Joseph Mitchell (1908-1996) was an outstanding essayist whose subjects ranged from McSorley’s Old Ale House to the variety of rats entering New York City through the harbor to the Mohawks from Quebec who worked construction way up there where buildings scrape the sky. He specialized in profiles of unusual people, for instance, Joe Gould, the blue-blooded Yankee bohemian cadger who claimed to be writing “An Oral History of Our Time” — at a preliminary 9 million words perhaps “the lengthiest unpublished work in existence” — and to speak the language of sea gulls, which, arms flapping, he demonstrated publicly. Readers were drawn by the apparent oddity of Mitchell’s subjects but learned, as Mitchell intended, a broader humanity from reading about them.
Among the unusuals was Arthur Samuel Colborne, who founded the Anti-Profanity League in 1901 and was still its president on 26 April 1941, when Mitchell’s profile of him, titled “Mr. Colborne’s Profanity-Exterminators,” was published in The New Yorker. (It was re-titled “The Don’t-Swear Man” for Mitchell’s anthology Up in the Old Hotel .) When Mitchell meets him in “Shannon’s, an Irish saloon on the southeast corner of Third Avenue and Seventy-sixth Street,” Colborne is “a portly old man …. over six feet tall,” whose “eyes, behind steel-rimmed glasses, were clear and utterly honest.” The headquarters of the Anti-Profanity League and Colborne’s apartment — as with many a zealot, one and the same — were just around the corner, at 185 East Seventy-sixth. We know this because Mitchell visits him there — “‘If you’re looking for the don’t-swear man, he lives down in the basement,” a woman with a poodle explains — but also because the office address was included on every “profanity exterminator.”
Dick Assman, a Canadian gas station owner — yes, Assman the Gasman — has died at 82. He achieved fleeting celebrity in the 1990s when Dave Letterman featured him on the Late Show.
Our new favorite Twitter account: Swear Trek.
Not the weirdest place McCoy woke up. pic.twitter.com/GynSv0b7e5
— Swear Trek (@swear_trek) August 20, 2016
When Stephen Sondheim was writing the lyrics for “Gee, Officer Krupke,” to be sung in the 1957 musical West Side Story, he was hoping to be the first person to use a serious four-letter obscenity in a Broadway show: “Gee, Officer Krupke—Fuck you!” This did not come to pass. Columbia records balked because obscenity laws would prohibit the recording from being shipped over state lines. In the end, the line was changed to “Krup you!”— Sondheim has since maintained that it may be the best lyric line in the show. Is there any doubt what the lyric would be if it were written today? In the fifty-plus years since West Side Story, the expletive is not only fully accepted in the theater, but roundly applauded. Continue reading
Pity the poor media-standards editor in this sweary era. One can only imagine, for example, the wringing of hands and gnawing of blue pencils last month when, at a mass rally, the short-fingered vulgarian and U.S. presidential candidate Donald J. Trump repeated a supporter’s accusation that Trump’s rival Ted Cruz was “a pussy.”
Yes, the word was undiplomatic. And provocative. But was it newsworthy? Was it printable? And what did it signify?
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