May 1, 2026

STARKS TRUTHS:

The Ballad of Ollie Jackson: How the Baddest Man in the St. Louis Underworld Failed to Become a Folk Hero (Eric McHenry, North American Review)

Every character Starks was singing about had been a real person, and, remarkably, part of the same small community—the St. Louis vice district of the 1890s, which must rival the Mississippi Delta of the 1930s for per-capita contributions to the American musical canon. St. Louis also boasted half a dozen thriving daily newspapers, most of which are now digitized, allowing researchers to study the events that inspired those songs and see how much of a folkloric makeover they got. The real Frankie Baker shot her abusive boyfriend once in her apartment and successfully pleaded self-defense; in the “Frankie and Johnny” song tradition she became the jilted avenger, hunting down her two-timing lover in a barroom and blasting away. Harrison Duncan went to the gallows denying that he’d shot Officer Brady in a saloon melee; in song he became an enraged bartender who’d had enough of the cops busting up his gambling operation (“Brady said, ‘Duncan, you’re under arrest.’ / Duncan shot a hole in Brady’s chest”). “Stack Lee” Shelton was a gambler who shot a man for stealing his hat; in the “Stagolee” songs he became … pretty much exactly that. He didn’t need much revision to be the “badman” people wanted to sing about. This is all consistent with a pattern that folklorists have long observed: Unlike white outlaw ballads, which tend to airbrush their historical subjects, turning murderous thieves like Jesse James and William Quantrill into righteous Robin Hood figures, Black “badman” ballads push their protagonists in the opposite direction—toward antisocial rashness and self-interest, qualities for which the songs make no apologies. (In a racist society, self-interest is its own sort of righteousness.)

Starks’s repertoire also included “Ollie Jackson”—another badman ballad that recounts, with astonishing specificity, the 1901 killing of two brothers over a craps-game dispute in St. Louis. It must have been composed immediately after the shootings by someone impressively familiar with the facts. Four decades later and four hundred miles to the south, Starks sang the correct names of the killer, both victims, two witnesses, and the owner of the saloon, as well as the intersection at which it stood, the day of the week, and the contested amount of money (seventy-five cents).

Dick Carr had the dice,
Bet six bits he’d pass.
Ollie Jackson faded him
And that was poor Dick’s last.
When you lose your money, learn to lose.

It’s hard to overstate how lucky we are that Lomax recorded this performance. Of all the songs that survive from the era of Black ballad-making (roughly 1890–1910), it’s the only one that describes a real event so thoroughly and accurately, meaning that it’s probably the closest thing we have to a Black folk ballad in its original form. And that form challenges some common assumptions about Black songwriting.

WHAT IS IT WITH AUTHORS AND CONVICTS?:

A Bestselling Author Became Obsessed With Freeing a Man From Prison. It Nearly Ruined Her Life: After the success of her novel Water for Elephants, Sara Gruen spent years trying to prove a man’s innocence. Now she’s “absolutely broke” and “seriously ill,” and her next book is “years past deadline.” (Abbott Kahler, 3/24/21, Marshall Project)


The letter came from Gruen’s publisher in June 2015, which had forwarded it to her home in Asheville, North Carolina, where she lives with her husband, her son (the youngest of her three adult children), and a menagerie of pets, including horses named Tia and Fancy. Even aside from the remarkable connection to her book — Sara, 52, had indeed researched a real-life performer named Lottie — Murdoch’s letter stood out. He had created his own stationery, decorating his letter with intricate doodles: two flowers, a tiny heart, a spiky fish with neon stripes. He wrote that former chief justice Alex Kozinski of the U.S. Court of Appeals for the Ninth Circuit “described my (wrongful) conviction as ‘a truly spectacular miscarriage of justice.’” […]

Still, Murdoch’s letter piqued Sara’s curiosity. She spent the next hour Googling Murdoch’s case — and the next hour, and the next. She had been in the midst of researching her next novel, featuring a cast of characters whose fates collide on the Orient Express, but her outline, arranged along her walls in a sprawling web of Post-its, suddenly seemed trivial in comparison to Murdoch’s case.

Each new page about Murdoch’s twisted legal saga contained a revelation more outrageous than the last. As Sara saw it, the investigation hinged on a coerced confession, and the trial, she concluded, was marred by mercurial witnesses, the suppression of crucial evidence, and a judge who seemed motivated to secure Murdoch’s conviction. Kozinski’s idiosyncratic dissent in Murdoch’s appeal stayed with her:

“If it wasn’t for bad luck, Murdoch wouldn’t have no luck at all. He’s wakin’ up this mornin’ in jail when there’s strong proof he ain’t done nothing wrong. I would certainly defer to a jury’s contrary verdict if it had seen this evidence and convicted Murdoch after a fair trial, presided over by a fair judge, followed by an appeal where the justices considered all of his constitutional claims. But Murdoch had none of these.”

Sara uncharacteristically wrote Murdoch back. Her package contained signed copies of all of her books and a note: “May justice finally prevail.” After sending it, she immediately regretted her response. “Justice is not going to fucking prevail finally on its own,” she thought, “and that was a really asinine thing to write to a guy who’s doing life.”

She didn’t yet know that Murdoch’s letter was to change her own life. It also nearly ruined it. She is now, in her words, “absolutely broke,” “seriously ill,” and her current work in progress is “years past deadline.” Since 2016, she has been in a perpetual state of emergency. She has borrowed against her house. Death threats forced her to flee her home for months. Her health declined mysteriously and with terrifying speed. As Sara’s friend of nearly 20 years, I worried that she might die — or that if she lived, it would be as an incomplete, foreign version of herself, one incapable of coherent conversation, let alone writing books.

As a journalist, I watched, increasingly confounded, as her casual investigation of an old murder case bloomed into a frenzied obsession. Six years on, I tried to make sense of the chaos that subsumed Sara’s existence.

In the days following their initial correspondence, Sara began her own investigation of the murder case and Murdoch’s long criminal history.