Search Results for: Adrian Chen

A weeklong investigation to discover who created the Twitter account that spits out “context-free nonsense” and in doing so has now amassed more than 40,000 followers and a devoted fanbase:

The feed’s strangely poetic stream has been embraced like a life-preserver by internet users drowning in a sea of painfully literal SEO headlines and hack Twitter comedians. Since it appeared in August 2010, word of Horse_ebooks has spread steadily, propelled by blog posts and Twitter chatter by internet obsessives. But unlike many internet culture phenomenons, it never truly went viral. Horse_Ebooks is too weird, too much of an acquired taste to break into exponential growth.

But these same qualities that have relegated Horse_ebooks to relative obscurity have inspired a passionate Twitter fanbase rivaled only by Beliebers. Followers have fashioned an elaborate fandom based on Horse_ebooks, comics, fan-fiction, merchandise, and inside-jokes. A browser plug-in that turned the text of any website into Horse_ebook-isms was the latest craze among fans. A characteristic Horse_ebook superfan boast is: ‘I unfollowed Horse_ebooks, because my friends retweet all its tweets anyway.’ We’re so deep into Horse_ebooks, you couldn’t escape it if you tried.

“How I Found the Human Being Behind Horse_ebooks, The Internet’s Favorite Spambot.” — Adrian Chen, Gawker

More from Chen: “The Mercenary Techie Who Troubleshoots for Drug Dealers and Jealous Lovers.” — Gawker, Jan. 25, 2012

Meet Martin, the I.T. guy who’s helped everyone from drug dealers needing to dodge wiretaps, to restaurants looking to inflate their Foursquare numbers:

If you’ve seen that episode of The Wire, you know principle behind Martin’s system: ‘Burners,’ prepaid cell phones drug dealers use for a short time then abandon to thwart wiretaps. Prepaid phones have become so associated with drug trafficking and crime that New York Sen. Chuck Schumer wants to require an I.D. to buy one. (Martin said if I.D.s were required he could still run his business ‘but I would probably charge triple because I’d have to make fake I.D.s’)

But burners can be a pain. For maximum security, phones need to be switched as often as possible—a top Cali cartel manager was once reported to use 35 cell phones a day. Martin’s system makes it easy for a crew to switch all their phones rapidly.

“The Mercenary Techie Who Troubleshoots for Drug Dealers and Jealous Lovers.” — Adrian Chen, Gawker

See also: “The Hacker is Watching.” — David Kushner, GQ

But Who Tells Them What To Sing?

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Adrian Daub | Longreads | September 2021 | 21 minutes (5,894 words)

When a new trailer for the Marvel film Black Widow dropped in April of this year — after the movie had been repeatedly moved back due to the pandemic — the producers seemed intent on reminding people about why they’d been excited about the movie before the lockdowns started. They did so by closing the promo with a new version of the theme from The Avengers, probably to call back viewers to a different, less socially distanced time. How could you know this was a new version of the motif? It was choral, but that was a well Marvel had gone to before. This time it had lyrics. As best I can tell, for the first time.

As fans welcomed the callback in online comments, I was brought back to a question that I’d had when Game of Thrones did something similar at the end of its fourth season and again at the very end of the show. It’s something of a trend these days to take a highly recognizable instrumental theme and make it choral. And I get why: The gesture is big and bold and epic. But my question concerned something comparatively pedestrian: Who decides what the lyrics are? What language are they even in? And who writes them? I decided to find out.

Those of us who listen to soundtracks obsessively do so knowing that that’s not how soundtracks are intended to work on us. Whoever mixed in a chorus for a few seconds of the Black Widow trailer was going for an emotional reaction, not some new layer of meaning to be disentangled. “When I do a film score,” the late James Horner said in a TED talk in 2005, “I am nothing more than a fancy pencil” executing the vision of a filmmaker. You’re not meant to listen to a soundtrack in isolation from the image. It is music in service of the moment.

You’re not meant to listen to a soundtrack in isolation from the image. It is music in service of the moment.

But one place where this fancy pencil has more autonomy is when it comes to the text that a chorus sings. Perhaps it’s better to say that the pencil is condemned to freedom. When the composer John Ottman was hired to score the 2008 Tom Cruise film Valkyrie, he realized that he needed a break in the texture of the soundtrack at the very end of the film. That’s because in the final scenes of the movie basically all of the even remotely redeemable characters get executed. After they had all died and the credits rolled, Ottman decided he wanted a “sense of release, because there had to be a different feeling as the audience walks out of the theater.” So he hit upon the idea of a self-contained choral piece. “The problem was though, what on earth would they be saying?”


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What on earth indeed? It’s a moment where blockbuster filmmaking — always so anxiously in control of its meanings — seems to be at a bit of a loss. And it’s a moment where we as an audience suddenly get a sense for how films make meaning, and how it isn’t always the meaning they intend to make.

So who decided what the lyrics to the theme from The Avengers were? The short answer is that I still don’t know. But the long answer to my pedestrian question leads into the high-pressure, highly collaborative world of film scoring. A world in which composers often have just a few weeks to write music that pleases the studio and the director, and potentially even test audiences. And in which they toil with assistants, orchestrators, sound editors, and many, many session musicians to find a sound for a film that is still in the process of evolving. I wanted to find out who among this massive group would be the one to say “hey, let’s add a chorus and have it sung in Sanskrit” or something along those lines.

The answer turns out to be: Pretty much any of them can and sometimes do. What film choruses offer us is a perfect synecdoche for the collective, frenzied, and deeply mercenary magic that creates movies in the first place. It’s as likely that a director had the screenwriter invent specific lyrics early in post-production as that a subcontractor, assistant composer, or orchestrator jotted down some words or went on a Wikipedia deep-dive eight weeks out from release in a desperate late-night quest for a non-copyrighted text to use with a cue that might please a bunch of suits half a world away.

What film choruses offer us is a perfect synecdoche for the collective, frenzied, and deeply mercenary magic that creates movies in the first place.

***

Choruses have been part of film scoring for over a century. People have been singing on screen since the earliest silent reels, and with increasing technical wizardry we could even hear them doing it. But something like the Black Widow trailer is what we call an non-diegetic chorus: These are voices that viewers aren’t supposed to somehow locate within the screen action. In early cinema you had to have musicians physically present, first in the cinema with a viewer, eventually in the scene with the actors. Both of which pretty much ruled out the use of a choir. And, as film music historian Mervyn Cooke points out, once technologies existed that allowed films to have at least a partial soundtrack, filmmakers initially avoided non-diegetic music — precisely because they needed to sell the illusion that the sound was coming “from” the scene.

Non-diegetic music started to become the norm only in the early ’30s. And even then the limitations of recording technology meant that non-diegetic voices were not usually worth the trouble. By the late ’30s this had changed. Snow White and the Seven Dwarfs (1937) had its choir chime in even when it wasn’t for the explicit musical numbers. (Snow White was also the first soundtrack issued as an album, so choruses were part of how film soundtracks traveled semi-independently from their films from the very beginning.)

Alfred Newman had begun relying on wordless “heavenly choirs” going ooo and aaa in the background, in films like Wuthering Heights (1939), How Green Was My Valley (1941), and The Song of Bernadette (1943). As the music historian Donald Greig, who is also an active session singer on many modern scores, has pointed out, in the beginning choruses had to be at least somewhat motivated by theme or screen action — they were there to speak for ghosts, to intimate religious dimensions to the screen action.

And then there was Dimitri Tiomkin’s score for Frank Capra’s Lost Horizon (1937). The film concerns the discovery of Shangri-La in the Himalayas, and when we finally get to the fabled land the soundtrack accompanies the matte-painted wonderland with a chorus singing in … well, in a language that isn’t English and doesn’t seem to be Tibetan either. And thus another Hollywood tradition was born: film choruses belting out perfectly nonsensical prose with utter conviction.

And thus another Hollywood tradition was born: film choruses belting out perfectly nonsensical prose with utter conviction.

Both types of choral performance have never left the Hollywood lexicon. In thinking through how film choruses make meaning, I became obsessed with what the process of recording a soundtrack looks like today and at what point in that process someone actually writes lyrics in fake Tibetan. In the Golden Age, studios kept their own choirs — professional singers would show up at the lot and ooo and aaa for a Miklós Rósza score today and belt out a ferocious battle hymn for Erich Wolfgang Korngold the next. Studios also had their house orchestrators (usually several), and while laypeople remember the composers of Hollywood’s Golden Age, there are other figures that probably shaped the way films sound just as much if not more, all the while just quietly collecting their paychecks.

Speaking with modern singers about their experiences, I was struck by how little their day-to-day job description had changed since Tiomkin’s day. But the world in which they are performing is altogether different. As part of my research for this article I made a massive choir belt out the most menacing rendition of “Mary Had a Little Lamb” ever, and all it cost me was $199 plus tax. The EastWest Symphonic Choirs software allows you to make a virtual choir sing in just about any style imaginable. Want your ooos and aaas to sound like a whisper? More Broadway or more classical? All of that’s in the package.

But there’s more: Due to a system called WordBuilder, you can have this choir sing pretty much anything — you can type in text in English, in phonetics, or a proprietary alphabet called Votox, and the software will assemble it out of a massive databank of vowels and consonants. This is a commercially available product, but there are even bigger sample libraries kept by individual composers: If you’re wondering who’s dropping by to supply a quick “agnus dei” for a Hans Zimmer score, well that’s almost certainly a proprietary sample owned by Zimmer’s film score workshop, Remote Control.

All the professional singers I spoke to were keenly aware of products like EastWest Symphonic Choirs and the sample libraries — because more likely than not they’re in them. If you’re in the business of singing on film, these days you won’t always be asked to sing for an actual score, but instead you might get booked to record samples. There’s a scary possibility that these artists are slowly eroding the industry’s need for their labor — that the fruits of their one day of paid work will perform for the studios in perpetuity and with no extra residuals. Their disembodied vowels are putting their vocal chords out of business. But that possibility hasn’t been fully realized: Often enough when they arrive in the recording studio, singers will find that there is a vocal track already, but it’s done by computer. And yet, the composer wants a live version. Almost all the singers I spoke to expressed some surprise that Hollywood still bothered.

Their disembodied vowels are putting their vocal chords out of business.

One possibility why they do: Composers simply like working with live humans and consider it part of their job to do so. As Jonathan Beard, who has been composing and orchestrating in Hollywood for over a decade, put it to me, choirs are an easy, effective way to give dimension to a scene — “because you have a human body as one of the instruments, and there’s a power the human voice [has] over us in general.”

Composers are highly trained musicians, and a lot of their training has involved singing. The composer brothers Harry and Rupert Gregson-Williams (Harry composed for films like Kingdom of Heaven, the Narnia-films, and most of Denzel Washington’s films of the last 15 years, while Rupert is best known for DC Universe films like Wonder Woman and Aquaman) were both choirboys at St. John’s College in Cambridge — it makes biographical sense that choral textures and their creation would be important to them. And that they might like to think through music with a live chorus rather than a computer. Another surprising preference that speaks to a kind of sweet traditionalism: While sometimes vocal tracks get doubled in recording (meaning what sounds like 16 singers is just eight overlaid onto each other), this seems to be the exception rather than the rule. Clearly someone in the process enjoys working with large groups of people and thinks they give you an aesthetic payoff that engineering wizardry would not.

But there’s a more cynical reason as well, and it’s the reason why automation hasn’t displaced human labor in other fields: The process of booking some freelancers through a fixer, having them record for a day, and then paying them no residuals isn’t actually much of an expense. That’s how London became a preferred place for Hollywood to record: a large population of well-trained musicians, whose union doesn’t insist on residuals. Several London-based singers I spoke with suggested that the reason Hollywood doesn’t record in, say, Germany as often is that singers in continental Europe have steadier income and are less dependent on session work. And once a producer decides that even London-based musicians are too demanding — well, then there’s always Prague or Budapest. The gorgeous voices you heard in a John Ford Western were the sound of unions and full-time employment; in a Hollywood score today they are monuments to the globalizing power of the gig economy.

***

So that is the world from which these vocals emerge. Imagine you are a classically trained singer in, say, London who has done some previous work on soundtracks. You get a call from a fixer, who is assembling a chorus, or soloists, for a production company. You book the gig, and you show up for the recording session knowing which film you’re singing for, probably knowing the composer you’re recording for, but nothing else. Most recording sessions take place in the famous Abbey Road Studios, which are expensive, so you’re usually booked for no more than a certain number of union-approved hours.

Importantly, by the time you show up for the recording session, the film is pretty much “in post post production,” as one session singer put it to me. The film is basically finished, the wrangling over what the score is supposed to sound like is over. By the time you record, whatever orchestral parts you are supposed to accompany are fully assembled — you usually have them in your headphones as you sing. When you get there, you are handed a large stack of notes to sing and, according to all the singers I spoke with, you get through some portion of them in the next few hours — never through all of them. Some cues you sing will never be in the finished film, some cues you might do 10 versions of. And then the studio time the composer booked is over, you hand over your stack of notes, sign statements agreeing not to divulge anything about what you just sang, and you are on your way.

As the soprano Catherine Bott said: “You enter a studio and you open the score and off you go. You sing what you’re told, and it’s all about versatility, just being able to adapt to the right approach, whatever that may be for that conductor or that composer.” And part of that, singers told me, was singing the words — whatever they may be. As Donald Greig pointed out to me, a lot of these singers have training in classics; they certainly know their way around a Requiem or a Stabat Mater. And yet often enough when they step into Abbey Road they’re being asked to sing perfectly nonsensical phrases in pseudo-Latin — but the studio is booked, the clock is ticking, and as Bott put it, “that’s not the time to put up your hand and, you know, correct the Latin.”

Or the English: Bott sang on the soundtrack for the 1986 animated feature An American Tail. For a cue where the little immigrant mouse Fievel first lays eyes on New York harbor, composer James Horner had the choir intone the famous Emma Lazarus poem inscribed at the base of the Statue of Liberty. As she was singing through the cue — “Give me your tired, your poor” — Bott realized that whoever had put together the score had written down “your huddled masses yearning to be free” rather than “breathe free.” She was pretty sure she knew better, as did some colleagues, but out of English reserve, deference to the Americans, or professionalism, no one felt it was their place to say anything. The misquote stayed in the picture and you can buy it on CD today.

Perhaps part of what made me look for the meaning behind the lyrics on some of my favorite soundtracks was exactly this professionalism. A good singer sells the emotion and the conviction, to the point that a listener sort of has to believe that it all means something. Interestingly enough, early in this long tradition of made-up languages, Hollywood felt the need to pretend that it did mean something. When Lost Horizon was released in 1937, Columbia Pictures claimed in its publicity material that Dimitri Tiomkin’s score “includes authentic folk songs of Tibet.” The same press sheet noted that the Hall Johnson Choir, a popular gospel choir, “will sing the folk song arrangements in the native Tibetan language.”

Film music historians agree that this is hogwash. There is no evidence Tiomkin researched Tibetan folk songs for his score — what the ad men were selling as “authentic folk songs” were almost certainly newly written pieces in a made-up language. Tiomkin had started out as a concert pianist and relied on a small army of orchestrators to turn his melodies into actual playable scores. Someone in that group put a pen to paper and wrote these pieces, and either that same person or someone else seems to have made up some fake Tibetan text to distribute to the singers.

But for whatever reason Columbia Pictures’ publicity department didn’t want to frame the vocals in this manner. Perhaps extradiegetic voices were still sufficiently new that they wanted to tell an audience what these voices were doing on the soundtrack. Or it had nothing to do with the soundtrack itself, and was just another way of selling the broader spectacle of filmmaking: Look at the lengths we went to.

At the same time, lyrics have a pesky way of clarifying the intended audience. After all, it is not altogether difficult to imagine why Tiomkin and company wouldn’t have bothered with actual folk songs and actual language. Lost Horizon is one of those movies that stars noted non-Asian persons H.B. Warner as “Chang” and Sam Jaffe as “the High Lama of Shangri-La.” The broad and bogus claims to authenticity are also making a point of who the movie is for. The fact that the Hall Johnson Choir was an African American group best known for singing spirituals, amplifies the sense that Lost Horizon turns non-white people’s authenticity into charming window-dressing for white audiences. Like Shangri-La for its white visitors, even when its lyrics were incomprehensible film music was still “for” white English speakers.

At other times when Hollywood filmmaking relied on choruses, the point was the opposite of exoticism: hyper-comprehensibility. Decades later Tiomkin wrote a rousing score for John Wayne’s jingoistic epic The Alamo (1960). At the end of the movie, with the siege over and one lone survivor and her little daughter leaving the ruined fort, a chorus drifts faintly onto the soundtrack, almost as though the singers were standing somewhere far away in the field of battle. Over the movie’s final shots, the choir takes over the soundtrack, singing a version of what would eventually spend some weeks on the pop charts as “The Ballad of the Alamo.” The first lines a viewer is able to clearly hear are: “Let the old men tell the story / let the legend grow and grow. / Of the thirteen days of glory / at the siege of Alamo.”

This music explicitly tells us why it needs to turn human voices singing in a language the viewer is supposed to understand. The “Ballad” tells us what to do with the story we have just heard: Pass it on, let the legend “grow and grow.” Also — since this was made by John Wayne in the ’60s — the message is probably also don’t be a communist. But note how the movie has to treat three things as essentially the same: the singing has to be audible for the casual moviegoer, over people getting out of their seats early or finishing off their popcorn; the words have to be comprehensible on a purely linguistic level to an audience that has been taught to tune out the music on some level for the last two hours; and the reason why these words were included in the movie has to be clear.

Also — since this was made by John Wayne in the ’60s — the message is probably also don’t be a communist.

The fact that these three factors are separate can be easy to forget for an English-speaking audience reared on American pop culture. I grew up on Hollywood films in dubbed versions — though those didn’t typically dub the music. Meaning, as a kid who didn’t speak English, I became pretty used to following a plot in German, then the music would swell and I’d sort of tune out for a few minutes as the soundtrack, and the English language, washed over me. I’d get the basic idea of course — the characters were happy, or sad, or patriotic — but I had no idea what they were saying, and I was okay with that.

That’s sort of how most of us feel when we listen to the theme to the 21st-century version of Battlestar Galactica — unless we happen to be familiar with the mantras of the Rig Veda. Still, it’s a culturally specific experience. These days we can’t watch fantasy or science fiction without being sung at in Sanskrit, Old Norse, Dwarvish, Elvish, Uruk-hai, Klingon, and so on. When composer John Williams returned to the Star Wars universe for 1999’s The Phantom Menace, he composed an amped-up piece for the final duel — and over its churning ostinatos he overlaid a chorus belting out a … Sanskrit translation of a Welsh poem. And apparently the syllables of the Sanskrit text were rearranged to the point of incomprehensibility. Clearly, these shows and movies are not addressing us as potential speakers of Klingon or Sanskrit or even Welsh — they’re interested in the feel and a sound of a language rather than its meaning. At one recording session, Donald Greig told me, “they spent ages telling us how to pronounce the Russian and then we realized, ‘well this doesn’t actually mean anything.’” This turns out to be both a pretty new and pretty old way of listening to music.

When composer John Williams returned to the Star Wars-universe for 1999’s The Phantom Menace, he composed an amped-up piece for the final duel — and over its churning ostinatos he overlaid a chorus belting out a … Sanskrit translation of a Welsh poem.

***

Hollywood scores come in waves. The film industry isn’t known for being particularly fond of risk taking, and film scores in particular often build on previous scores. The director will often cut the film to a temp track consisting of existing pieces, and it’s easy to imagine that the filmmakers would eventually want something that sounds like their temp track to accompany the finished film. Choirs have never really left Hollywood, but there are certainly moments when producers and directors seem to have almost reflexively sought them out and others when they have avoided them. The Omen (1976) with its massive latinate choral opener, “Ave Satani,” kicked off one such wave. Peter Jackson’s The Lord of the Rings trilogy kicked off another.

This new chapter in the way films sounded started in the Town Hall, a storied concert venue in Wellington, New Zealand. That’s where composer Howard Shore recorded the earliest parts of his soundtrack for The Fellowship of the Ring (the rest would be recorded in London). The recording involved a full orchestra on ground level and rotating choirs in the balcony. It wasn’t lost on the composer that the scene was weirdly traditional: “The orchestra,” Shore explained, “was set up very much the way a pit orchestra was set up in an opera.” The collaborative process around the composition, too, felt like something Mozart and his librettist Lorenzo da Ponte might have recognized. The screenwriters wrote the text the choir would be expected to sing, an on-site translator would translate them into Tolkien’s languages, and Shore would then set the Dwarven or Elvish text.

Somewhat counterintuitively it’s not actually choral music with incomprehensible lyrics that is novel and needs explaining, it is choral music with comprehensible ones. For a long time, and for far longer than instrumental music, choral music in the West belonged to the church, to the mass, and that meant to Latin. A language as native to Christian religious life as it was foreign to most Christians. The Lutheran Reformation did a lot to hand church services over to language the congregants could actually understand, but throughout Europe the experience of being talked, and in particular sung, at in Latin persisted. That’s of course not to say that people didn’t sing in their vernacular languages — just that the experience of singing words you don’t, or don’t fully, understand would have been very normal to these people.

For a long time, and for far longer than instrumental music, choral music in the West belonged to the church, to the mass, and that meant to Latin. A language as native to Christian religious life as it was foreign to most Christians.

For the German philosopher Arthur Schopenhauer choral music was meaningful only insofar as the words were not the point. In his The World as Will and Representation, which appeared first in 1819, was republished in 1844, and strongly influenced composers like Richard Wagner, Schopenhauer claimed that music was the purest expression of reality because it didn’t linger with “representations” — words and the things they represent — but tapped automatically into something deeper. Choral music would seem to fall short of that standard — being pretty centrally concerned with words and the things they denote — but Schopenhauer didn’t think so. After all, you shouldn’t listen to sung music primarily for the words, and often you may not even know the words. And Schopenhauer thought this was for the better.

Latin still works that way for most modern audiences: You might argue that there isn’t much of an expectation on the part of an American film composer circa 1989 (or on the part of the filmmakers who hired him) that the audience should be able to follow along with the Latin lyrics — in fact, it might well be distracting if they did. What text is included, both singers and composers confirmed to me, has far more to do with the flow of phonemes and how it interacts with the raw sound of the vocals. The words are simply yet another instrument in the repertoire the composer has at their disposal. But it’s an instrument that comes freighted with all the complications that inevitably arise when our loquacious species uses language.

The words are simply yet another instrument in the repertoire the composer has at their disposal. But it’s an instrument that comes freighted with all the complications that inevitably arise when our loquacious species uses language.

After all, unlike a humming chorus, a Latin chorus does create extra levels of meaning for those who want to listen more carefully. Composer Jerry Goldsmith wrote “Ave Satani” for The Omen as a deliberate transposition of various Catholic masses. While the individual Latin may have been hard to pick up on (and wasn’t entirely correct to boot), listeners who were Catholic likely would have recognized what was being inverted here, given that they’d spent most Sundays around the actual Latin texts. It’s not clear how seriously Goldsmith (or the choirmaster who jotted down the Latin lyrics for the composer) grappled with that dimension of the score — for one thing, the very title of the piece messes up the declension of Satan. But that dimension was there nonetheless —The Omen was part of a kind of religious revival in Hollywood, and though it plays as camp today it was taken far more seriously then.

James Horner’s score for the 1989 film Glory relies heavily on a Latin chorus, and in the film’s climactic moment that chorus sings recognizably in Latin. Glory tells the story of the 54th Massachusetts Infantry regiment, an all-Black unit during the American Civil War, and the film ends with most of the unit being mowed down by Confederate soldiers while assaulting Fort Wagner in South Carolina. The piece in question relies on a text drawn from a Latin mass, frequently incorporated into the classical canon in various requiems from Mozart to Verdi. But, as so often, Horner (or his orchestrator) doesn’t stick to the actual text, but rather seems to create a mashup of snippets from the traditional requiem mass.

So is Horner just using the text of the requiem mass the way layout professionals use the phrase “Lorem ipsum?” Hard to imagine. After all, it makes a lot of sense to have a requiem text being sung as your characters are dying one by one. But more importantly, precisely because the text is so garbled, certain words stick out all the more: “Recordare,” Latin for “recall,” “stricte” (severely), and “judex” (judge). These pieces are largely taken from the Dies Irae, the part of the requiem mass that tells of the end of the world and God’s judgment, albeit with admixtures from just about every other part. The text, though hard to parse, is remarkably consonant-heavy for a Hollywood soundtrack, and a lot of it seems to be due (and I hope I’m hearing that right, as no actual text exists for this piece that I was able to track down) to the text’s overreliance of the future active participle, which ends in “-urus”: just in terms of pure grammar, the threatening hissing in the text is literally about what is to come.

So is Horner just using the text of the requiem mass the way layout professionals use the phrase “Lorem ipsum?” Hard to imagine.

So maybe the text, and the fact that it’s in Latin, isn’t about pretentiousness on the part of the filmmakers at all. It’s a mass for the dead and a tale of divine wrath, and it seems to make — over the heads of most of the film’s audience, admittedly — a point about retribution. It is remarkable how sophistic (white) Americans, who are frequently so proud to deal in moral absolutes, get when it comes to their Civil War. Horner’s grammatically challenged remix of the “Dies Irae,” I think, makes a point that is stark and simple and remarkably rare in American depictions of the country’s most bloody conflict: The Confederacy is evil, those who kill on its behalf are committing a sin, and they are bringing God’s wrath (and future judgment) upon themselves. There is, then, in this particular instance something to be gleaned from a text that otherwise we’re not meant to pick up on.

Which gets at an interesting disconnect — namely, that different constituencies will experience the same song differently. The choir members know what they’re saying, even if they have no clue as to what any of it means. And the composer, director, sound designer, etc., although they live with a soundtrack far longer than either the performers or even the most devoted audience, don’t tend to get to the words that go with the music until fairly late in the game. They often have to rely on orchestrators and assistants, or a helpful choirmaster who claims he really knows Latin. Their budget, and thus their time, is not tailored to their needs, but to the dictates of the director and the studio. The prose simply appears, like a ghost in this immense machine. And — in spite of the fact that most parties involved seem to be content to have it not mean very much — it winds up signifying something.

One example: An “exotic” text can only be understood by very specific listeners. But, very much to the point, they are not therefore the intended listeners. Lost Horizon wasn’t banking on a particular reception in the Tibetan community — rather the opposite: Dimitri Tiomkin and his collaborators seem to have counted on not having any actual speakers of Tibetan in the audience.

This gets a lot more troubling in the case of the phrase “Nants ingonyama bagithi baba,” likely one of the most repeated, parodied, and bowdlerized lines of text in any soundtrack. It’s clear that it isn’t addressing the average viewer with the intention of being understood. The very fact that it is in Zulu, but the story of The Lion King appears to take place in the Serengeti, thousands of miles to the north, suggests that the language is here to signal one thing and one thing only: African-ness.

For contrast, look at the way composer Michael Abels’ score for Jordan Peele’s Get Out features Swahili voices: Outside of the considerable number of Swahili speakers in the world, most people watching Get Out won’t know what the singers are saying. But what they’re saying does matter, in a way: Literally “listen to your ancestors,” but as a saying meaning something kind of like “you’re about to be in danger.” The viewer who doesn’t understand this line is missing an important warning about what is to come in the film. As is, of course, the film’s African American protagonist who cannot listen (or at least understand) his ancestors. Peele and Abels manage to wring from this small decision a whole range of subtle points.

***

But as with all exoticism, there’s a strange tug of war between condescension and appreciation in these kinds of borrowings. When Ottman decided to use a choral piece at the end of the 2008 film Valkyrie, he clearly needed a German text, and I suspect any German text would have sufficed. But he didn’t pick any German text. The film stars Tom Cruise as Claus Graf Schenk von Stauffenberg, a historic figure who led the only attempt by members of the Nazi state to get rid of Adolf Hitler. The text is “Wandrers Nachtlied,” one of Johann Wolfgang von Goethe’s most memorable, well-known texts, and if it’s a little bit treacly by the great poet’s standards, it’s hard to deny it’s a deeply appropriate choice for this moment. Not overtly about politics, it is nevertheless about history, about reflection, about resignation. And about a different use of the German language than one is used to in Hollywood films.

For any German person it’s weird to hear bad guys so consistently speak (and butcher) your language. I’m not complaining, mind you, it makes perfect sense. But what’s remarkable about Valkyrie is that it seems unusually careful for a Hollywood-film in how it deals with the German language. Earlier in the film, Cruise’s character says that “people need to know we were not all like him,” and this final poem seems to do something similar for the German language — the filmmakers close their movie by pointing out that this language is capable of beauty and deep humanity. The poet Paul Celan — himself a Holocaust-survivor — pointed to the strangeness of writing in a language that was both “my mother’s tongue” (Muttersprache) and “the murderer’s tongue” (Mördersprache). Ottman seems to want to recover the former after showing plenty of the murderers.

The strange thing is: I am pretty sure Goethe’s “Nachtlied” is the first utterance in actual German in this film about Germany. Cruise sort of tries a German accent every other scene, the largely British supporting cast doesn’t even bother. And no one speaks any German, the way Sean Connery does with Russian at certain moments in The Hunt for Red October, or Alan Rickman in Die Hard. The film’s supporting cast is stacked with Germans who belt out accented English throughout. It almost feels like the film wants to bend over backwards a little too much: remind us what beauty and thoughtfulness this language is capable of — even though it never shows us the barbarity, which the film renders in English.

I suppose it’s moments like that one that made me obsess over what choirs sing in movies, and who decides what they sing. Because it’s a moment when blockbuster film or TV, which increasingly is created for the greatest possible global audience, which has been focus-grouped and test-audienced within an inch of its life, manages to speak far more directly, more improvisationally to a much smaller audience. All of us are sometimes in that smaller audience, sometimes not. But we’re aware it’s there. When cinema is literally speaking in tongues, how could we not? And to be the person who hears a call the object of fascination never knew it was putting out there — what better definition could there be of what a fan really is?

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Adrian Daub is professor of Comparative Literature and German Studies at Stanford University. He is the author of four books on German thought and culture in the nineteenth century, as well as (with Charles Kronengold) “The James Bond Songs: Pop Anthems of Late Capitalism” (related story here). He tweets @adriandaub.

* * *

Editor: Krista Stevens
Fact checker: Julie Schwietert Collazo

All Hail the Rat King

Illustration by David Huang

Adrian Daub | Longreads | December 2019 | 16 minutes (3,994 words)

 

The small community of Dellfeld lies amid rolling hills and leafy forests in the extreme south of Germany’s Palatinate region. Ruined castles dot the landscape. Some are impressive stalactites: you can still trace the outlines of a crumbled keep. Others are barely more than colossal piles of stone, their sandstone further melting into the landscape with every rainstorm.

In April 1895, a certain Herr Mayer found a very different kind of relic in a barn attached to Dellfeld’s village school: a wheel of ten dead rats connected at the tips of their entangled tails. A rat king. Herr Mayer sent the strange specimen on to Ludwig Döderlein, director of the Zoological Museum in nearby Strasbourg. It remains there to this day, preserved in a large, formaldehyde-filled beaker. It isn’t always on display, but whenever the museum presents it, certain people make a direct beeline to the rat king case. The questions are always the same: how did this happen? Could they have lived like this for long? Is this natural?

Herr Mayer was not alone in discovering these strange specimens. The Thuringian town of Altenburg houses perhaps the most spectacular exemplar. A mad bramble of no fewer than 32 rats sits mounted on a plexiglass pane in the entrance hall of the Mauritianum, the town’s small natural history museum. It was found in a village not too far away, in a warm space underneath a chimney. The 32 corpses look sooty and dessicated. By contrast, the rat corpses in Strasbourg have something almost peaceful about them in their flotation tank. Still, the central knot feels upsettingly autonomous, as though it might yet writhe at any moment. Looking at the grotesque tangle of tails, dirt, straw, and feces that binds the group together — it covers half the body of each of the individual rats — it’s hard not to come away with the sense that, like monsters in a story, this object is here to convey some sort of meaning.

Read more…

How to Predict the Unpredictable

Illustration by Homestead Studio

Katie Gutierrez | Longreads | September 2019 | 13 minutes (3,370 words)

 
On the side of a busy road, I called her name: Lola! Lola! Flaxen weeds blew at my knees. Traffic a blur of painted metal. She could be anywhere. And then I saw her — a black pug parting the grass, running toward me. I took her into my arms and pressed my forehead against hers, relief stinging sweet.

I told Adrian about the dream with my eyes still closed. We had only been living together for two weeks, since he’d moved to San Antonio from Sydney to be with me. We’d known each other since we met on a cross-continental flight 10 years earlier, though we’d only been together, long-distance, for the last two years.

When he didn’t respond, I opened my eyes. He was grinning at a Craigslist photo: a black pug puppy drooping in slim-fingered hands. She looked like a child’s school project: clumsily glued googly eyes, pink felt tongue.

“We can’t,” I said, laughing, but he was already sending the email.

We drove to a neighborhood in northwest San Antonio. It was March, and the puppies looked like miniature seals, basking, all shiny black fur and skin rolls. They were big for their age, except for the only girl, the runt in the back corner. At first we passed one of the boys back and forth. Then the girl, who instantly crawled up our necks, her sharp puppy claws sticking like burrs in the collars of our shirts. She licked our chins, swiping at our ears and cheeks.

“This is her, isn’t it?” Adrian asked.

I nodded, thrilled and mystified at where we found ourselves, all because of a dream.

“What should we name her?” I asked.

“I think it has to be Lola,” he said.
Read more…

The Erotic Thriller’s Little Death

TriStar Pictures / Netflix

Soraya Roberts | Longreads | May 2019 | 10 minutes (2,585 words)

Who do I have to fuck and kill to get a good erotic thriller? One of the first publicity stills from What/If, the new Netflix series starring Renée Zellweger, had the actress in a white dress, legs crossed, smiling enigmatically, her surroundings moody. It was a transparent reference to Basic Instinct, the vulvular Verhoeven from 1992 that marked the climax of the golden age of erotic thrillers, particularly the titillating cross-examination in which femme fatale Sharon Stone sits in a white dress, no underwear, legs alternating between crossed and uncrossed, smiling enigmatically, her surroundings moody. What/If is a sex reversal of Indecent Proposal, Adrian Lyne’s naughty take on the American Dream about a rich stranger offering a struggling couple $1 million to spend one night with the wife. The series flirts heavily with its soft-core antecedents. “This whole idea was ripped right out of a bad ’90s movie,” says Jane Levy (in the husband role in What/If). “I thought that film was quite decent,” is the awkward reply from Zellweger (as the Robert Redford character).

The difference here is that the 50-year-old actress’ knees remain firmly closed, just as the erotic thriller has ever since its mainstream demise in 1995. Her show is marketed as a “neo-noir social thriller,” presumably because creator Mike Kelley (of Revenge soap) considered the gender flip feminist, but its refusal to fully embrace the genre it’s attempting to be, either sexually or thrillingly, is the latest example of the erotic thriller’s latter-day impotence.

“Erotic thrillers are noirish stories of sexual intrigue incorporating some form of criminality or duplicity, often as the flimsy framework for on-screen softcore sex,” Linda Ruth Williams writes in The Erotic Thriller in Contemporary Cinema (2005). That’s the clinical description, but the most alluring aspect of these films (and, later, shows) was how clinical they weren’t. It was the “flimsy framework” around the saxophoned, vaseline-screened sex that really made them seductive. These films lingered on their characters, teasing out the personalities that were about to be pummelled, entering their layered lives of cutely chaotic homes and old friendships and workplace frustrations, not to mention the texture of the cities — New York, Los Angeles, San Francisco — in which that setup was about to unravel. The stories about these ideal homes being threatened by a sensual interloper served as a metaphor for the sociopolitical climate of the time, in which second-wave feminism and its single career women were wreaking havoc on traditional family values and, more specifically, on the power position that men had secured for so long.    

The hottest time for the mainstream erotic thriller was the 15 years from 1980 until 1995, when multiplexes were flooded with glistening, underappreciated masterpieces like The Last Seduction, starring Linda Fiorentino as the other kind of Queen B, and less successful limpets like Body of Evidence, in which Madonna proved that she can’t act when she’s naked either. Since then, per Williams, “the explicit has become implicit.” Unless you are a foreign auteur, mainstream prurience is sublimated into the supernatural and the traumatic — even the young adult — and the modern adult erotic thriller is stripped of grit to become 50 Shades of Grey, an appropriate title for the interchangeable sterile “intrigues” of the suburban set. What/If rides the trend of ’90s nostalgia, in which the culturally relevant (if not always critically acclaimed) is resurrected for the sake of kitsch, with little consideration for its original milieu. But the erotic thriller is a genre born of a cultural climate that isn’t so different from the one we are in now, so why can’t it make us come?

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You can measure the erotic thriller’s critical reputation by how little it has penetrated academia. Porn has spawned its own journal, and yet the study of titles like Wild Things appears to be relegated to only three books, including Nina K. Martin’s Sexy Thrills: Undressing the Erotic Thriller. She has a predictable explanation for the lacuna: “It’s for women,” she tells me, “and it’s not edgy enough.” It’s true: If you were old enough to masturbate in the ’90s, not only could you watch a young David Duchovny lubing women up on cable (Red Shoe Diaries), you could also Blockbuster and chill (which we just referred to as “renting”). Between the flaming porn and the brooding thrillers at the local video store languished sultry VHS covers with titles like Savage Lust scrawled over images of half-dressed couples embracing against black backdrops. “It gave a lot of people the opportunity to have a one-handed watch that actually had a story,” says Martin, “and that you could watch with someone as a couple and kind of get off.” The last one she remembers — the last good one, I would argue — is 2003’s In the Cut, one of the rare feminist erotic thrillers, which opens with a woman watching another woman going down on a man. But these days you wouldn’t get a major Hollywood star like Meg Ryan appearing in such a film (or behind it — it was a Nicole Kidman production), nor would you get a filmmaker of Jane Campion’s caliber directing it.

The erotic thriller came out of film noir, so it makes sense that one of the earliest neo-noirs, Body Heat (1981), was inspired by Billy Wilder’s 1944 classic Double Indemnity. Kathleen Turner never really washed off the sweat of her debut, in which she plays the wife of a wealthy businessman who convinces her lover, an inept lawyer — “You’re not too smart, are you? I like that in a man.” — to kill her husband. The film was so ecstatically received that it spawned the Body Heat Society, a woman-run film fan club before that was de rigueur. “It’s the perfect story of the perfect seduction,’’ founder Royelen Lee Boykie told The Chicago Tribune in 1987. But it was Fatal Attraction (1987) that really hit the collective G-spot. Producer Sherry Lansing wanted to make a feminist version of the British film Diversion, in which a married man has an affair and gets his comeuppance. “When I watched that short film, I was on the single woman’s side,” Lansing told Susan Faludi for her book Backlash: The Undeclared War Against American Women (1991). “I wanted the audience to feel great empathy for the woman.”

The men who ran Hollywood did not. To understand how the erotic thriller, which could have been a genre that celebrates women owning their sexuality, became its opposite, you have to understand the time in which it arose. This was the 1980s, the decade in which liberated women were trying to mind their own business and start a career and men were interpreting the shift as a direct shot at mankind and the murder of the nuclear family. That’s how Fatal Attraction’s single career woman becomes “the most hated woman in America.” The studio refused to keep Michael Douglas’s cheating husband unsympathetic, going against Lansing to make Glenn Close’s Alex Forrest a crazy-faced psycho killer. To protect the family man, they sacrificed the independent blond who knows what she wants, turning her into a woman-shaped threat to fundamental American values that can only be taken down by the traditional housewife’s phallus — sorry, pistol.

This was, according to Williams’s book, “the perfect erotic thriller blueprint.” And in some ways, Fatal Attraction, which dominated the box office and the cultural conversation, was perfect. Director Adrian Lyne had been chosen off the success of Flashdance, and it was his attention to detail — the authentic discussions between family and friends, the messy homes, the dizzying ambience of New York — that makes the movie a classic. “It adds the seeming irrelevancies that are most important,’’ he told The New York Times. But it was also Michael Douglas. The man who became the face of the erotic thriller — he also starred in Basic Instinct, Disclosure, and A Perfect Murder — was able to be hero and antihero at the same time, both championed and maligned. In Williams’s words, he was “the representation of flawed, crisis-ridden masculinity and the concomitant decline of male cultural and social authority.”

Only five years after Fatal Attraction, the blockbuster erotic thriller blew its load for the last time with Basic Instinct, which not only commanded record earnings, but was popular despite — because of? — the perceived anti-gay sentiment of its bisexual femme fatale. Then the genre died; it’s fitting that the man who brought the erotic thriller to climax with Basic Instinct also killed it with Showgirls. Director Paul Verhoeven had the chance to earn the NC-17 rating designed to bolster now well-established adult fare, but he failed and the erotic thriller became a studio risk. Perhaps this was enough to kill it, considering Hollywood’s increasing need to make bank, but it was buried for good by a political landscape that reinforced America’s growing puritanism, an industry saturated with cheap knockoffs like Fair Game (starring supermodel Cindy Crawford), and the rise of free online porn and graphic auteur cinema.

But it was only a little death. The specter of Beyoncé floats over a new form of mainstream erotic thriller, one which has been scrubbed for its debut. In 2009, Queen B reintroduced us to blockbuster eroticism with Obsessed, which was dubbed “the black Fatal Attraction” — a married man is terrorized by a woman at his office — but had none of its predecessor’s charm. Producer Will Packer is famous for his aspirational black rom-coms (This Christmas, Think Like a Man), and Obsessed shared the same generic aesthetic. The specificity of the best erotic thrillers was thus replaced by an all-encompassing generality — suburban-style wealth with interchangeable houses, offices, clothes, people, even storylines. Here, again, men were in charge (producing, directing, writing), so the politics remained largely the same — the man is castrated by the single woman, the mother is the reigning power who restores order — while Hollywood’s mixed feelings about black intimacy meant the erotic part was cooled way down. A stream of nonwhite erotic thrillers lifted this framework, most recently Unforgettable and When the Bough Breaks, though the genre’s biggest (white) release of the past decade did too.

“Uh, oh, uh, oh, uh, oh, oh, no, no,” sang Beyoncé over and over in 2015 leading up to the release of 50 Shades of Grey, for which she recorded a heart-pounding version of “Crazy in Love.” E.L. James’ S&M “book,” I suppose you would call it, which started out as Twilight fan fiction, was a phenomenon among housewives and the biggest mainstream erotic thriller in a decade, attracting an audience of mostly women who were so desperate for some hot sex on-screen that they were willing to pay $13 to see a movie based on a story that read like its writer had never actually had sex. 50 Shades of Grey is potentially the least foxy film of all time — wooden acting, wooden script, wooden directing, but absolutely no wood. “Are You Curious?” the marketing kept asking us. Don’t be: It basically looks exactly like Obsessed, except in a farcical display of our current conversation around consent, the heroine has to sign a contract before she can fuck. This was two years before we started talking about how men in Hollywood have abused their power, which could be why the two men who produced this cock-up thought it made sense to have Dakota Johnson play a woman who is willing to sign a paper in order to have Jamie Dornan’s rich, dead-eyed white man bore the pants off her (we can get that for free!).

* * *

“Your pants are on fire.” “You have no idea.” Within the first five minutes of Indecent Proposal, Demi Moore and Woody Harrelson are having flaming sex — various positions, various body parts — on their kitchen floor. This is frenzied makeup fornication after a fight that resulted in his boxers landing on the boiling stove. In What/If, the analogous couple takes four episodes to get seriously steamy — like, in a shower. OK, they also have sex, but it is so pure it involves garters and is artfully shot through the slates in a banister. This is the erotic thriller now, a pale imitation of its white-hot heyday, in which romance is an afterthought and the thrill is gone. That clinical uptightness that was missing from the originals, which made them so seductive, has me wondering why they even bother anymore. But then again, it tracks that a culture steeped in nostalgia but fixated on box office performance would strip the erotic thriller, a once lucrative genre, down to its superficial parts — a gesture at sex, a glance at intrigue, the broad strokes of a vague threat to patriarchy — to sell it out to the widest audience possible. This would in part explain why the new films and shows have been denuded of their specificity — in character, in location, in aesthetic — though that also aligns with how aspiration is framed now, a time of sporadic employment in a digital (not that kind) dictatorship, as a sterile McMansion in which the comfort of wealth has replaced the comfort of relation.

Then there’s the sex. While men don’t want women to own their sexuality and are skittish in the wake of so many of their male peers screwing up, women don’t want to be objectified or reduced to their sexuality anymore either. Even if Fatal Attraction would make sense coming from a man right now, Martin thinks actresses, awakened to gender parity and intimacy standards, would be unlikely to take on the role. “It’s such a loaded grey area now,” says Martin, observing that sex is either problematized within a relationship as in Sex Education and Gypsy, or it’s associated with trauma as in Top of the Lake (another Campion) and Sharp Objects. That the rare erotic thriller comes from auteurs out of Europe (François Ozon) or Asia (Park Chan-wook) is unsurprising considering their divergent approach to sex and gender. In America, meanwhile, the spectacle has taken over the sexual — women are more concerned with saving the world than in exploring their sexuality. And, sure, I’m all for women solving the climate crisis, but we also have sex lives. And all the talk around consent suggests that it’s the perfect time for cinema to explore the nuances of sexuality (not to mention the widespread panic over millennials having less of it — I mean, would you in this economy?)

Instead, any prurience that threatens to limit the largest possible impact has been folded into the supernatural, since Twilight, which also introduced sensuality into the YA world, culminated in series like You and Riverdale. All of this is not to say that you can’t still find erotic thrillers, just that they have retreated to the margins. What was once a mainstream film — A-list actors and filmmakers — about a queer femme fatale, is now a queer erotic thriller — unknown actors and filmmakers — that only surfaces on streaming sites like Netflix for niche audiences whose algorithms call it out. You can get free porn online, you can pay for a good thriller in the cinema, but you can’t get both together. No wonder I found myself nodding along to the last two words of What/If, a scene in which Zellweger’s femme fatale orders a martini, perhaps to distract her from all the sex she’s not having. “One olive,” she says. “Very dry.”

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Soraya Roberts is a culture columnist at Longreads.

The Day New York Rose Up Against the Nazis On the Hudson

A demonstration near the German ocean liner SS Bremen in New York, after Hugh Wilson, the American ambassador to Germany was recalled in the wake of Kristallnacht, 1938. (FPG/Hulton Archive/Getty Images)

Peter Duffy | An excerpt adapted from The Agitator: William Bailey and the First American Uprising Against Nazism | PublicAffairs | March 2019 | 20 minutes (5,458 words)


Hear it, boys, hear it? Hell, listen to me! Coast to coast! HELLO AMERICA!
—Clifford Odets, Waiting For Lefty

Seven million New Yorkers, few of them in possession of the luxury item known as an electric fan, woke up to the best news in three weeks on Friday, July 26, 1935. During the overnight hours, the humidity plunged by 33 points. By sunrise, the temperate air from Canada had completed its work. The heat wave was over.

“Humidity Goes Into Tailspin,” the New York Post exulted. “Rain Ushers in Cool Spell,” declared the Brooklyn Eagle.

The New York Times and Herald Tribune didn’t make much of a fuss that morning over Varian Fry’s revelations about his conversation with Ernst Hanfstaengl. “Reich Divided on Way to Treat Jews, Says Fry,” was the cautious headline on page eleven of the Tribune. One faction of the Nazi Party, the paper went on in summary of Hanfstaengl’s comments to Fry, “were the radicals, who wanted to settle the matter by blood.” The other, “the self-styled moderate group,” wanted to “segregate the Jews and settle the question by legal methods.” The Times ran its version on page eight and devoted most of the article to Fry’s retelling of the Berlin Riots. “There were literally hundreds of policemen standing around but I did not see them do anything but protect certain cafés which I was told were owned by Nazis,” Fry was quoted as saying. The paper saved its preview of the Holocaust for the ninth of eleven paragraphs. The nation’s newspaper of record didn’t see the value in highlighting the disclosure that “the radical section” of Hitler’s regime “desired to solve the Jewish question with bloodshed.”

Reached for comment in Berlin, Hanfstaengl called Fry’s account “fictions and lies from start to finish.” Read more…

The Battle Over Teaching Chicago’s Schools About Police Torture and Reparations

Illustration by Cha Pornea

Peter C. Baker | Longreads and The Point | February 2019 | 35 minutes (8,900 words)

This story is produced in partnership with The Point and appears in issue no. 18.

“What do you know about Jon Burge?”

Barely seven minutes into her black-history elective on the morning of April 16th, Juanita Douglas was asking her students a question she’d never asked in a classroom before, not in 24 years of teaching in Chicago’s public schools. She’d been preparing to ask the question for over a year, and she knew that for many of her students the conversation that followed would be painful. Disorienting. She didn’t like the idea of causing them pain. She didn’t want to make them feel overwhelmed or lost. But she thought, or at least hoped, that in the end the difficulty would be worth the trouble.

It was only second period. Several of Douglas’s students — a mix of juniors and seniors — were visibly tired. A few slumped forward, heads on their desks. I was sitting in the back row, so I couldn’t tell for sure, but I thought one or two might be fully asleep. Some were stealthily texting or scrolling through Snapchat. Others were openly texting or scrolling through Snapchat.

After a few seconds, Douglas repeated the question: “Do you know Jon Burge?”

A ragged chorus of noes and nopes and nahs.

“Tell me again what year you were born in,” said Douglas, who is 54 and likes to playfully remind her students that they don’t know everything about the world.

2000. 2001. 1999.

“Okay,” she said. “Well… Welcome to Chicago.”

Like so many new curriculum units in so many high schools across America, this one began with the teacher switching off the lights and playing a video. Who was Jon Burge? The video supplied the answer. Burge was a former Chicago Police Department detective and area commander. Between 1972 and 1991 he either directly participated in or implicitly approved the torture of at least — and this is an extremely conservative estimate — 118 Chicagoans. Burge and his subordinates — known variously as the Midnight Crew, Burge’s Ass Kickers, and the A-Team — beat their suspects, suffocated them, subjected them to mock executions at gunpoint, raped them with sex toys, and hooked electroshock machines up to their genitals, their gums, their fingers, their earlobes, overwhelming their bodies with live voltage until they agreed: yes, they’d done it, whatever they’d been accused of, they’d sign the confession. The members of the Midnight Crew were predominately white men. Almost all of their victims were black men from Chicago’s South and West Sides. Some had committed the crimes to which they were forced to confess; many had not. The cops in question called the electroshock machines “nigger boxes.”

The video cut to Darrell Cannon, one of the Midnight Crew’s victims. He spoke about getting hauled by cops into a basement:

I wasn’t a human being to them. I was just simply another subject of theirs. They had did this to many others. But to them it was fun and games. You know, I was just, quote, a nigger to them, that’s it. They kept using that word like that was my name… They had no respect for me being a human being. I never expected, quote, police officers to do anything that barbaric, you know… You don’t continue to call me “nigger” throughout the day unless you are a racist. And the way that they said it, they said it so downright nasty. So there’s no doubt in my mind that, in my case, racism played a huge role in what happened to me. Because they enjoyed this. This wasn’t something that was sickening to them. None of them had looks on their faces like, ugh, you know, maybe we shouldn’t do this much. Nuh-huh. They enjoyed it, they laughed, they smiled. And that is why my anger has been so high. Because I continuously see how they smile.

Text on the screen explained that Burge was fired in 1993, following a lawsuit that forced the Chicago Police Department to produce a report on his involvement in “systematic torture,” written by its own Office of Professional Standards. After his firing Burge moved to Apollo Beach, Florida, where he ran a fishing business. In 2006 another internally commissioned report concluded that he’d been a torture ringleader, but still no charges were brought; the Illinois five-year statute of limitations for police brutality charges had by then expired. In 2008 FBI agents arrested Burge at his home, and creative federal prosecutors charged him — not with torture, but with perjury. In a 2003 civil case, Burge had submitted a sworn statement in which he denied ever taking part in torture. In 2010 a jury found him guilty. After the trial, jurors pointed out that the name of Burge’s boat — Vigilante — hadn’t helped his case.

As soon as the video ended and Douglas flipped the lights back on, her students — most of whom were, like her, black — started talking. Their confusion ricocheted around the room.

“How long did he get?”

“Four-and-a-half years.”

“He only got four-and-a-half years?”

“That’s what I’m saying.”

“I really feel some type of way about this.”

“Is he still alive?”

“I’ve got it on my phone.”

“He didn’t torture them alone. Why didn’t anyone else get charged?”

“I’ve got it on my phone. He’s still alive.”

“I’m just… angry.”

“He lives in Florida!”

“Didn’t no one hear the screams?” Read more…

Who Even Watches the Victoria’s Secret Fashion Show Anymore?

Evan Agostini / Invision / AP, Jens Kreuter / Unsplash, Photo illustration by Katie Kosma

Soraya Roberts | Longreads | November 2018 | 9 minutes 2,184 words)

The most popular Victoria’s Secret Fashion Show picture on Instagram last year was of Bella Hadid. I burst out laughing when I saw it. It reminded me of that stereotypical image of the old-school flasher — beige trench, black trilby — ripping his coat open to reveal his anxious dick. Of course, Bella Hadid does not have a dick, but she’s posing like she does. The 5 foot 9 inch angel (if not capital-A Angel) stands legs akimbo in a room full of people minding their own business, splaying her petal pink robe to reveal hips jutting out of high-riding briefs and boobs pushed up so far they’re practically floating above her head. Read more…

Maybe We Can Make a Circle

 

Nicole Piasecki | Hippocampus Magazine | June 2017 | 13 minutes (3,410 words)

 

This is the second in a three-part series on gun violence.

In part one, long after the shooting at her old high school, Megan Stielstra worries about her father’s heart.

In part two, Nicole Piasecki writes a letter to the wife of the shooter who killed her father.

In part three, Megan and Nicole talk about the shooting that changed their lives, who owns the story, and what to do with fear. 

 

* * *

Dear Alice,

1. I’ve started to write this letter at least 20 times in as many years. Just imagine me sitting alone in my office surrounded by crumpled pieces of paper. Since you’re a writer yourself, I know you understand the difficulty of saying it just right. I have spent way too much time trying, and I need to find a way to finally be done with this.

2. When I first walked into your high school English class in Chelsea, Michigan, I saw a light in you that I wanted for myself. Your chestnut eyes were always welcoming, your smile always subtle, yet warm. In person, you were impossible to hate.

3. “The center is a point,” you said to our class during the daily segment on commonly misused phrases. “One centers on a point, not around one.”

4. I had never given much thought to my teachers’ lives outside of school. I knew you within the context of your 11th and 12th grade classes. I rarely even saw you in the hallways of Chelsea High. You were a fixture in that corner classroom, a woman who seemed to exist wholly there. I knew you as humble and intelligent, absent of the complexities and fallibility of the literary characters we discussed in class.

I never would have imagined that you were married to a man who kept a gun beneath his pillow.

5. I took Chemistry I with your husband in 1992, when I was a sophomore. I remember that he played loud rock music on the stereo while we did experiments. He wore that plaid and wool hunting jacket and drank coffee out of that small, plastic cup that doubled as a lid to his tall vacuum thermos. His hands sometimes shook when he lifted the cup to his lips. He kept his haggard ponytail pulled back with a thin rubber band. I remember the fluorescent classroom lights shining on his balding head as he lectured. During class, he stroked each side of his wide mustache with his thumb and first finger, while he waited near a wooden podium for a student to answer a question. Sometimes he started class at his instructor’s desk with a lab sink and used test tubes and chemical reactions to create sudden, violent bursts of flames. That was his signature method of making chemistry seem cool.

Though I interpreted his personality as arrogant and strange, I didn’t dislike him as much as I quietly despised the subject of chemistry. You should know that I have always struggled with solving complicated formulas.

6. My dad never told me things that a teenager didn’t need to know, and I never thought to ask him. He mostly kept his work life separate from home life. I didn’t know what a school superintendent did all day, and I never thought to ask him.

One night, though, when I was standing in our kitchen by the sliding glass door, my dad walked up to me with his hands in the pockets of his faded weekend jeans and said, “Hey Nick? When you went in early for chemistry help, did Mr. Leith ever act weird around you?”

I looked at my dad for a few seconds and wrinkled my brow. “What are you talking about?” I replied.

My dad dropped the subject without explanation, and I quickly forgot about it.

Even when it was just the two of us — your husband and I — in his chemistry lab, he had never said anything inappropriate to me. He just buzzed around the room while I sat in the middle, an island among a sea of empty desks. He answered my questions about the homework and continued preparing for the school day.

I wasn’t a pretty girl. I was self-conscious and tomboyish. Acne spotted my jaw line and chin. My chest was as flat as a boy’s. And I was the boss’s daughter.

You should know that I have always struggled with solving complicated formulas.

7. Earlier that year, the mother of a quiet, long-haired, senior girl called our home telephone at an unusually late hour. I answered the call in the kitchen. “Dad, it’s for you,” I said in the direction of the living room. He took the call in private.

8. One of my favorite photographs of my dad is the one where he’s sitting next to my hospital bed at St. Joe’s in Ypsilanti, right after my knee surgery during my senior year. He sat in that uncomfortable chair, staying day and night, as my left leg moved, bending and straightening in a Constant Passive Motion machine. In the photograph, he’s wearing jeans and a blue sweater with a tired, loyal smile on his face. He only stepped out of the room when the nurse arrived to help me use the bedpan. Back then I never saw his commitment to me as remarkable because it was all I had known.

9. Through high school it seemed that my teachers somehow belonged to me. “Mrs. Leith is my favorite teacher,” I often said, not even realizing the implication of the possessive determiner, the inherent egocentricity of the teenage mind that places everyone and everything in her life on a single orbit.

10. Surely you know all about the giddiness that your high school students felt on the Thursday before Christmas break. My energy that day felt boundless. I practically bounced from seventh period, across the grass, and straight to the outer window of my dad’s office. I knocked on his window, and he tilted it open. He was eating an ice cream sundae from McDonald’s out of a small, clear, plastic cup. He smiled his full-faced smile when he saw me, and I returned a grin. He reached out and dropped the car keys into my hand so I could drive to physical therapy. My mom planned to pick him up later so they could finish the Christmas shopping. As I turned to walk toward the parking lot, my dad said, “Have fun. See you later,” and tipped the window to close it.

At physical therapy, my friend Carey and I both rode Stairmasters, and we listened to the Lemonheads album, It’s a Shame about Ray, on the stereo. We moved our arms like we were dancing. The snow fell quietly outside; the cold windows had white paper snowflakes taped to them.

Mid-workout we overheard someone say there had been a shooting at Chelsea High School. We stepped off of the Stairmasters and huddled around an AM/FM radio to try to learn more. Our first instincts developed concern for our friends who may have been attending a sporting event in the school gymnasium. We imagined that the shooter must have been a kid from another school.

It never crossed our minds that the shooter could have been your husband or that the victim could have been my dad.

Carey and I changed into our street clothes without finishing our workout. We quietly puzzled over all the possible scenarios that could have led to gunfire in our small hometown, but we couldn’t add it up.

11. When the details of that afternoon — the day your husband killed my dad — slowly leaked out from police reports and school employees, I learned that your husband had been reprimanded for sexually harassing female students in the school hallways. I learned that he was on the verge of losing his job. I learned that your husband had stormed out of the grievance meeting with administrators not long after the school day had ended. I learned that you and your husband carpooled home from school together that day. I learned that you were with him and his anger for the 20 minutes it took you to drive home.

I learned that when you arrived home, your husband disappeared upstairs. He returned with a 9mm, semi-automatic pistol in his hand. He asserted, “He is going to die.”

I learned that your husband got back into the car alone and sped toward the school administration building where my dad and two others continued the meeting.

Twenty minutes.

That’s how long it took your husband to drive back to the high school.

I learned that you didn’t call the police whose small-town headquarters were only blocks from the school. You didn’t call the administration building to warn the three men whose lives were at stake, sitting ducks. Instead, you called the teachers’ union office in Ann Arbor, 20 minutes in the opposite direction.

Since nobody had cell phones then, my dad and the others in the room received no proper warning that your husband was coming back to the meeting with a gun and intent to kill.

Your husband wore a long trench coat with pockets of ammunition. He squealed his tires in the school parking lot. He told someone who approached him that he had “unfinished business” to attend to.

He walked into the administration building. Turned the corner into the doorway of the small office. He lifted the gun and pointed it, first, at my dad (Daddy, Dada, Pops).

My 47-year-old dad’s last words were: “Steve, you don’t have to do this.”

Your husband fired round after round. He killed my dad. He injured two others.

You didn’t call the police.

12. Why Alice? Why the fuck didn’t you call the police? Why? Why? Why?

13. After your husband shot my dad, a pocket of time existed where my dad was not gone, and it was still just a Thursday in December. I was still just a teenager, happily riding the Stairmaster at MedSport looking through icy windows with paper snowflakes taped to them. My brother, Brian, was still just a fresh-faced Private First Class, wrenching bolts on the engines of fleet vehicles at the Marine base in Okinawa, Japan. My mom was still a wife of 26 years and a middle school special education teacher at a neighboring school district.

You were still just my favorite high school teacher — the one who made me love words.

14. I can’t remember if it was you or I who initiated the meeting two days after your husband murdered my dad at our school. I hadn’t slept since I found out. I had been desperately pulling his photographs from sticky plastic pages of family photo albums and taping them to the bathroom mirrors: Dad sitting on a chaise lounge chair on the beach in Cancun the previous December; Dad sitting on a tree stump by Higgins Lake smoking a corn-cob pipe and holding a cup of morning coffee in his relaxed hand; Dad with his arm around my brother Brian at the Marine boot camp graduation ceremony at Camp Lejeune less than four months prior.

Still, I was worried about how you might be feeling. I was eager to believe in you — to affirm that we were both unknowing victims of your husband’s violent actions, to tell you that I didn’t blame you.

I sensed some hesitation from my mom, but she took me to meet you anyway. The story was still developing. I couldn’t imagine any scenario wherein you were not the hero. She could.

We learned that you had been staying with your friend and colleague, Pam. When we arrived at her house, Pam took our damp jackets, and I saw you sitting alone in a wingback chair at the far corner of the large room. You didn’t rise to greet us when we entered the Christmas-ready living room. Your face displayed a low, distant gaze. Your fingertips fidgeted with a pinch of fabric on the bottom of your sweater. I don’t know what kind of welcome I had expected.

Finally, you approached me. You said something like, “This is for you,” and your tone was solemn. You reached out and handed me a hardcover book and hand-written letter. Did the book have a tree on the cover? Do you remember the title?

I never read the book. I meant to. My head was too clouded with grief in those days to concentrate for long. I stuffed the book into a drawer in my bedroom and never looked at it again.

I did read your short letter. Your words were scrolled diagonally across the yellow legal paper that you’d folded like a business letter. The one thing I’ve always remembered about the letter was the part I understood the least. “Maybe we can make a circle someday,” it said.

I’ve been wanting to ask you for years: What does that mean?

15. I returned to school only three weeks after my dad died, often arriving late and unprepared, driving up to the school in the used Chevy Corsica that was still registered in his name. My other teachers offered me unspoken allowances for my unimpressive academic performance during the second half of my senior year. My government teacher passed my late, biased research paper that took a stance against the death penalty. I called capital punishment “an option that doesn’t warrant enough suffering.”

I was scheduled to take your English class, but the counselor intervened. Instead, I met with your student teacher in the library. I don’t remember her name, only that her severe psoriasis frightened and distracted me. I was afraid it was contagious, and I couldn’t bear any other complications in my life. We read Hemingway’s The Old Man and the Sea as an independent study. I was just barely getting by. I remember how tired Santiago was while trying to reel that large Marlin into the boat. I supposed that I wouldn’t have had it in me to keep going like he did.

On the one-month anniversary of my dad’s death, I doodled “un mes” on the top of my worksheet in Spanish III, instead of listening to Señora’s lecture. I wanted someone to understand the dispassionate nature of time — that it kept moving forward, creating more and more space between my dad’s terminated life and my enduring one. It had been one month since your husband killed my father. But I couldn’t say it. I couldn’t scream or cry or even say that I was sinking, that I needed help. I couldn’t say that my 17 years of gentle experiences hadn’t come close to preparing me for this.

That final semester of high school, I don’t remember speaking to you. Surely I must have seen you in the hallways. Did you see me?

If I could forget about Hamlet, the Lilliputians, stream-of-consciousness writing, and all the prefixes and suffixes in the English language, maybe nothing would remind me of you.

16. It was confusing to see you in the courtroom, on the opposing side, sitting next to your mother-in-law, then taking the stand, making a case for your husband’s insanity defense, trying to get the jury to say, not guilty. The defense attorney led you through a detailed account of your husband’s bizarre actions. I remember the story of your husband killing your pet bird, how he broke its neck with his bare hands. You recounted a Christmas when he curled himself beneath a piano and sobbed like a baby. You explained his obsessions with guns — how he usually kept one within reach.

An aisle in the courtroom divided my family from his, yours. You never once looked across.

I often wonder why I expected some sort of loyalty from you. I was one of thousands of students who had filtered through that corner classroom, but you had made me feel like an insider.

17. I know exactly where I was when I learned that you lost your battle with cancer. I stood courtside in the main gymnasium at Adrian College. I wore my baggy, white shorts, a bulky knee brace, and jersey #25, covered with a bright gold warm-up top. My blonde hair was pulled back into a ponytail, and it was wispy on top from my sweat. I was a sophomore at Adrian and had just finished playing an NCAA, Division III basketball game. My mom came to watch my game because it was the second anniversary of the day your husband killed my dad, and anniversaries held a weakening force for us. It seemed that we should be together.

“I have some news,” Mom said. She had done the right thing by waiting until after the game was over to tell me.

“Alice died.”

“When?” I asked.

“Her funeral was today.”

18. You taught me to love the nuances of words. You were the first to introduce me to Shakespeare, Hemingway, and Swift. If I could forget about Hamlet, the Lilliputians, stream-of-consciousness writing, and all the prefixes and suffixes in the English language, maybe nothing would remind me of you, except there will always be circles.

19. Did you ever attend the National Council of Teachers of English convention? I have barely missed a year since I began my own career as an English teacher. You’re gone, so I don’t have to worry about running into you there, in an elevator going up or in the cafeteria at lunch. But I must admit that sometimes I still think I see you places. I see a modestly dressed woman with shoulder-length brown hair, and downward-pointing chestnut eyes, and my breath catches in my throat. Then I remember.

20. The last time I saw you in the flesh, I was a freshman at Adrian College and you were still an English teacher at Chelsea High School. In a moment of capriciousness, I drove the hour north on Michigan 52 and parked in a visitor space in front of the high school. The campus was quiet. All the students sat in class, which left me alone to walk the cement pathways.

I walked past the art building where I had taken half a dozen studio art classes in drawing, painting, pottery, and jewelry; past the science building where I had taken chemistry with your husband; past the building where I had taken Spanish every semester; past the administration building where I had spent so much time waiting for my dad so that we could ride home together, the same building where I saw him, an hour before he died, eating his ice cream sundae and smiling through the propped-open window.

It still seemed strange that life just continued on in that place. A different teacher stood in front of your husband’s old classroom, a new superintendent sat at a desk in my dad’s old office, new kids replaced those of us who had graduated.

I entered the English building and walked down the locker-encased hallway to your classroom.

I peeked into your classroom window, a thin, rectangular pane of glass. I saw you leaning on a desk just a few feet from the door, helping a small group of students. I stared through the window until you saw me. When you looked up, your body froze for a moment. I wonder what you were thinking then.

I hadn’t told anyone that I was coming, and still find it hard to explain my motivation to see you that day.

You looked weak, frail, and sick, a dimmer version of your former self. I remember that you stepped into the hallway and faced me. You looked me straight in the eyes. You wore an expression that I decoded as a combination of mercy and fear.

Even with your full attention, I couldn’t speak a single word. All I could do is stand in the hallway and look at you, standing three feet away.

I searched your face and eyes, and you searched mine, as if all the questions were written there. You never asked me why I had come. You seemed to understand, maybe more than I did.

How long did we stand there, saying nothing at all?

21. It never occurred to me that you would die from a cancer recurrence soon after that day we stood together in silence outside of your classroom door at Chelsea High School. I didn’t know our impromptu meeting would signify a final goodbye between teacher and student, woman and girl.

I always imagined that someday I would write you a letter, that someday you would hold it in your hands. That someday I would have the answers to all of the questions I never had the courage to ask.

* * *

Nicole Piasecki teaches undergraduate writing and rhetoric at the University of Colorado Denver. Her creative writing has been featured in HippocampusMotherwellBrevity Blog, Word Riot, and Gertrude Pressand is forthcoming in Literary Mama.

This essay originally appeared in Hippocampus Magazine.

Editor: Dana Snitzky