Search Results for: Chris Jones

An Audience of Athletes: The Rise and Fall of Feminist Sports

womenSports, Bettmann / Getty

Britni de la Cretaz | Longreads | May 2019 | 26 minutes (6,609 words)

The idea for womenSports magazine was born in a car suspended over the San Francisco Bay by beams of steel. Several weeks before she captivated the nation by beating Bobby Riggs in the “Battle of the Sexes” tennis match in the fall of 1973, Billie Jean King sat in the passenger seat of a car and stewed. At the wheel was her then-husband, Larry, driving the couple from Emeryville near Oakland toward San Francisco on the Bay Bridge, and as Billie Jean flipped through an issue of Sports Illustrated, she complained, which is what she always did whenever she picked up an issue of SI. Read more…

Odetta Holmes’ Album One Grain of Sand

David Corio/Michael Ochs Archive/Getty Images

Matthew Frye Jacobson | One Grain of Sand| Bloomsbury Academic | April 2019 | 19 minutes (3,117 words)

 

When twenty-year-old Odetta Felious Holmes — classically trained as a vocalist and poised to become “the next Marian Anderson” — veered away from both opera and musical theater in favor of performing politically charged field hollers, prison songs, work songs, and spirituals before mixed-race audiences in 1950s’ coffeehouses, she was making a portentous decision for both American music and Civil Rights culture. Released the same year as her famous rendition of “I’m on My Way” at the March on Washington, One Grain of Sand captures the social justice project that was Odetta’s voice. “There was no way I could say the things I was thinking, but I could sing them,” she later remarked. In pieces like “Midnight Special,” “Moses, Moses,” “Ain’t No Grave,” and “Ramblin’ Round Your City,” One Grain of Sand embodies Odetta’s approach to the folk repertoire as both an archive of black history and a vehicle for radical expression. For many among her audience, a song like “Cotton Fields” represented a first introduction to black history at a time when there was as yet no academic discipline going by this name, and when history books themselves still peddled convenient fictions of a fundamentally “happy” plantation past. And for many among her audience, black and white, this young woman’s pride in black artistry and resolve, and her open rage and her challenge to whites to recognize who they were and who they had been, too, modeled the very honesty and courage that the movement now called for.

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‘Give It Up For My Sister’: Beyonce, Solange, and The History of Sibling Acts in Pop

Frank Micelotta, Frank Leonhardt, Evan Agostini, Chris Pizzello, Jordan Strauss, Hubert Boesl / AP, Illustration by Homestead

Danielle A. Jackson | Longreads | May 2019 | 10 minutes (2,597 words)

Houston-born sisters Beyoncé and Solange Knowles couldn’t be more different. They emit different energies, seem to vibrate at different frequencies. Solange is the emo Cancerian who lunged at her brother-in-law in an elevator. Beyoncé, the preternaturally polished Virgo, clung to the corner and fixed her dress. Lately, I’ve been hung up on how they’re similar. I think it’s because, for people who’ve paid attention, it’s their differences that got drilled into us over the years. By the time Solange released her first record in December 2002, Beyoncé, with Destiny’s Child, had released four albums, earned three Grammy Awards, and was in the final recording sessions for her solo debut. Focusing on their differences was probably a strategic move dreamed up by their father, and, at the time, manager, Matthew Knowles, to maximize the commercial viability of the two artists. Yet, seventeen years later, in the spring of this year, both siblings released albums and accompanying films with musings on “home.”

The two projects are like fraternal twins—individually interesting, but fun and compelling to think about in relation. Both follow albums that were career highlights. Both build their foundations on rhythm, the voice, and vocal harmony. Both marry light and sound and knit their soundscapes into images. Both depend on the improvisational skill of a cohort of contributors. Beyoncé’s project, the live album companion to her Netflix documentary “Homecoming,” documented her two headlining sets at last year’s Coachella and layered the visuals and sonics of HBCU pageantry atop references to a specific, Southern emanation of blackness. Solange’s fifth studio album, When I Get Home, traveled the exact same terrain, but in a far-out, deconstructed way, with references to cosmic jazz and psychedelic R&B, black cowboys, undulating hips and mudras, and the skyscrapers and wide, green lawns of the sisters’ hometown.

It’s logical that if two people share a childhood home, they grow up to be into the same things. But it’s taken time — for us, as audiences, to widen our perspectives enough so that we can see, in the same frame, how they’re similar and how they’re not. It’s taken time for the two sisters to grow comfortable enough being themselves while publicly navigating the music industry as black women. To differentiate herself from her sister’s glamorous pop image, Solange initially emanated an alterna-vibe that resonated with those who may have liked Beyoncé, but felt hemmed in by her R&B fantasy, lead-girl-in-a-video perfection. While Bey rocked the trendy low-slung denim of the early aughts, went blonde, and mostly kept a huge mane of loose, blown out curls, Solange wore red box braids, and in her first video, a floor length patchwork skirt. She was the earthier sister, positioned in alignment with the diasporic neo soul scene of the late 90s. She had a baby, got married early, and lived with her young family, for a while, in Idaho. Then she sheared her long locks and quietly rented a brownstone in Carroll Gardens.


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We didn’t linger on or make much meaning from Solange’s time as a background dancer for her sister’s group, or how she’d replaced Kelly Rowland in the lineup for some tour dates when they opened for Christina Aguilera in 2000. But it did raise eyebrows when, during Solange’s Brooklyn years, Beyoncé began showing up at concerts of indie acts her sister put her on to.

Solange’s first album Solo Star covered a lot of musical ground, but didn’t make much of an impact commercially or otherwise. She was then 16. Between 2001 and early 2003, a number of female R&B vocalists made big Top 10 pop albums: Alicia Keys, Janet Jackson, Ameriie, Ashanti, Mya. Beyoncé’s 2003 debut (coupled with the rapid deterioration of the recording industry) seemed to flatten out the pop-R&B landscape like a grenade. Five years later, Solange released the Motown-influenced Sol-Angel and the Hadley Street Dreams, then left her label. She independently released the 2012 EP “True.” Its lead single “Losing You,” a buoyant breakup bop, was a breakthrough. A Seat at the Table, with spoken word interludes that include interviews with her parents about black history and family, came out in the fall of 2016. It was Solange’s first album to debut at number one on the Billboard 200. By then, Beyoncé was talking about her mama’s and daddy’s roots, too, most explicitly, on Lemonade, her sixth studio project as a solo artist, which, just five months before, earned the same chart placement.  

* * *

According to Billboard, besides the Knowles sisters, in the history of the chart there have been only two other pairs of sibling solo artists in which each sibling has earned a number one pop album: Master P and Silkk the Shocker during a run of releases in the late nineties, and Janet and Michael Jackson. The Jacksons’ older brother, Jermaine, The Braxton sisters, Toni and Tamar, and the Simpson sisters, Jessica and Ashlee, have all earned albums in the Top 10. But the only solo siblings to earn number ones during the same calendar year have been Janet and Michael, Solange and Beyoncé.

The two projects are like fraternal twins—individually interesting, but fun and compelling to think about in relation.

Michael famously got his start in a band of brothers, The Jackson Five. After signing to Motown in 1969, their first four singles — “I Want You Back”, “ABC”, “The Love You Save”, and “I’ll Be There” — all went to number one. Their father, Joseph Jackson, a former boxer and steelworker born in Arkansas, managed the band with reportedly horrid methods. Jackie, Tito, Jermaine, and Marlon all became capable musicians individually. But it was Janet, born eight years after Michael and too young to join her brothers’ band, who truly absorbed their ascent. She performed in the family’s variety show and TV sitcoms throughout the 70s, and beginning in the late 80s, released music that, arguably, approached Michael’s impact. Control, Rhythm Nation, Janet., and The Velvet Rope are gorgeous, singular statements that define pop-R&B and still sound alive.

Janet has earned more number one albums than Michael (seven to his six) and her singles have been in the Top 10 for more weeks than his (“That’s the Way Love Goes” was the longest running number one for either of them). For a while, the fiasco of Super Bowl 2004 derailed Janet’s career. She lost endorsement deals and had a long, marked decline in album sales. “Nipplegate” angered then CBS chairman Les Moonves so much that he’d reportedly ordered MTV and VH1 to stop playing her videos. Janet’s black fans always suspected something sinister at play. Last year, the New Yorker and New York Times published sexual assault allegations against Moonves, and his pattern of derailing women’s careers became public knowledge. Janet got inducted into the Rock & Roll Hall of Fame this past March, and while that’s somewhat palliative, it doesn’t give back the lost years, or acknowledge her sprawling, multi-medium contributions to entertainment. Still, her reputation hasn’t had the kind of epic blemishes Michael’s has, and our current ferment of empowered, black women singers owes everything to her.

Though they’re starting to, Solange and Beyoncé haven’t leaned all the way in to their shared origin in the way of Michael and Janet in the ”Scream” video, where their charisma and similar, long-limbed, open hip-jointed athleticism is foregrounded in nearly every frame. We got glimpses at Solange’s set at Coachella in 2014, when Bey joined in for a dance break, and its reprise in Bey’s sets, a highlight of the 2019 film. Solange has, like Janet, who sang backup on Thriller, been all over Beyoncé’s catalog. And while coverage of black pop has evolved from the 90s and early 2000s, when Janet got blackballed and Beyoncé and Solange seemed to represent poles on a restricted continuum of what a black woman in pop could be (the glamorous diva vs. the earthy bohemian), it still hasn’t gone far enough.

In Interview, Beyoncé asked her younger sister where she got her inspiration, and she answered,“For one, I got to have a lot of practice. Growing up in a household with a master class such as yourself definitely didn’t hurt.” She also namechecked Missy Elliot, who produced and provided vocals for some of Destiny’s Child’s finest tracks. In other words, she claimed her proximity to her older sister’s career, as nourishment, cultivation, as part of what undergirds her artistry. When Solange’s latest album launched, the NPR music critic Ann Powers made a playlist of its antecedents called the “mamas of Solange.” It included Alice Coltrane, Minnie Riperton, Tweet, Aaliyah, and TLC. It did not include Beyoncé or Destiny’s Child, contemporaries of some of the women who did make the list. Maybe it’s taken for granted? Stevie Wonder’s ambient album The Secret Life of Plants is brought up a lot in relation to When I Get Home, but The Writings on the Wall and Dangerously in Love are also important building blocks of the music Solange and most contemporary pop and R&B artists make. It feels incomplete to not say so. Similarly, when talking about Beyoncé, something’s missing when we don’t acknowledge how indebted she is to the cluster of women around her. Perhaps that’s leftover residue from the marketing machine of the late 90s and early aughts, too — an overemphasis on singularity.

* * *

When I Get Home’s interlude “S. MacGregor,” named after an avenue in Houston’s Third Ward, contains snippets of Phylicia Rashad and Debbie Allen performing a poem their mother, Vivian Ayers-Allen, wrote. Rashad and Allen make up another culturally significant sibling pair. There’s Fame!, The Cosby Show, and A Different World, but also the stage — Rashad is the first black woman to win a lead actress Tony, and Allen was nominated for Tony Awards for West Side Story and Sweet Charity.

Both sisters also had short-lived recording careers. Rashad released a tribute album to Josephine Baker in 1978 and an album of nursery rhymes in 1991. She memorably sang on multiple episodes of The Cosby Show. Allen released Special Look in 1989. It was a pop, dance-R&B concoction that sounds like a harder edged Paula Abdul, whose blockbuster Forever Your Girl had come out the year before. Today, Allen directs for TV and runs Los Angeles’ Debbie Allen Dance Academy, while Rashad directs for the stage.

Allen’s younger than Rashad by 2 years, and they have two older brothers: the jazz musician Andrew Arthur Allen, and Hugh Allen, a banker. Their parents’ nasty divorce in the mid-’80s got covered in Jet. I often wonder about the dynamics in high-intensity, high-achieving households like theirs. Some accounts say Solange felt neglected for parts of her childhood when her older sister’s group became the family business. The five-year age difference is too wide for straightforward competition, but not so for resentment. Some of my earliest memories are the legendary fights between my two older, high-achieving siblings. It still annoys me to think about how much time and energy their rivalry took up (and continues to take up) in our family. In an interview with Maria Shriver last year, Tina Knowles Lawson said she deliberately taught her daughters not to be intimidated by another woman’s shine and sent them to therapy early on to learn to protect and support each other. From the perspective of an outsider, it seems to have worked.

While coverage of black pop has evolved from the 90s and early 2000s, when Janet got blackballed and Beyoncé and Solange seemed to represent poles on a restricted continuum of what a black woman in pop could be, it still hasn’t gone far enough.

Family dynasties are neither new nor newly influential in pop. My mother adored the voice of Karen Carpenter, who’d gotten her start in a duo with her brother, Richard. The LPs of the Emotions, the Pointer Sisters, the Jones Girls, and Sister Sledge were in my  mother’s racks, too, — all vocal groups with at least one pair of siblings. The early years of rock and roll, the doo wop era, is full of crews of schoolmates, like the Chantels, the Marvelettes or the Supremes, or sibling groups like The Andrews Sisters, the Shangri-Las, and the Ronettes. Later, there’s DeBarge, the Emotions, The Sylvers, the Five Stairsteps, Wilson Phillips, the Winans, Ace of Base, Xscape, the Beach Boys, the Bee Gees, the Isley Brothers. Part of me wants to say it’s because of the genre’s origins in domestic spaces like the living room or the stoop, a refuge of creativity against the backdrop of chaotic 20th century urban life. Music education in schools provided training, as did the subtle rigor of the church, where troupes, quartets, and choirs led worship. When describing what’s special about “that sibling sound,” in 2014, Linda Ronstadt told the BBC: “The information of your DNA is carried in your voice, and you can get a sound [with family] that you never get with someone who’s not blood-related to you.” What a voice sounds like, in large part, depends on biology and anatomy—the shape of the head, chest, the construction of the sinus cavities. It makes sense that the sweetest, most seamless harmonizing could happen between people who share DNA. And as audiences, we like being witness to the chemistry of our performers. It can feel fun and somewhat uncanny to watch people who look a little bit alike sing and dance in formation.

None of this completely explains how much popular music has historically been “A Family Affair” (a number one in 1971 for Sly and the Family Stone, a group comprised of Sylvester Stewart and his siblings Freddie and Rose, with baby sister, Vaetta, in charge of the backing vocalists). Or how much, aside from the Jonas Brothers, the top 40 of the past few months is absent sibling groups, or, really, groups of any kind. Haim, the trio of sisters Este, Danielle, and Alana from the San Fernando Valley, had Top 10 albums in 2013 and 2017, and will co-headline this year’s Pitchfork’s festival with the Isley Brothers and Robyn. They sing in effortless three-part harmony, are aggressive on guitar, bass, and percussion, and write their own songs. A New York Times critic called them proudly “anachronistic,” because their sound is a throwback to earlier eras and bands like Fleetwood Mac and Destiny’s Child, whose Stevie Nicks-sampling “Bootylicious,” was the last pop number one from a girl group. In a 2011 piece for The Root, Akoto Ofori-Atta attributed the decline of vocal groups to, among other factors, reduced record label budgets and the “me-first” narcissism of social media. She also suggested the cyclical nature of music trends could mean that audiences will want to hear tight vocal harmonies again. I’d think that was impossible since digitization has meant that people don’t have to sing together anymore. But singing itself has gotten new life from young R&B artists like Ella Mai, Moses Sumney, and H.E.R., so who knows.

In 2015, Beyonce signed the sister duo Chloe+ Halle to her record label. She’d seen them on YouTube performing covers and accompanying themselves on keys in their living room.  The young women sing ethereal, soul-inflected harmonies, play multiple instruments and compose and produce their own music. They’re also actresses with recurring roles on “grown-ish.” Their first studio album The Kids are Alright released last year and earned the group two Grammy nominations. They performed at the ceremony, memorably, in the tribute to Donny Hathaway, and at the Grammy’s tribute to Motown, they performed the Marvelette’s “Please Mr. Postman,” Motown’s first number one. None of the singles from Chloe + Halle’s record have made much of a commercial impact or stuck with me yet, but, based on history, the incubation potential of the vocal group, the sibling group in particular, bodes well for longevity.

 

 

The Joy of Watching (and Rewatching) Movies So Bad They’re Good

Wiseau-Films, Warner Bros, American International Pictures, Quintet Productions, Four Leaf Productions, Mid-America Pictures

Michael Musto | Longreads | Month 2019 | 8 minutes (2,090 words)

 

I’ve known about the power of good/bad movies since I was a kid, but I was reminded of it just a few days after 9/11, when I went to a press screening of Mariah Carey’s unwitting classic Glitter.

Naturally, New York City was traumatized, many of us going through the motions in a daze as we tried to make sense of the horror. But we had to make a living, so, along with a handful of other arts journalists, I dragged myself to the screening, not sure of what we were getting into. It turned out to be the hackneyed story of a DJ who tries to lift a backup singer (Mariah) up from her humble roots through song and romance. And it was evident quickly into the film that Mariah just didn’t have the acting chops; the new Meryl Streep this wasn’t. We uncomfortably sat there watching the pop diva try to act, but eventually we couldn’t hold back, and a few of her line readings were greeted with titters — the first time I’d heard laughter (including my own) since 9/11. It sounded both shocking and very welcome, and the unintended reaction mounted during a ludicrous scene where Mariah and the DJ were magically thinking of the same melody. By the end, when Mariah spills out of a limo in a glittery gown to visit her dirt-poor mother, we were all screaming in hilarity. This was just the catharsis we needed, and it generously helped us bond and move on.

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Remembering Scott Walker

RB/Redferns

Tom Maxwell | Longreads | April 2019 | 16 minutes (2,528 words)

 

Scott Walker died of cancer on March 22. The singer was 76. His lengthy career was one of influence articulated in a variety of ways: from the pure pop stardom and frontman moves of the mid-1960s to his collection of more recent solo albums communicating dark dreamscapes.

The unique arc of Walker’s career can be traced in four of his songs, which show how he first mastered the pop form, then deconstructed it. In them, you hear a man increasingly haunted, bending musical structure to his purpose.

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Mystery Alaska

Getty / Photo illustration by Katie Kosma

Chris Outcalt | Longreads | March 2019 | 13 minutes (3,723 words)

The helicopter took off from a narrow patch of grass off the side of Route 2 about 30 miles southeast of Fairbanks, Alaska. The two-lane highway runs like an artery through the heart of the Alaskan interior, connecting the state’s third-most populous city to the outer reaches of North America. I’m riding shotgun in the lightweight, four-passenger chopper; Colorado State University (CSU) archeologist Julie Esdale is seated behind me. Esdale, who earned her Ph.D. in anthropology at Brown University, has spent more than a decade in this part of the state, exploring centuries of soil with a community of other social scientists whose aim is to weave together the tangled origins of humanity.

Fifty feet up, as the booming whop-whop of the propeller blades cuts through the air overhead, we crest a row of trees along the edge of the road, revealing a spectacular view: a massive, tree-lined valley framed to the west by the peaks of the Alaska Range, one of the highest stretches of mountains in the world. These jagged hills formed millions of years ago; shifting tectonic plates collided along the Denali and Hines Creek Faults, pushing the earth 20,000 feet into the air. Our destination lies about 10 miles into this lowland known as the Tanana Flats. Esdale and her colleagues believe the spot, a vestige of a 14,000-year-old hunter-gatherer encampment hidden deep in the earth, could hold important clues to better understanding the behavior of North America’s earliest inhabitants.

Esdale helped discover and excavate this important ground known as McDonald Creek, which turned out to be one of the oldest archeological sites in the country. Field crews found fragments of stone tools, charcoal dust left behind by ancient firepits, and remains of bison, mammoth, elk, and waterfowl. Admittedly, I hadn’t spent much time thinking about those who pioneered the landmass I’d lived on my entire life, let alone the particulars of their livelihood; but my interest piqued at the thought of these scientists dedicating their professional lives to better understanding those who came before us, like a detective unit attempting to solve one of the first mysteries of mankind.


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Esdale, who’s in her mid-40s and has straight, shoulder-length blond hair she often tucks under a ball cap out in the field, explained that Alaska is a hot spot for this research — that it was both a matter of history and geography. The last ice age took hold about 2.6 million years ago. When it began to melt around 12,000 years ago, it covered a well-documented land bridge between what is now Russia and Alaska. But before the glaciers thawed, causing water levels in the Bering Strait to rise, submerging the area known as Beringia, early humans wandered east to west across this continental divide. They were the first people to set foot in the New World, and they walked straight into what is today central Alaska.

…my interest piqued at the thought of these scientists dedicating their professional lives to better understanding those who came before us, like a detective unit attempting to solve one of the first mysteries of mankind.

“Early sites are hit and miss in the lower forty-eight,” Esdale told me. “But in the interior, we’ve got lots and lots of them.” Still, perhaps too far-flung to have slipped into the mainstream, she said Alaskan archeology was often overlooked in favor of research in the continental United States. Esdale’s husband, Jeff Rasic, also an Alaskan archeologist, told me he’d attended numerous national meetings of top researchers in the field and had often been struck by how little they tracked new findings in Alaska. “These are full-time academic archeologists,” Rasic said, “and they’re behind.” If I ever wanted to have a look up close, Esdale said she’d be happy to show me around when I first contacted her by phone last year.

By chance, I flew into Fairbanks two days ahead of the summer solstice, which brings nearly 24 hours of daylight to the region. When I landed close to midnight the sky was bright enough it could’ve easily been noon. (Later, I overheard a popular American Legion baseball game was scheduled for the following night. First pitch: 12:01 a.m.) I met Esdale early the next morning. We stopped at the local Safeway for a coffee and to pack a lunch, then headed to the helicopter launch site. After about 15 minutes in the air, Esdale pointed to our landing spot, a prominent mound that jutted above the flat, wooded landscape.

As we approached, she explained the scenery would’ve looked a lot different 14,000 years ago; the ground was still recovering from the ice age’s deep freeze and the trees hadn’t grown in yet. Nevertheless, I could see what the people who camped here back then were thinking. Atop the high point of an otherwise flat area would’ve been a good place to lookout for predators, scout prey for their next meal, or to simply rest their legs and enjoy the view after a long walk. At least that last part, I thought, we had in common.

***

In Alaska, a state known for its expansive territory, the federal government is the largest landowner, controlling about 61 percent of the terrain. Most of that is allocated for public use and managed by the National Park Service and the Fish and Wildlife Service. There are other operators, however; notably, the United States Army oversees the use of about 1.5 million acres in the central part of the state.

Drawn to the open, undeveloped land and distinct climate, the military has maintained a presence in interior Alaska since the 1930s. Today, the local base is known as Fort Wainwright, “home of the Arctic Warriors.” During the frigid Alaskan winters, soldiers test gear, vehicles, and the limits of their own bodies in extreme cold. What’s more, with ample space, units can spread out and simulate wartime drills and construct practice bombing ranges. But although there are few neighbors to disturb, federal law — the National Historic Preservation Act and the Archeological Resources Protection Act — requires the military pay close attention to what might lie beneath the surface. In fact, given that the area is archaeologically rich, the Army funds a team of about half a dozen people who make sure it doesn’t trample any sensitive material — anything from stone tools or rock carvings to portions of structures or grave sites at least a century old. For the past eight years, Esdale has run the team.

Esdale first moved to Alaska in 2002 as a student, several years before getting the gig with the Army. She’d been conducting research for her Ph.D. in the far reaches of northwest Alaska when she met her husband out in the field. Not long after, Rasic got a job with the National Park Service based in Fairbanks; they made the move north together, two scientists in love headed for the Last Frontier. That first year they got a dog, a big, goofy lab who demanded a lot of time outside — even when it was 50 below and felt like your eyelids would freeze shut after a few minutes. Eventually, Esdale and Rasic had two boys and she got the contract with the Army. By then Fairbanks felt like home.

Although sharpshooting members of the armed forces and a crew of erudite scientists studying human history might seem like strange bedfellows, the partnership has identified hundreds of significant sites hidden in the Alaskan tundra. Take McDonald Creek, for example. Several years ago, the brass at Fort Wainwright proposed building a road through the Tanana Flats. A team headed by Colorado State’s Ned Gaines, which included Esdale, dug a few test pits while surveying in advance of the development. “Everywhere we put a shovel, we found artifacts,” Esdale said. The Army rerouted the planned road, and excavation of the site was turned over to Texas A&M researcher Kelly Graf.

Although sharpshooting members of the armed forces and a crew of pesky erudite scientists studying human history might seem like strange bedfellows, the partnership has identified hundreds of significant sites hidden in the Alaskan tundra.

I met Graf and her team of mostly graduate students last summer. From the clearing where our helicopter landed, Esdale and I walked a well-worn path to a sort of base camp — an area among the trees about 80 feet in diameter. The camp was surrounded by a small, pop-up electric fence designed to keep animals away, and there were dozens of water jugs and large plastic bear-proof storage containers that resembled beer kegs. About 10 people sat around in fold-out camping chairs and on tree stumps finishing their lunch. This was Graf’s fourth year digging at the remote location. One highlight, she said, was they’d recently found what appeared to be a bone from a dog. Graf said the discovery could amount to evidence of the earliest known domesticated canine in North America. While we were talking she wondered aloud whether these early people would have traversed Beringia via some sort of dogsled or used the animals to help shoulder the weight of their belongings.

After lunch, the group migrated to the nearby dig location, a large pit that looked as if someone had pressed a massive rectangular cookie cutter into the ground and discarded all the dirt in the middle. Excavating an archeological site is tedious work, a far cry from the escapades of the world’s most famous member of the trade, the fictional character Indiana Jones. Rather, it consists mainly of carefully scraping away layers of dirt with a trowel and cataloging any items for further examination and analysis. “Our goal as anthropologists — it’s not just about treasures, not just about finding stuff,” Esdale told me. “It’s to understand people.”

Scientists have learned a lot about the founding populations of Indigenous peoples who lived in this area, particularly about how they subsisted. These people were mobile, resourceful, and skilled — unquestionably successful big-game hunters who preyed on bison, elk, and maybe even mammoth. They used spears and a throwing device called an atlatl, a curved tool made from wood, bone, or ivory not unlike the plastic tennis ball throwers popular at dog parks today. Hunters used it to launch darts fashioned with a pointed stone tip. (The bow and arrow didn’t show up for another 12,000 years.) Flakes discarded during the sharpening of these points are often found in the soil at sites like McDonald Creek.

‘Our goal as anthropologists — it’s not just about treasures, not just about finding stuff,’ Esdale told me. ‘It’s to understand people.’

For her part, though, Graf hoped to find more than flakes. Carbon dating of charcoal left behind by campfires and preserved 10 feet underground suggested that people occupied this location three different times throughout history — 7,000, 13,000, and nearly 14,000 years ago — making it one of the oldest sites in Alaska. “It’s an interesting place,” Graf told me. “We’ve always been looking for the base camp of these people. There are a lot of hunting camps around, shorter-term sites, but somewhere they had to be hunkering down, where grandma and grandpa and the kids and the mom, where everyone was hanging out. That’s kind of what we’re wondering, because this is a nice, fixed spot.”

“So, this could be that type of place?” I asked.

“Could be,” she said. “Could be.”

***

On my second day in Fairbanks, Esdale introduced me to an archeologist in his mid-70s named Chuck Holmes. He had a full head of neatly parted gray hair and a trimmed white beard. Before we met, Esdale outlined Holmes’s long resume. He’d taught at multiple universities, enlightening undergrads and guiding Ph.D. candidates, and had held senior-level science jobs with both the state and federal governments. It all amounted to decades of research and discoveries in the region. Hearing Esdale, I got the impression she was describing a sort of grandfather of Alaskan archeology.

Holmes first came to Alaska via Florida, about as far away as you can get in the United States — a fact his mother made sure to note when Holmes told her he’d decided to enroll at the University of Alaska Fairbanks in 1970. Holmes had fallen for the state’s wide-open territory the year before. Thanks to a friend’s father who worked for one of the railroad companies, Holmes and his hometown pal landed summer jobs laying train track across the tundra. “My friend was a little less interested in doing that kind of work; I just saw it as an adventure,” Holmes said. “I got in good shape and got to see quite a bit of the state.” From that moment, aside from brief stopovers in Calgary, Canada, and Washington state, Holmes spent the rest of his life in Alaska.

Holmes told me that as a kid he’d always had a penchant for finding things, so it was perhaps no surprise that during his undergrad years in Fairbanks he found archeology. “I was hooked on Alaska at that point,” Holmes said. But it was something he discovered two decades later that Esdale wanted me to learn more about: another archeological site not too far from McDonald Creek. The spot was known as Swan Point, and it happened to be the oldest historical site with evidence of human activity not just in Alaska but in the rest of the United States as well.

Back then, in the early 1990s, Holmes worked for the Office of History and Archeology in Alaska’s Department of Natural Resources. One summer, he led a group of students digging at an already well-established site in the Tanana Valley. A couple of the kids involved in the excavation wanted to venture out to look for something new, so Holmes pulled out a couple of maps and a compass, essential tools for an archeologist in the days before Google Earth. He identified what looked like a promising topographic feature: a hill off in the woods that appeared high enough to function as a lookout point, but not so high that it would’ve deterred a group of hunter-gatherers from climbing to the top. Holmes told the students to check it out, dig a few holes, and see what they found.

On their first attempt, the kids had trouble pinpointing the right location. Holmes sent them back the next day with additional instructions, and this time they returned with wide grins. First, they handed Holmes a couple of small plastic bags containing flakes likely cleaved from a stone tool. Not bad, Holmes thought. That was enough to suggest the site was worthy of further exploration. The students, however, had one more bag to show off. This one contained a scrap of ivory. The hard, white material, typically part of a tooth or tusk, is much more difficult to find in the wild, particularly in a shallow test pit dug at a somewhat hastily selected point on a map. It was like plucking a needle you didn’t know existed from a haystack the size of Delaware.

Holmes and other researchers excavated Swan Point on and off for the next two decades. Carbon dating placed it at about 14,200 years old. Scientists uncovered all kinds of gems, including stone tools, bones from a baby mammoth, food-storage pits, and hearths that campfires were built upon. The findings from Swan Point have been documented and published in numerous scientific papers, and in 2008 the government listed the site on the National Register of Historic Places. As it turned out, Holmes explained, much of the Swan Point technology was similar to what had been commonly found by scientists on the other side of the land bridge in Siberia, suggesting these people were related in some way. “These guys, we’re not really sure who the heck they are,” Holmes said, referring to whomever camped at Swan Point so long ago.

“They’re basically Asian; they are ancient folk,” he said. “But their genes carried into the New World.”

***

Later that day, after meeting Holmes, Esdale and I bumped along an overgrown, two-lane Jeep road that ran deep into the woods. We were headed toward another archeological site on Army lands, this one dating back about 13,000 years. The road dead-ended at a clearing atop a ridge with a view of a river and an open forest below. Esdale explained this location, aptly named Delta River Overlook, marked the first time that archeologists had found a Beringian site that humans appeared to have occupied in the winter. They could tell, she said, based on the existence of a specific tooth that had belonged to a baby bison — a molar that only erupts in the cold season.

Winters were lean times for humans 13,000 years ago. In addition to tracking larger animals and storing the frozen meat under rocks, hunters in these tribes also set snares to trap small game for times when the weather made it challenging to venture too far from camp; at Delta River Overlook, for example, there’s evidence of grouse and ground squirrel. Staying warm was another challenge. Furs from big-game animals helped, but scientists are still piecing together the picture of what their shelters might’ve looked like that long ago. Best guess from ethnographic evidence, Esdale told me, is that families constructed dwellings by draping animal skins over a dome of flexible branches and packing the outside with snow for additional insulation.

The excavation of the Delta River site was led by a professor of archeology at the University of Alaska Fairbanks named Ben Potter. Potter was in China on a research trip when I visited Alaska, but I spoke with him on the phone later. Like Holmes, he’s made a number of important contributions to the Alaskan archeological canon. Potter’s body of work, however, contains one particularly unique entry: He uncovered the oldest human remains to date at an archeological site in Alaska. The first finding occurred in 2010, after years of work at an 11,500-year-old site known as Upward Sun River.

Potter and his team were contracted in 2005 to conduct a survey ahead of a proposed railway expansion through Army lands 40 miles from Fairbanks. His crew dug a few test pits and found evidence of human activity. The rail project was eventually rerouted, and in 2009 Potter received a grant from the National Science Foundation to continue excavating and investigating the site. He made the startling discovery the following year. About a meter down, Potter’s crew found parts of a human skull; later analysis determined the bones had come from a 3-year-old cremated child. In 2013, they went deeper into the site, and the team found the remains of two infants. Extracting human remains from the ground in Alaska necessitates consulting with local Indigenous tribes, which maintain a notable presence in their ancestral lands in the state — about 100,000 people spread across at least four groups. With the support and cooperation of local tribal leaders, his team removed the bones and sent out a sample for genetic analysis. They published the results last year.

The goal is just knowing more — to keep understanding.

The DNA makeup revealed an entirely new population of Native peoples, a group Potter labeled “Ancient Beringians.” There were other important findings at Upward Sun River. For example, they discovered fish bones buried in a hearth, where hunters would’ve cooked their meat, which helped Potter and his team establish the earliest known human consumption of salmon in the Americas. Previously, scientists had thought this occurred near the ocean. “It wasn’t on the coast, it was in the deep interior rivers,” Potter said. “That’s pretty exciting.” But the conclusions drawn from the DNA analysis were by far the most significant: a previously unknown branch of ancient humans.

It was a substantial addition to the archeology of the time. Although the general narrative about the early migration of people from Siberia to the Americas is mostly agreed upon, the specifics are subject to ongoing debate among social scientists. When exactly did these ancient people first arrive in Alaska? Did they settle down? If so, for how long? When did they colonize the rest of America? Did they travel inland or along the coast? What the DNA from Potter’s discovery and other analysis showed was that for a period of several thousand years the genetic code of early Indigenous people evolved in isolation, no longer mixing with the DNA of those who lived in eastern Asia. It also appeared that these Ancient Beringians were eventually separated from those who went on to colonize the rest of the Americas.

Two other groups of scientists have discovered new genetic evidence that he felt buttressed his work. The findings included, in part, a human DNA sample from a 12,600-year-old cave in Montana and a single tooth preserved from a 1949 dig at a 10,000-year-old site in western Alaska, hundreds of miles from Fairbanks. The tooth had long been forgotten, stashed away on a dusty shelf at a museum in Copenhagen, Denmark. It was found by, of all people, Esdale’s husband Rasic. Turned out, the genetic makeup of the tooth matched the children’s from Upward Sun River.

“This actually clarifies quite a bit,” Potter told me when I followed up with him after the new papers were released. He walked me through the scenario he saw taking shape: People were likely living in Asia around 16,000 years ago. The glaciers began to melt and tribes migrated from western Beringia to Alaska around, say, 15,000 years ago. Then you have a split: ancient Beringians sticking around Alaska and another group traveling south, either inland, along the coast, or both, entering the rest of the Americas. That second group, he said, looked to be a single population that spread quickly and later split into many lineages.

Talking with Potter about the DNA results and migration theories it reminded me of a conversation Esdale and I had on our drive out to Delta River Overlook, the day before I left Alaska and flew back to the rest of the United States. We’d been talking about how, based on the antique elements of the profession, archeologists are necessarily adept at spinning complex abstractions from limited evidence, whether it’s the shape of a microblade point or a scrap of an animal bone. It seemed to me, however, that that meant there was no endgame to this work — that it could go on forever, like trying to solve a massive jigsaw puzzle in which an untold number of pieces were destroyed eons ago. When I floated this thought to Esdale, she laughed. “Yeah, no, there’s never an endgame. The goal is just knowing more — to keep understanding.”

We continued along the Jeep road into the forest.

“I never really thought about it like that,” she said.

***

Chris Outcalt is a writer and editor based in Colorado.

Editor: Krista Stevens
Fact-checker: Samantha Schuyler
Copy editor: Jacob Gross

Faith and Reproductive Justice Are Not in Opposition

Illustration by Chloe Cushman

Danielle A. Jackson | Longreads | March 2019 | 7 minutes (1,853 words)

“The patriarchy begins at home,” acclaimed Atlanta-based novelist Tayari Jones told the Atlantic last year. “They call it ‘patriarchy’ because it’s about your father and your brothers and your family.” My brother became a conservative Republican in the late ’80s due in part to a strong moral opposition to abortion. He’s 16 years older than me, and one of few men in our family. We were raised in the same missionary Baptist church in North Memphis our family belonged to for three generations. I was baptized and went to Sunday School there; my grandmother had been a white glove-wearing, note-taking member of the Baptist Training Union 50 years before. They taught Baptist doctrine to congregants. I found pages of her meticulous notes in a closet in my auntie’s house decades after she died. Despite years of service and prominent roles in the church, women couldn’t sit in its pulpit, much less aspire to ultimate leadership. In all of my time there, I can’t even recall having a woman from another congregation speak to us as visiting pastor.

The seeds of whatever belief system my brother came to uphold must have been planted in that sanctuary. Later, when I was a teenager who’d developed her own thoughts on the matter, we spoke about the biblical underpinnings of his values. We didn’t talk about our grandmother, who may have had an abortion in the ’50s when she became pregnant for the ninth time. Or our mother, who, with me, had a troubled delivery, with preeclampsia, induction, and a caesarian section. I spent my first days in a neonatal ICU. My mother was 21 when my brother was born and 37 with me — an “advanced maternal age.” By the time my brother and I were talking about the “sanctity of life,” it was the ’90s; yet, even now, when male pundits and politicians speak about pregnancy, abortion, and God, I do not hear a concern for the lives and experiences of would-be mothers, for women, that is as strong as their concern for the unborn.

Attorney and scholar of race, gender, and the law, Dorothy Roberts, describes “maternal-fetal conflict,” as “policies that seek to protect the fetus while disregarding the humanity of the mother.” It’s a concept that helps explain how many of the same states with the most restricted access to abortion care have also refused to expand Medicaid, denying uninsured, low income people access to contraceptives and other healthcare services. It helps explain how rates of maternal mortality have increased while rates of infant mortality have fallen.

It’s likely, since Brett Kavanaugh replaced Anthony Kennedy and the Supreme Court’s ideological balance shifted, that federal protections guaranteed with Roe vs. Wade will disappear. Several cases that would prompt its annulment could make it onto the Court’s docket. Many people already effectively live in a post-Roe future. In states throughout the South and Midwest, including my home state of Tennessee, more than 90% of counties have no clinics that provide abortion services. Mississippi and six other states are down to a single one. The Hyde Amendment prohibits use of federal Medicaid funds for elective abortions; 11 states restrict abortion coverage in private insurance. Twenty-seven require waiting periods of 24 to 72 hours, meaning two visits to a provider that is possibly already a prohibitive distance away.

New York’s Reproductive Health Act passed on January 22, 2019, the 46th anniversary of Roe v. Wade. It codified the Supreme Court decision into state law, removed abortion from the criminal code, and relaxed some restrictions on abortions after 24 weeks. Last month, Virginia’s legislature considered a bill that would also expand abortion access at the state level. Since then, the phrase “late term” abortion, an imprecise, lightning rod of a term used to describe a set of complicated procedures that account for less than 2% of abortions, shot through the discourse to, it seems, reignite a moral conversation about abortion in general. New York and Virginia are part of a rash of states that rushed to pass bills clarifying their positions. On February 20, the governor of Arkansas signed the “Human Life Protection Act”; it will “abolish abortion” in the state, except in cases where the mother’s life is in danger. Tennessee’s legislature introduced a similar bill in February. Both would become effective should Roe v. Wade, or its supporting decisions, be nullified. Mississippi, Louisiana, North Dakota and South Dakota already have comparable “trigger laws” in place.


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* * *

“We lose people when we center and focus on abortion,” Jalessah Jackson told me on a phone call from Atlanta. She’s the Georgia Coordinator for SisterSong, a national, membership-based network of organizers focused on reproductive rights. Founded in 1997, one of SisterSong’s main aims is organizing in support of people all along the gender spectrum who are living in the South.

A major priority for SisterSong is “culture shift” campaigns, which develop partnerships with faith organizations and leaders. “We recognize the role of the church in people’s lives,” she said, so their organizers “meet with progressive church leaders to talk about their responsibility in making sure their congregation is living and thriving. They should attend to the part of their congregation that might want to have children as well as those that might not want to.”

Jackson and team hope to “change narratives,” because many people “think faith and reproductive justice are in opposition, and they’re not.” Indeed, the Southern Christian Leadership Conference (SCLC), started by a coalition of ministers after the successful Montgomery Bus Boycott and led, at one point, by Dr. Martin Luther King, Jr., wrote a policy document for the federal government’s family planning program in the mid-60s. Before that, in the ’30s, W.E.B. DuBois thought black churches should invite leaders of birth control organizations to speak to their congregations. DuBois had a progressive-era classism then, and believed in population control especially among the “least intelligent and fit.” But there’s something to his call for “a more liberal attitude” within the black church that remains salient. 

According to Loretta J. Ross, an activist and one of the pioneers of the concept, and historian Rickie Solinger, the core of reproductive justice is the right to have a child or not, and the right to parent children in safe and healthy environments. Using reproductive justice as a frame for thinking about women’s health exposes the limits of the pro-life / pro-choice binary. It makes room for concerns about mass incarceration, public education, affordable housing, air pollution, and the ability to earn a living wage — all of which influence what choices people actually have, and determine whether the children they carry to term are able to thrive.

Nearly 60% of women who terminate pregnancies are already mothers. About half of patients seeking abortion care live below the poverty level. Black women in the US are almost three times more likely than white women to have abortions; Latinas have them nearly twice as often as whites. Since a growing majority of US blacks reside in the South, and poverty rates for blacks, Latinx, and indigenous people double that of whites, abortion access is a “race issue,” and a Roe annulment would disproportionately affect brown and black people. Many black pro-life organizations and church congregations have co-opted the language of progressive movements to buttress their opposition to abortion, linking reproductive rights and family planning with genocide. It’s an old but powerful strain of thinking that acknowledges medical racism and the early associations of Margaret Sanger, a founder of Planned Parenthood, with leading eugenicists. But it fails to note Sanger’s reliance on W.E.B. DuBois’ research, and it does not account for the lived experiences or needs of actual women.

Nikia Grayson, certified nurse midwife and director of midwifery care at Choices, a reproductive health center in downtown Memphis, told me their providers like to “talk about all of a woman’s options,” to unearth and address what kind of care she needs. They aim to provide “high quality, non-judgmental” healthcare in which they remove the stigma from abortion and serve the needs of the city’s LGBTIA population. They are one of few clinics providing the HIV preventative medications PrEP and PEP in a city that is eighth in the country for rates of new HIV diagnoses.

Choices is a model of full spectrum reproductive care, offering prenatal and postpartum care, pap smears, pelvic exams, STI screening and advice, and (through coordination with a local rape crisis center) treatment specifically for sexual assault survivors, all under one roof. It’s the midwifery model, in which women are attended to “from menarche to menopause.” Abortions are also provided at the facility. One of only two back certified nurse midwives in Memphis, Grayson said the majority of Choices’ patients pay for their services at least partially with Medicaid, and the center often raises funds to cover what the state will not. If all goes according to plan, later this year they’ll open the city’s first standalone birthing center, where women who could not otherwise afford a home birth can have an alternative to hospital delivery. Advisers to the World Health Organization and the UN Population Fund recommend “integrated comprehensive sexual and reproductive health services” like this “for women and girls to enjoy their human rights.” It decreases the likelihood of unintended pregnancies, addressing concerns about abortion closer to the root.

I asked Grayson about church groups, and she said Choices receives support from social justice oriented congregations, like Christ Missionary Baptist Church. “They understand that the work Choices does saves lives.” Christ Missionary’s senior pastor, Dr. Gina Stewart, is one of the first women to lead a Baptist congregation in the city and its surrounding areas.

If Roe is dying, it is, so far, a slow burning death, with gasps for breath and short, hopeful bouts of recovery. Several weeks ago, Chief Justice John Roberts delivered the decisive vote in blocking a law in Louisiana that would have further restricted abortion access in the state; the week after, the Trump administration published a “family planning rule” that would block providers who provide or counsel on abortions (such as Planned Parenthood and Choices) from access to certain federal funds. It is is helpful to note how institutions like Planned Parenthood, Choices and SisterSong already do their work in a climate of opposition and disinformation. “I think there’s a lot of misunderstanding about abortion.” Jaleesah Jackson said. The disinformation comes from everywhere, nowhere, and the top — the president falsely claimed in his latest state of the union address that later term abortions “rip babies from the mother’s womb moments from birth.” As Jackson said, “SisterSong advocates for comprehensive sex education, and comprehensive sex education would cover abortion. All genders, all folks need access to this information because they’re all charged with the responsibility of making decisions about their reproductive lives.”

But abortion is, in many ways, beside the point. “We’re autonomous human beings.” Jackson told me. “And part of having bodily autonomy is being able to make whatever reproductive health decisions we deem fit for ourselves and our lives and for our families.”

Three Decades of Cross-Cultural Utopianism in British Music Writing

Mick Jagger and Brian Jones reading a copy of Mersey Beat magazine in 1965. Mark and Colleen Hayward / Redferns / Getty

Mark Sinker | A Hidden Landscape Once a Week Strange Attractor Press | February 2019 | 32 minutes (6,436 words)

 

It was late 1986, and I was frustrated. I’d given up my day-job to dedicate myself full-time to writing, but I wasn’t getting much work, and what I did get was paying almost nothing. Only one title was giving me the freedom to find my voice — Richard Cook’s still-small monthly The Wire, where he was building a team of new young writers — and it paid worst of all. No surprise I wasn’t getting enough paid work: Mostly I wrote about free improvised music and the more intransigent offshoots of post-punk, but I’d also seen King Sunny Ade play at the Hammersmith Odeon in 1983, and fallen in love with West African pop, its dancing brightness and the strangeness of its vocal lines. Others were writing about it, no one very well. Or so I felt. I was young, and young often means arrogant. Two things had drawn me to the music-writing of that era, the weeklies in particular: its opinionated mischief-making humor, and the sense of young people travelling by touch, learning as they went — finding out about the wider world by throwing themselves out into that world. Master both, and there’s your recipe for professional success, I thought. I had a head full of ideas about what music should and shouldn’t be, and was intensely willing to argue about them.

The LP in front of me was Coming Home, debut release of a group of South African exiles under the collective name Kintone. Its quietly melodic afrojazz — with hints of Weather Report, but far less flashy — went right over my head that aggrieved autumn. I had come to hate jazz writing which damned musicians with bland praise, leaving readers swimming unconvinced in routinized tact. But re-listening now, 30 years on, I have to say I no longer hear what apparently so riled me then, when I scorned instrumental prowess and sneered at a cartoon idea of the meaning of fusion.

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You’re Just Too Good to Be True

Hulton Archive / Getty, Photo illustration by Katie Kosma

Kavita Das | Longreads | February 2019 | 27 minutes (6688 words)

New York City, 1980

Mommy and I had a deal. On our twice-a-week, 45-minute drive to speech therapy, I practiced singing South Indian Carnatic songs, the ones she grew up playing on the violin, and on the way back I was allowed to listen to anything I wanted. So, as soon as we hit the road from our house, she prompted me to begin with sa-pa-sa. Sa is the equivalent of do, the starting note in Western classical solfege, and pa the equivalent of sol, the fifth note above do. Singing these fifth intervals helped ground me in my pitch before I began any song.

Once that was done, Mommy picked from songs she had already taught me during previous car trips, or began a new one. She quizzed me on which raga, or key, it was in, and then we sang the scale of that raga together. Unlike Western keys, ragas might have different ascending and descending scales, which struck me as hazardous. Even if I knew my way up the mountain, taking the same path down might send me careening into a ravine of shame. Then, she began tapping out the talam, or the time signature, on the steering wheel of her deep blue Chevy Horizon hatchback, while navigating through traffic, and I followed along, tapping it out on my thigh or on the vinyl seat next to me. I began to sing. When I forgot a lyric or the melody, she piped up and sang alongside me, and then chided, “Start again and this time concentrate, and sing it correctly.”

We went from one song to the next as we made our way from our home in Bayside, Queens to Albert Einstein Medical Center in the Bronx, driving over highways, crossing bridges, stopping at lights, paying tolls. Sometimes we arrived at speech therapy mid-song, and then afterwards, when we got back in the car, instead of switching to my choice, per our deal, Mommy made me finish the song first, which meant I only got to my music when we were halfway home. So, I learned to gauge how close we were to the medical center and speed up my singing so that the end of the Carnatic song coincided with our arrival. This way, the whole car ride back was just for my music.

As soon as we were back in the car, our seat belts fastened, I popped in my favorite tape. It was “The Ultimate Engelbert Humperdinck,” one of the only non-Indian music albums my parents owned, by the first Western musician I was allowed to listen to. I loved everything about him and his music. He spoke to me, an almost-5-year-old who felt she already knew a thing or two about the world — having visited India, Japan, Hawaii, and New Jersey; not to mention endured the pain of multiple surgeries and the monotony of speech therapy for a cleft palate, and the loneliness of being an only child, who was not so much misunderstood as not understood, receiving quizzical looks whenever I spoke. He knew me and cared deeply for me — it was all there in the beautiful lyrics of his songs, and in the way he crooned them just to me. His voice oozed with feeling. It was as smooth and sweet as the caramel squares my grandfather loved so much that he asked me to climb a chair and sneak up to the candy box and fetch him some more.

My absolute favorite song off the tape was Killing Me Softly. Listening to it, I felt as if I was all grown up, sitting in the audience at a small café. I was the person he sang about, who comes undone by the lovelorn songs of a soulful troubadour. I sang out with abandon, the windows down, drowning out city noises. Strumming my pain with his fingers, singing my life with his words, killing me softly with his song, killing me softly. My mother continued to drive as I sang my little girl heart out all the way back to Queens.

I had named my dearest possession after him — my nubby pale blue woven blankie, which stayed steadfastly at my side as I played, before I carried it to bed each night, and which in turn carried me to my dreams. And when my 5th birthday rolled around, and preparations were being made for my party, I instructed my mother to invite Engelbert Humperdinck. My mother assured me that an invitation had been sent to him in England, where he lived and where my parents used to live before they migrated to the U.S. I was so excited, I ran around our basement swinging from the foundation poles, which usually served as the villains I lassoed as Wonder Woman. I could barely believe that in just a few days, Engelbert Humperdinck — I always called him by his full name — would be here in our basement. I wondered what to wear. None of my Indian stuff. Perhaps my powder blue shift and jacket, trimmed with white faux fur. It made me look like a lady, just like the long silk gowns my mother had gotten stitched for me in India. My powder blue number was a hit when I wore it in Japan — while we were snapping photos of the sights and surroundings, Japanese young women were asking my parents if they could snap photos of me in the photo-finish outfits Mommy bought, hand-stitched, or had tailored for me.

I decide that when he arrived, I would give him the frosted flowers from atop my Carvel ice cream cake, a token of my selfless love and admiration. I hoped he would sing Close to You — my second most favorite song, with perfect lyrics for celebrating me as the birthday girl. On the day that you were born the angels got together, And decided to create a dream come true, So they sprinkled moondust in your hair of gold and starlight in your eyes of blue. Well, hair of black and eyes of brown, but I still believed he meant me since Engelbert Humperdinck himself was no blonde-haired blue-eyed being.

I had taken out the album liner notes from the plastic cassette case so often to stare at the two jacket photos of him that the case had broken. He had a head of shiny blue-black hair that cascaded in waves over his smiling face, culminating in two sturdy pillars of sideburns. It reminded me of Daddy’s hair. Unlike Daddy, though, he didn’t have a mustache, which meant he wouldn’t scratch me when he kissed me on the cheek. His nose was pointy, but not too pointy, and his honey brown eyes seemed to twinkle at me like stars from the nursery rhymes I’d learned seemingly so long ago. Now that I was a 5-year-old, I had graduated from nursery school to kindergarten, from nursery rhymes to love ballads, and from imaginary play friends to real-life music idols. I imagined us holding hands, going to the park, and, of course, singing duets together. And sheepishly I wondered if maybe, when I grew up, we could get married. When Mommy and Daddy weren’t around, I pressed my lips against his in the jacket photo, the way I had seen grownups do in TV shows. I never saw any of the Indian uncles and aunties do it, but I knew it was something other grownups — white and Black — did when they loved someone. When I closed my eyes to make a wish, I sometimes focused on a Barbie doll, but other times I hoped for the chance to kiss Engelbert Humperdinck for real.
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Shelved: Sonny Rollins Live at Carnegie Hall

Bob Parent / Hulton Archives / Getty

Tom Maxwell | Longreads | February 2019 | 16 minutes (3,055 words)

 

Sonny Rollins was busy in 1957. The tenor saxophonist was present for about sixteen recording sessions, some private, most released, with his own bands as well as with groups led by Miles Davis, Max Roach, Dizzy Gillespie, and Kenny Dorham. His landmark A Night At The Village Vanguard, a live recording of two sets, one in the afternoon and one in the evening performed on November 3rd at New York’s legendary jazz club, became a standard by which other improvisers are judged. In addition, Rollins debuted at Carnegie Hall and headlined the first Monterey Jazz Festival the following year.

“When I look back, people say, ‘Oh, you did a lot of records in 1957…’ Well, I mean, I had to be told about it,” Rollins recently told an interviewer. “So, I guess it was more or less of a norm, you know.”

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