The Circumambulation of a Sacred Mountain

Walking a circle around Slide: a mountain named for its own downward motion.

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I think most mountains are sacred. Some more than others. Major and minor gods, the parts of earth heaved into the realm of the sky. Round these parts, there are 2 major gods: Mt. Rose and Peavine Peak. Walter von Tilburg Clark once wrote of them as a binary choice — Rose, the tall, beautiful figure rising from the verdant pine forests of the Sierra: graceful, a bit full of herself. Peavine the overlooked other: an imposing desert peak, a few steps into the rain shadow, more sage brush and open vistas.

But the peak these days that I summit with frequency is Slide Mountain. It’s a peak apparently so unremarkable to “bag” that I’ve never seen somebody else walk up it before.

Today, it stands 9,702 feet, which is impressive in many places, but shorter than it’s neighbors. The tall confident hottie Mt. Rose is just next door at 10,785 feet, rising from a capital W Wilderness that bears her name. And the other thing is that a foot bound summit of Slide is not much to brag about. There’s a maintenance road that goes right to the top, and though there’s a gate—so you do still have to walk—it’s just a couple miles, on what doubles as a ski run in the winter. Hell, if you pay $109 dollars (or $775 for the season), you could ride the chairlifts from the ski resort parking lots right up to the top.

Slide Mountain is also where the radio comes from. The maintenance road up its back spits you out at the feet of several towers, broadcasting AM, FM, TV, and all types of other waves presumably powered by electricity that they keep in these little windowless houses on the peak. The radio towers are minor gods in their own right, and so, I climb to the top a couple times a year to pay tribute. Slide is a mountain named for its own downward motion. On it’s southeast face, there is no southeast face. Or, it’s now part of the mountain’s shoulder and feet and water shed and the valley below. Because for a very long time, it’s been shedding massive land slides.

To walk a circle around a mountain, to circumambulate, is an ancient ritual practice, in both the east and west and I’d venture to speculate other directions as well. Folks of many religious persuasions have ways of doing it, sometimes around or between temples, sometimes encircling specific mountains, like the Kora of Mt Kailash in Tibet.

In the 1960s, poets Gary Snyder, Philip Whalen and Allen Ginsberg began annual circumambulations of Mt. Tamalpais in the SF bay area. Snyder learned the practice from Zen Bhuddists in Japan, and the three explained their walk as “opening of the mountain.”

Though there is at least one Tibetan group that calls for a counter-clockwise direction, most clearly denote the clockwise movement an important directional distinction, to avoid throwing order into chaos.

So as the sky illuminates to the East I head clockwise, down the mountain.

EAST

3.8 Miles • 6,169 elev • Down, down, descent.

When the fire sparked I was far away

It started at the bottom of the hill, a place you’ve heard before in the background of this show. A day’s walk from my house, and my desk. But the wind was characteristically blowing downhill, from west to east. No cause for serious alarm.

When I checked in the morning though, it had moved against the wind, up Slide mountain. The red line on the government map crept toward my spot, all my stuff. I checked over and over again as the fire continued it’s slow march, ticking off groves and forests I knew from walking trips into the valley, now presumably ashen.

I was gone, so I had my computer, a weeks worth of clothes, boots, everything I needed for immediate living, but everything else was now in the path of flame. The neighborhood was evacuated, meat rotted in the powered-down chest freezers, and we’d get occasional bursts of smokey updates from a couple of neighbors who refused the evacuation orders.

On the third day, Several houses had already burned in the valley, and the line was a half a mile from my front door, where it would surely run right over, up through throat forest. Thick dead wood and the late summer mules ears were dry as paper. That’s when the wind picked up.

Every night I would lay down to sleep and I’d see something else in the house that I’d lose if it burnt. At first it was just stuff. Speakers, mics, furniture, tools. I’d think of how to get a new social security card. But then, it was my grandpa’s jacket. My partner’s letters. Journals, signed books, projects, and the Wind archives. All the interviews I’ve ever done, and the third hard drive I’ve been meaning to load them on and store at another location, sitting empty in a drawer. And then of course the desk, the pathways, and meadows, the willows around the fountain of youth, the arborglyphs i knew by name, all of it.

On an evening announcement, the fire behavior analyst said we could see a many mile run that next day. They released a map that showed the woods surrounding our neighborhood going up before breakfast, before it shot something like 7 miles far to the north. Just a possibility — but still. The weather service issued the most severe of fire warnings — extreme winds and bone dry humidity. And the fire crews worked through the night, cutting lines by machine and hand, creating a gap to try and hold the fire in its boundaries.

That day I flew home. I got to the airport early so I could grab a window seat on the west side, and I could see where they were holding it, and the airplane was thrown around by the violent winds. I waited in the valley and fell asleep, distracting myself with Television not beamed from the top of Slide — those towers were all down. But I had seen this show before — fire lines overrun, huge flares of ember rise and sail into dry woods far downwind.

And then in the morning, I read the news.

The fire lines held through the night.

And the next morning, the same.

And then the wind died down

and that was that.

• •

It was as if I split off into the one alternate universe where the fire somehow stopped. Where not just my stuff, but my interviews, the aspen groves and the 80 year old carvings, the view from my living room, all lived. Blackened woods stood just a half mile from my house, bizarrely outlining my typical walking boundaries, but the places I knew best were untouched.. Today, I traverse, for the first time here, the land of the burnt. And then I exit into the sparred pines and continue.

SOUTH

5.5 Miles • 7,265 elev. • Who owns the land that’s landed on another’s land?

In the book Roughing It, Mark Twain once wrote of this spot on the mountain. In the story, a rancher named Dick Hyde rides furiously to reach the east coast attorney who’s just arrived to town. Hyde tells him that there’s been a landslide, and that his neighbor’s ranch, which is normally above his on the side of the mountain, has in fact slid downhill — and his house, barn, fences, everything — have landed squarely on top of his own. The owner of that plot, Tom Morgan, has decided he likes this spot better, and has posited that it’s his house, his fences, his dirt, so the land belongs to him, despite being located on top of Hyde’s property.

The east coast attorney, having just arrived in town, calms Hyde down saying this will be a cut and dry case, no reason to worry. So days later they go to trial with Nevada governor Roop overseeing the proceedings. The testimony is heated, they hear from dozens of witnesses, and finally the case rests. Roop begins his deliberation.

“Gentleman,” he says, “I feel the great responsibility that rests upon me this day. This is no ordinary case. On the contrary, it is plain that it is the most solemn and awful that ever man was called upon to decide. Gentlemen I have listened attentively to the evidence and have perceived that the weight of it, the overwhelming weight of it, is in favor of the plaintiff Hyde. I have listened also to the remarks of council, with high interest—and especially will I commend the masterly and irrefutable logic of the distinguished gentleman who represents the plaintiff.

But gentlemen, let us beware how we allow mere human testimony, human ingenuity in argument and human ideas of equity to influence us at a moment so solemn as this. Gentlemen, it ill becomes us, worms as we are, to meddle with the decrees of Heaven.

It is plain to me that Heaven in inscrutable wisdom, has seen fit to move this defendant’s ranch for a purpose. We are but creatures, and we must submit. If Heaven has chosen to favor the defendant Morgan in this marked and wonderful manner, and if Heaven dissatisfied with the position of the Morgan ranch upon the mountainside, has chosen to remove it to a position more eligible and more advantageous for its owner, it ill becomes us insects as we are, to question the legality of the act or inquire into the reasons that prompted it…

I warn you that this thing which has happened is a thing with which the sacrilegious hands and brains and tongues of men must not meddle. Gentlemen it is the verdict of this court that the plaintiff, Richard Hyde, has been deprived of his ranch by the visitation of God! And from this decision there is no appeal.”

Sometime later, after the attorney indignantly stormed from the court room, Governor Roop approached him with a realization. Hyde, he said, still owned the title to the ground below the Morgan ranch, so he had full right dig it out from under there and—

about two months later, the attorney’s realization that he had been the target of a grand joke bore itself, Twain wrote, through the solid adamant of his understanding.

Mark Twain was drawn to Nevada by the mining boom in Virginia city, next range over. That boom is what brought huge waves of European Americans to this part of the world, and as David Besley details in the book Crow’s Range, turned this landscape into something almost unrecognizable from it’s previous state. This place in particular, the whole mountain, was entirely deforested, the logs sent by flume across the valley to build the wooden, underground structures that held up the mines.

The Wasiw lived here for millennia and had a very different way of living with this land. They call this mountain Daw Matlashing Dala’ak.

The new ways of interacting with the world that were supplanted here by settlers were just as unrecognizable as the range without its old growth forests… Like a deforestation of an entire worldview.

WEST

8.3 Miles • 8,906 elev. • “Occupation”

Eventually the mining boom did end, but the other industry wrapped around this place was tourism. Lake Tahoe right down the hill, was carting in tourists since the late 1800s, then narrowly failed to become a National Park alongside Yosemite.. By the 1930s, downhill skiing became the new industry of note.

This rugged terrain that had been logged and picked over, was reborn as a constellation of ski resorts. There was a dirt road that ran up Slide but it was summer-time only, and so in the 1950’s they carved out a highway to get to the ski resorts from both directions. When they built it they called it the road to the sky, and it became a hotspot for celebrities, being halfway between Reno and Lake Tahoe. Slide Mountain, Mt. rose, Sky Tavern.

Down the road there were a few restaurants, bars and inns a casino all gone now, mostly in ruins with no trespassing signs hanging at tilt from temporary chainlink fencing. One was called the Christmas Tree, and they made steaks over Mountain Mahogany fires and they got in trouble for cheating in cards, then again for using weighted dice. Later, the owner kept a couple of lions in a cage out back.

In 1951 Frank Sinatra and Ava Gardner, who were having an affair, got into a fight after dinner at the Christmas Tree when Gardner got drunk and told him that she slept with a bullfighter in Spain. Being blitzed himself, Sinatra called her a whore and Gardner got in her car and drove all the way home to Los Angeles only to find out that Sinatra attempted suicide that night by swallowing a bottle of pills.

A lot of the stories about this place have a sort of cloud over ‘em. My friend Mark Maynard compared it to how Sedona Arizona is apparently some sort of nexus of positive universal energy, but inverted. Lots of deaths and fights, and failed ventures, lives and big ideas shucked off to the valley below.

•••

I know the tax assessors number for that house where the guy invited me in, and all the lots around it. I keep looking at the map, plus the maps of neighboring streets, wondering if one day I’ll get to buy a one of em. The future isn’t clear on that.

The big ski resort just bought another building nearby. They’ve been expanding, still the current industry in favor on the mountain. They bulldoze huge tracts of trees, use massive whirring engines to make snow in the winter, then flatten it all out and charge people to slide around on it. Seems like a profitable venture, as they’ve proposed building a ski bridge over the highway and eating up an aspen grove. I then look at valleys on the tax site further from the pavement, far from the coming lights and lifts and I write down the addresses of the people who own them.

On an episode of this program long ago I remember writing something like, “I don’t care to own it, I just want to live there.”

NORTH

13 Miles • 7,547 elev. • Yellow leaves // in the wind

It seems like most everything anyone builds on this mountain eventually slides. The old resorts in ruins, the rigged casino steakhouse, the tree-top winter-time house of prostitution. The golf course and luxury resort and gated community that thankfully got shot down in the 70s.

I think that’s the thing I keep returning to. It all slides off. Like the land itself is at odds with owning it.

Robert MacFarlane wrote about walking terrain as a way to map out ideas, and this whole thing, where to live, owning land, the current occupation and economic uses of the place, what it means to be here it’s all a path of thought I have in a big circle.

And then I touch my toe to the place on the pavement where I started, and I closed the loop on my circumambulation.

The Circumambulation of Slide Mountain, Nevada

• • •

Credits

Thank you to Michael P. Branch who read the Mark Twain passage (Highly recommend his book How to Cuss in Western) Mark Maynard, Eleanor Qull, and all of the folks who’ve helped support the show this year, there are too many to list.

MUSIC:

Two tracks from Haana Lee’s new album called Textures.

Emily Pratt, who makes music as Howls Road

Friend of the show Yclept Insan

and a few tracks from the Public Domain through Free Music Archive.

Further reading: The Way Around by Nicholas TrioloThe Old Ways by Robert MacfarlaneThe Living Mountain by Nan Sheperd

Thank you for being here, and keep listening.

Keywords: circumambulation, slide mountain, slide mountain nevada, slide mountain nevada trail, circumambulation nevada, circumambulation sierra nevada, Mt rose, peavine peak, the christmas tree nevada, tahoe, mark twain, walking in circles, robert macfarlane, circumnavigation hike, wasiw land, Mt rose ski resort, the wind, Fil corbitt

Those Who Feast with the Mountain Lion

The story of a lithium mine in remote northern Nevada, and the two-spirit Paiute elder who fought to stop it.

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For full story, listen to audio above. The following text are excerpts from the episode.


Dean Barlese: “I've gone to the other place and seen it. It's very beautiful.”

The path flowed like water

from the one place, to the next

and Dean Barlese walked it.

Dean Barlese: “So I've gone three times, I guess, in my hospital stays. And I've seen my mom, my dad, my grandmas standing there waiting for me. I'm walking up this little trail with green grass and flowers, sagebrush all around. You can hear the birds singing.”

And then, another time

there was a group out there

a group of protestors crouching in the sagebrush.

They were away from camp now, several paces off the ribbon of a dirt road that cut from the paved highway to a new chainlink fence. Behind the group, a teepee stood tall against the ridge — sage was waist-high as far as you could see, down into the valley, rippling to the next range in the east, purple and soft blue in the distance. The Nevada sun filtered through the hushed green leaves to reveal to them on the desert floor below: a nest.

Dean Barlese: “You had small birds in there that were just hatched. And the mother was trying to protect them.”

And then the group was back at their protest camp.

This was before the police came.

Dean Barlese. Photo by Max Wilbert.

Dean Barlese: “It made us feel good to stop construction, desecration of that place, sacred land, sacred ancestors that are still out there. It made us feel good. And we knew the ancestors were with us, by the little whirlwinds that came up through the road they had built. We knew we weren't alone.”

Not far from these little whirlwinds rising from the newly cut mine road, about 160 years south, a man named Fredrick West Lander met with the Paiute War Chief Numaga.

In 1860 Numaga had successfully defended his people with an incredible feat of military strategy. He lured a large group of war-bound vigilantes and miners and settlers hellbent on racial bloodshed into a canyon on the Truckee River near its terminus in Pyramid Lake, just upstream from Dean’s house.

The settlers rushed confidently, guns drawn, right into an ambush, and the Paiute warriors appeared in mass on a sandy ridge, then many more silently closed ranks behind them in a crescent, pinning the storming, ragtag brigade against the icy current, their clothes still wet and heavy from several nights of late spring snow. Their plans to exterminate the tribe once and for all were shot to pieces as many of the invaders lay dead in the sand.

When the few battered survivors returned to their newly established cities, Virginia, Carson, they enlisted a cavalry from California, who returned in force but only managed a stalemate with the tribe. The Paiutes retreated from their home on the lake.

They roamed the desert for a long time, as the United States Government waged war on their way of life, and built an overland wagon route through their homeland.

Fredrick West Lander was in charge of ensuring the safety of the wagon route and set up the meeting with War Chief Numaga. As custom, they sat silently for hours before speaking, Numaga studying Lander’s face and intentions until sundown, then a pipe was passed around and the meeting began.

According to an account compiled by author Ferol Egan, the two men spoke of past fights, settled accounts, tried to agree on the truth of things to varying degrees of success. Lander, on behalf of industry leaders and the federal government, then asked the Paiutes for safe passage through their land, heading toward the mining towns in western Nevada and over the great mountains to California.

“You have have big horn sheep and antelope ranges that the whites do not want.” Lander said, “You have lakes full of fish that the whites do not want.”

•••

A decade later, Numaga was dead of disease and a fort was built in those unwanted antelope ranges, and the Snake War unfolded as the Paiutes and Shoshone and Bannock wondered the steppes in retreat, and the military approached a camp at dawn and shot through the tent walls, killing everybody, entire families. And only 3 children survived.

Photo by Max Wilbert

A battery has 2 main polar parts: the cathode, the anode. Between them is a separator and a sort of fluid called an electrolyte. Lithium is a lightweight element that can be used in both the cathode and electrolyte solution. Basically, it holds a charge, and it can be reused over and over again. When the battery degrades, the lithium can be removed and reused without limit for the most part, assuming somebody is incentivized or required to recycle it.

There are other minerals that can do this too—hold a charge—sodium, magnesium, aluminum, vanadium…but lithium is lightweight, and already standard so momentum makes it the current mineral of choice. It’s also abundant. There are big deposits in Chile, Bolivia, Argentina, China, Arkansas, Pennsylvania, California…Here, the mine plans to use a water-intensive hydraulic mining process that will remove lithium-rich clay from the earth, then more water to process it into commercial grate lithium-carbonate.

Nevada is the driest state in the US, and the protesters and at least one nearby rancher believe that adding an industrial scale water user will decimate the meager water supply that is here.

This landscape has long been marked on the government maps as wasteland. Gold, silver, nuclear testing, data centers; the things they don’t want end up here, and the things they do want, flow out in big trucks.

And so the protesters stood in the road.

“We've always been here… Being two-spirited, or in our Paiute language, we say mu ka kwee tuhu uno a takadu (spelled phonetically)—Those who feast with the mountain lion. That is an ancient term for who we are, what we are, and in our old ways, we were created along with man and woman…a combination of both male and female. And we were the teachers, healers, caretakers of the knowledge, traditions that were passed on, stories…”

“We deal a lot, even in the old days, we had a lot to do with getting people ready for burial, dressing them up, wrapping them, doing the final prayers. So even today, once in a while, somebody asks me to come in and go into the mortuaries and dress the bodies, get them ready for burial…In the old days, we'd wrap the people up, take them out to burial. It's sad, but it's also a strong thing to do—to help people on their journey.“

Two Aeolian Harps used in this episode: Snake of Truth Wind Harp by Eleanor Qull and Obsidian Sky Wind Harp by Fil Corbitt + Mike Corbitt.


Thank you to Dean Barlese for trusting me with this story. Also a big thank you to BC Zahn Nahtzu (a co-defendant in the case, BC has an Etsy store here), Max Wilbert (a co-defendent who provided pictures), Olive Greenspan, Tara Tran, Ray Pang, Kate Cowie-Haskell, Taylor Wilson for talking to me about the chemical properties of Lithium and Daniel Rothberg for speaking about mining’s effect Great Basin water tables. Daniel has a newsletter called Western Water Notes which I highly recommend if you’re interested in that sort of thing. Also a shout out to the podcast Boomtown; a Uranium Story by Alec Cowan. Some of the books for this piece:

Sand in a Whirlwind by Ferol Egan

Legends of the Northern Paiute by Wewa and Gardner

Carpentaria by Alexis Wright

1491 by Charles C. Mann

Explusions by Saskia Sassen

Crow’s Range by David Beesley

Music from the Free Music Archive and Yclept Insan

Tags, Topics and Mentions: Peehee Mu'huh, Thacker Pass, Thacker Pass Lithium Mine, Ox Sam Camp, Ox Sam, Protect Thacker Pass, People of Red Mountain, Snake War, Fort Mcdermitt, Nevada, Lithium, Lithium Mining, Protest against lithium mine, Dean Barlese, Pyramid Lake Paiute Reservation, Numaga, Pyramid Lake, Sand in a Whirlwind, Mountain Lion Harrah's Casino in Reno, Sagebrush, Mining, Lithium Carbonate, Winnemucca

The Crossroads

In the season finale of Devil Music, we walk down to the crossroads to make a deal.

Steven Johnson: When I listen to it, it connects me with him in a way that... if it weren't for the music, I wouldn't have no connection to him… Those songs is what I have. That's priceless. I mean, It's a blessing to be able to share with the world, you know?

Steven Johnson: He wanted to be a good man. Live a good life. Live life the right way. He tried marriage a couple of times. Even tried to marry my grandmomma, but because my great granddaddy was a Southern Baptist preacher, he wouldn't allow that marriage to be.

Steven Johnson: My granddad was born in Hazelhurst, Mississippi. At a very, very young age,  he ended up living with his mom and stepdad up in the Delta. And during his teenage years, he became intrigued with the guitar. And he would sneak out, looking in the windows of juke joints up in the Delta and listen to Son House and Charlie Patton and Willie Brown. He became intrigued…Something special about that music…

A young Robert Johnson, uninterested in share-cropping, working hard hours in the hot sun for little pay, began hanging around the dark bars in the Mississippi Delta. He’d catch performances from some of the originators of the Delta Blues. Musicians like Willy Brown and Son House.

Son House: So he’d follow me and Willy around on Saturday night, yeah Willy Brown.

Robert loved to watch Son House play. On occasion, the musicians at the juke joint would go take a break, smoke a cigarette, and Robert would slip up onto the stage.

Son House: we’d go out on break, catch some air, and he’d get the guitar and he’d just be noising the people, you know…they’d say make that boy put that thing down, he’s running us crazy!

Steven Johnson: All he doing is just noising to people. Get that, making all kinds of noise. Get that thing from him!

Robert was not good at guitar. And everybody knew it.

He was some local kid who the other bluesmen knew as an amateur, wannabe musician, and in the winter of 1931 Robert left the Delta heading south. He was on a mission to track down is biological father.

Steven Johnson:  Noah Johnson. And in searching for Noah Johnson. He hooked up with a guy called Ike Zimmerman. Ike became Robert Johnson's mentor. My granddad stayed at Ike's house a lot…

But considering Robert’s noisy inability, Zimmerman suggested they stop practicing in his house, around his family.

Steven Johnson:  Across from Ike's house there was a cemetery, and my granddad and Ike would go out in the cemetery and practice. He would say, "Robert, you can play just as loud as you want out here cause nobody's going to bother, nobody's gonna complain!’

Charlie Patton, an influence of Robert Johnson

Ike and Robert would sit on the edge of parallel tombs, and play. Often they’d pick their guitars through the night, singing midnight blues to the dead.

And this is where the story splits. In Son House’s retelling, he claims that Robert was away for just 6-8 months. In Steven Johnson’s research about his grandfather, he believes it was at least 2 years, maybe 3 or 4. But when Robert eventually returned to the delta, he stopped by some of his old haunts.

Son House: He was gone about 6, 8 months. When he come back me and Willy Brown was playin and he walked in and he says "can I play a tune?" I says "don’t come back with that Robert! you know the people don’t wanna hear that racket." he says  "let them say what they wanna say. I want you to see what I learnt.”

Robert proceeded to pick up the guitar and cast a sort of spell over the joint. It was as if 3 men were playing at once, a transcendent sound emanating from this young man they knew to be a noisy amateur. Something otherworldly poured from his fingers.

And so, in Son House’s telling, the room surmised, in his absence he must’ve gone to the crossroads and sold his soul in exchange for his newfound abilities.

Steven Johnson:  He was playing in a way that They had never heard. They didn't know that. I mean, how in the world could you leave that short period of time and then come back here out playin us? What did you do, Robert? And there goes the myth.

Robert did little to nothing to dispel this story in his life time, even writing songs about the crossroads, about the devil. Hellhound on my Trail, Cross Road Blues… And perhaps the proverbial nail in the coffin was that he would die young. The details are murky, but he was poisoned, and he had recently slept with the bartender’s wife.

Two years before his death, he was invited to record in San Antonio Texas. These recordings, plus a later session in a hotel room in Dallas a year later, would prove to be his full discography. Robert was poisoned in 1938 and died a violent death at 27 years old — the first in a line of influential musicians to die at 27.


Fil Corbitt:  Do you remember the first time you heard that story about Robert Johnson?

Chris Smith: Yeah, I do. And, and I heard it the way I think a lot of young white would be blues guys in the 1970s did, which is that an older person told it to me, probably another, slightly older white blues guy from whom I was trying to learn music

Chris Smith: I'm professor and chair of Musicology and Director of the Vernacular Music Center at Texas Tech University in Lubbock, Texas.

Chris also co-hosts a podcast called Sounding History, a great show that reframes global music history on a 500 year scale. In their first season, they made a piece about the fog of myth surrounding Robert Johnson.

Chris Smith: Son House was really the one who promulgated that story. Of course, Robert had died, and so Robert wasn't around to either confirm or deny it. But Robert's not the only person about whom that story was told. The blues man Tommy Johnson had that story told about him, and a great musician, great guitar player and singer called Pete Wheatstraw who called himself the devil's son-in-law. So it's this kind of common trope that blues guys used sometimes as a kind of self advertising thing. The thing about Robert is, Robert died young and he died as a result of malice. And Robert had a lot of songs about me and the Devil Blues and Hell Hound on my Trail. And he wrote toward that, if I could say. And he was an absolutely hellaciously good musician.

Fil Corbitt: I had noticed in the storytelling about Robert Johnson that there was this discrepancy between -- depending on who was telling it -- that there were certain people who were saying, he left for five or six months, came back, he was the best guitar player I ever saw. His grandson said he was gone for two or three years… Two to three years is plenty of time to get really good at the guitar. What he was doing in that time was he was going off to learn from Ike Zimmerman, an older blues man. And I mean, say it is one year, that is enough time I would imagine, to kind of develop a new style and pick up something if you're practicing it all the time.

Chris Smith: Yeah, And there's another thing about Robert that, that in the, in the early seventies when I first was introduced to his music, when the myth was still very alive amongst the young white guys of the blues revival... There's another thing that we didn't really realize about Robert at that time. Cause all we had was that Columbia LP set. Volume One and Volume Two of King of the Delta Blues Singers, and it collected all of his 78s. We didn't have the alternate takes. We didn't have other stuff. So it was this, almost like this fetish object. And here's this picture of Robert and in the, in the double one, the gatefold one, there's this beautiful image where he's sitting in the corner of a hotel room in Dallas, and he's facing into the corner of the room. This is the story we told on, on our own pod, on the sounding history pod, and he's doing it for a reason. He's doing it because he understands this technology behaves this way if I face in this direction. But it became this thing like, oh, but he was so tortured and shy that he couldn't bear to face people, and it wasn't anything like that. Ry Cooter said, no, that's not what he was doing, he was corner loading.

Corner loading is an audio technique, using the hard corner of a room to bounce and amplify certain frequencies over others. It’s a simple yet sophisticated approach to recording, and it can make a single voice and guitar sound just a little bit bigger.

Chris Smith: The other thing that we didn't really realize at that time was how much Robert was absolutely a second generation player, and one of the most important influences on Robert was that he could listen to records. Because that's where he really went to school. He went to school on the records of people like Henry Thomas and especially Charlie Patton. Charlie Patton was 30 years older than Robert. And the result was that Charlie started playing before there was recording. And there's a kind of beautiful, fascinating self consciousness that happens when a developing artist can access inspirations in material form, in physical form, and study them and like be a musicologist and go to school on them. And Henry Thomas and Charlie Patton, who were the first generation recorded, they couldn't do that. Not initially. Robert could, so Robert's second generation, kind of like we were the third generation who went to school on Robert’s records.

The fact that Robert Johnson had just one record - the 29 songs that made up King of the Delta Blues, was a big part of his legend.

Chris Smith:  I mean, it's understandable, right? We want to mythologize artists. We don't necessarily want them all, we don't want to perceive them as as tortured necessarily, although it makes a good story. But you know, creativity is mysterious. it's a mysterious thing, you know, especially in an art form like the Delta Blues that wasn't studied in universities, that wasn't taught as a formal, as a, as a considered sophisticated art. The myth is understandable because creativity is mysterious.

Chris Smith: Any creativity is situational. It happens at a moment in a particular way, and it would happen differently at another moment. I think we so much inherit this European romantic thing of — either the tortured artist in their garret, composing music or painting that the world doesn't understand, no one understands me! — or that it's this divine inspiration and, and in fact, the art forms that I'm interested in, not just the blues, are things that emerge out of circumstances and people, and people coping with circumstances.

Chris Smith: And for sure if you were a black person, a young black man in the Jim Crow South and you didn't want to work behind a mule or chopping cotton your whole life, then you were making choices to try to better your life. To try to have a life that wasn't brutal physical labor. Maybe have a life that would get you out of the Jim Crow South and you were putting yourself at risk just by being that person.

• • •


Steven Johnson: He said I went to the crossroads, fell down on my knees, and begged the lord to save poor Bobby if you please. Now, if you asking for God to save you, it don't sound like you was selling yourself to the devil, asking for salvation at the same time.

The grandson of the bluesman who sold his soul to the Devil, Steven is a now a blues musician and preacher.

Steven Johnson: I believe my granddad was at a crossroad in his life. It’s like, every time I go to do good, evil is present… When I first began to really study my Granddad's 29 songs, I listened to them and I understood the life that he lived from being a womanizer to being a person that wasn't brought up in a home with a loving mother and a father figure that he could see on a daily basis ,to being a traveling man to, being a womanizer and drinking... A lot of times he would drink to actually play the music and to do a lot of the devilish stuff that he did.

• • •


Chris Smith: Crossroads are mysterious places, mysterious, spooky. Risky places. Places full of risk and potential chaos in lots of world cultures. They are in West Africa. They are in the African Caribbean. They are in the American South. They were in in medieval Europe. That's why they put gallows and buried criminals at Crossroads. That's why Odysseus mistakenly meets his father and kills his father unknowingly at a crossroads, right? In the West African context, that crossroads is not a four-way crossroads.  It's a three way crossroads. It's three roads that come together. And the reason is that I find that a particularly resonant image is because if you're in a four way crossroads, like the end of the Tom Hank Castaway film, right? Where he's driving a UPS truck and he stops at a crossroads and the camera pulls way back wide and he stops there and it's evident that he doesn't know in which direction he's gonna go. He can't decide, but he could also at a four way crossroads, even if it's deserted, he could proceed straight, But a three way crossroads you have to make a choice.

right, or left.

Chris Smith: there's, there's power in that because life does do that. Right? And we don't know what comes on the road not traveled…Elegua is the patron of the crossroads, He's the God of chance or chaos or accident. He's also the God in a santaria ceremony, he's the God who comes first. If you're participating in Santaria Ceremony, the first songs are to him. And you sing and you play and you cleanse yourself and you pray in hopes that Elegua will will come because it's Elegua who opens the path. Right? It's that pathway thing again Elegua opens the path for the other gods to come.

This god of the crossroads and chaos is deeply linked to, perhaps one in the same with, the trickster. A figure that appears in cultures all over the world.

Chris Smith: when I'm teaching my own students, they always think of Loki in the Marvel comics universe.  Because you know, he starts out as being this chaos agent, right? But lots of cultures have chaos agents because I think in lots of cultures we understand that sometimes things happen for no good reason. Sometimes good things happen for no good reason and even more sometimes bad things. So we mythologize it. We say, 'ah, there's somebody who wants this chaos.' And one of the things I love about, about Elegua is that Elegua is really a way of saying, 'yeah, but chaos is gonna happen anyway, so why don't you make friends with it, maybe even learn to talk to it.'  And I think Robert, I think Robert did that.

The god of the crossroads is an agent of destabilization and it’s a god that has everything to do with pathways and direction.

Chris Smith:  I think that's a really good insight. To me, there's a kind of spiritual eloquence about understanding a change agent, the embodied deity of change, as not malicious, but simply as a personification, a deification of the way that the world actually is. The world is full of chance. The world is full of accidents, which are either horrible or happy, and a religion that accepts that, that says, 'yes, the world is full of chance and bad things happen for no reason, no appreciable, no seemingly visible reason. Just as sometimes good things do.'

Chris Smith: …there were moments in the history of this country in North America, in which it became theologically important to find, accident or change, to be evil, to be malicious, to attach malice to it, to perceive a malicious intelligence behind it.

Chris Smith: There's a great book by, uh, the journalist Michael Herr who's now dead. He, he was writing about the Vietnam War. He was one of the, Correspondence writing about that war and what it was like to be there as a young American. He wrote beautifully and, and very starkly and very sadly about Vietnam. And there's one point in the book where he says something like...  he's having a conversation with somebody and they're trying to trace,  when did the US involvement in Vietnam happen? Was it in 1965 when they faked the Tonkan bay explosion? or was it in 1962 when they sent advisors or you know, when did it happen? When, you know, when did it all begin? And he said, well, you know, you know, the really long historical view was, oh, it was when the French tried to hold onto it in the fifties. But Herr said, you know,

Chris Smith: (paraphrasing Michael Herr)”…maybe you just have to think back to those first English Protestants coming to North America and finding the woods of North America so deep and vast and scary that they filled up those spaces with their own devils…”


The pathway is hot, the sky thick with smog. Los Angeles Police helicopters endlessly whir overhead, while pinwheels on the ground mimic the action, squeaking in the light breeze of the cemetery. Early Summer in Compton and I walk the rows, reading hundreds of names, crouching to brush off the freshly mown lawn clippings.

With some help from the undertaker, I find the gravestone decorated with a small guitar. About 20 years after Robert Johnson’s death, his mentor Ike Zimmerman left Mississippi. Sometime in the 1950s he gave up music entirely and moved here to California, then became a pentecostal preacher. I wonder if he thought back much to his previous life, teaching guitar to a wayward kid in the local cemetery. Two men joined through music and circumstance, under a warm Mississippi moon. There’s a good chance Ike was no devil, just a good guitarist who died of a heart attack at 68 years old  far away from the Delta.


Steven Johnson: And I don't know, I wonder to this day, whether my granddaddy dismissed the myth or just lived alright with it. I really don't know. But I do know is the gift that he had and the skills that he obtained, came from a lot of practice and performances in the central Mississippi area during the time he came back.

Sometimes practice, patience, community seem of an other world. Inaccessible, hard to believe.

Chris Smith: Although it is a myth, although it was a myth that some of those blues guys attached to themselves or that others, some other blues guys attached to people like Robert, It recognizes that creativity is a mysterious thing.…you have to create the circumstances that permit the God to come or that permit the creativity to come. You gotta be pure, you have to have the right intentions. You have to have your tools. You have to have your space. You have to have your sound. You have to have your movement. You have to have your community who are all working together with true spirits to make this magical spark happen. …But I truly believe they, they emerge through moments of human communities trying to make sense of the world through which they're moving.

Chris Smith: I'm 63 years old. I don't need to believe what I believed at 13, that Robert had sold his soul. A half century later I can instead be completely humbled and completely inspired and completely empowered by the courage it takes in conditions of great suffering, whether you're black or indigenous or brown or female or non-cis, to turn around and say, ‘I'm going to make art that celebrates my experience.’ To me, that is the greatest mystery of all…

Chris Smith: And that's why I would sign that contract. 



Tags, Topics and Mentions: Robert Johnson, Delta Blues, King of the Delta Blues Singers, King of the Delta Blues, Willie Brown, Charlie Patton, Son House, Juke Joints, Mississippi, Origin of Blues Music, The Crossroads, The Cross Roads, Hellhound on my trail, crossroad blues, did robert johnson sell his soul to the devil, the devil at the crossroads, selling soul at crossroads, blues guitar history, Chris Smith, sounding history podcast, corner loading, Steven Johnson, Robert Johnson Blues Foundation, Grandson of Robert Johnson, the blues, devil music, the trickster, god of the crossroads, chaos agent, loki, odysseus, the wind, ike zimmerman, ike zimmerman grave, ike zimmerman blues, season finale, music podcast, music journalism, podcast from desk in the woods, fil corbitt

The Singers

The sun has set but the clouds are blushing: an electric pink over the yawning valley. A late-summer powwow singing contest unfolds over three days in a high desert bowl.

51 North at the Numaga Indian Days Powwow. Video by Yoyoyo ItsHendo (Follow him for more!)

Bad Soul at the Numaga Indian Days Powwow in Hungry Valley, NV. Video by YoYoYo ItsHendo

Shiprock Agency at the Numaga Indian Days Powwow in Hungry Valley, NV. Video by YoYoYo ItsHendo

Little Bear at the Numaga Indian Days Powwow in Hungry Valley, NV. Video by YoYoYo ItsHendo

Red Planet, Blue Planet

Cory Mcabee rides his bike from Maine to Florida, following the migration path of the Monarch Butterfly.

De-motivational speaking, improvised science lectures, human composting and green burial, martian colonization, bicycles, a controversial podcast episode and a recitation of Pale Blue Dot by Carl Sagan.


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Tags, Topics + Mentions: Cory Mcabee, Green Burial, Human Composting, I_Butterfly, Monarch Butterfly, Monarch Butterfly Migration, Music Journalism, the complex path of the butterfly, Small Star Seminar, Carl Sagan, Pale Blue Dot, Red Planet, Blue Planet, Bicycle touring, Conservation cemeteries, conservation burial alliance,  Stingray Sam, Mars, Welcome to Mars