Search Results for: California

On Fashion and Functioning

I can talk about the fact that I went to Yale and Stanford, that my parents are Taiwanese immigrants, that I was born in the Midwest and raised in California, that I am a writer. If the conversation winds its way to my diagnosis, I emphasize my normalcy. See my ordinary, even superlative appearance. Witness the fact that I am articulate. Rewind our interaction and see if you can spot cracks in the facade. See if you can, in sifting through your memory, find hints of insanity to make sense of what I’ve said about who I am. After all, what kind of crazy person has a fashionable pixie cut, wears red lipstick, dresses in pencil skirts and tucked-in silk blouses? What sort of psychotic wears Loeffler Randall heels without tottering?

— In “Fashioning Normal,” Esmé Weijun Wang writes at Catapult about performing wellness in the midst of mental illness.

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What It’s Like to Fly Into a Thunderstorm

Flying near a fast-forming storm in North Dakota.
Flying near a fast-forming storm in North Dakota. (Photo by Shawn,flickr)

Justin Nobel | Atlas Obscura | November 2015 | 14 minutes (3,498 words)

 

Atlas ObscuraOur latest Exclusive is a new story by Justin Nobel, co-funded by Longreads Members and published by Atlas Obscura.

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The Cursed, Buried City That May Never See The Light of Day

Longreads Pick

The massive Egyptian city from Cecil B. DeMille’s ‘The Ten Commandments’ was Hollywood’s biggest ever set when it was built in the 1920s, and then it was buried in the sands of the California Coast.

Source: Outside
Published: Oct 8, 2015
Length: 10 minutes (2,500 words)

When Cecil B. DeMille Went Way Over Budget

The costs were mounting even before DeMille arrived in Guadalupe to begin shooting. Preproduction expenses were already approaching $700,000—an astronomical sum in the early days of Hollywood. More than a million pounds of statuary, concrete, and plaster were used to construct the 120-foot-tall, 800-foot-long temple and surrounding structures, and whole plaster sphinxes were sculpted and loaded onto trucks bound for the dunes. Every day on location meant feeding and housing the thousands of workers and animals. DeMille drove his construction team to work faster. Paramount Studios, the film’s backer, began sending DeMille increasingly desperate letters demanding that he cut costs. One receipt, for $3,000 spent on a “magnificent team of horses” for the pharaoh, pushed the studio over the edge, according to Sumiko Higashi, a professor emeritus at The College at Brockport, SUNY, and author of Cecil B. DeMille and American Culture: the Silent Era, a biography of DeMille.

“You have lost your mind,” telegraphed Adolph Zukor, founder of Paramount Pictures. “Stop filming and return to Los Angeles at once.” DeMille refused. He took out a personal loan and waived his guaranteed percentage of the movie’s gross to ensure the production continued. “I cannot and will not make pictures with a yardstick,” he wired back to the studio. “What do they want me to do?” he was rumored to have said, according to Higashi. “Stop now and release it as The Five Commandments?”

—David Ferry, writing in Outside about the extravagant faux-Egyptian set built for Cecil B. DeMille’s 1923 film The Ten Commandments. DeMille’s set—the biggest, most expensive one ever built at the time—was later buried beneath sand dunes on California’s Central Coast. The decades-long quest to unearth it, which Ferry covers in his story, is its own epic.

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Looking for Raymond Chandler’s Los Angeles

Hollywood, 1923. Photo: Library of Congress

Judith Freeman | Pantheon Books | December 2007 | 38 minutes (9603 words)

Judith Freeman traces Raymond Chandler’s early days in Los Angeles and his introduction to Cissy Pascal, the much older, very beautiful woman who would later become his wife.  This chapter is excerpted from Freeman’s 2007 book The Long Embrace: Raymond Chandler and the Woman He Loved, which Janet Fitch described as “part biography, part detective story, part love story, and part séance.” Freeman’s next book—a memoir called The Latter Days—will be published by Pantheon in June 2016.

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Musical Genius Is a Gendered Idea

But really, what is a musician’s voice if not distinctive? Isn’t that… good? Entire pieces have been written about the voices of Bob Dylan and Tom Waits, so American and vital and wise in their manly scratchiness, like unshaved bristle and whiskey and dirt. Man voice make music good. Woman voice music bad: Too high. Too sharp. Too warbly. Sounds like birds, screams, mother. It speaks volumes that men always seem to love PJ Harvey, she of the deep timbre.

Male reviewers also compare [Joanna Newsom] to other female artists to demean her further. The AV Club called her a “unique hybrid of Joni Mitchell and Nina Simone,” while on Pitchfork, Richardson equated her to Joni Mitchell: “Newsom can sound a fair bit like her with her more richly textured voice” (not really, but ok). He continued: “One significant difference between Newsom and Mitchell is that the latter, especially early in her career, was writing songs that would sound good on the radio. For better or worse, Newsom is not a pop singer—that’s just not what she does.” I suspect in Richardson’s view this is mostly for worse (“I don’t want to overstate this record’s accessibility,” he wrote of “Have One on Me.” But how can music be inaccessible? All you have to do is listen.) The Kate Bush and Bjork comparisons are endless, and one can safely infer that these reviewers enjoy her predecessors more. Most puzzlingly, a recent Fader piece compared Newsom and Joan Didion: “‘We tell ourselves stories in order to live,’ Joan Didion, a smart Californian just like Newsom, once wrote.” Two white people with female anatomy from California, so they’re basically the same. The woman who produces peerless modern music is simply not allowed to stand on her own.

In The Awl, Leah Finnegan uses the originality and artistry of harpist Joanna Newsom to call attention to the gender biases and skewed, often low expectations that underlie many male critics’ perception and assessment of music.

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If You Want to Be Productive, You Have to Rest

In a recent thought-provoking review of research on the default mode network, Mary Helen Immordino-Yang of the University of Southern California and her co-authors argue that when we are resting the brain is anything but idle and that, far from being purposeless or unproductive, downtime is in fact essential to mental processes that affirm our identities, develop our understanding of human behavior and instill an internal code of ethics—processes that depend on the DMN. Downtime is an opportunity for the brain to make sense of what it has recently learned, to surface fundamental unresolved tensions in our lives and to swivel its powers of reflection away from the external world toward itself. While mind-wandering we replay conversations we had earlier that day, rewriting our verbal blunders as a way of learning to avoid them in the future. We craft fictional dialogue to practice standing up to someone who intimidates us or to reap the satisfaction of an imaginary harangue against someone who wronged us. We shuffle through all those neglected mental post-it notes listing half-finished projects and we mull over the aspects of our lives with which we are most dissatisfied, searching for solutions. We sink into scenes from childhood and catapult ourselves into different hypothetical futures. And we subject ourselves to a kind of moral performance review, questioning how we have treated others lately. These moments of introspection are also one way we form a sense of self, which is essentially a story we continually tell ourselves. When it has a moment to itself, the mind dips its quill into our memories, sensory experiences, disappointments and desires so that it may continue writing this ongoing first-person narrative of life.

Ferris Jabr writing in Scientific American about science’s understanding of the role idleness, naps and rest play in maintaining a creative, productive mind. The article appeared in October 2013.

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David Axelrod Could Have Created This Guy in a Laboratory

“You get the sense,” a longtime California politico recently told me, “that David Axelrod could have created this guy in a laboratory.”

—Andrew Romano, writing for Yahoo about Eric Garcetti—the Instagramming, jazz-loving, bilingual Jewish mayor of Los Angeles.

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The Top 5 Longreads of the Week

Image courtesy of Mother Jones

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.
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The Genius of Marie Kondo and the Evolution of Decluttering

Marie Kondo

In 1881, Eunice White Bullard published All Around the House, Or, How to Make Homes Happy, a 468-page manual on everything a head of household needed to know to keep things in order. Bullard, the wife of Henry Ward Beecher, dedicated chapters to everything from managing laundry to pickling, washing flannel, and cooking a goose. Read more…