Search Results for: Love

The Boy Who Loved Transit

Longreads Pick

How the system failed an obsession.

Author: Jeff Tietz
Published: May 1, 2002
Length: 34 minutes (8,722 words)

Romantic Love: The Dominant Subject Matter of Western Popular Music

[Ted] Gioia shows that song lyrics about love, sex, marriage, and fertility can be traced all the way back to the ancient Egyptians and Sumerians, and that once Jewish and Christian religious leaders came to terms with the iron determination of their own people to write and sing about romantic love, it quickly emerged as the dominant subject matter of Western popular music.

This tendency became overwhelming in 20th-century America. Both in the freestanding commercial pop songs of Tin Pan Alley and in musical-comedy lyrics, love is the near-universal theme. One can almost count on the fingers of both hands the number of standard ballads written between 1920 and 1960 that are not about romantic love, whether failed or successful. Even among such chronically disillusioned lyricists as Lorenz Hart, it is the singer’s desirable but unattainable ideal: This funny world/Makes fun of the things that you strive for/This funny world/Can laugh at the dreams you’re alive for. What is more, most of these perennially popular songs presuppose marriage as the natural consequence of love, sometimes implicitly but just as often explicitly, as in Ira Gershwin’s “The Man I Love”: He’ll build a little home,/Just meant for two,/From which I’ll never roam,/Who would, would you?

Terry Teachout writing in Commentary about love songs, and music historian Ted Gioia’s new book Love Songs: The Hidden History.

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How Art Critic Jerry Saltz Fell in Love with Museums

I’ve spent much of my life in and in love with museums. When I was 10 years old, there was no mention of art in my home. But then my mother began driving me from the suburbs to the Art Institute of Chicago. There, she looked at art on her own for hours, leaving me to do the same. At the time, I liked being alone but hated museums. I felt they were old and dead, places where people just stood and stared. But one day, waiting, bored, brooding, I found myself absorbed by two beautifully colored adjacent old paintings. On the left, a pair of men standing outside a jail cell talk to a haloed man, inside the cell, while an incredible leopard guards nearby. After a long time, I looked at the right-hand panel, where the setting was the same but the time was different. In place of the leopard, there is a man returning a huge bloody sword to its sheath; the haloed man inside the cell stoops down, both hands on the sill to support his body, extending his neck, which has been severed, through the bars. His head is on the ground, on a platter, as blood spurts all over. I looked back and forth; left, then right. Then something gigantic hit me. These images were telling a story. The paintings were from the 15th century, just when Renaissance painters were beginning to understand perspective. And yet they were not dead, they were alive, at least when I looked at them. Two paintings from the 1450s, still working their magic on me. Amazed, I looked around the gallery and saw gates open. I thought each work was the same — a voice, yearning or in pain or proud, but speaking to me, in visual tongues, down through history. Maybe everything in this suddenly amazing building was telling a story, I thought, a story I could discern just by looking (and without going to school). I wanted to spend forever in this cacophony, this living catacomb. A few months later, my mother committed suicide. I didn’t return to a museum until I was in my 20s.

Jerry Saltz writing for New York Magazine about the newly redesigned Whitney Museum.

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The Tragic Love Story Behind America’s First Ebola Victim

Longreads Pick

Louise Troh, the longtime love of Thomas Eric Duncan, recalls their relationship and the day Duncan arrived in Dallas from Liberia. Duncan was the first person to die from Ebola in America.

Source: Vanity Fair
Published: Apr 23, 2015
Length: 16 minutes (4,040 words)

The Dolphin Trainer Who Loved Dolphins Too Much

Longreads Pick

Dolphin trainer Ashley Guidry loved her job and the animals she worked with—in particular, a dolphin calf named Chopper. But years of seeing how business was done behind the scenes at a small marine park made her come to the painful conclusion that she had to walk away from it all.

Source: Longreads
Published: Apr 15, 2015
Length: 24 minutes (6,193 words)

The Dolphin Trainer Who Loved Dolphins Too Much

Ashley Guidry with Sandy, a wild-caught bottlenose dolphin, at Gulf World.

Tim Zimmermann | Longreads | April 2015 | 25 minutes (6,193 words)

 

Panama City Beach, Florida is set on the alluring waters of the Gulf Of Mexico, in northwestern Florida. It’s a town of cookie-cutter condos and sprawling outlet malls, built almost entirely on the idea that blazing sun, a cool sea, white sand beaches, and copious amounts of booze are an irresistible formula for human happiness (or at least a pretty damn good time). Everything about the place—from the ubiquitous fast food, to the endless chain stores, to the Brobdingnagian miniature golf courses—is designed to anticipate and then slake the vast and relentless array of human desires.

Prime among the entertainment offerings is Gulf World Marine Park. It sits on Front Beach Road, the main drag that parallels the seafront, and promises sun-addled or bored families a respite from the nearby beach. By day you can swim with dolphins (“guaranteed”) or watch them perform the standard flips and tricks in a show pool, check out the sharks and stingrays, or watch the sea lions act goofy. By night you can watch “Illusionist Of The Year” (it’s not clear who made the designation) Noah Wells unleash his “Maximum Magic.” “It’s Always Showtime At Gulf World” says the marketing department. And that’s true: The entire place shuts down for only two days a year (Thanksgiving and Christmas).

Gulf World is not SeaWorld; it’s much smaller, less expensive, (though a family of four will still fork over $96 just to get past the gate), and there are no killer whales. But it is more typical of the 32 marine parks that keep dolphins and do business in the United States, and it’s these local parks which happen to house the vast majority of the captive dolphins (according to Ceta-Base, which tracks marine parks, there are currently some 509 dolphins at marine parks in the U.S.; about 144 are located at SeaWorld). If SeaWorld is the Ringling Bros. and Barnum & Bailey when it comes to marine mammal entertainment, Gulf World is one of the many small, local carnivals that do a pretty decent trade out of the limelight. And Gulf World happens to be where Ashley Guidry—a brassy blonde with minimal experience, and a simple application accompanied by a Polaroid—happened to land a job in April 2001, at the age of 27. Read more…

For the Love of Lettering: Stories About Typography

Longreads Pick

Type house feuds, designing typefaces for Wes Anderson and Lena Dunham, and more.

Source: Longreads
Published: Apr 12, 2015

For the Love of Lettering: Stories About Typography

I didn’t pay attention to font until I worked for my college newspaper. After months of poring over proofs in InDesign, I realized I was learning the differences between fonts, their specific names, where they fit best. I’m no typographer—I don’t have the patience—but I’m fascinated by the subtle ways type entrances us and the absolutely grueling work that goes into its design and placement. Now, not only do I know the difference between type design and typography, but I try to make an effort to appreciate the work that goes in to the books I love, the gig posters for my favorite bands, the fonts on my blog.

1. “Praise the Colophon: Twenty Notes on Type.” (Nick Ripatrazone, The Millions, March 2015)

Colophon: a statement at the end of a book, typically with a printer’s emblem, giving information about its authorship and printing. You know: the details about the typeface, the typographer, the publisher, the who, what and where of the book’s creation. Nick Ripatrazone researches the colophon’s history and its artistic purpose. He concludes, “I call for the return of colophons. The battle of the book is not to be won or lost in preferences of print or digital. The page will always remain. Letters will always remain.” Read more…

‘I Knew They Loved Spending Time With Us…But I Also Knew We Were Good Cover.’

Bernardine Dohrn. Photo by Voyou Desoeuvre, Flickr

When Weathermen did get around to bombing things, the preparation and execution remained fraught with risk. Long-haired young people lingering outside courthouses and police stations late at night tended to draw attention in the early 1970s. It occurred to Dohrn, and to others in the leadership, that disguises alone wouldn’t ensure their safety. Thus the question arose: What could they take along to reliably deflect a policeman’s curiosity? One answer was children.

No beat cop, they reasoned, would suspect a family with kids out for an evening stroll. It was a brilliant idea; the only problem was, no one in Weather had children. A handful of supporters did, however, and this was how one of Dohrn’s friends, the Chicago attorney Dennis Cunningham, saw his family drawn into clandestineness…

***

“I went to L.A. a bunch of times,” Delia [Dennis Cunningham’s daughter] recalls. “I would play while they had meetings. There was a lot of time in cars. Bernardine and Billy always had cool cars, 50s cars. We would go to movies, old films, Chaplin films. Later I started going on trips, into the countryside, to other cities, trips on airplanes, on trains, cross-country, once or twice to upstate New York, where I think we stayed when Jeff Jones moved there. I knew they loved spending time with us, my siblings included, but I also knew we were good cover. The two things went together well. I know Mom was really into that, that we were helping. Did we scout out bombing targets? Yeah, I think so. I never actually saw anything explode, but it was always discussed. ‘We had a great action. We’re going to be discussing an action.’”

—Bryan Burrough writing in Vanity Fair about the Weather Underground, a radical leftwing organization known for detonating dozens of bombs across the country during the ’70s.

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Why the World Loves Mellody Hobson

Longreads Pick

Meet the woman who inspired Sheryl Sandberg to write ‘Lean In’.

Source: Vanity Fair
Published: Apr 8, 2015
Length: 20 minutes (5,000 words)