In These Oklahoma Hills

By Robin Wheeler

Woody Guthrie’s hometown, Okemah (pop. around 3000-ish), is an hour and fifteen minute drive south of Tulsa. Sunday morning, Aimee and I checked out of our hotel and hit I-44 to the narrow, rain-slicked curves of US-75 in search of Woody’s hometown and its markers, with nary a guidebook to help us.

It’s a tiny town dominated by an American music giant; surely we’ll be able to find everything, right?

Nope.

At least we found the town.

And we found Woody’s statue along the tiny stretch of downtown, between old buildings bedecked with murals.

The statue’s base and the ground below are covered in bricks and pavers bearing messages and song titles that have been purchased. The Oklahoma City Federation of Teachers bought the “Union Maid” paver, which made me happy.

Someone had given the statue a scarf, much-needed in the chilly drizzle. I wanted to take it and knit him a new one.

One mural celebrated the history of the town. Not just Guthrie, but the oil boom of his childhood, the Native American roots, the cowboys.

March dreariness coupled with the sleepiness of early Sunday afternoon makes Okemah’s downtown look far more desolate than I imagine it is on a weekday. While it doesn’t seem exactly prosperous, there are more open businesses than boarded-up shops.

Our Main Street was about eight blocks long. And Saturday was the day that all of the farmers come to town to jump in with the several thousand rambling, gambling oil field chasers. Folks called them boom chasers. A great big rolling army of hard-hitting men and their hard-hitting families. Stores throwed their keys away and stayed open twenty-four hours a day. When one army jumped out of bed another army jumped in. When one army marched out of a cafe, another one marched in.  As fast as one army went broke at the slot machines in the girly houses, it was pushed out and another army pushed in. – “Boomtown” from “Bound for Glory”

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“All You Can Write is What You Can See”

By Robin Wheeler

My friend and Oklahoma travel partner Aimee Levitt published some excellent Woody Guthrie coverage culled from our trip for St. Louis’ Riverfront Times. Makes for an excellent primer for those wanting to learn more about Guthrie. And it’s just damn good writing.

I’ve already written my professional and somewhat unbiased takes from the University of Tulsa’s Woody 100 symposium and the first This Land is Your Land tribute concert. I’m still trying to process and convey the emotional impact of the weekend in Oklahoma.

Right. Who comes away from an academic symposium all emotional? I do. It’s a powerful thing, being in a room with so many people who care about the exact same minutia you do. We’re all conductors of energy, and by the end of the day it felt like we could stage a populist revolution, Okie-style. And I wish we had. But we were pretty tired. The will was there, though.

With our brains full, Aimee and I skipped the final panel – an artists’ roundtable – and made a last-ditch trip to the Gilcrease Museum, which was hosting a Guthrie-related exhibit. I hadn’t done much research on it. Not that it would have been difficult, since the museum has the collection online.

I had no idea what to expect, which made it all the more amazing.

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Woody at 100 in the Press

By Robin Wheeler

While I’m planning to give a more thorough recount of the emotional experience of my weekend in Oklahoma, duty called first. I wrote two pieces for the Riverfront Times in St. Louis about the weekend.

First, a review of Saturday night’s tribute concert in Tulsa, “This Land is Your Land”. A sample:

Guthrie embraced populism as much as individuality. Presenting a song everyone knows – “Pink Houses” -  so soon after the uniqueness of the Flaming Lips juxtaposed Guthrie’s complexities of balancing personal innovation with group accessibility.

I also published a recounting of that day’s academic conference, “Different Shades of Red”:

What would Woody think of what’s happening now? He would relate to the downfall of the middle class, having lived through something similar when his father lost everything. This led Guthrie to base his songs on emotions, not intellect.

 

Please disregard the header that claims Guthrie was a Communist. That was added by editorial, not me. Read the post and you won’t find the word “Communist” mentioned one single time. I’ve asked for this to be changed.

Despite having a photo pass, I didn’t get much that’s usable. Luckily, others did. Here’s a bit of the concert’s finale, with Arlo singing one of “This Land is Your Land”‘s lost verses:

Oh, and I did a little tree-hugging on the site of Woody’s final Okemah, Oklahoma home.

Standing where he stood. That requires a post all its own.

Along the Rain and the Sun

By Robin Wheeler

Today Aimee Levitt, a St. Louis-area reporter (and dear friend who’s willing to tolerate seven hours in a car with my shenanigans) and I drove from my home in Belleville, Illinois, to Tulsa, Oklahoma. On behalf of the Riverfront Times, we’re covering tomorrow’s Different Shades of Red: Woody Guthrie and the Oklahoma Experience at 100 , a series of panels covering the political culture in Oklahoma that shaped Woody Guthrie’s world views, his musical influences, and his legacy to the Dust Bowl. After a day of lectures, it’s This Land is Your Land concert. Then the drive home, deadlines.

Before we left, Aimee told me that she saw Woody on the side of the highway – a grizzled hitchhiker with a backpack and a guitar.

We hit I-44 from St. Louis at 12:30 after a lunch of Korean-Mexican fusion food. I-44′s what replaced Route 66 when the interstate system was built. The skeleton of the Mother Road remains as the interstate twists along the northern edge of the Ozarks. Old tourist traps like Meramac Caverns share the road with boutique wineries, adult superstores, and billboards with the outstretched arms of Jesus Christ beckoning to westbound sinners.

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