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History Now
Tailgating: The History
The Ultimate American Pastime Combines Cars, Sports, and Food
It has become as firmly established an autumn ritual as Halloween or Thanksgiving, as Stephen Linn explains in his just-published The Ultimate Tailgater’s Handbook (Rutledge Hill Press, 224 pages), and it can get very elaborate indeed. Linn gives instructions on how to tailgate at every level from equipment checklists to recipes. In this excerpt he also offers an exploration of tailgating’s past.
The modern tailgate likely has its roots in college football, first played at College Field in New Brunswick, New Jersey, between Rutgers and Princeton in 1869. Local author-ities insist it was both a fine game and a fine party. The party and its basic elements, though, might have earlier origins. Two historical events in particular are worth mentioning. Each occurred only a few years before the landmark Rutgers-Princeton game, and together they speak to both the role of managed conflict in bringing people together socially and the basic American approach to a fully mobile, vehicle-based cuisine.
Consider the Battle of Bull Run in 1861. Enthusiastic Union supporters from the Washington, D.C., area arrived with baskets of food and shouts of “Go Big Blue!” to watch the opening battle in America’s Civil War. Historians generally agree this was a case of the right idea at the wrong time, war not being a spectator sport. Still, for those who attended, there was socializing and tradition, tension and excitement. And on that day there was even precedent set for future upsets by Southern teams against their Northern opponents. Most important, the incident effectively established definite boundaries and regional differences in tailgating traditions. Clearly, the idea appealed to hungry partisan supporters. They simply needed another eight years for a more limited field of battle to be created.
The second historical event evokes a debt of gratitude all tailgaters should acknowledge. In 1866 Charles Goodnight, a Texas rancher and entrepreneurial bon vivant, addressed the cowboys’ need for a rolling chow hall by transforming a U.S. Army Studebaker wagon into the first chuck wagon. The design was simple, compact, and enduring. In fact, Goodnight’s fully equipped mobile kitchen differs very little from those used by the modern tailgaters. Goodnight’s failure to foresee the need for pizza ovens and satellite uplinks in no way diminishes his contribution.
The advent of the automobile led to the democratization of prefootball partying, and the post–World War II popularity of station wagons provided both a name and a platform for the burgeoning practice. During the 1980s and 1990s tailgating took on a life of its own and turned into a social movement of sorts. As gas grills became more portable and coolers grew wheels, rows of parking spots transformed themselves into communities, some with their own names and flags. The ultimate tailgates in these lots are almost worthy of being judged along the lines of parade floats.
Did we mention the satellite dishes? There’s a good chance that the parking-lot hum you hear is from a generator powering a TV tuned to a satellite football package. And TV networks aren’t the only marketers who have leveraged this opportunity. Many people are willing to spend big for the ultimate day in the parking lot. How much? Hammacher Schlemmer, for instance, sells the Grill-and-Cooler Tailgate Set for about $3,000, and that doesn’t even include the food.
The draws that pull today’s well-equipped, well-dressed, well-fed fan to the parking lot are the same ones that drew that crowd in 1869: the friends, the party, the game. In fact, two out of three are sufficient for some fans. And probably in that order: One survey found 30 percent of tailgaters never set foot in the stadium.
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New Deal Color
A New Look at a Much-Photographed Era
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| A street corner, possibly in Lincoln, Nebraska |
| (John Vachon) |
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| Jim Norris, a homesteader in Pie Town, New Mexico, October 1940 |
| (Russell Lee) |
So powerful and familiar are the Depression-era photographs of Dorothea Lange, Margaret Bourke-White, Edward Steichen, and many others that today’s Americans can be forgiven for envisioning those turbulent times as a black-and-white world. Yet between 1939 and 1943 photographers for the Farm Security Administration and the Office of War Information experimented warily with the recently introduced Kodachrome film, taking hundreds of color pictures of American life. For decades they were lost in government files, and as late as 1975 a critic asked, “Is there even one photograph of the Depression in color?” But starting in 1978, the FSA and OWI color shots began to be uncovered, and now the Library of Congress and Harry N. Abrams have published the first major collection, Bound for Glory: America in Color, 1939–1943 (191 pages). Whether they show a shipyard worker, a farm family, or simply a pair of horses in a grassy field, these pictures, taken when photographers were just learning how to shoot in color, have a less artful quality than their familiar black-and-white work, which somehow makes the subjects seem even more alive and immediate to present-day viewers.
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Why Do We Say That?
“Gringo”
When President Bush visited Chile last November, a state dinner at the presidential palace in Santiago was canceled at the last minute because of the U.S. Secret Service’s insistence that guests pass through metal detectors. This is standard practice in the United States, but Chileans regarded the weapons check as humiliating. “Can you imagine someone like the chief justice of the Supreme Court having to submit to an inspection by gringo security agents in order to get into our own seat of government?” someone on the guest list asked The New York Times.
The opprobrious gringo first rang in American ears during the Mexican War. As John Woodhouse Audubon, son of the ornithological artist, noted in his journal on June 13, 1849, “We were hooted and shouted at as we passed through, and called ‘Gringoes.’”
While appreciating that gringo wasn’t a compliment, Americans were not sure of its exact meaning. Nathaniel Parker Willis, a popular writer of the day, made a pass at it when he told the readers of Hurry-graphs (1851) about a book that had been published the previous year: “We shall give next week some extracts from this delightful book, ‘Los Gringos’ (which we believe is a Spanish phrase, partially of reproach, and means foreigners who are in search of adventure).” As time went on, the message started to come through more clearly. Thus Harper’s Magazine defined gringo several decades later, in 1884, as “a term of ridicule and obloquy applied to Americans throughout all Mexico.”
Americans wondered about the origin of the epithet and managed to come up with some remarkably picturesque explanations. Perhaps the most popular theory for many years was that gringo was how Mexicans heard the phrase “green grow” in a Yankee song, “Green Grow the Rushes, O.”
Putting the kibosh on the fanciful theories of amateur etymologists was the discovery that gringo had existed in Spanish for many years before the Mexican War. The earliest-known example is from the Diccionario Castellano (1786–93), by P. Esteban de Terreros y Pando. Gringo, according to the Diccionario, was applied in Málaga and Madrid to “foreigners who have a certain type of accent which keeps them from speaking Spanish easily and naturally.”
The term almost certainly derives from griego, Spanish for Greek. In its (rather late) first appearance in the Real Academia Española’s official Spanish dictionary, in 1869, “to speak in gringo” is recorded as meaning “to speak in Greek,” or to speak unintelligibly, just as we may say in English when bewildered by what someone is saying, “It’s Greek to me.”
In Spain, gringo does not have the same offensive connotations as in the New World, where it is, as the Oxford English Dictionary puts it, “a contemptuous name for an Englishman or an Anglo-American.” But as not infrequently happens with disparaging terms, the objects of the epithet have begun to glory in it. Gay and queer are examples of words that have followed this trajectory. So now we have the Gringo Gazette (“Baja’s English Language Newspaper”); Clark’s Gringo Foods, of San Angelo, Texas; Gringo Skateboards, of Dallas; Green Mountain Gringo Salsa and Tortilla Strips, from Hume Specialties, of Chester, Vermont; and so on. Even Spanish speakers are easing up. Thus the family with whom my daughter stayed for a semester in Costa Rica occasionally referred to her affectionately as la gringuita.
In the end the career of gringo is another demonstration of the truism that the meanings of words depend a great deal on context—on exactly who says what to whom, when, how, and in what tone of voice. Words are like bottles. Their shapes may remain the same, while their contents vary from very bitter to very sweet.
—Hugh Rawson
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C’est Daguerre
A Museum Exhibition Collects the Best Images From America’s First Great Photography Studio
Photography exhibitions in museums often have a superfluous air. The pictures may be beautiful, but you could probably see them just as well or better in a magazine or book. Not so with daguerreotypes. The images they contain can be photographed and reproduced, but the mirrored surface, illusion of depth, and striking clarity of a well-made daguerreotype can be experienced only in the original.
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| An unidentified bride, circa 1850 |
| (George Eastman House Collection) |
One of America’s most skilled and prolific daguerreotype studios was Southworth & Hawes, of Boston. Between 1843 and 1863 it brought artistry to what had been seen as mainly a technical proc-ess, creating images of famous and ordinary Bostonians, along with buildings, shipyards, cemeteries, natural scenery, and even the first surgical operation using ether. Now more than 150 of the firm’s finest daguerreotypes have been assembled in Young America: The Daguerreotypes of Southworth & Hawes. The exhibition opens at George Eastman House on October 1 and will travel to the Addison Gallery of Art, in Andover, Massachusetts, in January. For information, see www.eastmanhouse.org, 585-271-3361.
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L.A. Observed
A Haunting Pursuit of an Elusive Town
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| The novelist Joan Didion at home in 1974. |
| (©BETTMAN/CORBIS) |
As early as 1925 Aldous Huxley described Los Angeles as “nineteen suburbs in search of a metropolis,” and many people not native to the city still tend to see it as a vast incoherence, sun-dazzled and a little sinister. As a child growing up in New York City, Ben Stiller visited a Los Angeles that “smelled different, it felt different—it was fantasyland. And I loved it. I guess that might be why I moved here eventually. And of course, I grew up, and my impression of L.A. changed. It became real.” And yet it remained elusive, and Stiller began seeking the essence of his town in photographs of it. With the help of the art dealer Marla Hamburg Kennedy, he has assembled an impressive collection that has recently been published in a big, uncommonly handsome book called Looking at Los Angeles (Metropolis Books, 250 pages). Here, in the work of scores of photographers, is the city in all its contradictions: lush and sere, vibrant and desolate, the bungalow under the palm tree, the abandoned freeway curling off into nowhere. The pictures run from the 1930s to the present, and they do indeed give a powerful sense of a place not quite like any other, some of it grim, as parts of any big town are grim, and some of it very close to the fantasyland that enchanted the young Stiller.
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| Hoover Street in 1999. |
| (©BETTMAN/CORBIS) |
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Deconstructing Cheeseburger Soup
The Rituals of American Scholarship Are Applied to the Rituals of American Time-Wasting
Does reading this magazine’s “Buyable Past” column make you feel as if you’re in church? If so, you’ll love the two-volume Encyclopedia of Recreation and Leisure in America, edited by Gary S. Cross (Thomson Gale, 1,036 pages), which says under the heading “Collecting as a Response to Existential Angst” that “collecting fights against the sterility of appraising objects according to their use value and in so do-ing offers an approach to the sacred.” In another entry, the world’s leading scholar of tailgate banqueting traces the practice all the way back to the 1869 Rutgers-Princeton football game and solemnly records that in more recent times tailgaters have developed such eating options as “cheeseburger soup, regional breakfast burritos, [and] deep-fried turkeys” and such drinking options as “beer pong, ice-luge shots, and keg stands.” Elsewhere readers can learn the difference between amusement parks (which “challenge physical laws for affective rewards” and forge a “peer-group bond”) and theme parks (which “create imaginary places to produce a psycho-social engagement” and forge a “national communal ethic”). Beneath all the jargon, the encyclopedia contains much useful information about the history of such pastimes as comic-book reading, rock hounding, and hook-ups (“the term … covers a range of practices, from kissing to sexual intercourse”; by alphabetical coincidence the entry immediately follows “Home Movies” and “Honeymooning”). Reading the book straight through would be like eating nothing but oatmeal, but reference-book fans who can afford the hefty price will enjoy dipping in—at their leisure, of course.
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Whose Line Is It Anyway?
Was JFK’s Most Famous Quote Coined When Arthur Was President?
Late this Spring the New York Times reported on yet another controversy over John F. Kennedy’s ever-restless memory. Two writers have produced books with diametrically opposed conclusions about his most famous line. In Ask Not: The Inauguration of John F. Kennedy and the Speech That Changed America, Thurston Clarke insists it was JFK alone who wrote, “Ask not what your country can do for you—ask what you can do for your country.” In Sounding the Trumpet: The Making of John F. Kennedy’s Inaugural Address, Richard J. Tofel says it was supplied by Kennedy’s speechwriter Theodore Sorensen.
But whatever JFK’s immediate inspiration (which might well have included his old school’s dictum that what matters is “not what Choate does for you but what you can do for Choate”), Hugh Rawson and Margaret Miner point out in the American Heritage Dictionary of American Quotations that “the Oxford Dictionary of Quotations found a similar exhortation in the funeral oration for John Greenleaf Whittier in 1892” and that in an 1884 Memorial Day address Oliver Wendell Holmes, Jr., said, “We pause … to recall what our country has done for each of us, and to ask ourselves what we can do for our country in return.”
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The Buyable Past
Classical LPs
In Jonathan Valin’s mystery novel The Music Lovers, a character named Leon Tubin visits the detective Harry Stoner after he finds 35 of his most valuable record albums missing. One is worth $1,500, another $2,000, Tubin laments, and he tutors Stoner on valuable classical LPs, including “EMI’s, London Bluebacks, Lyritas, English Deccas,” and ones from Mercury and RCA Victor.
Apart from rarity and condition, which are critical to a classi-cal LP’s value, collectors focus on repertory, performers, and sonic quality, according to Valin, who is a collector himself. While some care only about the musicians and what they’re playing, audiophiles are primarily concerned with sound quality. They savor certain early stereo LPs produced in the late 1950s and early 1960s, especially Mercury Living Presence series albums and the RCA Living Stereo releases known as “shaded dogs” because of the shadowed area surrounding Nipper, the trademark terrier listening to his master’s voice on an old gramophone. Meticulous engineering techniques gave those recordings their unmatched sonic qualities.
Classical LP collectors used to find records at library sales and yard sales and in thrift shops. That’s still possible, Valin says, but he delineates a broad price spectrum: “A classical LP that goes into five figures is a rarity, but there are numerous LPs in the four-figure range and thousands that command hundreds of dollars each.”
Resources:
Collectible-record prices can change radically. Consider one scarce three-LP set on the Continental label, recorded in 1948–49 and featuring the Romanian performer and composer Georges Enescu playing J. S. Bach’s Sonatas and Partitas for Solo Violin. It traded for upward of $20,000 a decade ago, but the subsequent appearance of several sets has led David Canfield, whose Canfield Guide to Classical Recordings is the definitive pricing source, to estimate its current value at $5,000.
—David Lander
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