In an era when African Americans, especially women, were often professionally sidelined, Vivian Carter forced herself onto the field. Through her ingenuity and personal popularity, the musical “matriarch” became a business owner and record producer. Her company, Vee Jay Records, recorded and popularized many successful musicians of the mid-20th century, ranging from Rhythm-and-Blues to Pop Rock, Doo-Wop, Gospel, Soul, and Jazz artists. Although music had been strictly segregated along racial lines, Vee Jay introduced both black and white artists to mixed crowds of local teenagers first, and then to a national audience between 1953 and 1966. The company released recordings of some of the nation’s most prolific musicians, including Little Richard, The Beatles, Jimi Hendrix, and The Four Seasons.
Born in 1921 in Tunica, Mississippi, Vivian Carter moved with her brother and parents to Gary at age 6. As a child and teenager, she was competitive, outgoing, and self-confident. These qualities helped her win a 1948 contest for the “best girl disc jockey in Chicago,” which was the beginning of Vivian’s radio career. Eventually, Vivian had a five-hour nightly radio program in Gary, called “Livin’ With Vivian,” referring to female listeners as “Powder Puffs” and male callers “Sponges.” The “hostest who brings you the mostest” played music by black artists and much of what she played was not available on commercial records. Since Vivian owned a record store in the heart of Gary, along with her future husband Jimmy Bracken, she knew that recordings of this music would sell.
Teenagers of all races from several Calumet Region schools would gather after school to watch Vivian through the glass store window while loudspeakers broadcast her favorite Rhythm and Blues recordings, as recalled by Jerry Locasto, a future radio executive who was one of those kids. While the records played, Vivian would come out and mingle with the kids to find out what they liked or disliked about each one. Kids could request songs, and she would play them. In 1953, Vivian and Jimmy started their own record label, called Vee Jay Records from the initials of “Vivian” and “Jimmy,” to record the music of local black artists.
Their first group was the Spaniels, a group of crooners from Gary Roosevelt High School, Vivian’s alma mater. The boys walked into the record shop after winning a talent contest at school, to ask if Vivian knew how they could get a recording made. Vivian listened to the group, then gave the impoverished boys a place to practice – her mother’s garage –and arranged to record them at Chance Records, a studio in Chicago. She later bought suits for their publicity photos and a station wagon for their travels.
Best Years of Vee Jay Records
The Spaniels’ first record, “Baby, It’s You” reached #10 on the Rhythm and Blues charts. Then the Spaniels hit #5 with their second record, “Goodnite, Sweetheart, Goodnite.” The record “crossed over” from the Race Records category to become a hit with white purchasers as well. But Vivian was disappointed when the McGuire Sisters, a “white girl trio,” sold more copies with their “cover” of the same song. She asked her brother, Calvin, to put more of a white-sounding background on the future records, to appeal to broader audiences. And the young company learned to print and register publishing rights to all their performers’ original songs, so they still made money when other performers covered them.
In 1954, Vee Jay moved to Chicago and eventually opened on Michigan Avenue’s “Record Row.” Vivian, Calvin, and her husband Jimmy remained the heads of the company. But according to Bob Kostanczuk of the Gary Post-Tribune, Vivian was always “viewed as the company’s matriarch and driving force.” They hired the knowledgeable Ewart Abner, accountant for the former Chance Records, after Chance went out of business. Abner started as manager and eventually worked his way up to president.
In the next ten years, Vee Jay Records released successful recordings of black and white performers, including hits like The Four Seasons’s “Big Girls Don’t Cry,” The Dells “Oh, What a Night,” and The Beatles’s “Love Me Do” and “Twist and Shout.” Since radio stations wouldn’t play several records from one company label in the same time slot, Vee Jay also recorded under the labels Falcon, Conrad, Tollie, and Abner, from the middle names of the company’s principals. Vee Jay opened a Los Angeles studio, and Vivian and Jimmy soon drove around in luxury convertibles and fur coats.
The Beginning of the End
Vee Jay’s best (and worst) luck came in 1962 when they tried to buy distribution rights for Australian singer Frank Ifield’s European hit single “I Remember You.” The Gary Post-Tribune on August 23, 1998, noted that the British agent insisted they also take a quartet named The Beatles, unknown at that time in the United States. Vee Jay released several Beatles singles and their first U. S. album, to lukewarm success until the group appeared on the nationwide Ed Sullivan Show.
Then Beatles’ sales skyrocketed. Capitol Records, who had earlier turned down the Beatles, started filing lawsuits against Vee Jay to get the group back, as reported by Mike Callahan in “The Vee Jay Story” in Goldmine (May 1981). The cost of defending the lawsuits, in addition to Ewart Abner’s poor financial management and gambling habit, wiped out Vee Jay’s money and credit, and put the company out of business.
In a life story that Vivian called “rags to riches to rags,” Vivian and Jimmy lost everything, even their little record store, and divorced. Jimmy died and Vivian worked days at the county trustee’s office and hosted a late-night radio program in Gary from 1967 to 1982. According to Dr. James B. Lane’s Traces of Indiana and Midwestern History article, when her best friend from high school, Yjean Chambers, asked how Vivian felt about the spectacular rise and fall of her recording business, Vivian replied that she had “learned too late the art of looking over the shoulder of those who work for you.” Then Vivian added, “But I don’t miss a thing. That’s all behind me now.”
After several years of illness, Vivian died of complications from diabetes and hypertension in 1989. Lane says one of Vivian’s last visitors was James “Pookie” Hudson, her first recording artist, who sang Vivian to sleep with his hit song, “Goodnite, Sweetheart, Goodnite.”
They agreed that black prisoners should receive fair trials, that black Americans should not die years earlier than white counterparts, that black workers should be afforded a living wage, and that black candidates should be given opportunities to craft legislation that affected their communities. They shared a collective outrage. In 1972, organizers asked them – Americans of color affiliated with Socialists, Democrats, Republicans, Nationalists, and the Black Panthers- if they could overcome differing ideologies to channel this outrage into political action at the National Black Political Convention (NBPC) held in Gary, Indiana. Black poet and activist Amiri Baraka (formerly LeRoi Jones) advocated for the gathering to practice “unity without conformity.”
According to an essay in Major Problems in African American History, the Gary convention was the culmination of a series of uprisings in protest of discrimination, which historians refer to collectively as the Black Revolt. Black Americans were emboldened by tragic events, such as the assassination of Malcolm X in 1965, as well as legislative progress, like the Voting Rights Act of 1965. In an interview, North Carolina convention delegate Ben Chavis recalled:
I had gotten tired of going to funerals. . . . so much of the Movement had been tragic. You know. And I have to emphasize [Rev. Martin Luther] King’s assassination was a tragic blow to the Movement. And so four years later, March of ’72, for us to be gathering up our wherewithal to go to Gary, Indiana–hey, that was a good shot in the arm for the Movement.
Historian Stephen Grant Meyer identified 1968, when King was assassinated, as the year in which the modern civil rights movement began to diverge. No longer was integration the primary means to make political and economic gains. This fracture gave rise to a Nationalist faction, which sought to promote black identity and improve living conditions through a separate black nation. The polarization was reminiscent of the late-19th and early-20th century debates between reformer Booker T. Washington and intellectual W.E.B. Du Bois, who both worked to ease the economic and social plight of African Americans. Washington believed this was best achieved by earning the respect of white citizens through hard work and self-help. Du Bois, on the other hand, believed white oppression should be cast off by protests and political activism, in large part through the National Association for the Advancement of Colored People (NAACP), an organization he co-founded.
NBPC organizers, who had begun planning the conference in 1970, struggled to find a city willing to accommodate an influx of politically-engaged black Americans. Gary Mayor Richard G. Hatcher, an advocate of civil rights and minorities and one of the first African American mayors of a major U.S. city, volunteered his predominantly black city. Not since the 1930s, with the first meeting of the National Negros Congress in Chicago, had such a massive and diverse gathering of people of color convened to advance their rights. Approximately 3,000 official delegates and 7,000 attendees from across the United States met at Gary’s West Side High School from March 10 to March 12. The attendees included a prolific group of black leaders, such as Reverend Jesse Jackson, Coretta Scott King, U.S. presidential candidate Shirley Chisholm, Amiri Baraka, Muslim leader Minister Louis Farrakhan, Black Panthther co-founder Bobby Seale, and Malcolm X’s widow Betty Shabazz. Organizers sought to create a cohesive political strategy for black Americans by the convention’s end.
A bomb threat was called into convention headquarters at the Holiday Inn and a local gang reportedly deposited guns in school lockers. These threats to disrupt the convention necessitated additional security. Uniformed and plainclothes policemen reinforced the northwestern Indiana city. Armed civil defense personnel supplemented the police presence and boxer-turned-activist Muhammad Ali served as sergeant-at-arms.
The high school, decorated with red, white, and blue bunting, thrummed with activity. As vendors sold books, banners, and souvenirs, a band prompted snapping and feet-tapping with “gutsy,” drum-driven music. The Munster Times reported “Two or three white reporters, their faces split with grins, were lost somewhere with the music. A policeman absentmindedly slapped the butt of his pistol to the beat.” Delegates ranging from “pinstripe-suited conservatives to youngsters in colorful flowing robe-type shirts [dashikis] and mod fashions to the black-uniformed para-military” milled about the gym waiting for the delayed convention to finally start. Organizers scrambled to respond to complaints that the elevated platform for journalists blocked the stage.
Entertainers like James Brown and Harry Belafonte lent their support to the convention by performing. Comic and civil rights activist Dick Gregory, weighing 90 pounds as a result of fasting to protest the Vietnam War, addressed the audience about issues of policing and drug access and asked, “‘[H]ow can a black kid in Harlem find a heroin pusher and the FBI can’t?'”
State delegations, national organizations, and individuals proposed resolutions in the creation of “A National Black Agenda” (Muncie Evening Press). This agenda would extend the movement beyond the convention. As convention attendee and Distinguished Lecturer at York College City University of New York Dr. Ron Daniels noted, the Black Agenda was “integral to holding candidates, who would seek Black votes, accountable to the interests and aspirations of Black people.”
Delegates from Illinois suggested fines and prison sentences for businessmen found guilty of discriminatory practices. North Carolina attendees proposed a bill of prisoners’ rights that included humane treatment and fair trials. Delegates from Indiana and other states demanded that the U.S. dedicate resources to the plight of black Americans rather than the Vietnam War and end the conflict immediately. North Carolina representatives also urged that black men receive Social Security benefits earlier than white men since their life expectancy was eight years shorter. The Muncie Evening Press noted that “Politicking was intense . . . as state delegations tried to compromise their own views with positions they felt other delegations could support.” Tensions ran so high that part of the Michigan delegation walked out of the convention.
Keynote speakers Reverend Jackson, executive director of P.U.S.H. and Operation Breadbasket, and Mayor Hatcher ignited the crowd and “stoked rhetorical fires aimed at molding the diverse black communities represented here into a solid unit that can tip the political balance this presidential election year and from now on” (Munster Times).
While similar in many aspects, the men’s speeches hinted at the divergence in philosophies pervading the convention. Hatcher believed change could come from within the existing two-party system, so long as the parties responded to the needs of African Americans. However, if legislators continued to neglect black constituents, black Americans would create a third party and, he told attendees, “we shall take with us the best of White America . . . many a white youth nauseated by the corrupt values rotting the innards of this society . . . many of the white poor . . . many a White G.I. . . . and many of the white working class, too.” The party would also welcome “chicanos, Puerto Ricans, Indians [and] Orientals” (IndianapolisRecorder).
However, Jackson, appealing to Nationalists, urged the immediate formation of a black party, potentially called the “Liberation Party.” He asserted “‘Without the option of a black political party, we are doomed to remain in the hip pocket of the Democratic party and in the rumble seat of the Republican party'” (Kokomo Tribune). Jackson also called for the establishment of black institutions to oversee black educational, economic, and judicial matters. He asked the crowd “what time is it?” and the audience, electrified, shouted “It’s Nation Time!”
Jackson’s proposal drew criticism from some black organizations, like the NAACP, which believed that continued segregation, albeit black-led, would impede progress. According to Major Problems in African American History, the NAACP circulated a memo at the convention denouncing the proposal of a separate nationhood for African Americans and criticizing the rhetoric for being “‘that of revolution rather than of reform.'” An Indianapolis Recorder editorial articulated this point, noting “The only road to nationwide achievement by a minority is through cooperation with the majority.”
Another contentious issue in the 1970s: school desegregation through the forced busing of black children to white schools. The Jackson faction opposed busing and defined successful black education not as being able to attend white schools, but rather as children attending black-led schools. The endorsement of the presidential candidate that would best represent black interests also generated conflict at the convention. Some delegations supported Democrat Shirley Chisholm, America’s first black Congresswoman, while many Nationalists wanted a leader from a black party.
After intense debate, a steering committee tentatively adopted a National Black Agenda. The committee officially published the 68-page document on May 19, Malcolm X’s birthday. The resolutions included black representation in Congress proportionate to the U.S. black population, a guaranteed minimum income of $6,500 for four-person households, a 50% cut in the defense and space budgets, and an end to national trade with countries that supplied the U.S. drug market. The resolutions, designed to move black Americans towards “self-determination and true independence,” represented major, yet tenuous compromise among the black community.
The steering committee also formed the National Black Political Assembly, a body tasked with implementing the Black Agenda. Dr. Daniels noted that, although many of the agenda’s resolutions never materialized, “thousands of Black people left Gary energized and committed to making electoral politics a more relevant/meaningful exercise to promote Black interests.” He attributed the quadrupling of elected black officials by the end of the 1970s, in large part, to the Gary convention and the “audacity of Black people to . . . defend black interests.” The NBPC was notable too for its inclusion of black Americans from all walks of life, rather than just prominent black figures, in formulating how to ease the struggles of the black community. The Recorder also noted that Mayor Hatcher’s reputation “has been considerably burnished in the white community as well as the black by the success of the historic event” (IndianapolisRecorder).
In 2012, Gary hosted the 40th anniversary of the National Black Political Convention. Speakers discussed the issues that had prevailed into the 21st century, such as a disparity in prison sentencing and poverty. One speaker remarked that without Shirley Chisholm, America’s first black president Barack Obama would not have occupied the White House. Another speaker, who ran for mayor of Baltimore, lamented that forty years after the convention “we’re still asking what to do instead of how to do it.” When asked if it was still “nation time” one speaker responded “it’s muted nation time.” Black Americans, they agreed, needed to “have the audacity.”
“Black Convention Split Over Separation,” Terre Haute Tribune, March 11, 1972, accessed Newspapers.com.
“Black Meet Without Incident Bodyguards, Police Vigilant,” Munster Times, March 12, 1972, accessed Newspapers.com.
“Black Political Movement Born in Gary,” Lafayette Journal and Courier, March 13, 1972, accessed Newspapers.com.
“Creation of ‘The National Assembly’ Concludes Black Political Convention,” Kokomo Tribune, March 13, 1972, accessed Newspapers.com.
The unified efforts of the Civil Rights Movement began to fracture when in 1966 a new strategy and ideology emerged, known as the Black Power Movement. This new movement also influenced the development of the Black Arts Movement. According to historian Ann Chambers, the Black Arts Movement did not speak for the entire black community; however, the movement gave a “new sense of racial pride to many young African-American artists.” One African-American writer and actor who opposed the Black Arts Movement was Pulitzer Prize winning playwright, Charles Gordone.
Gordone was born Charles Fleming in Cleveland, Ohio, on October 12, 1925. In 1927, his mother moved with her children to Elkhart, Indiana. By 1931, she married, changing Charles Fleming’s name to Charles Gordon. He attended Elkhart High School and, although popular at school, faced racial discrimination while living in Indiana because of the divide between white and African-American children. According to Gordon, both races rejected him. White children avoided him because he was black, and the town’s African-American community shunned him because his family “lived on the other side of the tracks and . . . thought we [the Gordons] were trying to be white.”
After serving in the US Army Air Corps, he enrolled in Los Angeles City College, and graduated in 1952. Gordon stated that he majored in performing arts because “I couldn’t keep myself away from the drama department.” His experiences in college influenced his outlook on race in America. Gordon stated “I was always cast in subservient or stereotypical roles,” and he began wondering why he was not given prominent parts in Shakespeare, Ibsen, Strindberg, Pirandello plays. After graduation, Gordon moved to New York City. Once on the east-coast, Charles Gordon added an “e” to the end of his name, and became Charles Gordone when he joined Actor’s Equity Association; a labor union for theater actors and stage managers.
Two months after Gordone’s arrival in New York, he performed in Moss Hart’s Broadway play, The Climate of Eden, the “first of many Broadway and off-Broadway productions” for Gordone. He soon realized that black actors had a hard time earning a living in the entertainment business, and he claimed he “began to get really intense” about the lack of acting jobs for African Americans. He started conversing with many “young black actors,” and soon started picketing theaters on Broadway for better job opportunities. Similarly, fellow Hoosier actor William Walker, who portrayed Reverend Sykes in the film version of To Kill a Mockingbird, became a fierce civil rights advocate in Hollywood after being relegated to roles as a domestic servant because of his race. Walker worked with actor and future president Ronald Reagan to obtain more roles for African Americans.
Around 1963, Gordone became the chairman of the Committee for Employment of Negro Performers (CENP). Gordone claimed in 1962 and 1963 that television producers feared the withdrawal of corporate sponsorship if they “put Negroes in their shows” and that “discrimination took more forms in the entertainment field than in any other industry.”
Although the Civil Rights Movement had made extensive strides toward improving equality among the races, civil rights laws did not deter de facto segregation, or forms of segregation not “codified in law but practiced through unwritten custom.” In most of America, social norms excluded African Americans from decent schools, exclusive clubs, suburban housing divisions, and “all but the most menial jobs.” Federal laws also did not address the various factors causing urban black poverty. As racial tension mounted throughout the United States, Gordone struggled to survive in New York City. During the last half of the 1950s, out of work and broke, Gordone took a job as a waiter for Johnny Romero in the first African-American owned bar in Greenwich Village. His experiences there inspired his play No Place to Be Somebody, which he began scripting in 1960.
During the next seven years writing his play, Gordone sporadically worked in the theater industry. He was an original member of the cast for Jean Genet’s The Blacks: A Clown Show. The playwright, a white man, intended the play for an all African-American cast and a white audience. He states in his script that “One evening an actor asked me to write a play for an all-black cast. But what exactly is a black? First of all, what’s his color?”
In The Blacks: A Clown Show, African Americans wage war against the “white power structure,” and the oppressed evolve into the oppressor. Warner noted that Genet’s play put Gordone “in touch with his black anger.” In 1969, Gordone claimed that his experience as part of the cast changed his life because the play dealt with problems about race, enabled him to confront the “hatred and fear I [Gordone] had inside me about being black,” and introduced a talented group of African-American actors to the entertainment media including James Earl Jones and Maya Angelou.
Gordone finished his own play, No Place to Be Somebody, in 1967. The plot of the play revolves around an African-American bar owner named Johnny Williams. Other characters include a mixed-race actor, a black homosexual dancer, a Jewish strumpet, a black prostitute, an Irish hipster, an aging black hustler, a member of the Italian mafia, an influential white judge, and the judge’s idealistic daughter. Johnny Williams, is a tavern-owner, pimp and wannabe racketeer. His foil, Gabriel, also an African-American, is an intellectual struggling to be accepted as a legitimate actor.
According to a New York Times reviewer, the characters are forced to try and survive in a society controlled by white standards. Johnny Williams possesses a desire to become “somebody” in Italian-run organized crime; Gabriel fails in his attempts to be cast in African American roles because he is light-skinned. The characters’ actions in No Place to Be Somebody are influenced by racial and cultural pressures directed towards characters of opposing races. According to Gordone, “It [the play] is the story of power, about somebody who is stifled who was born in a subculture and feels the only out is through the subculture.” By the end of the play, most of the characters fail in obtaining their goals because they have all set their “ambitions in excess of their immediate limitations.”
Gordone originally offered the play to the Negro Ensemble Company (NEC); an acting group rooted in the Black Arts Movement. He claimed the co-founder, Robert Hooks, turned it down because the NEC did not allow white actors in their theater troupe. Gordone and Warner produced a “showcase version” of the play at the Sheridan Square Playhouse in 1967, but “the response wasn’t too good.” Gordone and Warner lost all their money in the venture. But in 1969, the play was accepted for the “Other Stage Workshop,” in Joseph Papp’s Public Theater, at the New York Shakespeare Festival.
No Place to Be Somebody opened on May 4, 1969 to mixed reviews. New York Times reviewer, Walter Kerr, compared Gordone’s work to Edward Albee’s masterpiece, Who’s Afraid of Virginia Woolf? Other reviews called the play “engrossing,” “powerful,” and hailed it as one of the “unique” plays of 1969. On the contrary, influential African-American critic, Clayton Riley, blasted the play’s poor production and directorial choices. Riley also questioned Gordone’s “incomprehensible” dialogue, depiction of “self-hatred,” “contempt for Black people,” and his “desire to say too much.” Yet, Riley did state that Gordone possessed “splendid talents.” According to Gordone, Riley’s review “hurt Riley more than me [Gordone] … brother Clayton is uptight. He can’t face it that The [white] Man is helping one of his brothers.”
After the play’s opening, No Place to Be Somebody quickly moved to the Anspacher Theater for an extended period of time and opened for a limited run on Broadway in the ANTA Theater. Exactly one year after the play opened at the Shakespeare Festival, May 4, 1970, Gordone won the Pulitzer Prize for Drama. The play was the first off-Broadway winner, and Gordone became known as the first African-American playwright to win the award. Yet he did not appreciate being categorized as a member of “black theater” or the Black Arts Movement, unlike Indianapolis poet Etheridge Knight.
According to a 1982 interview, Gordone’s views on race “alienated many blacks.” Gordone argued, in a 1970 New York Times editorial piece, that writers like LeRoi Jones (Amiri Baraka) should write about more than “how badly the black man is treated and how angry he is.” Gordone believed such theater intensified the split amongst the races, and he questioned “Is black really ‘beautiful’? Or is that beauty always hidden underneath the anger and resentment?” According to Gordone, Jones’ writing was “egotistical, smug, angry (never violent), frightened, and damning of every white man in the world,” and Gordone took offense that Jones was “attempting to speak for all people of color in this country.”
According to Mance Williams, Gordone opposed the Black Arts Movement’s notion that the “Black Experience is a singular and unique phenomenon.” Gordone believed that African-American culture was one part of the larger American Culture, reasoning that without the “white experience,” there cannot be a “black experience.” Williams states that Gordone believed the races were interrelated, and helped create the unique qualities that defined the “white” and “black” races. In a 1992 interview, Gordone said “We need to redefine multiculturalism. There’s only one culture—the American culture, and we have many ethnic groups who contribute.”
One possible explanation for Gordone’s belief in multiculturalism is the fact that he claimed his ancestral makeup consisted of “part Indian, part French, part Irish, and part nigger,” and he jokingly called himself “a North American mestizo.” Williams claims the playwright deemed the “color problem” could only be resolved through cooperation between the races, and that is why Gordone shied away from any radical political movements that could further divide the races. However, according to Gordone, his exclusion from the Black Arts Movement left him “Dazed, hurt, confused, and filled with self-pity.”
Gordone claimed his professional success put tremendous pressure on him. Winning the Pulitzer Prize made Gordone unhappy because he was acclaimed as a writer, rather than a director. According to Gordone, “every time you sit down at a typewriter, you’re writing a Pulitzer Prize. You’re always competing with yourself and you have to write something that’s as good or better.” In 1969, he began drinking heavily, hoping “get the muse out of the bottle” after the “long struggle.” During Gordone’s battle with alcoholism, he still worked in the theater industry. He got involved with a group called Cell Block Theater, which used theater as therapy as part of an inmate rehabilitation program.
In 1981, Gordone met Susan Kouyomjian and in 1982 they founded The American Stage, an organization devoted to casting minorities into non-traditional roles, in Berkeley, California. The American Stage productions included A Streetcar Named Desire with a Creole actor playing Stanley; Of Mice and Men with two Mexican-American actors playing George and Lenny; and The Night of the Iguana with an African American actor in the lead role of Shannon. According to Gordone, he and Kouyomjian never overtly wanted to provide more opportunities for “black, Hispanic and Asian actors,” but Gordone said “it is now very much my thing.” Their goal was to logically cast actors “so that you don’t insult the work’s integrity.” Gordone believed “innovative casting enhances the plays,” and makes them so exciting that “it’s almost like you’re seeing them for the first time.”
In a 1988 interview, Gordone continued commenting about the portrayal of race in contemporary literature and theater. Susan Harris Smith asked if theater critics viewed Gordone as “black first and a writer second?” He replied “Yes” and commented the practice was “racist.” He claimed he was a playwright trying to “write about all people . . . and to say I [Gordone] have a black point of view is putting me in a corner.” He believed African-American critics finally reached a “significant realization” about the theme of No Place to Be Somebody, that “if blacks walk willingly into the mainstream without scrutiny their identity will die or they will go mad.”
In 1987, Texas A&M University hired Gordone to teach in the English and Speech Communications Department. There, Gordone began embracing the American-western lifestyle or “cowboy culture.” The playwright stated, “The West had always represented a welcoming place for those in search of a new life,” and he found a “spirit of newfound personal freedom” within the American West. Gordone remained in Texas until his death on November 16, 1995. Friends and family scattered his ashes in a “traditional cowboy ceremony, with a riderless horse” near Spring Creek Ranch, Texas.