Search Results for: Music

Skiffle Craze: An Interview with Billy Bragg

Longreads Pick
Published: Aug 1, 2017
Length: 14 minutes (3,745 words)

The Arsonist Was Like a Ghost

An abandoned house in Accomack County, Virginia. Beginning in 2012, dozens of fires were set in the area, where the poverty rate is around 20 percent. (Bonnie Jo Mount/The Washington Post via Getty Images)

Monica Hesse | American Fire: Love, Arson, and Life in a Vanishing Land | LiverightAugust 2017 | 17 minutes (4,100 words) 

In the middle of the night on December 15, 2012, Lois Gomez sat up in bed. She thought she heard something. She listened. Nothing. Maybe she was wrong, maybe she hadn’t heard anything. She went to the kitchen for a drink of water. It was two or three in the morning, only a few hours before her shift at Perdue and her husband’s shift at Tyson. Now she definitely heard something. A banging on her front door — which in itself was odd; friends and family knew they always used the side entrance — and someone yelling: “Your garage is on fire! I’ve already called 911!”

She stood frozen in the kitchen trying to process the information. Christmas lights, she thought. Her outdoor Christmas lights were halfway up, but she and her husband had recently decided to visit his family in Texas for the holiday and she’d been trying to figure out whether to bother with the rest of the decorations, which were meanwhile stored in the family’s detached garage, which was now on fire. Christmas lights, along with the expensive music equipment for her son’s rock band.

It had been a rough couple of months. For one thing, she wasn’t getting along with her next-door neighbors. She’d been close with the woman who’d owned that house before, Susan Bundick. They brought each other dinner sometimes, or stood and chatted in their backyards. But one Sunday afternoon, Lois was outside emptying the aboveground backyard pool to close out the summer season, and she saw the police were at Susan’s house. They told Lois her neighbor had died. Now, Susan’s daughter lived in her mother’s old house and things weren’t as pleasant. Tonya was fine, kept to herself, but Lois had a few run-ins with Tonya’s new boyfriend, a squirrelly redheaded guy whose name she didn’t know. He’d done a few little things, like dumping a bunch of branches on their lawn instead of disposing of them like he was supposed to. Once he’d accused her of making racial slurs against Tonya’s kids. The accusation was ridiculous. Lois’s husband was from Mexico, and her four grandchildren were partly black.

She’d also been having nightmares about the arsonist. In one dream, she went into her kitchen late at night and saw someone racing through the yard, an intruder wearing dark-colored sweat pants and a hoodie. “What are you doing?” she called. The figure turned and looked at her but she still couldn’t see his face, and he eventually disappeared behind her detached garage. She woke up and realized it wasn’t real.

This night wasn’t a dream, though.

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Yearning for My Emo Days in Nostalgia-Inducing Asbury Park

Mabel Rosenheck | Longreads | July 2017 | 20 minutes (4,918 words)

 

On April 27, 2003, I sat with two friends in arena seats in Convention Hall in Asbury Park, New Jersey. Inside, the building looks like a generic mid-size concert venue, but its lobby is a fantastic, mammoth arcade and exhibition space with polished floors, square arches trimmed by Corinthian columns, and wrought-iron windows that sunlight pours through in spades. It is industrial, yet elegant. It is American, yet with unmistakable allusions to European modernity, to beaux arts style. Overwhelming the boardwalk and the beach, it is urban architecture that rises dramatically from the ocean, jutting out into the breakers, bearing the brunt of Atlantic hurricanes. It is a hard place to describe, but it is also a hard place to forget and an easy place to romanticize.

I’d met my friends the year before on an internet message board for a shitty pop punk band from Chicago named Mest. The internet was still figuring out what it was; we were still figuring out who we were. We were lonely and isolated in the suburbs of Connecticut, Long Island, and New Jersey. We found something we needed in this music. We found something we needed in each other.

It was a Sunday, and some of our friends had to leave to catch buses and trains to finish term papers and make classes on Monday morning. I was there with Dena and Deirdre, but we felt deeply the absence of Jillian, the last of our essential quartet. Jillian’s leaving that morning made the moment more melancholy than a Sunday hangover or an emo song alone, because something was missing.

Inside, we were about halfway up the stands on the left side of the stage, or at least that’s how I remember it. The seats were blue. The room was kind of a hazy gray with sunshine struggling to find its way through windows nestled into the top row, or maybe that was just the hangover, or maybe that is just the nostalgia.

I’d met my friends the year before on an internet message board for a pop punk band. The internet was still figuring out what it was; we were still figuring out who we were.

The band on stage was Brand New. Before they were playing Madison Square Garden and headlining Coachella, before Deja Entendu came out, when it was only Your Favorite Weapon’s particular brand of angsty emo with songs about breaking up with girlfriends and best friends, Brand New was on stage on day three of Skate and Surf 2003, a music festival in Asbury Park. They promised us there that tonight would go on forever while we walked around this town like we owned the streets.

We’d been down the shore since Friday afternoon. Jillian came down from Boston and met me in New Haven, and though she wasn’t there for that Sunday moment, Asbury Park was nothing without her, and the trip down was nothing without her. I had left college in Massachusetts and moved back in with my parents in Connecticut a month before. Jillian was in college in Boston, but not happy. Dena was in Philadelphia, finding her way well enough, but not quite enough. Deirdre was always the most well-adjusted of all of us, but I guess even she was looking for something. We bonded over 18-year-old existential loneliness on an internet message board, and that weekend we, along with a few thousand other existential teenagers like us, drove down I-95 and the Garden State Parkway to the parking lot of the Berkeley Carteret Hotel.

The Used performing in Asbury Park in 2003 (Photo by David Pomponio/FilmMagic)

With Jillian and Dena and Deirdre and everyone else, I had sugary teenage drinks with the back of my car open before the hotel room was ready. I had more drinks in our hotel room that day and that night and the next day. We watched a parade of punk rock lineage including post-hardcore bands like Thrice, screamo bands like The Used, and indie performers like Onelinedrawing. We shared a bottle of tequila with a guy with a straight edge tattoo. Then I made out with him. It was a frenetic good time, but as much as I remember the red angel wings I paired with a wifebeater and black vinyl pants, as much as I remember the Home Grown drum head that I used as a cocktail tray, as much as I remember the Kiwis that crashed on our floor, I remember Sunday afternoon sitting about halfway up on the left side of those blue seats in that hazy gray room that the sunshine didn’t quite reach. Listening to that song, at that time, and in that place, I felt closer to the people who were there and the one who wasn’t than I maybe ever have to anyone. We were a few girls in a sea of teenagers, in a beachside town where we didn’t live, but as much as it was a moment shared with the thousands of people who were there, I remember this as a small moment between us; I remember this as a place that belonged to us.

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Yearning for My Emo Days in Nostalgia-Inducing Asbury Park

Longreads Pick

A personal essay in which writer Mabel Rosenheck considers her nostalgia for a key time in her life: the summer of 2003, when she was a young, depressed adult attending the Surf & Skate music festival in Asbury Park with friends in a similar emotional space, whom she’d met on the internet.

Source: Longreads
Published: Jul 28, 2017
Length: 19 minutes (4,918 words)

I’ve Found Her

Illustration by Kjell Reigstad

Martha Baillie | Brick | Summer 2017 | 17 minutes (4,882 words)

This essay first appeared in Brick, the beloved biannual print journal of nonfiction based in Canada and read throughout the world. Our thanks to Martha Baillie and the staff at Brick for allowing us to reprint this essay at Longreads.

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1.

“I have found her,” announced the email sent to me by a close friend, H, who was working in Paris. The attached photograph showed a person I recognized—an elderly woman standing on a street corner and clutching a notepad. Her abundant white hair was gathered into a loose knot at the back of her head; she had a fine nose, an open face lost in thought, and on her feet flat shoes. Her white dress, more coat than dress, I could picture a shopkeeper wearing half a century ago or a modern lab technician. A large, unadorned purse hung from her wrist. To the right of her, the glass wall of a bus shelter exhibited a map of the immediate neighborhood, the Fifteenth District, portions of which became legible when I enlarged the image by sliding my fingertips over it. Across the street behind the woman the name of a café could now be read: Le Puit. Read more…

True Love Will Find You: My Afternoon in Daniel Johnston’s Dining Room

Longreads Pick

During his punk band’s first tour, a high school musician visits the home of underground artist Daniel Johnson, one of his musical heroes, and someone who also suffers from manic depression. The experience is the realization of a dream, and it gave the author perspective that stayed with him for years.

Source: Catapult
Published: Jul 19, 2017
Length: 14 minutes (3,577 words)

‘Oakland Used to Be More Funky’: Where Have All the Artists Gone?

There’s Adley Penner, a West Oakland musician who lives in a shed with Styrofoam walls. There’s also Theo Williams, of the musical group Sambafunk!, who was drumming at Lake Merritt one day when a man approached and asked if they had a permit, pulled the drumsticks from his hands, and called the police. And then there’s writer Tara Marsden, who ditched a full-time job at a tech company in San Francisco and moved across the bay to focus on her art — but now struggles financially and has had to move five times in recent years.

As the lack of affordable housing and influx of new, affluent residents make it increasingly hard for artists to live in Oakland, the future of the city’s vibrant creative community is uncertain. At Laney Tower, Sarah Carpenter, Brian Howey, and KR Nava trace the history of the city’s arts through years of development, industry, and racial discrimination and tell the stories of some of Oakland’s artists who are experiencing, firsthand, a changing local scene. Read more…

‘Trump Wouldn’t Be President Without the Neoliberalization of New York City’

Author portrait by Chris Schulz

Sari Botton | Longreads | July 2017 | 18 minutes (4,600 words)

In 2007, when a writer going by the pseudonym of “Jeremiah Moss” launched the blog Vanishing New York lamenting the closure of one iconic small business after another due to rapidly escalating rents, I was instantly hooked. It wasn’t long after, though, that I started to notice some major publications dismissing Moss as cranky, overly nostalgic, and naive about the inevitabilities of gentrification. I remember disagreeing with those assessments, and wondering whether I was missing something, or the writers of those pieces were.

It wasn’t until I read Moss’s new book, Vanishing New York: How a Great City Lost its Soul, that I fully put it together: the difference between those writers and me was that I had lost my place in New York City. In 2005, when I was evicted from my apartment in the East Village so that a famous filmmaker could pay four times my rent, my foothold there, well, vanished. As a casualty myself of New York’s rising rents, I heard Moss’s message loud and clear.

Now I’m living in Kingston, New York, where, as was entirely predictable to me, a new tidal wave of what Moss calls “hyper-gentrification” threatens to displace me once again.

Last week I met with Moss — who recently came out from under cover in a New Yorker profile as psychoanalyst Griffin Hansbury — at a Cafe in the East Village, to talk about his book (we have an excerpt), and how artists and creatives like me can hang on, and play a different role, when outside money starts rolling in to the depressed areas we move to.

So, should I be talking to you as Griffin or Jeremiah?

I think Jeremiah.

Is the main reason you used a pseudonym, and didn’t go to your own demonstrations, that you’re a therapist?

Not really. The time I started to blog I was working as a social worker at a LGBT community clinic and I was doing copyrighting and copyediting freelance on the side to make ends meet, and I was just starting to get my private practice off the ground. So that’s where I was. When I started to blog, I didn’t put a lot of thought into it. I was sitting on my bed one night and was like, “Oh, I could do a blog. I have all these pictures and journal entries and why not?” And I had written this novel that’s not published about a guy named Jeremiah Moss and I liked writing in his voice. I wanted to keep writing in his voice.

Is his voice very different from yours?

No, not really. But it’s distilled . I just put the blog and the book in his name to kind of keep it separate and not have to worry about. It’s just easier.
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Mourning the Low-Rent, Weirdo-Filled East Village of Old

Jeremiah Moss | Vanishing New York: How a Great City Lost its Soul | Dey Street Books | July 2017 | 28 minutes (6,876 words)

As someone who was evicted from her East Village apartment in 2005 — and who now finds herself worried about losing her place in gentrifying Kingston, New York — I was excited to see that Vanishing New York blogger “Jeremiah Moss” (the pseudonym for psychoanalyst Griffin Hansbury) had a book coming out.

Since 2007, Moss’s blog has catalogued the shuttering of one New York City institution after another, and staged demonstrations (which he himself didn’t attend, for fear of outing himself) to try and save them. Where his blog has tended to focus mainly on the East Village and lower Manhattan, his book, Vanishing New York: How a Great City Lost its Soul, is more comprehensive, looking at the city as a whole, one borough and neighborhood at a time. It traces what he’s labeled today’s “hyper-gentrification” to the Koch era, and explores the problem in historical, economic, sociological, psychological, and personal terms.

Although Moss has been making his living for years as a shrink, he came to the city more than twenty years ago with the hope of becoming a writer. Having garnered glowing endorsements from veteran New York chroniclers like Luc Sante — not to mention the rare earnest blurb from Gary Shteyngart — it seems he’s now truly arrived.

Below, the first chapter, “The East Village.” — Sari Botton, Longreads Essays Editor

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Our Zombies, Ourselves: An Undead Reading List

A still from the 1968 film 'Night of the Living Dead.' (Pictorial Parade/Getty Images)

When you think of zombies, it’s likely you envision something like the flesh-eating, immortal creatures created by George Romero, who defined a new genre of horror with Night of the Living Dead and Dawn of the Dead. Thanks to Romero, who died this week at the age of 77, the zombie movie has become more than a chance to feel scared. It’s also an essential lens through which we can view pop culture, politics, and society. In honor of the great director, here is some our favorite writing about the terror of the living dead.

1.“Why Black Heroes Make Zombie Stories More Interesting,” by Matt Thompson (NPR Code Switch, October 2013)

One of Romero’s most famous narrative coups was casting a black actor as the hero of his 1968 film, Night of the Living Dead. It was a decision that turned a run-of-the-mill horror movie into a complex commentary on the civil rights movement, and imbued other zombie films with the ability to criticize society.

The thing about good zombie fiction (and I say this as someone who enjoys an awful lot of zombie fiction) is that the zombies are never the most horrific thing. Zombies don‘t typically have the capacity for complex thought — they don‘t execute stratagems, play politics, torture people. All they do is feed. The true horror in any zombie story worth its salt is what other people do when faced with the zombie threat. Zombies are merely relentless; humans can be sadistic.

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