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How David Bowie Came Out As Gay (And What He Meant By It)

Simon Reynolds | Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century | Dey Street Books| October 2016 | 19 minutes (5,289 words)

 

Below is an excerpt from Shock and Awe, by Simon Reynolds.

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People like Lou and I are probably predicting the end of an era … I mean that catastrophically.
Any society that allows people like Lou and me to become rampant is pretty well lost.

On Sunday afternoon, 16 July 1972, David Bowie held a tea-time press conference at the Dorchester, a deluxe five-star hotel on London’s Park Lane. Mostly for the benefit of American journalists flown in to watch him and his new backing band, The Spiders from Mars, in action, the event was also a chance to show off Bowie’s new ‘protégés’, Iggy Pop and Lou Reed. They had – separately – made their UK live debuts on the two preceding nights, at the exact same venue, King’s Cross Cinema.

Glammed up in maroon-polished nails and rock-star shades, Reed sashayed across the second-floor suite and kissed Bowie full on the mouth. Sitting in the corner, Iggy also displayed a recent glitter makeover, with silver-dyed hair, eye make-up and T. Rex T- shirt. Reed, Iggy and Bowie would later pose for the only known photograph of the threesome together, Bowie looking resplendent in a flared-cuff Peter Pan tunic made from a crinkly, light-catching fabric. That was just one of three outfits he wore that afternoon – surely the first time in history a rock’n’roll press conference involved costume changes.

During a wide-ranging and somewhat grandiloquent audience with the assembled journalists, Bowie declared: ‘People like Lou and I are probably predicting the end of an era … I mean that catastrophically. Any society that allows people like Lou and me to become rampant is pretty well lost. We’re both pretty mixed-up, paranoid people, absolute walking messes. If we’re the spearhead of anything, we’re not necessarily the spearhead of anything good.’ What a strange thing to announce – that you’re the herald of Western civilisation’s terminal decline, the decadent symptom that precedes a collapse into barbarism or perhaps a fascist dictatorship. But would an ‘absolute walking mess’ really be capable of such a crisply articulated mission statement? There’s a curious unreality to Bowie’s claims, especially made in such swanky surroundings. Yet the reporters nodded and scribbled them down in their notepads. Suddenly Bowie seemed to have the power to make people take his make-believe seriously … to make them believe it too. Something that in the previous eight strenuous years of striving he’d never managed before, apart from a smatter of fanatical supporters within the UK entertainment industry.

Some eighteen months before the Dorchester summit, the singer had looked washed-up. Deserted by his primary collaborators Tony Visconti and Mick Ronson, he put out the career-nadir single ‘Holy Holy’. (Can you hum it? Did you even know it existed?)

Yet a little over a year later, Bowie had everybody’s ears, everyone’s eyes. His fortunes had transformed absolutely: if not the biggest star in Britain, he was the buzziest, the focus of serious analysis in a way that far better-selling contemporaries like Marc Bolan and Slade never achieved. No longer a loser, he had somehow become the Midas man, a pop miracle-worker resurrecting the stalled careers of his heroes, from long-standing admirations like Lou Reed to recent infatuations like Iggy Pop and Mott the Hoople. Sprinkling them with his stardust, Bowie even got them to change their appearance in his image. There was talk of movies and stage musicals, the sort of diversification that’s tediously commonplace in today’s pop business, but back then was unusual and exciting.

‘People look to me to see what the spirit of the Seventies is,’ Bowie said to William S. Burroughs in a famous 1974 dialogue convened by Rolling Stone. This was not boasting, just the simple truth. How did Bowie manage to manoeuvre himself into place as weathervane of the zeitgeist? The battle was not won on the radio airwaves or at record-store cash registers. There are bands from the early seventies who sold millions more records than Bowie ever did, but they never came near to having the high profile he had at the time and are barely remembered today. Bowie’s theatre of war was the media, where victory is measured in think pieces and columns, controversy and the circulation of carefully chosen, eye-arresting photographs. Read more…

From Food Scraps to Profit: The Compost King of New York City

At first, I didn’t know what to make of Charles Vigliotti. You seldom hear the words “wealthy” and “composter” strung together. But as he explained his roundabout path to the energy sector, I began to sense Vigliotti’s commitment to solving some serious environmental problems, even as he lined his silky pockets.

After city landfills began closing in the 1980s, Vigliotti found he was spending too much money directing waste out of state. He began to move away from the trash business and in 1991 established with his brother Arnold a compost company in Westbury, N.Y., that transforms Himalayas of landscape debris — grass clippings, leaves, wood chips — into millions of bags of lawn and garden products. Business was good, but Vigliotti remained restless. In 1999, he opened a compost site in Yaphank, where in 2008 he began dabbling in food waste, mixing scraps from a Whole Foods Market and a small-batch won-ton manufacturer into his formula for potting soils. At this point, Vigliotti wasn’t thinking of food waste as a renewable energy source or a way to reduce the city’s far-flung garbage footprint or greenhouse-gas emissions. It was simply a way to take in more volume and thus make more money.

At the New York Times Magazine, Elizabeth Royte reports on “compost king” Charles Vigliotti, chief executive of American Organic Energy, who has a vision for the future: transforming the food waste of New York City into clean energy — and a profit.

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A Crisis in Sports: Attention Spans

Credit: Mark Danielson/Flickr

We’ll always be fascinated with sports; it’s a constant. There will always be a sizable percentage of the population that cares about the NBA trade deadline, what the New York Yankees accomplished during winter meetings, and whether Dak Prescott is in fact the real deal. Part of our collective human nature is marveling at what only just a few can do better than anyone else alive.

But if you’ve watched an NBA game and waited 10 minutes for the final minute and a half to play out, or if you’ve sat through a 20-pitch at-bat only to watch a player pop up, you might be understandably underwhelmed. There is something to be said for sports lacking the requisite amount of drama and intensity to keep people interested at all times. Again, this is all understandable. But for millennials, and we assume subsequent generations, it’s also a cause for concern.

According to a 2015 study undertaken by Microsoft, average attention spans had dropped by four seconds since 2000—we are now capable of concentrating on a subject at a given time for just eight seconds—why is why the NBA, MLB, and NCAA are all going to their own mattresses to figure out how to keep consumers engaged as the strength and prevalence of the Internet of Things continues to grow. Read more…

Learning About Memory from a Woman Who Lost Hers

Chart from "The Phrenological Journal," (c) The Wellcome Trust

Lonni Sue Johnson was a successful illustrator — think New Yorker covers — amateur violist, pilot, and small businesswoman. When the herpes simplex virus attacked her brain, it caused substantial tissue loss in her medial temporal lobes; she lost almost her entire lifetime of knowledge and experiences, along with the ability to form new memories. In Aeon, Michael Lemonick describes how she’s invaluable to neuroscientists working to understand how we make, organize, and store memories.

There’s no established protocol, however, for probing an amnesia victim on the sorts of knowledge Johnson gathered in her lifetime. The neuroscientists at Johns Hopkins started at the most basic level they could think of – the ‘Who painted this?’ test, which she pretty much failed. Her semantic memory about art and artists, her primary area of expertise, was significantly impaired. Remarkably, though, when the scientists included some of her own artworks in the testing, she correctly flagged every one as hers. Even more surprising, when the researchers added drawings done in a style somewhat similar to Johnson’s, she picked them out as artworks she might have produced. To do so, she had to be drawing on some sort of memory. It clearly wasn’t episodic memory, since artworks aren’t events – but it’s unclear that it qualifies as semantic memory either, since it addresses an ineffable quality, not a set of facts. ‘I don’t think we know how to characterise that sort of memory,’ Barbara Landau, one of the Johns Hopkins scientists, told me in an interview.

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The Early Principles That Guided the Makers of LEGO

Legos in space

In his 2013 book, Brick by Brick: How LEGO Rewrote the Rules of Innovation and Conquered the Global Toy Industry, David Robertson outlines the early successes and failures of the Denmark-based LEGO Group — from their early experiments with plastic, to their decision in the late 1990s to finally strike licensing deals with movies and characters, starting with Star Wars.

Robertson describes a pivotal moment in the company’s history, when Godtfred Kirk Christiansen, the son of founder Ole Kirk Christiansen, met up with a toy buyer: Read more…

‘Let Them Buy Louboutins’: Ivanka Trump and Working Women

ivanka trump
Photo by Cvent (CC BY-NC-ND 2.0)

In a scathing piece in The Nation, Amy Wilentz methodically eviscerates and examines the guts of Ivanka Trump’s brand, and her efforts on behalf of working women — a specific brand of privileged, white, upper-class working women, that is.

IvankaTrump.com does have a section called “Wise Words” (“Nothing is impossible. The word itself says ‘I’m possible’”—Audrey Hepburn; or “It’s never too late to be what you might have been,” wrongly attributed to George Eliot; or “Challenges are opportunities”—so anodyne it’s not attributed to anyone.) But you’ll never read anything here about processing chickens or serving up burgers or sewing jeans, or what it’s like to be a secretary, a receptionist, a nurse, a hairdresser, a teacher, a saleswoman, a waitress, a bookkeeper, a cashier, or any of the other jobs at which most American women work.

IvankaTrump.com prefers to address style and fashion, what you can buy for work and what you should wear to work, rather than the substance of work. It includes tips on how to get promoted and tips for thinking like a Harvard Business School graduate; it includes pages about yoga for the workday, as well as about entertaining and lifestyle and exercise and what to eat and what to serve. So far, wages, discrimination, and sexual harassment have not been on the radar, not even in a Lean In–lite kind of way. That’s not the purpose of the website. It should be hashtagged #womenwhobuy.

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Writing Our America

Illustration by: Kjell Reigstad

Scott Korb | Longreads | February 2017 | 32 minutes (8,200 words)

 

The following essay is adapted from a talk presented at Pacific University’s MFA in Writing Program. It includes advice from writers of “YA fiction, writers for television and stage, of novels and essays, investigative journalism, and criticism” on how we might produce meaningful work in the next four years.

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I often teach a piece of writing by David Foster Wallace, included originally as the introduction to the 2007 edition of The Best American Essays. He called the piece “Deciderization—2007,” a title that jabbed at the then-current president, George W. Bush, who, in the midst of his second term—in the midst of the Iraq war, which as fought had been lost—reminded the country during a press conference insisting he would not fire Donald Rumsfeld, whom he would later fire, that he, George W. Bush, was “The Decider.”

The moment seems far away now, but Bush’s choice of words here, it was said at the time, “struck the national funny bone.” Writing in the New York Times, Sheryl Gay Stolberg said,

On the Internet, it was memorialized to the tune of “I am the Walrus,” by the Beatles. (“I am me and Rummy’s he. Iraq is free and we are all together.”) On late-night television, the Decider emerged as a comic-book hero, courtesy of Jon Stewart, host of “The Daily Show.”

In other words, in making fun of Bush, Wallace was not alone and, as he was well aware, was far from the most high-profile or widely observed jabber. Opening the book’s introduction, he wrote, “I think it’s unlikely that anyone is reading this as an introduction.”

Most of the people I know treat Best American anthologies like Whitman Samplers. They skip around, pick and choose. There isn’t the same kind of linear commitment as in a regular book. … There’s a kind of triage. The guest editor’s intro is last, if at all.

This sense of being last or least likely confers its own freedoms.

When I’ve taught his introduction before I’ve tended to highlight how Wallace considers and reconsiders the essay form itself—“one constituent of the truth about the front cover,” he writes, “is that your guest editor isn’t sure what an essay even is.” This confusion is fun in a way that Wallace is often fun. It does what this particular writer tends to do—puts his own subjectivity front and center in an effort to pull a rug out from under us. What do you mean you don’t know what an essay even is?

Continuing on, Wallace then addresses his lack of both confidence and concern with the distinctions between fiction and nonfiction—more fun for us—only to change course a moment later, explaining that he does care about such differences, but conceding that they’re “hard to talk about in a way that someone who doesn’t try to write both fiction and nonfiction will understand.” At which point he dives into the part of the essay I’ve always been most interested in talking about with writing students, who tend—as I am—to be interested in how to do what writers are trying to do. What is writing supposed to feel like?

Writing-wise, fiction is scarier, but nonfiction is harder—because nonfiction’s based in reality, and today’s felt reality is overwhelmingly, circuit-blowingly huge and complex. Whereas fiction comes out of nothing. Actually, so wait: the truth is that both genres are scary; both feel like they’re executed on tightropes, over abysses—it’s the abysses that are different. Fiction’s abyss is silence, nada. Whereas nonfiction’s abyss is Total Noise, the seething static of every particular thing and experience, and one’s total freedom of infinite choice about what to choose to attend to and represent and connect, and how, and why, etc.

The intergenre debates that go on in our culture have been a great pleasure to me over the years. I like what journalist Jeff Sharlet says on the point: “Fiction’s first move is imagination; nonfiction’s is perception.” And to be sure, I’m always delighted to hear from someone about the abyss under poetry’s tightrope. Read more…

A Shot in the Arm

Illustration by: Kjell Reigstad

Josh Roiland | Longreads | February 2017 | 14 minutes (3,710 words)

 

“Who’s sticking today?” the man asked.

He wore tan work boots and rough jeans. He told a friend in the waiting room that he had a couple hours off work and thought he’d stop in for some extra cash. The receptionist told him the names of that day’s phlebotomists. He paused. Sliding a 16-gauge needle into someone’s arm is tricky, and the man reconsidered. Instead of signing in, he announced to the room that he’d come back tomorrow and try his luck.

I’d driven 107 miles from my home in Bangor, Maine to the BPL Plasma Center in Lewiston to collect $50 for having my arm punctured and a liter of my plasma sucked out. The actual donation takes about 35 minutes, but the drive and its attendant wait makes for an eight-hour day. I clocked in for that trip five times this summer.

I’m a professor at the University of Maine. My salary is $52,000, and I am a year away from tenure. But like everyone else in that room, I was desperate for money. Read more…

What It’s Like to Lose Your Short-Term Memory

Illustration by Perrin

Christine Hyung-Oak Lee | Longreads | February 2017 | 18 minutes (4,276 words)

Longreads is proud to feature an exclusive excerpt from Tell Me Everything You Don’t Remember: The Stroke That Changed My Life, the forthcoming memoir by Christine Hyung-Oak Lee. Lee’s story was first featured on Longreads in 2014, for her BuzzFeed essay, “I Had a Stroke at 33.”

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Short-term memory dominates all tasks—in cooking, for instance: I put the water to boil in a pot on the stove and remember that the water will boil while I chop the onions. I will put the sauté pan on the stove to heat up the oil for the onions, and I will then put the onions, which I will remember I have chopped, into the oil, which I remember I have heated for the onions. I will then add tomatoes. While the onions and tomatoes cook, I will put pasta in the water, which I remember I have boiled. I will know that in ten minutes I will put the cooked pasta into the tomato and onion stir, and thus have a simple tomato pasta meal. Read more…

The High Price of Breaking Ground

McMahon hired her in 1997, and Chyna became the first woman to battle male wrestlers in the WWF ring, much to the chagrin of many fans, who protested Chyna’s presence by throwing batteries at her and spreading nasty rumors. (One was that she had the world’s largest clit; another, that she had a penis.) But the abuse didn’t seem to stop her. During one 1999 fight, Triple H kicked Chyna in the breasts. The announcer said nothing; when Chyna retaliated by socking Triple H in the balls, he gulped: “I still don’t know if I’m comfortable with this.” After Chyna beat Triple H a few minutes later, retired wrestler Mick Foley, in character as Mankind, hit on her. She hit him in the balls, too, and said, “In case you don’t get it, that means, ‘no.’”

“I let the boys do their thing,” Chyna said in a 2015 interview with Vince Russo. “My job was to keep my mouth shut.” Most the time, she beat her male opponents and became known as the “Ninth Wonder of the World.”

“She was in there not only wrestling guys but beating guys,” says former WWE host Jim Roberts. “She was doing stuff that only guys were doing at the time, and that I don’t believe any female has done since. What she did was incredible. She was really revolutionary in the wrestling business.”

At Broadly, Mitchell Sunderland examines WWE star Chyna’s accomplishments, struggles and legacy, and the complex challenges women face in a world fraught sexism. She died on the same day as Prince, but his passing isn’t what might eclipse her.

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