof intenseparticipation in Europeancultures at all nation, putting a poet on the court's payroll was known as "cut- levels, was the focus of the most excessivebout of European ting off his tongue." Has the the USA cut off Folkways' tongue? cruelty of the 2()1hcentury; supposeyour own father spentmost Apparentlynot.
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  • Childhood, Region, and Iowa's Missing Paperboys

    Childhood, Region, and Iowa's Missing Paperboys

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online The Annals of Iowa Volume 74 Number 1 (Winter 2015) pps. 29-70 Lost in the Heartland: Childhood, Region, and Iowa's Missing Paperboys Paul Mokrzycki University of Iowa ISSN 0003-4827 Copyright © 2015 State Historical Society of Iowa. This article is posted here for personal use, not for redistribution Recommended Citation Mokrzycki, Paul. "Lost in the Heartland: Childhood, Region, and Iowa's Missing Paperboys." The Annals of Iowa 74 (2015), 29-70. Available at: https://doi.org/10.17077/0003-4827.12170 Hosted by Iowa Research Online Lost in the Heartland: Childhood, Region, and Iowa’s Missing Paperboys PAUL MOKRZYCKI EIGHT-YEAR-OLD ELIZABETH COLLINS and her cousin, ten-year-old Lyric Cook-Morrissey, vanished on July 13, 2012. The two went for a bike ride in what has since been renamed Angels Park in Evansdale, Iowa, and never returned home. Their disappearance triggered massive searches and received consider- able local media attention. A group of hunters eventually found their bodies in December of the same year. Their murders devas- tated the Evansdale community. “They’re our girls,” one local woman, standing with her children, explained to a reporter. “They’re everybody’s girls.” With the gruesome discovery of the girls’ bodies, one news account gestured to the past: “Once again, The author thanks the State Historical Society of Iowa for its research support, which it provided through a generous grant and through the invaluable assis- tance of Sharon Avery and others at its Des Moines archives.