Search Results for: Music

‘Yours Lovingly’: A Collection of Stories About Writing Letters

A man writes to a convicted killer. Fan letters to a troubled country star. Letters by parents. Here are five stories about the letters we write to one another.

1. “Please Don’t Stay Long.” (Eva and Mark Raphael, Brick, Winter 2014)

Excerpts from love letters written by a couple in 1928, who corresponded between London and Łódź:

My boy, my darling what two silly children we are, to part willingly and condemn ourselves to this state! How good, that this month has fewer days! You know I forgot about Nora’s birthday on the 23rd. I can’t forgive myself. I am writing to your parents. I did not know the address, till you sent it.

Yours lovingly Eva

2. “How a Convicted Killer Became My Friend.” (Gary Rivlin, Mother Jones, June 4, 2013)

The writer on his friend Tony Davis, a middle-aged man who was convicted of killing a 13-year-old boy when he was 18:

I first met Tony Davis in the early 1990s, when I was a young reporter for an Oakland-based alternative weekly. The city was a hot spot in the nation’s crack epidemic, and turf warfare had sent its homicide rate soaring. I wanted to put a human face on the issue of teens killing teens, which is how I met Tony, who was two years into an 18-to-life sentence for Kevin Reed’s murder. That shooting would become the focus of my 1995 book, Drive-By.

We kept in touch, and somewhere along the way, Tony ceased to be my subject and became my friend. Over the years, we have exchanged probably a couple hundred letters and shared countless phone calls. Inmates sometimes ask him about the white man whose picture is on his cell wall. ‘He’s like the only real best friend that I’ve had in years,’ Tony tells them.

3. “I Was A Love-Letter Ghostwriter.” (Bonnie Downing, The Awl, Jan. 30, 2014)

The writer on working on an art piece called the “Love Letter Project,” in which she ghostwrote love letters for strangers:

I listened until he was finished talking. Then I arranged the sentences he’d spoken on the page. It was more like transcribing than writing.

“I will never in my life not regret that we didn’t work things out. I will never let go. I don’t want to.”

4. “Dear Charlie.” (Joe Hagan, Oxford American, Jan. 7, 2014)

Joe Hagan stumbles onto old fan mail sent to 1970s country-R&B star Charlie Rich. The fans share their most intimate secrets with a musician who had his own troubled life:

Tara’s confession to Charlie Rich, a major country star that year, was among forty-two others I discovered in the home of a woman who produced Rich in the 1960s. Unread for nearly forty years, mixed in with yellowing newspaper clips and old drink coasters from a Las Vegas revue, they were the last known remnants of the Charlie Rich Fan Club. Variously handwritten, typed up, set on stationery and notebook paper, the stash contained the intimate pleas and declarations of fans who sought communion with the star known as “The Silver Fox.”

5. “How I Met My Dead Parents.” (Anya Yurchyshyn, Buzzfeed, April 18, 2013)

The writer gains a new perspective on who her parents were after examining old photos and letters they left behind after they died:

As I worked on my blog, I read these and similar letters again and again, and wondered how the man I thought my father was could have written these words, words that are so romantic that I melt on my mother’s behalf when I read them. How could my father have been the person that I knew, the person I was happy to have dead, and the person in these letters, a person who was articulate, generous, and so, so loving? And how could my mother, who never seemed very happy with him, love him so much in return? Didn’t she know he was a monster?

Photo: Liz West

Where the Spirit Meets the Bone: A Memoir by Lucinda Williams

Lucinda Williams, with Benjamin Hedin  | Radio Silence | March 2014 | 11 minutes (2,690 words)

Radio SilenceFor this week’s Longreads Member Pick, we are thrilled to share a first-time-ever memoir by the great Lucinda Williams from Radio Silence, a San Francisco-based magazine of literature and rock & roll. Subscribe, and download the free iOS app.

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The Believer Interview: Ice Cube

Longreads Pick

Excerpted from The Believer’s new book, Confidence, or the Appearance of Confidence: The Best of the Believer Music Interviews.

Source: The Believer
Published: Aug 13, 2004
Length: 26 minutes (6,574 words)

The Believer Interview: Ice Cube

Linda Saetre | The Believer | 2004 | 26 minutes (6,574 words)

 

The below interview is excerpted from The Believer’s new book, Confidence, or the Appearance of Confidence: The Best of the Believer Music Interviews. Thanks to The Believer for sharing this with the Longreads community.

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‘Music Is a Mirror of What We’re Going Through, Not the Cause of What We’re Going Through. It’s a Reaction, It’s Our Only Weapon, It’s Our Only Way to Protect Ourselves, It’s Our Only Way to Fit, It’s Our Only Way to Get There.’

Before rap music, New York might as well have been:

Paris


Africa


Australia


A thousand miles away from a thirteen-year-old Ice Cube

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Once upon a time, the name Ice Cube was analogous to explicit lyrics, guns, women as “bitches,” South Central, and attitude. Bad attitude. Not to mention mind-blowing rap music wrapped in raw emotions. But those were Ice Cube’s teen years, before he married Kimberly Jackson, became father to four kids, and turned into a true Hollywood player. A legend long before he turned thirty, Ice Cube, together with his fellow N.W.A. members, revolutionized not only the rap/ hiphop genre, but all music, by making it OK for musicians to speak their minds and then some.

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How Joe Cocker’s Version of ‘With a Little Help From My Friends’ Ended Up as the Theme Song for ‘The Wonder Years’

Dan Lauria (Jack Arnold): I’ve heard it a couple times now that The Beatles had never allowed any of their music to be used on television. They did not own the rights at that time. It wasn’t Michael Jackson; I think it was Apple Records who owned it when we did The Wonder Years. But the story I got was that they showed Paul McCartney the pilot with them singing their version of it, and Paul McCartney made a call to Apple Records and said, “If you’re ever going to let The Beatles be used on television, this is the show,” and Apple Records said, “Ya know what, we’ll let them use the song, but we’re not going to let them use the version of you singing it.” So they got Joe Cocker to sing it. Now, I don’t know if Paul McCartney recommended Joe Cocker, but supposedly, and I’ve heard this a couple times, that he [McCartney] was the one that made the call after seeing the pilot before it was put on the air. I’ve always wanted to meet him to find out if that was true and to thank him.

Paste Magazine has an oral history of The Wonder Years with some of the actors from the show. The Wonder Years is finally being released on DVD this fall, after years of delay due to music rights issues. (Cocker originally performed “With a Little Help From My Friends” at Woodstock in 1969, and that version ended up being used for the show.)

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Call It Rape

Margot Singer | The Normal School | 2012 | 23 minutes (5,683 words)

The Normal SchoolThanks to Margot Singer and The Normal School for sharing this story with the Longreads community.
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Still life with man and gun

Three girls are smoking on the back porch of their high school dorm. It’s near midnight on a Saturday in early autumn, the leaves not yet fallen, the darkness thick. A man steps out of the woods. He is wearing a black ski mask, a hooded jacket, leather gloves. He has a gun. He tells the girls to follow him, that if they make a noise or run he’ll shoot. He makes them lie face down on the ground. He rapes first one and then the others. He walks away. Read more…

Why Do So Many People Pretend to Be Native American?

Illustration by Kjell Reigstad

Russell Cobb | This Land Press | August 2014 | 16 minutes (3,976 words)

This Land PressFor this week’s Longreads Member Pick, we are thrilled to share a brand new essay from Oklahoma’s This Land Press, just published in their August 2014 issue. This Land has been featured on Longreads often in the past—you can support them here.
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Who’s Resurrecting the Vinyl Market? Millennials and Their Parents

So who’s buying? Anecdotally, it’s a broad range. On a recent visit to Columbus shop Lost Weekend Records, owner Kyle Siegrist had just helped three customers who were purchasing vinyl for themselves and also for their dads for Father’s Day. The cycle seems to have gone something like this: Twenty years ago, diehard vinyl fans were still buying LPs and saying, “The kids don’t get it.” Then, about five years ago, the younger generation started buying vinyl, and their parents were flummoxed. Now, millennials and boomers are all together in the same stores buying LPs.

Marc Weinstein, the 57-year-old co-owner of California’s Amoeba Music stores, has seen many of his friends dust off their old turntables as vinyl sales at Amoeba have doubled over the last half decade. Simultaneously, young buyers are purchasing new releases alongside a handful of classics. (“College kids still listen to Bob Marley and Pink Floyd, and they probably will forever,” Secretly’s Blandford says.) Demographics can trend even younger than that: Teens are buying vinyl, too. “I coach a high school wrestling team,” says Dayton-based Misra Records manager Leo DeLuca, “and freshmen are buying record players and asking if we press vinyl.”

— Joel Oliphant in Pitchfork reporting on the dramatic increase in vinyl sales in the last few years, which has been driven by limited edition releases by artists like Jack White and Sharon Van Etten. Vinyl producers have had a difficult time keeping up with demand.

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Photo: Matthias Rhomberg

Islands in the Stream

Longreads Pick

The Bee Gees were pop music geniuses whose work in 1978 “accounted for 2 percent of the entire record industry’s profits.” Yet they were still underappreciated—and also still capable of making ill-conceived creative decisions.

Published: Jul 18, 2014
Length: 11 minutes (2,817 words)

Reminder: The Bee Gees Were Enormous

The Bee Gees’ dominance of the charts in the disco era was above and beyond Chic, Giorgio Moroder, even Donna Summer. Their sound track to Saturday Night Fever sold thirty million copies. They were responsible for writing and producing eight of 1978’s number ones, something only Lennon and McCartney in 1963/64 could rival—and John and Paul hadn’t been the producers, only the writers. Even given the task of writing a song called “Grease” (“Grease is the word, it’s got groove, it’s got a meaning,” they claimed, hoping no one would ask, “Come again?”), they came up with a classic. At one point in March they were behind five singles in the American Top 10. In 1978 they accounted for 2 percent of the entire record industry’s profits. The Bee Gees were a cultural phenomenon.

Three siblings from an isolated, slightly sinister island off the coast of northwest England, already in their late twenties by the time the Fever struck—how the hell did they manage this? Pinups in the late sixties, makers of the occasional keening ballad hit in the early seventies, the Bee Gees had no real contact with the zeitgeist until, inexplicably, they had hits like “Nights on Broadway,” “Stayin’ Alive,” “Night Fever,” and the zeitgeist suddenly seemed to emanate from them. This happened because they were blending white soul, R&B, and dance music in a way that suited pretty much every club, every radio station, every American citizen in 1978. They melded black and white influences into a more satisfying whole than anyone since Elvis. Simply, they were defining pop culture in 1978.

-Bob Stanley, in the Paris Review, on the pop-music genius of the Gibb brothers—siblings who were always unappreciated, and also capable of some big creative mistakes.

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Photo: YouTube