Putting Black Cuisine at the Center of U.S. History

Plus: a new Paul Simon album; a locksmith’s guide to New York; and the life and music of Tina Turner. View in browser | Update your preferences Wednesday, May 24, 2023 In today’s newsletter, how food tells our stories, and then: • The mysticism of Paul Simon • Can you love the art and hate the monster? • A locksmith’s guide to New York Putting Black Cuisine at the Center of U.S. History The host of Netflix’s “High on the Hog” draws seductive stories from a bittersweet legacy. Photograph by Brad Ogbonna for The New Yorker If you want to understand the history of food in America, it helps to see the connection between catfish and spaghetti. The pairing makes for what Stephen Satterfield, the host of the Netflix food-history series “High on the Hog,” calls a good origin story: in the late-nineteenth century, Italian immigrants brought spaghetti to the Deep South, where it was embraced by Black eaters as a side dish to catfish, at home alongside cheese grits and turnip greens. In a profile in this week’s issue, Dorothy Wickenden tracks Satterfield’s unusual journey in the food world, from hotel room-service coördinator to sommelier to multi-hyphenate media entrepreneur and TV star—with some big swings, and a few costly misses, along the way. Central to all of Satterfield’s ventures is the idea that, as he puts it, “food is the most efficient means of helping people to see themselves.” The first season of “High on the Hog,” arriving in the aftermath of the murder of George Floyd, attracted wide attention. But will the second season, and the stories it aims to continue telling, gain the same kind of traction? Satterfield isn’t sure. As he says, “Black season is over.” Read the story Support The New Yorker’s award-winning journalism. Subscribe today » Editor’s Pick A Critic at Large The Mysticism of Paul Simon On “Seven Psalms,” the artist continues his spiritual seeking, imagining a divine presence only to interrogate its borders. By Amanda Petrusich From the Archive The Theatre The Legend of Tina Turner The rock-and-roll icon died today, at the age of eighty-three. In 2019, her life and work came to Broadway. By Vinson Cunningham Culture Dept. Under Review Can You Love the Art and Hate the Monster? In “Monsters: A Fan’s Dilemma,” Claire Dederer attempts the impossible task of disentangling herself from the figures whose work has made her who she is. By Melissa Febos Page-Turner Martin Amis, Remembered by Writers New Yorker writers and contributors reflect on Amis’s life and on their experience of reading his work. By The New Yorker Culture Desk The Discovery of a Forgotten and Banned Nuremberg Film “Filmmakers for the Prosecution” tells the story of how two scions of Hollywood contributed crucial evidence and made a documentary that was suppressed by the U.S. Army. By Peter Canby The Front Row Paul Schrader’s “Master Gardener” Is a Movie Divided Against Itself It may appear to be a political drama or a redemption arc, but it’s really an erotic thriller. By Richard Brody Photo Booth Portfolio Waiting for the School Bus in Uvalde A year ago today, nineteen students and two teachers were murdered at Robb Elementary School. From 2022: After a horrific tragedy, a morning ritual takes on new meaning. Screening Room The New Yorker Documentary A New York Locksmith’s Hard-Earned Wisdom in “Keys to the City” The film follows a tradesman who is about to retire, as he passes on his knowledge about locks and customer service to his younger colleague. Film by Ian Moubayed Text by Eric Nelson Fun & Games Dept. Name Drop Play Today’s Quiz Can you guess the notable person in six clues or fewer? By Will Nediger Daily Shouts The Elephant in the Room: An Oral History Recalling the neighborhood party, Kyle said, “We love Barbara. Carl’s Carl. He was drunk. As usual. What wasn’t usual was the elephant. That was incredibly weird.” By John Kenney Crossword A Lightly Challenging Puzzle World’s largest rainforest: six letters. By Patrick Berry Daily Cartoon Wednesday, May 24th By Tim Hamilton P.S. The Brooklyn Bridge opened on this day in 1883. A hundred years later, The New Yorker reported from a big fireworks show celebrating the bridge’s centennial, which attracted spectators on both sides of the East River: “Seen from below and nearby, the long, high arch of its span and the massive, hand-built Gothic granite towers convey ideas that the late nineteenth century was particularly good at putting across—flattery and getting the job done.” Today’s newsletter was written by Ian Crouch. Thanks for reading. Let us know your thoughts about today’s edition. Plus, browse more newsletters and invite a friend to sign up for The Daily. You’re receiving this e-mail because you signed up for The Daily from The New Yorker. Manage your preferences | View our Privacy Policy | Unsubscribe Copyright © Condé Nast 2023. One World Trade Center, New York, NY 10007. All rights reserved.