Search Results for: Los Angeles Times

It’s Like That: The Makings of a Hip-Hop Writer

T-Neck Records, 4th & B'way, Jive, Profile Records, Ruffhouse Records

Michael A. Gonzales | Longreads | June 2019 | 45 minutes (7,644 words)

 

Recently a friend told me, “When I was a newbie at Vibe magazine, I always thought, Mike looks like what I always imagined a real writer looked like, with your trenchcoat and briefcase and papers … and your hats. I can’t forget the hats.” Though he did forget the Mikli glasses and wingtips, I had to confess my style was one I’d visualized years before when I was a Harlem boy hanging out in the Hamilton Grange Library on 145th Street, looking at Richard Wright, Chester Himes, and James Baldwin book jacket pictures.

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How the Cosby Story Finally Went Viral — And Why It Took So Long

Associated Press, Collage by Homestead

Nicole Weisensee Egan | An excerpt adapted from Chasing Cosby: The Downfall of America’s Dad | Seal Press | 14 minutes (3,614 words)

In October 2014 Bill Cosby was in the middle of a career resurgence. His biography by former Newsweek editor Mark Whitaker had just come out to rave reviews and was climbing the bestseller list. He had a comedy special coming up on Netflix and was in development with NBC to star in a family sitcom. He was about to embark on another comedy tour based on a special that had aired on Comedy Central the year before. The special, Far from Finished, was Cosby’s first stand-up TV special in three decades, and it attracted two million viewers.

It was as if the scandal in 2005 had never happened, as if fourteen women hadn’t accused him of heinous offenses. The book didn’t even mention Andrea Constand’s allegations, let alone her civil suit or any of the other accusers. And no one in the media was asking Whitaker or Cosby why.

The situation was clear: Cosby had successfully repaired what little damage there was to his reputation after Andrea’s case made the news. He slipped right back into his revered status as public moralist and children’s advocate, chalking up even more awards and honors, including his entrée into the NAACP’s Image Awards Hall of Fame in 2006 for being a “true humanitarian and role model.” Read more…

Mama Looks for Melanin

Illustration by
Illustration by Bex Glendining

Harmony Holiday | Longreads | June 2019 | 17 minutes (4,437 words)

The night my mother turned 30 we went to Spago in Hollywood. It was her, me — about 6 years old at the time — and my sister, who was about a year and half, wheeled in, asleep in her stroller. We didn’t have a reservation, and Spago is one of those pathetically coveted restaurants where celebrities go to be seen. I remember my mom walking up to the hostess at the front of a long line and making something up about who her husband was. Or maybe she just offered the truth about who he had been. We were seated right away, like it was urgent. I don’t remember what we ate or if I even did. I can just picture the three of us sitting at our center-of-the-room table and feel the eyes on us like branding irons, because it had to have been rare that a white woman went for dinner and a night on the town at the new Wolfgang Puck haven for the stars with two brown kids, one needing a high chair, and no spouse in sight. Only fame or power could make a woman that bold. Most vivid in my memory are the many glasses of wine and other types of alcohol my mom ordered and how I took on my usual posture of quiet and aloof but insubordinate disbelief, placation, and empathy.

It was her birthday and she was still mourning the death of her husband, my father. Earlier that day when the cluster of foil balloons with the number 30 etched on its centerpiece arrived for her with a card signed by her parents and siblings, I could feel the event become drastically cheerful — cheer to smother sorrow. I could feel her becoming belligerent the way I do now as an adult when I remember that I deserve and want more and set out to take it or just go the club to remind myself that this society’s idea of more, of thrill and intrigue, is perverse and unsatisfying, garish and corny. I was more my mother’s supportive friend than her daughter then. Her grief and resentment and work ethic and frequent breakdowns knew no filter, and I secretly loved the lens it gave me and reveled in witnessing the ridiculous world of those who passed for adults in Los Angeles, up close, inappropriate, and beautiful.

When we finished that imitation of a convivial family dinner and left Spago in our wobbly trio, we entered the agitating momentum of the Sunset Strip. The dazed energy of that evening possessed everything with its ridiculous blunted shimmer. We were really in Hollywood. Our cinematic migration and everything that had led to it felt complete that evening. On the way back to the car my mom started sobbing on the sidewalk, then the raging torment I had sensed pretending it was entitlement or cheer spilled forth and she started screaming at the passing cars, tears streaming down her face — Fuck you! Fuck all of you! — for what felt like an eternity of shame and glory, overcoming, ever coming. A little catatonic, I asked: Can we go back to the car now, and so we stumbled, me, her pushing my sister in the stroller, back to the Chevy my grandparents had given her after my dad died and his cars disappeared with him. Here was repossession, my dad having been another black entertainer who refused to organize his death by the laws of the West. Those were the days when you had to look at actual paper maps to determine where you were if you didn’t know for sure, and in L.A. there was a huge book of street maps, a rite-of-passage atlas that everyone kept in their glove compartment, and since we had wandered far from home, my mom took hers out to study it and find our route back.

The blurry amber light on in the car was soothing. My sister was asleep in the car seat, and the street outside was quiet — it felt like we might be shown the safest way back to composure. I watched my mom intently for signs of recovery from that stupor of outbursts on the sidewalk. And then two men got into our car on either side of her, as if the car was theirs and she was too, as if this was a planned meeting, and they pushed her between them. They had guns, they held them to her temples and started driving. They drove aimlessly like they were looking for their third man and he could be anywhere, like they were prepared to make this a caravan, and the first question they asked before they could even focus on their crime was why do you have these black kids? My sister started crying the shrill guttural way distressed infants cry, I sat in silence. I had seen a gun before. I had seen one held to my mom’s head. I had seen a black man I loved, my father, hold a gun to my mom’s head in the same way, while threatening to kill her, like it was a routine checkup on fidelity, and I didn’t believe in villains or heroes even then. If these two petty thieves thought they were gonna frighten me into hysteria, I would do what I had done with my own father: unnerve them with my calm. That’s how I felt as I watched my mom beg take me, but please don’t take my babies repeatedly. They kept driving in some performative frenzy of deliberation, busy deciding what kind of theft this was gonna be, what kind of reparations, what kind of Hollywood ending. Eventually, after what felt like a marathon or a scripted relay, they left us on the side of the road. My mom still had the book of street maps in her hands. She had been squeezing it tightly as she pleaded for our lives. She called the police from a phone booth and we were picked up and taken the to nearest station. This was familiar, too. We’d been to precincts time and again after dad’s episodes, only to go home as one happy family as if nothing had happened. We would do that on this night, too: Go home, sleep off our black secrets. What I didn’t realize at the time, as drunk and distraught as my mother was that night, is that maybe those men saved our lives. Now when I think back on that carjacking, I’m thankful.


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* * *

My mom is a starkly direct embodiment of the “be careful what you wish for” adage. Or, be careful that you don’t get caught in a loop of brutalization and self-brutalization on the road to healing or understanding. Be careful that the refrain on that road isn’t finding new ways to be a victim and survive. That night at Spago and every night, it seemed, she was unconsciously looking for Jimmy, my father, and she found the very version of him we had been forced to escape time and again. We would go to my grandparents’ house in San Diego and recover from the patterned domestic violence, only to return, both of us, to Iowa, to be with my father again. Waterloo, Iowa, where we fought our losing battle of love and justice. In a particularly misguided moment of emotional blackmail, my mom even told me she went back the final time so that I could have a brother or sister, and maybe she even believed it, such is the drugged-out effect of that kind of tortured love.

When my parents first met it was as if the American promise was giddy with the buzz of perfection: an idyllic cross-pollination. A young woman, a girl really, raised in a Chicago suburb, having gone to Catholic schools all her life, matriculating at University of Iowa with dreams of becoming a writer, meets a famous songwriter returned home to live near his mother and siblings, who had left a life as sharecroppers in the Mississippi Delta for Waterloo, Iowa, during the second wave of the Great Migration. The girl, naive but serious, had gone to Iowa in hopes of finding a kind of creative freedom that she hadn’t experienced at home. The man had returned to Iowa from Hollywood after a messy divorce from his first wife and a mental breakdown that found him hospitalized and mega-dosed with the later-illegal drug Thorazine. Home was where he could be stable, take his requisite prescription of lithium, sing in church on Wednesdays and Sundays, feel protected from the trappings of celebrity culture as a black man.

When my parents first met it was as if the American promise was giddy with the buzz of perfection: an idyllic cross-pollination.

He met my mother while performing near the college. There is a tacit tradition of interracial coupling that begins with black performers having to enter white spaces and endure, from Sammy Davis Jr. to Jack Johnson to Billie Holiday and Orson Welles. There are codes and levels and degrees of longevity and conflict, but once you enter that tradition it has a momentum of its own. There’s a sense of newfound autonomy in the alienation that I could always sense between my parents. They were married within two weeks of meeting, and I was born the following spring. Besides my maternal grandparents’ initial objection and suggestion that they put me up for adoption to avoid the confusion this chiaroscuro child could cause, besides the mutual rebellion it became in that way, everything was beautiful and new. An interracial couple was still a rare thing that deep in the Midwest, but they made the best of it. My grandmother taught my mom to cook greens and how to comb and braid black hair, my dad already knew plenty about the white world from his travels, his career, his first wife, his affairs, and he was unfazed, besides, this was his world.

Peace reigned over their union and our house for a while, but naively. Wanting to inspire his creativity, my mom suggested that my dad cut back on the lithium, a drug which flipped a switch in his spirit, made him comatose at times, but gentle and at ease. He obliged her and the raging talent and the rage and jealousy and militancy in all directions that accompanied it unleashed and that was that. Once he remembered who he really was, pacifying him with that blue pill was no longer an option. The cyclical violence began: the nights they spent up all hours writing and singing and fighting until it was difficult to differentiate between conflict and collaboration. I could really see firsthand the role-play of it all. I could sense the inevitability of a dynamic that’s so electric it charges itself, propelled by a longer and much more vicious history, how it almost has to be tumult and tenderness vying for dominance until the final curtain to be at all. And so it was. If you leave me I’ll die were the last words I ever heard my father say as he was taken away by police. We moved to a battered women’s shelter where we slept on cots and had aliases and I felt safe and missed him and dreamt of a happier era. Then we moved to California.

* * *

Looking for someone like my father to fall in love with was asking for trouble and disappointment and more and more hagiography of him as each imitation failed to live up to the magic or the danger that he exclusively possessed and represented for us both. His resounding aura as he rehearsed on the piano or sang at home is the most protective energy I’ve ever known. It made us forget the suitcase full of guns in the closet. And his ability to flash a smile and crack a joke when hearts got too heavy, even if he was the one imposing the weight, made it hard to remember his fits of anger. His knack for style and his rhythm meant he could turn swarm into swoon, pain into reprieve, at will, that he was easy to forgive and impossible to forget, and kind of god in our eyes. He was a man whose torment and rage always promised they were in the name of love. Tall and spellbinding and towering over our memories with the gauntlet of his spirit even now as the standard of charisma I’ve inherited. I can tolerate its shadow side without realizing it. Some men rule by becoming the rules, the unlikely rubric of the heroic and anti-heroic. The search for someone like dad, like Jimmy, in part my mom’s natural inclination, in part because she wanted my sister and me to know exactly who we were, and be proud, was relentless. After Spago, there was nothing we couldn’t fathom Los Angeles presenting, nothing too cinematic. And mom set out to find her happy ending.

First, she had an affair with singer and songwriter Willie Hutch that lasted several years. I remember feeling the urge to scoff when I’d see him at our house, or when she’d pick me up from school, and instead of heading home we’d wind up in his Inglewood studio where I’d dismissively do my homework amid the samplers and booths. Willie was kind and loving, but he wasn’t my dad, and I always reminded him of that. My mom had enrolled me in a dance studio run by two black former Alvin Ailey dancers, Ted and D’Shawn, and they too became peripheral father figures, surrogate black dads. I spent more time with them training in ballet and other forms than I did at home, and I preferred it that way. The dance studio reminded me of life in Iowa, where I had had cousins, aunts, and uncles around at all times, and I felt most like myself while dancing and being taught new steps and techniques by iron-fisted Ted, who would turn off the music and use the tapping of a yardstick on the studio floor to keep rhythm when we messed up the barre exercises, and who tapped our legs lightly but sternly with the same yardstick when they weren’t high enough in routine extensions. That was the kind of enforced discipline my DNA recognized and craved. The dance community was a mecca, and I could escape into and be excused from some of my mom’s searchlight escapades.

Not too long after the Spago incident, I remember coming home from dance class to find a copy of the National Enquirer on our coffee table. On the cover there was mention of mom’s close friend Bridgette, along with Eddie Murphy and Arsenio Hall. Eddie Murphy and Arsenio Hall lured me for sex. They watched, then laughed as guards beat me, the cover read. By my mom’s account, one night while my she and Bridgette were out at a comedy club, Eddie’s body guard invited them back to his mansion in the Hollywood Hills. While my mom says she was upstairs being wooed by Charlie Murphy, Bridgette ended up getting into a fight with Eddie, shaming him for the swarm of white women he had around him. She ran up to get my mom and leave, but as they drove away drunk in Bridgette’s Fiat, Eddie’s security guard drove past them, blocked the car, walked out and grabbed Bridgette by the hair. He slammed her into the car window repeatedly while my mom watched. Gloria Allred ended up defending Bridgette, and I believe she won a large sum. Suddenly Bridgette had a nicer house and an air of retribution about her. My mom never testified because she was afraid of retaliation, had seen too much of that kind of violence. She also fancied Charlie.

His resounding aura as he rehearsed on the piano or sang at home is the most protective energy I’ve ever known.

At the same time as this partying and discovering L.A., my mom was teaching at a private Lutheran school by day, a haven for celebrity kids where Lakers player Jamaal Wilkes’s children and the likes were among her students. Of course mom and Jamaal were friends. She had also taken up meditation with a coach. I would sneak and watch Beverly Hills 90210 during her weekly Wednesday night sessions. This was far from the prayer meetings of our life in Waterloo, an example of how healing from trauma tends to threaten a kind of estrangement from one’s roots that makes even the most resilient souls reluctant to overcome themselves. Nothing seemed to work to quell my mom’s deepening anxiety and alcoholism and desire to fall apart and be put back together as darker and safer than she was before. Some days this desire would show up as praise for my skin color that felt too close to envy and made me uncomfortable. Sometimes cold misappropriations like yelling wake your black ass up many mornings before school. In other ways her desire to experience black culture showed up as pure appreciation. We would go see Debbie Allen or Alvin Ailey or local black theater companies perform regularly. Exposing us to the arts, to Black Art, in this way, compensated for some of the trifling social incidents we had witnessed. The arts deepened our understanding of what we were seeing play out in our lives, gave us a means to name it in code and tone, and find some beauty there.  

Mom had almost exclusively black friends, all of our babysitters were black. Everyone around us but her. From the outside but also close to the inside, it seemed like her soul had suffered so much, had been so shocked by the contrast between her suburban upbringing and her adult life, that she couldn’t relate to the white world she came from in the same way anymore. It was driving her crazy, how she tried to transcend that schism and appease the white world at the same time as the black one. Watching her then was an excellent lesson in how all-or-nothing rebellion must be if you expect to survive it. You have to pick a side.

After several years looking for love or thrill or validation or escape on the L.A. scene, my mom ended up in a long-term relationship with a man who looked a lot like my father. He was also a musician. They had a child together, my youngest sister, and then they separated, but not without their share of turmoil and untransmuted rage as they enabled one other’s pathologies and addictions. I kept escaping to dance and academics, kept shaking my head in incredulity that humanity could be so many contradictions. I kept a laugh in my muted scream at them. And then the first summer I spent home from college, my mom introduced me to the legendary jazz musician from Chicago she’d fallen in love with, maybe her last affair. She’s been with him since. It’s been turbulent, tender, familiar. It would be through him that I would meet the hip-hop musician and first man I dated who reminded me of Jimmy, who won my heart for a long while with scraps of my father’s sublimated charisma. And so the cycle goes.

My mother’s affinity for black culture and black men comes with its share of perks almost equal to the dilemmas. My mom can cuss out as effectively as a black mom, maybe even more effectively, because she’s backed by white privilege, her built-in (even after all the upheaval) sense of entitlement. She’s used that skill in my defense with reckless abandon. And because of her choice of company, her taste in lovers and friends, I was surrounded by black women when I needed them most a kid and teenager. Women who stepped in and made sure my hair was done right, clothes were ironed, spirit was high and unbroken. While Mom was unraveling, I had surrogate mothers. Barbara, my dance friend Gloria’s mom who treated me like a daughter during long rehearsals, did my eyebrows for the first time, and had a sparkle in her eyes that taught me what light can never be dimmed. Our babysitter Katherine, originally from Kenya, whose house smelled more like home than home did and stayed up nights with me while I finished strange book reports I’d obsess over. Debby, my older sister from my dad’s first marriage, who was close to my mom in age and able to make me feel both cool and safe in her presence, like my dad without the violence. While my mom was looking for her renewed identity, mine was being tended to by forces that felt ancestral, as if my own biological needs were driving some of her exploits. This is repossession. And when she finally wanted to try and get sober, it was videos on holistic healing by renowned but marginal black thinkers like Dr. Sebi and Dick Gregory that I’d sent her that inspired the turnaround. I knew my audience. I knew that learning the science of melanin and not just the scene surrounding it might be enough to tempt her to regain her health and will to live. It was time to remind her that she was not an outcast, that she had cast herself out, that loving blackness does not mean courting dysfunction, but rather a pursuit of reparations starting with the self, rescuing the body from its labels, letting it finally triumph, being careful what you wish for.

* * *

It takes bravery for a white woman to admit she wants to be black in America, bravery, insanity, and the transfigured genius of brokenhearted compassion. It requires the specific kind of indomitable courage furnished by creating black bodies and realizing you’ve been charged with their safety and set up to fail and as forever changed by their doom as by the glory and beauty that overrides it every time. It’s exceedingly risky and taboo, letting your kids in on your confusion and hoping they transmute it into clear-minded self-actualization. Hoping they reject you and become who they are, embracing the tenacity but not the destruction. It’s the gambling with black lives that makes America break again and again, that makes the perfect broken family we call home a country, a bliss and abyss of contradictions. Even as the bludgeon of it being a fetish for the exotic never quite leaves. Even as I know it’s more of a calling for my mother, an awakening that cannot be reversed, an act of love and self-abnegating longing, there’s something comforting about knowing she would give up some of her good old-fashioned white privilege for a chance at the wholeness and healing she associates with blackness. And it’s healthy to have learned that even the desire to relinquish white privilege doesn’t diminish it at all. When the police pulled her over, she could still start crying and get off with a warning. When those men saved our lives by taking our car that night, we still went back to the precinct a couple weeks later and identified them in a lineup, and two more black men went to jail.

I felt most like myself while dancing and being taught new steps and techniques by iron-fisted Ted, who would turn off the music and use the tapping of a yardstick on the studio floor to keep rhythm when we messed up the barre exercises, and who tapped our legs lightly but sternly with the same yardstick when they weren’t high enough in routine extensions.

By the time I realized that my mom harbored some pent-up racism like every white person in this country does on some level, by the time the echo of comments like wake your black ass up that I’d thought regular as a child formed into a consciousness of my own mother’s love/hate relationship with her idea of blackness, by the time I was ready to let myself be aware of this, I had to reconcile the love of black bodies with the contempt and envy that often comes with it. I had to trace those tendencies in my own mother back to the earliest incentive to steal us and ship us here in the first place, and through my parents’ fraught love and my mother’s transparency, I am able to understand the U.S.’s blatant love affair with its idea of blackness as the true source of the history of this nation, and the hinge on which its soul rests to either be redeemed in atonement or annihilated in denial. My mom is not just looking for melanin, as she once put it literally, she’s looking for saviors, for heroes, for kings and queens, for regular everyday negroes and black people, for allies in her pursuit of her own wholeness. For me and my sisters and our fathers to accept her into the cypher from which she feels excluded, to help her survive America, to remind her that neither uppitiness nor self-sabotage will make her better or safer or blacker or more like who she is meant to be. I don’t blame her for being so intent, for knowing that we are the ones who can help her, as well as make her laugh it off. I don’t blame her for knowing we have.

There is no more real way to be a mother than to become the child, to want to know what it’s like, just like there’s no way to oppress without becoming oppressed, just like there’s no way to be black without being black. But in an era where just being real — battle wounds and questionable obsessions and all — is becoming obsolete, I couldn’t ask for a more surprising and empowering and achingly honest version of an American matriarch. What’s most shocking as I’ve knocked down pillars of judgement about my mother’s choices along the tally in my mind through the years, forgiven them and come to understand, is that never once did she malign my father or anyone black no matter how badly she’d been hurt. My sister and I grew up thinking dad was the hero of the family and that being black in America was valiant and irresistible. We grew up knowing the truth. And we watched our mother grow up with us, wake up from the stupor of white liberal fragmentation with a clearer sense of the boundaries between skin and words, body and soul, our blackness and her idea of it. My mother has learned to just love what she loves unapologetically, naturally. She stopped apologizing to the white world she rejected through self-destructive acts. She stopped punishing herself as severely. Because of my mother, America’s haunted love affair with blackness, its desire to be reborn in a kind of noir armor, in almost exactly the way Get Out depicts, seemed so obvious that I thought everyone knew. I thought we all understood this self-hypnosis, this two-way trance. The happy ending will be this: In real life, it’s not that bad.  

* * *

Harmony Holiday is the author of four volumes of poetry, most recently HOLLYWOOD FOREVER and A JAZZ FUNERAL FOR UNCLE TOM (July 2019). Her collection of poems MAAFA is forthcoming later this year. And her collection of essays on reparations and the body, LOVE IS WAR FOR MILES, will publish in 2020. In addition, she runs an archive of jazz and diaspora poetics and is working on a biography of jazz singer Abbey Lincoln.

Editor: Danielle A. Jackson

Fact checker: Ethan Chiel

Copy editor: Jacob Z. Gross

House Un-American

Bettmann / Getty, House photo courtesy of Author, Collage by Homestead

Leslie Kendall Dye | Longreads | June 2019 | 24 minutes (6,524 words)

 

They say you can’t go home again, but I never stop trying. Sometimes I conjure the scent of jacaranda trees mixed with swimming pool chlorine, the sweet-then-sour first bite of kumquats, the faces of the little foxes in the bushes, the gleam of their eyes in the dark. The longer I live outside of Los Angeles, the more its mysteries call to me, as though the city itself were a piece of unfinished business. Maybe “unfinished business” is the very definition of home.

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The Erotic Thriller’s Little Death

TriStar Pictures / Netflix

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

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

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

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

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

* * *

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

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

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

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

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

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

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

* * *

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

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

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

* * *

Soraya Roberts is a culture columnist at Longreads.

America Is Still Hard To Find

Eugene A. Cernan holds the American flag during his first space walk, becoming the last man to walk on the moon. (NASA / Donaldson Collection / Getty Images)

Lily Meyer | Longreads | May 2019 | 12 minutes (3,115 words)

Catonsville, Maryland, is a quiet suburb of Baltimore, a leafy, American Dream-looking town where, in May 1968, a group of nine Catholic protestors led by pacifist priest Daniel Berrigan staged one of the most famous protests of the Vietnam War. As Berrigan describes it in America Is Hard to Find, a shaggy collection of letters and musings that functions roughly as his autobiography, “nine of us invaded the draft board at Catonsville, Maryland, extracted some 350 draft files and burned them in a parking lot nearby with homemade napalm.” Why? Because “it was better to burn papers than to burn children.”

The novelist Kathleen Alcott takes both the title and the spirit of her third book, America Was Hard to Find, from Berrigan. Alcott’s previous novels, The Dangers of Proximal Alphabets and Infinite Home, are both elegant, contemporary stories set in extremely contained worlds. America Was Hard to Find, in contrast, stretches its limbs across two decades and two continents, plus the moon. It’s more structured than its namesake, but remains digressive and expansive, following a left-wing radical named Fay Fern and her loved ones across time and space. This includes outer space; Alcott’s history deviates very slightly from ours, and in her world, the first man on the moon was not Neil Armstrong but the fictional Vincent Kahn, Fay’s onetime lover and the father of her only child.

Vincent and Fay work as foils, as do Fay and her son, Wright. Through their shifting and overlapping perspectives, Alcott offers her own anti-war observation of Cold War America. She takes the political questions Berrigan lays out in America Is Hard to Find — what are the ethical limits of protest? What are the ethical limits of technology? Will citizens burning papers prevent a government from burning children? — and enacts them in slow, stylish, keenly observed prose. Read more…

‘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.

 

 

There Is No Other Way To Say This

Tony Comiti / Getty, Illustration by Homestead

Melissa Batchelor Warnke | Longreads | May 2019 | 14 minutes (3,668 words)

 

“What you have heard is true. I was in his house.” So begins one of the most famous poems of the late twentieth century, Carolyn Forché’s “The Colonel,” which was part of an early body of work that seemed to contemporary admirers as if it had “reinvent[ed] the political lyric at a moment of profound depoliticization.” The poem describes a meeting Forché had with a Salvadoran military leader in his home in 1978, a year before the coup that sparked that country’s extraordinarily brutal civil war, which lasted for more than twelve years. The poem’s power lies in the quick juxtaposition of quotidian details — the colonel’s daughter filing her nails, a cop show playing on TV, mangoes being served — with his sudden sadistic flourish:

…………..The colonel returned with a sack used to bring groceries
home. He spilled many human ears on the table. They were like
dried peach halves. There is no other way to say this. He took one
of them in his hands, shook it in our faces, dropped it into a water
glass. It came alive there. I am tired of fooling around he said. As
for the rights of anyone, tell your people they can go fuck them-
selves. He swept the ears to the floor with his arm and held the last
of his wine in the air………..

“Something for your poetry, no?” the colonel says next. The implication is clear; the young human rights advocate’s writing is pointless, the colonel’s position will forever afford him impunity. Read more…

Technology Is as Biased as Its Makers

"Patty Ramge appears dejected as she looks at her Ford Pinto." Bettmann / Getty

Lizzie O’Shea | an excerpt adapted from Future Histories: What Ada Lovelace, Tom Paine, and the Paris Commune Teach Us about Digital Technology | Verso | May 2019 | 30 minutes (8,211 words)

In the late spring of 1972, Lily Gray was driving her new Ford Pinto on a freeway in Los Angeles, and her thirteen-year-old neighbor, Richard Grimshaw, was in the passenger seat. The car stalled and was struck from behind at around 30 mph. The Pinto burst into flames, killing Gray and seriously injuring Grimshaw. He suffered permanent and disfiguring burns to his face and body, lost several fingers and required multiple surgeries.

Six years later, in Indiana, three teenaged girls died in a Ford Pinto that had been rammed from behind by a van. The body of the car reportedly collapsed “like an accordion,” trapping them inside. The fuel tank ruptured and ignited into a fireball.

Both incidents were the subject of legal proceedings, which now bookend the history of one of the greatest scandals in American consumer history. The claim, made in these cases and most famously in an exposé in Mother Jones by Mike Dowie in 1977, was that Ford had shown a callous recklessness for the lives of its customers. The weakness in the design of the Pinto — which made it susceptible to fuel leaks and hence fires — was known to the company. So too were the potential solutions to the problem. This included a number of possible design alterations, one of which was the insertion of a plastic buffer between the bumper and the fuel tank that would have cost around a dollar. For a variety of reasons, related to costs and the absence of rigorous safety regulations, Ford mass-produced the Pinto without the buffer.

Most galling, Dowie documented through internal memos how at one point the company prepared a cost-benefit analysis of the design process. Burn injuries and burn deaths were assigned a price ($67,000 and $200,000 respectively), and these prices were measured against the costs of implementing various options that could have improved the safety of the Pinto. It turned out to be a monumental miscalculation, but, that aside, the morality of this approach was what captured the public’s attention. “Ford knows the Pinto is a firetrap,” Dowie wrote, “yet it has paid out millions to settle damage suits out of court, and it is prepared to spend millions more lobbying against safety standards.” Read more…

Shelved: Tupac and MC Hammer’s Promising Collaboration

Illustration by Homestead

Tom Maxwell | Longreads | April 2019 | 14 minutes (2,898 words)

 

In 1990, rapper Stanley “MC Hammer” Burrell stood at the pinnacle of popular culture. His stage show featured 32 musicians and dancers, all of whom attended a rigorous boot camp. According to an Ebony magazine article from that year, the boot camp consisted of “four miles of jogging, weight training, and at least six hours of dancing daily.” “Hammer Time” cultural saturation included demonstrations of his athletic “Hammer Dance” on Oprah and appearances in commercials for British Knights athletic shoes and Pepsi. Hammer owned 2,000 pairs of baggy “Arabian pants,” which, along with gold lamé vests, made up his distinctive stage image.

Read more…