Search Results for: New York Times

The Last of the Live Reviewers: An Interview with Nate Chinen

Fabrice Coffrini / Keystone / AP, Pantheon Books

Matthew Kassel | Longreads | August 2018 | 14 minutes (3,488 words)

Jazz has changed a lot over the past 100 years or so of its existence, but it has never been as stylistically varied — or more packed with practitioners — as it is at the present moment. That’s a good thing for listeners, who now have many points of entry if they are new to the music and don’t necessarily want to start with a record that was cut 50 years ago. Mary Halvorson’s slashing guitar, for example, may appeal to more punk-minded listeners. The pianist Robert Glasper’s Dilla-esque grooves are a good gateway for hip-hop fans. And the tenor saxophonist Kamasi Washington’s sweeping, spiritual-minded albums are a potential attraction for jam band aficionados. There’s a lot going on.

And yet, at the same time, there are probably fewer people writing about modern developments in jazz than ever. While niche magazines like JazzTimes and DownBeat are still going strong, there is scant jazz coverage in mainstream music publications (which tend to treat jazz like a novelty item), and the New York Times no longer runs weekly live jazz reviews (a recent development). Nate Chinen was, in fact, the last person to review jazz shows on a regular basis there, a position he left in 2017 after a dozen years contributing to the paper. He is now the director of editorial content at WBGO, the Newark public radio station.

In his new book, Playing Changes: Jazz for the New Century, Chinen draws on his experiences as a former newspaper critic, attempting to make sense of what’s been going on in jazz over the past few decades. It isn’t an easy task, and he does a good job collating a whole lot of material, pulling on interesting threads and adding context for readers who may not be all that familiar with the reasons why Wynton Marsalis wasand still is, to an extent — a polarizing figure. Mostly, Chinen approaches jazz on its own terms. He describes what the music sounds like now and conveys to readers where modern jazz artists are coming from. In doing so he’s created a book that is truly of its time. Read more…

The Top 5 Longreads of the Week

U.S Soldiers Patrol In Khost Province, Afghanistan
The U.S army soldiers of Viper Company of the 1-26 Infantry patrol on August 10, 2011 in Sabari district of Khost, eastern Afghanistan. (Kuni Takahashi / Getty Images)

This week, we’re sharing stories from C.J. Chivers, David Ewing Duncan, Steve Silberman, Anna Wiener, and David Marchese.

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This Is Why We Can’t Have Nice Things

The seashore is covered by green algae in Shandong province, China. Researchers have attributed the phenomenon in part to climate change. (Imaginechina via AP Images)

The Nathaniel Rich New York Times Magazine story on climate change research and policy — and how close we came to actually doing something in the 1980s to try and mitigate the looming disaster — clocks in at 30,000 words. All 30,000 of them are worth reading, although at the end of the day, the denouement requires just over 100.

The meeting began in the morning and continued into the night, much longer than expected; most of the delegates had come to the conference ready to sign the Dutch proposal. Each time the doors opened and a minister headed to the bathroom at the other end of the hall, the activists leapt up, asking for an update. The ministers maintained a studied silence, but as the negotiations went past midnight, their aggravation was recorded in their stricken faces and opened collars.

“What’s happening?” Becker shouted, for the hundredth time, as the Swedish minister surfaced.

“Your government,” the minister said, “is fucking this thing up!”

The decade-long lead in to the final fuckup is equal parts fascinating and infuriating, and makes the ongoing “debate” about whether climate change is really happening all the more ludicrous.

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At Home on Carmine Street

Tongdang5 / Getty

Abigail Rasminsky | Longreads | August 2018| 14 minutes (3,400 words)

 

When the two stragglers let the door clatter shut behind them, I turn the lights in the restaurant’s dining room all the way up and zip over to the stereo. For the past few months, we’ve been blasting the Talking Heads’ “Once in a Lifetime” while closing. We all sing You may ask yourself, my God, what have I done? while manning brooms and mops and rags, none of us aware that we are singing of our own lives. At the chorus, we give in, drop what we’re doing and dance: Letting the days go by, let the water hold me down…

I stack the chairs and tables as I’ve been taught, sweep crusts of bread and remnants of lettuce off the tiled floor, grab the register drawer with the remaining cash — 200, 300 bucks tops, since I’ve been emptying it steadily all night — while, behind the counter, Emily cleans the cappuccino machine and stashes the whipped cream, milk, and pie in the fridge. Tom drags the mop over the floor I just swept, the bucket for dunking sitting at the lip of the kitchen.

During the day, the place is bustling with people — upstairs, downstairs, out front, gates open all summer long. But now it’s 12 a.m. at The Grey Dog on Carmine Street in the West Village, and everyone else has gone home.

I leave Emily and Tom singing in the dining room, and carry the money from the register, platter-like in one hand, through the swinging doors of the upstairs kitchen, down the narrow, slippery staircase, past the dishwashing station and the baker’s area, where the croissants and scones are warmed at 5:30 a.m., past the catering department, where two Irishmen make platters of Caesar salad and triangular-cut sandwiches all morning to the sounds of NY1, and get to the restaurant’s windowless, corner office. I unhook the mass of keys from the loop of my jeans and let myself in. Sammy, the resident cat, slips past my ankles. The office reeks of cigarettes and pot.

Up on the desk, I count the cash, separating crisp bills from soft ones, count it again, and add it to the change drawer under the desk, which is always stacked with rows of 1s, 5s, 10s, 20s, and a couple of 50s — $1,000 or $2,000 total. Much of that night’s profits — but not all — have already been rolled up, wrapped in elastic bands, and dropped into a heavy metal drop box in the corner of the room.

When I’m done, I switch off the lights and lock the door behind me, making sure that Sammy is inside. If I forget — as I have before — the cat wandering the restaurant will set off the alarm at 3 a.m. and my boss will get a call from the police: There’s been a break-in.

Just as I turn around to walk through the unlit basement and bound back up the stairs, I see Emily in the semi-darkness. There is a gun by her right ear, its barrel pointing at me. Her body is bigger than usual these days — she’s 27 and six months pregnant with her second child, a mistake courtesy of a quick fuck in the restaurant’s downstairs bathroom with one of the cooks. They broke the sink off the wall, and now here she is, shuffling along the slick floor, belly first, with a man at her back, pushing her slowly into me, toward the office door at my back. I can barely see his face; it is nuzzled behind Emily’s hair and concealed by the panic on her own face.

Emily and I stand frozen in the underground quiet, looking at each other.

Then it hits me: The door.

I didn’t lock the front door.

Emily whispers, “Open the office.”
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War, What is It Good For? Absolutely Nothing

Staff Sgt. Alexander Pascual, right, from Kohala, Hawaii, from the U.S. Army First Battalion, 26th Infantry, looks back as he patrols the mountains of in the Korengal Valley in Afghanistan's Kunar Province Saturday, May 9, 2009. (AP Photo/David Guttenfelder)

As C.J. Chivers reports at The New York Times Magazine, the war in Afghanistan will soon be 17 years old. Three U.S. presidential administrations have presided over it, all the while issuing a series of politically palatable, yet hollow justifications. As seen through the eyes of Specialist Robert Soto, Chivers recounts Viper Company’s 2008 rotation in the Korengal Valley of Afghanistan, a brutal, harrowing, in-your-face example of how the hundreds of thousands of men and women who signed on to protect the United States after 9/11 have become the true casualties of ever-shifting, yet obstinate U.S. foreign policy.

Specialist Robert Soto had been haunted by dread as the soldiers left their base, the Korengal Outpost.

Soto sensed eyes following the patrol. Everybody can see us.

He was 19, but at 160 pounds and barely needing to shave, he could pass for two years younger. He was nobody’s archetype of a fighter. A high school drama student, he joined the Army at 17 and planned to become an actor if he survived the war. Often he went about his duties with an enormous smile, singing no matter what anyone else thought — R. & B., rap, rock, hip-hop, the blues. All of this made him popular in the platoon, even as he had become tenser than his former self and older than his years; even as his friends and sergeants he admired were killed, leaving him a burden of ghosts.

In early October, the Afghan war will be 17 years old, a milestone that has loomed with grim inevitability as the fighting has continued without a clear exit strategy across three presidential administrations. With this anniversary, prospective recruits born after the terrorist attacks of 2001 will be old enough to enlist. And Afghanistan is not the sole enduring American campaign. The war in Iraq, which started in 2003, has resumed and continues in a different form over the border in Syria, where the American military also has settled into a string of ground outposts without articulating a plan or schedule for a way out. The United States has at various times declared success in its many campaigns — in late 2001; in the spring of 2003; in 2008; in the short-lived withdrawal from Iraq late in 2011; and in its allies’ recapture more recently of the ruins of Ramadi, Falluja, Mosul and Raqqa from the Islamic State, a terrorist organization, formed in the crucible of occupied Iraq, that did not even exist when the wars to defeat terrorism started. And still the wars grind on, with the conflict in Afghanistan on track to be a destination for American soldiers born after it began.

More than three million Americans have served in uniform in these wars. Nearly 7,000 of them have died. Tens of thousands more have been wounded. More are killed or wounded each year, in smaller numbers but often in dreary circumstances, including the fatal attack in July on Cpl. Joseph Maciel by an Afghan soldier — a member of the very forces that the United States has underwritten, trained and equipped, and yet as a matter of necessity and practice now guards itself against.

On one matter there can be no argument: The policies that sent these men and women abroad, with their emphasis on military action and their visions of reordering nations and cultures, have not succeeded. It is beyond honest dispute that the wars did not achieve what their organizers promised, no matter the party in power or the generals in command. Astonishingly expensive, strategically incoherent, sold by a shifting slate of senior officers and politicians and editorial-page hawks, the wars have continued in varied forms and under different rationales each and every year since passenger jets struck the World Trade Center in 2001. They continue today without an end in sight, reauthorized in Pentagon budgets almost as if distant war is a presumed government action.

Time eases only so much doubt. Six years after leaving the Army, Soto still spent nights awake, trying to come to terms with his Korengal tour. It was not regret or the trauma of combat that drained him. It was the memories of lost soldiers, an indelible grief blended with a fuller understanding that could feel like a curse. Often when Soto reflected upon his service, he was caught between the conflicting urges of deference and candor. He tread as if a balance might exist between respecting the sacrifice and pain of others and speaking forthrightly about the fatal misjudgments of those who managed America’s wars. “I try to be respectful; I don’t want to say that people died for nothing,” he said. “I could never make the families who lost someone think their loved one died in vain.”

Still he wondered: Was there no accountability for the senior officer class? The war was turning 17, and the services and the Pentagon seemed to have been given passes on all the failures and the drift.

Some days he accepted it. Others he could not square what he heard with what he and his fellow veterans had lived. The dead were not replaceable, and they had been lost in a place the Army did not need them to be. Sometimes, when he was awake in the restless hours between midnight and dawn, his memories of lost friends orbiting his mind, Soto entertained the questions. What befell those who sent them? Did generals lose sleep, too? “They just failed as leaders,” he said. “They should know: They failed, as leaders. They let us down.”

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Michelle Tea and the Betrayal of Queer Memoir

Feminist Press

Alana Mohamed | Longreads | August 2018 | 12 minutes (3,094 words)

Michelle Tea has made a career of memoir, and in doing so she has chronicled a generation of queer and punk subcultures. Growing up a lonely and shy teenager, for me Tea’s autobiographical novel Valencia represented freedom. She wrote about sex and friends and death in a way that made me feel alive, kind of like the way watching Party Monster makes some want to do a face full of cocaine. I wanted to be her, or the women she portrayed, who were all so brash and powerful and sexy. With her latest release, Against Memoir: Complaints, Confessions & Criticisms, Tea continues to write explosively about her life. But she’s also slowed down and become reflective — while still delightfully contradictory — dissecting the history of the ruptures within the communities which she has documented so well.

Recently, I’ve gotten in the habit of saying people have been “so generous” when sharing their stories. Post-#MeToo, radical disclosure has become typical, if not necessary, to speak frankly about sexual boundaries and trauma. “Thank you for being so generous with your story,” I say to the woman who just described her first fisting experience to contextualize her rape. It feels right, like it acknowledges the spiritually taxing effort that goes into disclosure when someone offers a highly personal narrative. But who talks about their first fisting for the good of the general public? Often, they’re talking about it because no one else will, and someone needs to. It’s not so much a matter of generosity as one of necessity. Read more…

We Stand on Guard for Bieber

Dominic Lipinski / AP, Photo illustration by Katie Kosma

Soraya Roberts | Longreads | August 2018 | 18 minutes (4,330 words)

Stratford, Ontario, doesn’t announce itself. The first time I traveled there, in mid-February, I drove into its center before knowing I was actually in it. I had not noticed a sign. All I had seen were miles of flat snowy farmland — the odd silo, field upon field — a row of frosted evergreens lining the horizon. Stratford, population 31,465, is like any other small tourist town in Ontario — shabby strip malls, magisterial churches, brick Main Street, overpriced eateries. Like so many Canadian cities, it’s the kind of place where a kid could be born and, happily enough, have just as much chance of staying as leaving.

People generally visit Stratford in the summer for its renowned Shakespeare festival, but I went during the off-season. A couple of miles ahead of the town center, my boyfriend and I passed what appeared to be a school bus holding zone — about a dozen of them, parked like blocks of life-size Legos — before arriving at the Stratford Perth Museum. It was 10 a.m. on a Saturday, the opening time for the press day of the “Steps to Stardom” exhibit, which traced Justin Bieber’s life, all 24 years of it, back to his Stratford childhood. It was quiet. The exhibit scarcely announced itself either, aside from two festive planters flanking the entrance, each festooned with curlicued silver-sprayed twigs wrapped in bows and billowy purple gauze, a color that, for those in the know, announces JUSTIN BIEBER as surely as it might have once announced royalty. In the next room, even quieter, the “Railway Century” exhibit politely stood by with its black-and-white photographs of the industry that had built the town that had built Justin Bieber. Read more…

The Top 5 Longreads of the Week

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This week, we’re sharing stories from Nathaniel Rich, Ronan Farrow, Jeff Maysh, Helen Rosner, and Nick Greene.

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The Killer Who Spared My Mother

Nicodemos / Getty, Associated Press, Photo illustration by Katie Kosma

Diana Whitney | Longreads | August 2018 | 13 minutes (3,338 words)

 
My mother never warned me about anything before I left home. She never came into my room, sat down on my bed, ventured a comment about condoms or consent. No little talks about protection of the body or the soul, the ways a woman might use her voice. Was it her responsibility to start that conversation? Did I dismiss her attempts? I was naive and covetous and hungry to be desired. She couldn’t have changed my nature.

I was 29 before I learned she’d nearly been murdered in college. She didn’t tell me. My father did, over a pot of earl grey in my Vermont farmhouse kitchen. They’d driven up north for a visit before I moved out west with my new rower boyfriend. Tim sat beside me, tall and glorious in his sweats post-workout, while my mom chatted on about the cool weather, the sudden frost.

Dad a-hemmed professorially. “We’re flying down to Philadelphia next month. Your mother’s been asked to be a witness in a murder trial.”

“What?” I didn’t understand.

Mom looked down into her lap, her red hair loose, cheeks flushed. In her late 50s she was still a statuesque beauty, a half-Irish mix of Julianne Moore and Janis Joplin, radiant except when worry furrowed her face.

“Someone your mother dated at Penn is on trial for murdering a woman back in 1977,” Dad continued in his formal baritone. “The prosecuting attorney wants her to testify.”

“Who is this guy?” I asked.

“Ira Einhorn,” Mom said, softly. “He was crazy.”

“Ira was a kind of cult figure on campus,” Dad explained. “A charismatic Sixties radical. Your mother went out with him and he… well, he hit her over the head and left her unconscious.”

“I thought he was going to kill me,” Mom corrected.

I glanced from one parent to the other in the sunlit kitchen. A log shifted in the wood stove. The neighbor’s milking herd lumbered into the back pasture.

My quiet boyfriend, Tim, summoned the courage to speak when I couldn’t. “What happened?”

Dad sketched out the story for us then, Mom nodding in assent, adding a detail here and there. Stunned, I could barely follow their voices, unable to grasp the existence of this man, his connection to my mother, and the trial she was about to attend. I don’t remember wishing her luck or hugging them goodbye, though I hope I did both. I don’t remember following up on the conversation. Like smoke I let the name Ira Einhorn dissolve and recede from my consciousness.
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A Thereness Beneath the Thereness: A Jonathan Gold Reading List

Jonathan Gold poses for a portrait during the 2015 Sundance Film Festival in Park City, Utah. (Photo by Larry Busacca/Getty Images)

For the past four decades, Jonathan Gold tirelessly catalogued the ebb and flow of cuisine in Los Angeles, and in the process, became known as the “food writing poet” of the city. That poet, who was diagnosed with pancreatic cancer this past month, died last week at the age of 57. In his New York Times obituary Ruth Reichl, who published Gold in Gourmet magazine, said of the writer-critic,

Before Tony Bourdain, before reality TV and ‘Parts Unknown’ and people really being into ethnic food in a serious way, it was Jonathan who got it, completely. He really got that food was a gateway into the people, and that food could really define a community. He was really writing about the people more than the food.

According to David Chang, no one knew more about Korean cuisine than Gold, and the critic, whose career began as a music journalist, became the foremost expert on the various regions of the world. Some opine his speciality was Mexican and Central American cooking, having eaten at every pupuseria, taco stand, and restaurant along the 15.5 mile stretch of Pico Boulevard. But really, Gold’s expertise wasn’t limited by borders. Read more…