Search Results for: Music

It’s Like This and Like That and Like What?

Death Row / Interscope Records, Photo illustration by Katie Kosma

Rebecca Schuman | Longreads | May 2018 | 11 minutes (2,912 words)

 

The ’90s Are Old is a Longreads series by Rebecca Schuman, wherein she unpacks the cultural legacy of a decade that refuses to age gracefully.

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In the entirety of 1990, exactly one hip-hop single made it to the top spot on the U.S. Billboard Hot 100. This was “Ice Ice Baby,” and the LP whence its dope melodies came, To the Extreme, also ruled the Billboard album charts for the final eight weeks of that year — knocking off the previous number one, another rap record, Please Hammer, Don’t Hurt ‘Em. (It turned out that if U were Vanilla Ice, U could, in fact, touch this.) As the nineties rush-rushed in, aching to break out of the previous decade’s noxious forcefield of Aqua Net, one thing was clear: American Top 40 radio was ready for hip hop — so long as it was squeaky clean, or, failing that, performed by a white guy with the wackest eyebrows in history.

By the end of the decade, the landscape had shifted almost beyond recognition. Synth-pop was the stuff of nostalgia nights; rock was emitting the first gurgle of its death rattle (which sounded like this); and what had heretofore been called “hardcore” hip hop was so ubiquitous in “mainstream” (read: white) culture that its ubiquity became a bit in Mike Judge’s 1999 cult classic Office Space.

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Making a Pilgrimage Along Prince’s Purple Trail

AP Photo/Jim Mone, File

Even when their music exists outside of time and space, certain musicians become inseparable from the places they lived. Lou Reed was New York. Édith Piaf was Paris. Prince was Minneapolis.

For Vogue, writer Rebecca Bengal and photographer Alec Soth search Minneapolis for the houses where Prince lived or that he somehow touched during his life. Bengal talks to the man who owns the house where Prince recorded Dirty Mind. She talks to a fan who moved from Japan and saw hundreds of intimate small club shows. The woman who owns the house where Prince’s teenage band practiced put it best: “This is where greatness came from.”

When she came back to north Minneapolis to look at the house she didn’t recognize the address. “When we were teenagers, we didn’t know it by the house number,” she said. “We just knew it was the Anderson house. We could close our eyes and find it by following the music.” They used the side door, heading straight for the basement, where a teenage Prince Rogers Nelson would be jamming with his best friends, André Anderson now known as André Cymone and Morris Day, in their early bands Grand Central and Champagne (later Shampayne). They played one of their first paying gigs at a church around the corner, for which they each earned $3. When Prince was kicked out of his father’s house, Mrs. Anderson, who had six kids of her own, took him in. “Prince was already so focused, so serious,” Robin said. “He could go really deep and then he’d hit those high notes. Our friends called him ‘Gazoo,’ like from The Flintstones, ’cause he’d wear this white space suit–type suit, bell-bottoms, and high-heel platforms—and then he had this big Afro.”

“You see down the street?” She pointed through her kitchen window. “We would sit on that corner there on Plymouth in our pink foam hair curlers and wait for the go-ahead so we could come over and be groupies and watch them practice. It was okay to be a groupie! It was part of our culture. We were north-siders and so were they.”

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Is Your Job Lynchian, or Is It More Kafkaesque?

Getty/CSA

 

Rachel Paige King | Longreads | April 2018 | 14 minutes (3,753 words)

 

When Richard Bolles, Episcopal minister and author of What Color Is Your Parachute?, died last year at age 90, the New York Times explained his best-selling career guide’s success this way: “‘Parachute’ had come along at the beginning of a historic shift, when corporate strategies like outsourcing, subcontracting, downsizing and mergers were starting to erode traditional notions of job security. The idea that you could stay in one job for a lifetime began coming undone in the early 1970s, and ‘Parachute’s’ perennial sales reflected, at least in part, this new reality.”

Given the tumultuous climate for job seekers over the last half-century — Bolles’s book originally came out in 1970 — the various editions of Parachute have, unsurprisingly, sold a lot of copies (roughly 10 million). In the 2005 edition, for example, Bolles demonstrates why generations of job seekers found his work helpful, with its combination of straight talk and spiritual uplift. For example, he writes, “The typical job in the new millennium is best viewed as a temp job …You must always be mentally prepared to go job-hunting again, at the drop of a hat.” Although the various editions were constantly being updated and revised, we see Bolles (in the mid-aughts at least) spinning the parlous state of job-hunting as not just an inevitable part of modern business but an opportunity for personal transformation. He asks workers to stop expecting not only security, but also stability or even any kind of appreciation for their efforts. At the same time, he presents the world of work as a thrilling adventure (or at the very least a fun challenge) involving short-term gigs with steep learning curves and workplaces characterized by interpersonal drama and managerial indifference to personal struggles. Still, he appears to believe that finding a “dream job” is possible if you stop hoping for any kind of external reward. For Bolles, the job seeker should not be looking not for a single position or even for a traditional career, but for a vocation. Secular people sometimes forget that that word was originally synonymous with the concept of a religious calling, but Bolles, with his seminary training, most likely never did.
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Bob Dorough and the Magic Number

Bob Dorough
Bob Dorough. Photo by Tom Copi/Michael Ochs Archives/Getty Images

Bob Dorough, who died this week, was instrumental in teaching my generation about math, and language, and civics. He expressed these ideas in the universal language of music, and the fact that Gen X kids were able to memorize entire multiplication tables was because Bob Dorough could write a hook. Read more…

Publishing the Best of the Desert: An Interview With Ken Layne

AP Photo/Chris Carlson, File

Ken Layne is the writer, editor, and publisher of the Desert Oracle, a bright-yellow “field guide to the desert that covers the “strange tales, singing sand dunes, sagebrush trails, artists and aliens, authors and oddballs, ghost towns and modern legends, musicians and mystics, scorpions and saguaros” of the Joshua Tree region in California. We spoke with him after the publication of a recent profile in Pacific Standard, in which he explained how he designs and delivers each issue himself to desert outposts with as little as 30 people. 

Aaron Gilbreath: You grew up in the desert. Where exactly did you grow up in Phoenix?

Ken Layne: I was born and mostly raised in New Orleans, far from any desert, but I lived in Phoenix during the formative middle-school years. First on the poor side around Buckeye and Seventh Avenue ─ old Phoenix, a shack behind my uncle’s house. Vacant lots, railroad yards. We had motorcycles and Chihuahuas. My classmates were mostly Latino and Native American. I made one friend, this very poetic character, and he lectured me all the time on Aztlán, the Chicano cause. It was all new to me. He kept the tougher kids off my back, which was nice. My grandpa had been a coal miner, along with his father, and they all moved out to the south side of Phoenix on the Black Lung train. At least that was the story I heard now and then.

The other place was a nice little stucco house with a swimming pool,  a suburban elementary school a few blocks away. Most everybody was a white kid from Illinois or Michigan. My dad and his twin brother started an air-conditioning service business, so eventually, we could afford our own house. There was this big urban cowboy sort of honky-tonk nearby, huge place on a nearby big intersection on the northwest edge of town. My parents used to go there now and then. Just north of Greenway Road was wild desert, dirt roads through foothills, crazy saguaros with owl nests hanging out.

AG: I grew up in Phoenix, too. The city itself felt like any other, but one unique thing was how you could drive in any direction and be in the middle of undeveloped Sonoran Desert in thirty minutes. When did Arizona desert start to work its magic on you as a kid?

KL: I never much saw the natural world before we moved to Arizona. I never saw mountains all around, or mountains at all. But it was purgatory for my dad, something he had to endure again to finally earn enough money to move to San Diego. That’s the usual dream of kids who grew up in Phoenix of the 1940s and ’50s, especially the poor ones: Take the highway out to the beach and never come back. There are three generations of Laynes buried in Phoenix.

I liked it up in the foothills, in that mostly wild desert that began just across Greenway. I got to go to a science camp at this since-submerged place up at Lake Pleasant. We held gopher snakes and tarantulas, walked out under the stars, listening for owls and coyotes. It was fantastic.

AG: After your family moved to California, you started exploring the desert on your own. What did you do on those trips? Why were these experiences formative?

KL: Had a group of friends, oddballs mostly, from different parts of town. Four of us went out to Death Valley one freezing winter, Christmas break from high school. Everybody had part-time jobs so we had this narrow window, maybe 48 hours. We drove up in the middle of the night — after one of the guys finished work at a pizza parlor — in this other guy’s grey-primer VW bug with holes in the floor and springs coming out of the seats. A very cold night. Didn’t do much more than drive around, watch the sun come up over the wild desert, hiked a little, explored old buildings. I took a bunch of black-and-white pictures. Drove back in the middle of the night, listening to weird AM radio stations. It was romantic. Still is. That is my favorite thing in the world, just driving a desert two-lane at night, could be West Texas or the Four Corners, but especially Nevada and East California. A weekday night, alone with the radio, a motel and more driving ahead. A vague destination or purpose, with time to take sketchy dirt roads, to walk around outside, stop in used bookshops and little roadside taverns with E Clampus Vitus neon signs.

AG: Those desert drives are deeply romantic. They’re a good place to make a life. It’s interesting because many residents of big desert cities loath the desert. They like the sun, the pools, the mild winters. Are you trying to reach those people with Desert Oracle and convert them to the landscape’s wonders? Or are you trying to reach the converted?

That is my favorite thing in the world, just driving a desert two-lane at night, could be West Texas or the Four Corners, but especially Nevada and East California.

KL: The only propaganda angle is desert conservation, encouraging people to love these places for their wildness, for their desolation and spooky beauty. I try to make something that looks good in a desert home, that you’ll leave out when you’ve got people coming over. And maybe you learn about the animals, learn about the plants and the seasons, the folklore and history, both recent and ancient. And maybe you already have a backyard full of native plants and ground squirrels and roadrunners, and you want to encourage more of that, defend the wild desert where that’s still the norm.

People who love a place will fight for it, whether or not they live around there full-time, whether they’re in Palm Desert or Scottsdale, surrounded by strip malls and golf courses. You can still see the mountains! The best of the desert isn’t where most people live, anyway, all crowded together. The best of the desert is walking alone on a sandy trail, or being lost in a wilderness area and figuring out how to get back, or sitting alone in the rocks while creatures go about their business, or driving some mysterious road in the middle of the night, watching for cattle on the road and military drones and UFOs.

AG: The desert West is many things: its poisonous critters, prickly plants, spaciousness and deadly heat. It carries the burden of a distinctive mythology and politically charged climate. But it also evokes a feeling, a kind of mystic awe and reverie. Desert Oracle somehow manages to capture that elusive experience in its pages. Can you talk about trying to bottle that desert feeling?

KL: I like having minimal information when I’m exploring: rumors, oddly-worded signs, a sense of menace around a truck stop or a rest area, weird motels, out-of-date interpretive displays, Civilian Conservation Corps’ bunkhouses and trail stairways, the cheery and somewhat suspicious oddballs you meet in a campground outside Trona or Tonopah. With the Oracle, I try to keep it sparse. Easy on the eyes. I don’t want to give anybody eye strain. In telling stories of UFOs and Yucca Man and past civilizations and failed real-estate schemes, I want to dryly transcribe the weird stuff. I don’t want to oversell it. Like somebody calling you in the middle of the night and reading the police reports out of the paper in Barstow or Pahrump, like a radio announcer in a long war. I trust that the people who enjoy the Oracle are the people who read this kind of thing at night and get a sense of dread and romance that makes them feel alive to all kinds of possibilities. Alive and alert.

Like any old southwestern newspaper or quarterly, Desert Oracle is presented without fanfare. I don’t explain things too much. You can look up the rest if you get obsessed. And you will probably get obsessed with some of this material, and then you’re diving down internet rabbit holes and raiding used bookstores in the High Desert, seeking evidence. I despise those “Explainer” things that are so popular in the online media. “Here’s a complex subject that could provide years of intellectual pleasure should you pursue it, but we’re going to post some glib, error-ridden thing that nobody even bothered to proofread, and then you’ll be all set!”

AG: Preserve the mystery while sharing bits of it. Desert writer Edward Abbey was a big influence on you. How’d you first discover him? What did his writing and life teach you?

KL: After that first Death Valley trip, I was raiding the high-school library for regional books, anything about the wild desert. Desert Solitaire was there, with all the nature books. And like everybody who falls in love with the desert and that book at the same time, the deal was done. Abbey wrote beautifully, of course, but he also had that swaggering thing that appealed to me at that age. The brave poetic writer, etcetera, a lifetime of screw-ups, moments of beauty and transcendence.

You’ll find when you start hiking and learning about the wildflowers and the animals, some scold will often appear and start lecturing you, telling you all the things you’ve got wrong, everything you don’t yet know — the people who suck the joy right out of a place in their constant campaign to be validated as some sort of self-appointed expert. Abbey never did that, and that’s one reason why it’s so easy for people to fall for him. He’d often explain that he wasn’t a naturalist, wasn’t a biologist or geologist. He was a philosopher. In one of his books, Abbey claims his favorite desert birds are the turkey vulture and the “rosy-bottomed skinny dipper.” It’s very welcoming. A good teacher makes it enjoyable, makes it a pleasure to accumulate those little bits of knowledge we have about the desert, about the natural world in general.

AG: Abbey influenced me, too. I spent my undergrad years bushwhacking southern Arizona’s deserts and mountains alone. When I found Abbey’s books, I realized I wasn’t some crazy loner, just an enchanted youth fascinated by this place’s magic, and that I could try to write about it, too. He was my first role model desert rat. Do you identify as a “desert rat”?

KL: I like any dramatic, moody landscape. But I guess I’m most at home in the American desert, and mostly the parts of the Great Basin and Mojave with a minimum of other people. Harry Oliver mastered the “desert rat” thing with his Desert Rat Scrap Book that he self-published for 20 years starting in 1946. (Oliver was a self-taught architect and set designer who worked with director Cecil B. DeMille and built the Tam O’Shanter and Brown Derby in Los Angeles, before retiring to Thousand Palms to become a full-time desert rat.)

That’s a particular thing, that sort of cornball comedy, relocating the ornery hillbilly or farmer to another environment that is baffling to the city people. It’s a very American archetype, and I guess I picked up a little of that for the radio show, for my campfire stories. For myself, I seem to be moving toward something more like the early desert hermits of early Christian Egypt. Probably a one-room stone cabin that’s a daylong walk from the nearest person. I don’t want to farm or collect junker cars or have domestic animals or shipping containers everywhere, and I don’t want to see any human works: no power lines, no satellite dishes, no other houses, no visible homes. Come into the little town every week or three for a dinner out and a martini, check the PO box, then “See you next month.” Boy, that would be nice.

The people who enjoy the Desert Oracle are the people who read this kind of thing at night and get a sense of dread and romance that makes them feel alive to all kinds of possibilities.

AG: In his posthumous Abbey biography, The Red Caddy, desert rat Charles Bowden wrote: “Desert worship is a suspicious matter to desert rats. It is as if talking about what is out there will diminish what is out there. Also, as a group, we feel damn foolish admitting what we feel out there.” What do you make of that?

KL: Well I don’t feel foolish about it. And I don’t mind talking about it, now and then. But when you’re visiting with other desert people, you don’t need to convince each other of anything. It’s usually the new convert who needs to wax poetic and all that, and that’s a normal part of infatuation.

It’s a good feeling, building this link to a place, a bioregion, the part of the Earth where you’re going to settle in. People can go overboard at this stage but that is all right. Enthusiasm is necessary and generally in short supply. Most of us who choose to live in low-population desert places are looking for a minimum of human interaction anyway. A little goes a long way.

AG: In the recent Pacific Standard article about Desert Oracle, you describe how a black triangular object hovered beside your car before shooting off through the clouds ─ a UFO. What about that experience influenced your magazine’s vision or aesthetic?

KL: It is entirely possible that my preference for black geometric icons and dingbats influenced how I saw that particular UFO — and by “UFO” I mean an unidentified thing you could loosely describe as “aircraft” but more as “pulsating 100-foot-wide manta ray hovering silently next to your car, before it vanished in a point of light over the distant clouds.” It’s also a very popular UFO shape, seen for hundreds of years: the black arrow or triangle. They are still seen, often on country roads or desert highways. It’s a really particular kind of experience, from the many eyewitness reports I’ve read over the years. Usually goes from a brilliant light on the horizon to this enormous thing hovering nearby to a light streaking away in the opposite direction, at the speed of a shooting star. Robert Bigelow, the Las Vegas billionaire who had the Pentagon’s UFO study contract that the New York Times recently revealed, ran a black-triangle study for many years. After my own sighting in late 2001, I contacted them and was interviewed by one of their people. They eventually put out a report that said people see these things fairly often, and whatever they are remains unknown.

Desert Oracle #4, the UFO cover from 2015, has a UFO typographic symbol as the only cover art. It’s an “Adamski disk,” something George Adamski saw (or faked) around Desert Center, near the southeastern corner of Joshua Tree National Park. Just this black symbol on yellow cover stock. I love everything about that. It’s my favorite cover so far, and it’s echoed by the radio show’s art, the podcast logo you see on your phone when you listen to the show. My signs at the office in Joshua Tree look like that, too. It puts you in the right frame of mind.

But it initially felt kind of cheap to make a cover out of what is basically a printer’s dingbat, a wingding. I had been commissioning artists to do illustrations for the covers before that one, and the first couple issues have good covers. But the really stark covers are my favorite.

Since the 1990s, I was designing websites that mimicked tabloid newspapers, black and white with some primary spot color. And whenever a “real designer” came in, everything got crowded, too much of everything. Too much color, too many elements. The ultimate nightmare is the modern Internet page, with fifty different things blinking and yelling at you, a sewage mix of every color, every bad style of graphic, crowded and miserable. So I do it all myself now. I just learn as I go.

I’ve always liked one-color printing. Cheap offset printing, no two pieces exactly alike, blocky type, colored stock. I love that kind of poster art, like Eastern European political posters, or Southern California punk-rock flyers. The desert component was the regional press, these small shops in the Southwest that printed up their own field guides, rockhound books, trail & wildlife guides. You could buy them at gemstone shops in the desert, or gift shops at the state park. They had single-color printing for the usual reason—it’s cheap—but generally with desert-colored cover stock, so you’d have the utilitarian and modern 1950s and ’60s typesetting and graphics in black on a yellow or orange or sand-colored cover. Keep it sparse. All of that goes into the design for Desert Oracle. I used to run the photo-typesetting machine at this little backcountry weekly, at night when the regular typesetter was gone and the editor had his column ready after going through a few coffee mugs full of Bushmill’s, and I loved the limited choices for headlines, captions, and body text. The sans serif choices were News Gothic and maybe the Avenir or Futura families, and you could do so much with variations of shape and font size. Then you had easy-to-read serif fonts for text columns, Times New Roman, Schoolbook and such things. Add a little black-and-white illustration from the “Old West Clip Art” books. That combination is nice to read, just nice to look at.

Anyway, I suspect the really dramatic close-up UFOs are at least partly filled in by the brain of the observer, the witness. There’s a whole episode of my radio show, #25, on this subject. Jacques Vallee and John Keel often wrote about it. And it’s entirely possible that my own convincing UFO encounter on a desert highway triggered the part of the brain that produces or processes spiritual experiences — Saul on the road to Damascus and all that, the children at Fatima, people who “see” a spaceship from Star Trek or elves from a fairy tale — and that our aesthetics and culture fill in the details, the “message” if you get a message in the process. Or maybe not. UFO theories aren’t terribly interesting to me, all these 20th-century science-fiction tropes. In the return of Twin Peaks last year, there’s something like a mass UFO sighting in a small-town New Mexico. A girl and a boy are walking at night and she picks up a Lincoln penny. And then this Abe Lincoln robot-hobo is terrorizing the town, staggering through traffic, etc. That made a lot of sense to me.

AG: “Crowded and miserable” — that describes both the modern Internet pages and certain popular urban desert trails I’ve hiked. Part of each Desert Oracle issue contains reprints of naturalists and explorers writings, alongside original pieces. How do you find older material?

KL: Mostly it’s chosen as intentional propaganda. Mary Hunter Austin was really the first Edward Abbey. She wrote The Land of Little Rain, about the California desert, and she was this bohemian character, a socialist, an artist, an important early feminist in the literary and theater scenes. And she wrote beautifully about the desert, in a way that reads very well today. People should read Mary Austin. And it’s public domain, so I can afford it. Same with John Wesley Powell, who most desert people know as this great explorer, the guy who recommended that the United States leave the desert Southwest alone, as it could not support huge populations with its scant water. But he also wrote with style and wit, and you feel like you’re there with him, around the campfire after a day of adventure. I feel a kinship with Powell. His family, like my paternal family, originates in the West Midlands and wound up around the Ohio River, and we both had many early Methodist preachers in our line. His life was a series of adventures, his morals were good and progressive for his time, and he looked at the Southwest with the right eyes. We should’ve listened to him more, but much of the federal desert land we have today is the result of the land-conservation philosophy he helped create, and the recommendations to the U.S. government after his great explorations of the Colorado River and the interior West in general. It was in the last years of his life that the General Land Office ─ what became the Bureau of Land Management in 1949 ─ finally transformed from a land-giveaway agency controlled by the railroad monopolies to a bit more of a conservation mission. He’d be heartbroken to see “Lake Powell,” which is a monument to everything he was against. And of course we’re all still fighting about public lands and water rights, and there are a handful of welfare ranchers and deadbeats like those Bundy people who are paid instigators of an anti-American effort to strip us of everything that’s in the public domain, everything that is part of the Commons. One day we’ll stuff all those nutbags in a rocket and drop ’em on an asteroid somewhere. “It’s all yers, Clive!”

Then there’s Zane Grey, who is always kind of dismissed as this cowboy-book hack. When I finally got around to reading his stuff, I found it interesting and sort of poetic. He was living in a desert cabin and crossing the Southwest on horseback at a time when it was really a commitment to be out on the desert. I like reading something and realizing what I assumed about it was wrong, that there’s real value to the stuff, and then I like to spread it around if I have the opportunity. The old pieces also give you a sense of time as part of the space of the desert. All these times layered over the desert: the U.S. Calvary camels crossing the Mojave, Charles Manson hiding out in the Panamints, Minerva Hoyt sleeping under the stars in a desert canyon, Shoshone and Paiute stories of great ships in the sky, red-eyed monsters in the night.

AG: You must have a large home library.

KL: It’s spread out between home and the Oracle office and a storage unit. I’ve got most of the desert-related books close at hand, but one day soon, I hope, it will all be assembled together, at my secret ranch house that is many happy hours away from busy little Joshua Tree.

AG: What is your ideal Desert Oracle piece? What elements do you gravitate to in material?

KL: It’s not completely clear. It is mood more than subject. I’ll start off with a bunch of ideas for each book and sort of see which ones I still like when it’s time to fill the text columns.

AG: Lots of people who love magazines think it’s nuts to try to start a magazine. Charles Bowden often worked eighty hours a week running his magazine from a cluttered Tucson office. In his words, “The magazine is an obsession and I am at my happiest when I am obsessed.” You’re a one-person operation: You have to fill it, design it, distribute it, sell and promote it. You go store-to-store. How much time does Desert Oracle take? What sacrifices does independent publishing require of you?

KL: It’s one of those times right now when I haven’t had a day off in three months. It’s not always like that. Summer is slower. I can bum around a little more. Each book takes a good 60 days to put together, I’ve slowly figured out — two months full-time. And then I do all these other jobs that are part of Desert Oracle: a weekly radio show that needs to be written and produced and edited, these live performances at museums, hotels and campfires, talking to the reporters, running the goddamned social media accounts, invoicing and delivery, shipping out orders, tax returns, bookkeeping, postal permits. Somewhere in there you try to write and edit and design and proofread this little magazine. It’s every day all the time, and it’s depressing to always be so far behind on everything, but it’s ultimately a satisfying thing to invent and halfway manage to pull off. I had a whole thing in mind: Not just a print book with this certain look, but a radio show, live events and the sparse office with books and maps and yellow file cabinets — this specific desert thing layered over the existing reality, to make the existing reality better, cleaner and more romantic.

But it’s not a sacrifice at all. A sacrifice is working for some media corporation where everybody’s always in fear for their jobs, for their lives. It would be nice to have more money,  to be able to afford to hire a couple of people who see the vision, who would enjoy contributing to the thing. One day. Or not. I’m aware that it’s a singular pursuit and might always be that way.

AG: People either imagine magazines being these lucrative enterprises with fancy editorial parties and celebrity photo shoots, like Vanity Fair, or they imagine them as money pits that devour all your savings before leading to nicotine addiction and divorce. What are the financial aspects of running an independent magazine?

You cannot run your own business and be a good parent to your intellectual property unless you understand how the business works, at least how it works for you.

KL: Desert Oracle has been barely profitable since the first issue. It doesn’t make much, I rarely pay myself, and I run a tight ship. But I’m deeply against going into debt for things. You have to play whatever angles you’ve got, whatever strengths you’ve got, and see if that works, try something else if one thing falls flat. Stick to the vision but always be ready to go with it, wherever it goes. Having a small-but-loyal readership, a cult following, etcetera, can work out if you run a tight ship. You have to do pretty much everything, and you have to get some satisfaction from it.

There’s this idea that artists — designers and writers and musicians, that whole crowd — are supposed to be dupes when it comes to money, when it comes to contracts. You cannot run your own business and be a good parent to your intellectual property unless you understand how the business works, at least how it works for you. As a one-person publication, you can rarely afford consultants or “professional services.” I will not skimp on attorneys but I do my own accounting, I do my taxes. I am my own subscriptions-and-circulation consultant, I figure out the postal permits and the databases and the wholesale and retail mix. I design the envelopes and postcards, the invoices and the business cards, my work uniform, all that. I clean the bathroom and change the printer ink, and take packages and issues to the post office, proofread the issues and process the photos. There is always something to do.

You’re going to have do most everything, so you might as well make it the way you want. You have to create the whole world you will operate within, from your physical office to your daily schedule.

AG: Every generation includes ambitious people with literary aspirations who have something to say, and they start magazines and independent presses. Many universities have graduate publishing programs. What insights can you share with these folks about running your own magazine?

KL: If you’re doing something small, something that’s mostly your labor and vision, then stick to what makes you satisfied. Don’t let people bully you into putting a lot of stuff in the book that doesn’t please you. Don’t feel obligated to run anything. Don’t give out excess free copies if you depend on selling those books. Treat your readers and your retailers well. Answer their emails, at least the nice ones. Listen to them, because your loyal readers can point you to a lot of potential material, and because they’re people with interests very close to your own. You will meet good people and new friends through such work. They will generally forgive your mistakes and tardiness if they believe your work is done in good faith.

If the publication begins to get some attention, and you can make a living from it, then you are part of a proud American tradition of the small-town publisher, the country newspaper, the regional quarterly: Poor Richard’s Almanack, Leaves of Grass, the Territorial Enterprise, the Los Angeles Free Press. It’s a great life, especially if you pick a cheap area to live.

AG: One of Abbey’s problems, particularly with Desert Solitaire, is that his books’ popularity drew more people into his beloved quiet spaces than he was comfortable with? As his friend Charles Bowden put it in The Red Caddy, Abbey “launched thousands of maniacs into the empty ground and pulverized one of his favorite backwards of the Colorado Plateau.” As a publisher, does that concern you?

KL: Of all the human uses of the desert, people visiting national parks and monuments to sight-see and hike and camp is the best. And you want to convert these people from “Oh this looks great on Instagram” to “I will donate time and money for the rest of my life to non-profits that defend and protect wild desert.” We’re fighting this mafia federal government right now, these Russian mobsters trying to upend our beloved new desert national monuments, trying to upend California’s Desert Renewable Energy Plan, which was put together over a decade of hard negotiation between the Bureau of Land Management, the state government, the environmental groups and the renewable energy companies, years of public meetings and reports and science. These attacks on the environment and our parklands are completely out of step with California, with the modern West, where people place tremendous value on these weird wild landscapes that are near enough to all the big cities for people to escape for a weekend. The California parks and monuments are a steam valve for the densely packed California cities. It’s important.

I’ll complain like any local crank about the tourist traffic and how you can’t eat out most of the time, because we have very few restaurants and they’ve got lines out the doors in tourist season, which is now a solid nine months a year. But these are people here to appreciate the desert landscape, the flora and fauna, the run-down cabins, the wind and the sand. That’s good. We need these people on our side. Too many of these people is a good problem to have.

I’ve spent half my life out here chasing illegal hunters, trash dumpers and off-road motorcyclists tearing up the desert. It’s a lot easier to run off some illegal campers from Oakland or wherever. I always tell them where they can legally camp or point it out on their map.

AG: Endurance and armor are important survival strategies for desert creatures: come out at night, hunker down by day, grow slowly and develop a thick skin. Where do you see the magazine in five years?

KL: Hopefully it’s still here — hopefully we’re all still here! — hopefully publishing on a tighter schedule, maybe with a couple of employees, an editorial person and a production or layout person, maybe another several thousand subscriptions, some income from the radio show, some other things in the works, and mostly I hope I can do more driving around and walking around the desert. I had planned on a “couple days a week” made-up job as publisher and editor of the Oracle and that part of the scheme has not yet worked out. But it’s all right. Better than the usual alternative: Go bust and go back to working for somebody.

Finding the Soundtrack to My Desert Life

Longreads Pick

A personal and critical essay in which Aaron Gilbreath recalls discovering the music of Friends of Dean Martinez in the ’90s, and the ways in which it helped him to appreciate life in his native Arizona.

Source: Longreads
Published: Apr 25, 2018
Length: 30 minutes (7,571 words)

Finding the Soundtrack to My Desert Life

Photo courtesy the author, notes via Shutterstock

Aaron Gilbreath | Longreads | April 2018 | 30 minutes (7,571 words)

After I transferred from the university in Phoenix in late 1995, I kept myself in motion so compulsively that I barely got to know my new town. I biked to class. I hiked after class. I ditched class to hike during the week and drove all over Arizona’s rugged southeastern corner to hike the whole weekend. Half a year passed during which I spent as little time in my sad, lonely apartment as possible. I didn’t know anybody in Tucson, and I didn’t want to — not yet. My previous friendships had only helped me turn myself into a pothead. And yet I couldn’t stand to be alone and sit still either. Struggling with my isolation and anxiety about life, I tried to work through my twitchy misdirection in the border region’s dry mountain forests and lowland deserts, taking advantage of the long highways that gave me time for silent contemplation at 75 miles per hour.

Madera Canyon in the Santa Rita Mountains, Sycamore Canyon in the Pajarito Mountains — in those first Tucson months, I saw more of this rugged landscape than many University of Arizona students did in four years of college, yet I never really saw my new city for what it was, because I didn’t take the time. I only saw the land around it.

***

I was restless at age 20, lost, searching for something beyond my reach and always beyond my understanding, some cosmic insight and career path that Mother Nature’s vast deserts seemed capable of offering in a way cities could not. I’d smoked too much weed during the previous three years, and I was trying to quit in order to find my calling. Sitting still meant dealing with temptation; hiking kept me on track. I read a lot of ecology and nature books back then, and what compounded my avoidance was my belief that the wilderness held the answers to all of humanity’s questions — from the meaning of life to cures for cancer to an objective sense of right and wrong. I still believe in wild nature, but in my young, confused Thoreauvian worldview, urban areas were cancerous “man-made” places to escape, not savor, so I fled Tucson every chance I got, just as I had fled Phoenix the year before.

Phoenix was bland. It had a Taco Bell personality. Tucson had a singular, authentically Sonoran Desert character that evolved from its origin as a military outpost in Spain’s old northern territory, then developed in the isolation resulting from Phoenicians’ dismissal of the city as a backwater. People nicknamed it the Old Pueblo. Even before I moved there, I could see the Old Pueblo’s superiority. Prickly pear cactus grew as tall as trees. Roadrunners climbed ornamental palo verdes in the middle of town, and the lonely howl of passing trains rang throughout the night. Many streets had no sidewalks, just as many houses had no lawns. The plaster on old buildings peeled to reveal straw in the adobe bricks underneath. It was as if the city was letting you see who it really was.

Phoenix looked as engineered as Las Vegas, or worse, like bad cosmetic surgery. Central Tucson looked like an extension of the desert, natural and spacious and endearingly shaggy. I could see this when I arrived, but my philosophical views let me rationalize my unwillingness to really appreciate it; it was a city, natural-looking or not. Only when I discovered The Shadow of Your Smile, an album by a band called Friends of Dean Martinez did I finally quit running long enough to find something to value about urban Arizona, besides Mexican food and live music. I’d learned to use cities as basecamps for outdoor excursions. This instrumental steel guitar band helped me stay put, because its cinematic cowboy lounge music matched the personality of this Spanish colonial city. When I started looking at its beauty as equal to that of wildlands, I not only started feeling at home in my city, but also in my own body, and I found my sense of direction.
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Everyone’s Gotta Make a Living

Philip Glass performs at the Archa Theatre in Prague, Czech Republic, November 9, 2016. Photo/Michal Krumphanzl (CTK via AP Images)

Lolade Fadulu’s Atlantic interview with composer Philip Glass is open, lighthearted, and generally delightful. Before making his living entirely through music, Glass worked as a plumber, a mover, a taxi driver — and as a child, as a clerk in his father’s record store, where he learned a lesson that’s stuck with him.

Fadulu: Did you work in your dad’s record store at all?

Glass: Oh, yes. Oh yes, yes, yes, yes. From the age of 12. It wasn’t considered child labor. It was a family business. At the beginning, all my brother and I did were the inventories, and we moved the records around. But we eventually got to know the business pretty well.

To this day, among my earliest memories was someone would give my father $5 and he’d hand them a record. So the exchange of money for art, I thought that was normal. I thought that’s what everybody did. I never thought there was anything wrong about making money.

Read the interview

Maybe We Can Make a Circle

 

Nicole Piasecki | Hippocampus Magazine | June 2017 | 13 minutes (3,410 words)

 

This is the second in a three-part series on gun violence.

In part one, long after the shooting at her old high school, Megan Stielstra worries about her father’s heart.

In part two, Nicole Piasecki writes a letter to the wife of the shooter who killed her father.

In part three, Megan and Nicole talk about the shooting that changed their lives, who owns the story, and what to do with fear. 

 

* * *

Dear Alice,

1. I’ve started to write this letter at least 20 times in as many years. Just imagine me sitting alone in my office surrounded by crumpled pieces of paper. Since you’re a writer yourself, I know you understand the difficulty of saying it just right. I have spent way too much time trying, and I need to find a way to finally be done with this.

2. When I first walked into your high school English class in Chelsea, Michigan, I saw a light in you that I wanted for myself. Your chestnut eyes were always welcoming, your smile always subtle, yet warm. In person, you were impossible to hate.

3. “The center is a point,” you said to our class during the daily segment on commonly misused phrases. “One centers on a point, not around one.”

4. I had never given much thought to my teachers’ lives outside of school. I knew you within the context of your 11th and 12th grade classes. I rarely even saw you in the hallways of Chelsea High. You were a fixture in that corner classroom, a woman who seemed to exist wholly there. I knew you as humble and intelligent, absent of the complexities and fallibility of the literary characters we discussed in class.

I never would have imagined that you were married to a man who kept a gun beneath his pillow.

5. I took Chemistry I with your husband in 1992, when I was a sophomore. I remember that he played loud rock music on the stereo while we did experiments. He wore that plaid and wool hunting jacket and drank coffee out of that small, plastic cup that doubled as a lid to his tall vacuum thermos. His hands sometimes shook when he lifted the cup to his lips. He kept his haggard ponytail pulled back with a thin rubber band. I remember the fluorescent classroom lights shining on his balding head as he lectured. During class, he stroked each side of his wide mustache with his thumb and first finger, while he waited near a wooden podium for a student to answer a question. Sometimes he started class at his instructor’s desk with a lab sink and used test tubes and chemical reactions to create sudden, violent bursts of flames. That was his signature method of making chemistry seem cool.

Though I interpreted his personality as arrogant and strange, I didn’t dislike him as much as I quietly despised the subject of chemistry. You should know that I have always struggled with solving complicated formulas.

6. My dad never told me things that a teenager didn’t need to know, and I never thought to ask him. He mostly kept his work life separate from home life. I didn’t know what a school superintendent did all day, and I never thought to ask him.

One night, though, when I was standing in our kitchen by the sliding glass door, my dad walked up to me with his hands in the pockets of his faded weekend jeans and said, “Hey Nick? When you went in early for chemistry help, did Mr. Leith ever act weird around you?”

I looked at my dad for a few seconds and wrinkled my brow. “What are you talking about?” I replied.

My dad dropped the subject without explanation, and I quickly forgot about it.

Even when it was just the two of us — your husband and I — in his chemistry lab, he had never said anything inappropriate to me. He just buzzed around the room while I sat in the middle, an island among a sea of empty desks. He answered my questions about the homework and continued preparing for the school day.

I wasn’t a pretty girl. I was self-conscious and tomboyish. Acne spotted my jaw line and chin. My chest was as flat as a boy’s. And I was the boss’s daughter.

You should know that I have always struggled with solving complicated formulas.

7. Earlier that year, the mother of a quiet, long-haired, senior girl called our home telephone at an unusually late hour. I answered the call in the kitchen. “Dad, it’s for you,” I said in the direction of the living room. He took the call in private.

8. One of my favorite photographs of my dad is the one where he’s sitting next to my hospital bed at St. Joe’s in Ypsilanti, right after my knee surgery during my senior year. He sat in that uncomfortable chair, staying day and night, as my left leg moved, bending and straightening in a Constant Passive Motion machine. In the photograph, he’s wearing jeans and a blue sweater with a tired, loyal smile on his face. He only stepped out of the room when the nurse arrived to help me use the bedpan. Back then I never saw his commitment to me as remarkable because it was all I had known.

9. Through high school it seemed that my teachers somehow belonged to me. “Mrs. Leith is my favorite teacher,” I often said, not even realizing the implication of the possessive determiner, the inherent egocentricity of the teenage mind that places everyone and everything in her life on a single orbit.

10. Surely you know all about the giddiness that your high school students felt on the Thursday before Christmas break. My energy that day felt boundless. I practically bounced from seventh period, across the grass, and straight to the outer window of my dad’s office. I knocked on his window, and he tilted it open. He was eating an ice cream sundae from McDonald’s out of a small, clear, plastic cup. He smiled his full-faced smile when he saw me, and I returned a grin. He reached out and dropped the car keys into my hand so I could drive to physical therapy. My mom planned to pick him up later so they could finish the Christmas shopping. As I turned to walk toward the parking lot, my dad said, “Have fun. See you later,” and tipped the window to close it.

At physical therapy, my friend Carey and I both rode Stairmasters, and we listened to the Lemonheads album, It’s a Shame about Ray, on the stereo. We moved our arms like we were dancing. The snow fell quietly outside; the cold windows had white paper snowflakes taped to them.

Mid-workout we overheard someone say there had been a shooting at Chelsea High School. We stepped off of the Stairmasters and huddled around an AM/FM radio to try to learn more. Our first instincts developed concern for our friends who may have been attending a sporting event in the school gymnasium. We imagined that the shooter must have been a kid from another school.

It never crossed our minds that the shooter could have been your husband or that the victim could have been my dad.

Carey and I changed into our street clothes without finishing our workout. We quietly puzzled over all the possible scenarios that could have led to gunfire in our small hometown, but we couldn’t add it up.

11. When the details of that afternoon — the day your husband killed my dad — slowly leaked out from police reports and school employees, I learned that your husband had been reprimanded for sexually harassing female students in the school hallways. I learned that he was on the verge of losing his job. I learned that your husband had stormed out of the grievance meeting with administrators not long after the school day had ended. I learned that you and your husband carpooled home from school together that day. I learned that you were with him and his anger for the 20 minutes it took you to drive home.

I learned that when you arrived home, your husband disappeared upstairs. He returned with a 9mm, semi-automatic pistol in his hand. He asserted, “He is going to die.”

I learned that your husband got back into the car alone and sped toward the school administration building where my dad and two others continued the meeting.

Twenty minutes.

That’s how long it took your husband to drive back to the high school.

I learned that you didn’t call the police whose small-town headquarters were only blocks from the school. You didn’t call the administration building to warn the three men whose lives were at stake, sitting ducks. Instead, you called the teachers’ union office in Ann Arbor, 20 minutes in the opposite direction.

Since nobody had cell phones then, my dad and the others in the room received no proper warning that your husband was coming back to the meeting with a gun and intent to kill.

Your husband wore a long trench coat with pockets of ammunition. He squealed his tires in the school parking lot. He told someone who approached him that he had “unfinished business” to attend to.

He walked into the administration building. Turned the corner into the doorway of the small office. He lifted the gun and pointed it, first, at my dad (Daddy, Dada, Pops).

My 47-year-old dad’s last words were: “Steve, you don’t have to do this.”

Your husband fired round after round. He killed my dad. He injured two others.

You didn’t call the police.

12. Why Alice? Why the fuck didn’t you call the police? Why? Why? Why?

13. After your husband shot my dad, a pocket of time existed where my dad was not gone, and it was still just a Thursday in December. I was still just a teenager, happily riding the Stairmaster at MedSport looking through icy windows with paper snowflakes taped to them. My brother, Brian, was still just a fresh-faced Private First Class, wrenching bolts on the engines of fleet vehicles at the Marine base in Okinawa, Japan. My mom was still a wife of 26 years and a middle school special education teacher at a neighboring school district.

You were still just my favorite high school teacher — the one who made me love words.

14. I can’t remember if it was you or I who initiated the meeting two days after your husband murdered my dad at our school. I hadn’t slept since I found out. I had been desperately pulling his photographs from sticky plastic pages of family photo albums and taping them to the bathroom mirrors: Dad sitting on a chaise lounge chair on the beach in Cancun the previous December; Dad sitting on a tree stump by Higgins Lake smoking a corn-cob pipe and holding a cup of morning coffee in his relaxed hand; Dad with his arm around my brother Brian at the Marine boot camp graduation ceremony at Camp Lejeune less than four months prior.

Still, I was worried about how you might be feeling. I was eager to believe in you — to affirm that we were both unknowing victims of your husband’s violent actions, to tell you that I didn’t blame you.

I sensed some hesitation from my mom, but she took me to meet you anyway. The story was still developing. I couldn’t imagine any scenario wherein you were not the hero. She could.

We learned that you had been staying with your friend and colleague, Pam. When we arrived at her house, Pam took our damp jackets, and I saw you sitting alone in a wingback chair at the far corner of the large room. You didn’t rise to greet us when we entered the Christmas-ready living room. Your face displayed a low, distant gaze. Your fingertips fidgeted with a pinch of fabric on the bottom of your sweater. I don’t know what kind of welcome I had expected.

Finally, you approached me. You said something like, “This is for you,” and your tone was solemn. You reached out and handed me a hardcover book and hand-written letter. Did the book have a tree on the cover? Do you remember the title?

I never read the book. I meant to. My head was too clouded with grief in those days to concentrate for long. I stuffed the book into a drawer in my bedroom and never looked at it again.

I did read your short letter. Your words were scrolled diagonally across the yellow legal paper that you’d folded like a business letter. The one thing I’ve always remembered about the letter was the part I understood the least. “Maybe we can make a circle someday,” it said.

I’ve been wanting to ask you for years: What does that mean?

15. I returned to school only three weeks after my dad died, often arriving late and unprepared, driving up to the school in the used Chevy Corsica that was still registered in his name. My other teachers offered me unspoken allowances for my unimpressive academic performance during the second half of my senior year. My government teacher passed my late, biased research paper that took a stance against the death penalty. I called capital punishment “an option that doesn’t warrant enough suffering.”

I was scheduled to take your English class, but the counselor intervened. Instead, I met with your student teacher in the library. I don’t remember her name, only that her severe psoriasis frightened and distracted me. I was afraid it was contagious, and I couldn’t bear any other complications in my life. We read Hemingway’s The Old Man and the Sea as an independent study. I was just barely getting by. I remember how tired Santiago was while trying to reel that large Marlin into the boat. I supposed that I wouldn’t have had it in me to keep going like he did.

On the one-month anniversary of my dad’s death, I doodled “un mes” on the top of my worksheet in Spanish III, instead of listening to Señora’s lecture. I wanted someone to understand the dispassionate nature of time — that it kept moving forward, creating more and more space between my dad’s terminated life and my enduring one. It had been one month since your husband killed my father. But I couldn’t say it. I couldn’t scream or cry or even say that I was sinking, that I needed help. I couldn’t say that my 17 years of gentle experiences hadn’t come close to preparing me for this.

That final semester of high school, I don’t remember speaking to you. Surely I must have seen you in the hallways. Did you see me?

If I could forget about Hamlet, the Lilliputians, stream-of-consciousness writing, and all the prefixes and suffixes in the English language, maybe nothing would remind me of you.

16. It was confusing to see you in the courtroom, on the opposing side, sitting next to your mother-in-law, then taking the stand, making a case for your husband’s insanity defense, trying to get the jury to say, not guilty. The defense attorney led you through a detailed account of your husband’s bizarre actions. I remember the story of your husband killing your pet bird, how he broke its neck with his bare hands. You recounted a Christmas when he curled himself beneath a piano and sobbed like a baby. You explained his obsessions with guns — how he usually kept one within reach.

An aisle in the courtroom divided my family from his, yours. You never once looked across.

I often wonder why I expected some sort of loyalty from you. I was one of thousands of students who had filtered through that corner classroom, but you had made me feel like an insider.

17. I know exactly where I was when I learned that you lost your battle with cancer. I stood courtside in the main gymnasium at Adrian College. I wore my baggy, white shorts, a bulky knee brace, and jersey #25, covered with a bright gold warm-up top. My blonde hair was pulled back into a ponytail, and it was wispy on top from my sweat. I was a sophomore at Adrian and had just finished playing an NCAA, Division III basketball game. My mom came to watch my game because it was the second anniversary of the day your husband killed my dad, and anniversaries held a weakening force for us. It seemed that we should be together.

“I have some news,” Mom said. She had done the right thing by waiting until after the game was over to tell me.

“Alice died.”

“When?” I asked.

“Her funeral was today.”

18. You taught me to love the nuances of words. You were the first to introduce me to Shakespeare, Hemingway, and Swift. If I could forget about Hamlet, the Lilliputians, stream-of-consciousness writing, and all the prefixes and suffixes in the English language, maybe nothing would remind me of you, except there will always be circles.

19. Did you ever attend the National Council of Teachers of English convention? I have barely missed a year since I began my own career as an English teacher. You’re gone, so I don’t have to worry about running into you there, in an elevator going up or in the cafeteria at lunch. But I must admit that sometimes I still think I see you places. I see a modestly dressed woman with shoulder-length brown hair, and downward-pointing chestnut eyes, and my breath catches in my throat. Then I remember.

20. The last time I saw you in the flesh, I was a freshman at Adrian College and you were still an English teacher at Chelsea High School. In a moment of capriciousness, I drove the hour north on Michigan 52 and parked in a visitor space in front of the high school. The campus was quiet. All the students sat in class, which left me alone to walk the cement pathways.

I walked past the art building where I had taken half a dozen studio art classes in drawing, painting, pottery, and jewelry; past the science building where I had taken chemistry with your husband; past the building where I had taken Spanish every semester; past the administration building where I had spent so much time waiting for my dad so that we could ride home together, the same building where I saw him, an hour before he died, eating his ice cream sundae and smiling through the propped-open window.

It still seemed strange that life just continued on in that place. A different teacher stood in front of your husband’s old classroom, a new superintendent sat at a desk in my dad’s old office, new kids replaced those of us who had graduated.

I entered the English building and walked down the locker-encased hallway to your classroom.

I peeked into your classroom window, a thin, rectangular pane of glass. I saw you leaning on a desk just a few feet from the door, helping a small group of students. I stared through the window until you saw me. When you looked up, your body froze for a moment. I wonder what you were thinking then.

I hadn’t told anyone that I was coming, and still find it hard to explain my motivation to see you that day.

You looked weak, frail, and sick, a dimmer version of your former self. I remember that you stepped into the hallway and faced me. You looked me straight in the eyes. You wore an expression that I decoded as a combination of mercy and fear.

Even with your full attention, I couldn’t speak a single word. All I could do is stand in the hallway and look at you, standing three feet away.

I searched your face and eyes, and you searched mine, as if all the questions were written there. You never asked me why I had come. You seemed to understand, maybe more than I did.

How long did we stand there, saying nothing at all?

21. It never occurred to me that you would die from a cancer recurrence soon after that day we stood together in silence outside of your classroom door at Chelsea High School. I didn’t know our impromptu meeting would signify a final goodbye between teacher and student, woman and girl.

I always imagined that someday I would write you a letter, that someday you would hold it in your hands. That someday I would have the answers to all of the questions I never had the courage to ask.

* * *

Nicole Piasecki teaches undergraduate writing and rhetoric at the University of Colorado Denver. Her creative writing has been featured in HippocampusMotherwellBrevity Blog, Word Riot, and Gertrude Pressand is forthcoming in Literary Mama.

This essay originally appeared in Hippocampus Magazine.

Editor: Dana Snitzky

They Don’t Do Sadness

Longreads Pick

A feature on a teen production of the musical “Spring Awakening” in rehearsals at Barclay Performing Arts in West Boca Raton — near the city of Parkland — including some kids who attend Marjory Stoneman Douglas High School and were present during the shooting. The show, about teens in 19th century Germany discovering their sexuality, provides these traumatized actors a way to explore and express their complicated emotions.

Source: Topic
Published: Apr 17, 2018
Length: 18 minutes (4,521 words)