Search Results for: The New Yorker

TPS Reports All Day Long

Simon & Schuster

Existentialists with agita, rejoice. We now have an anthropologist’s confirmation that what we do means nothing. At the New YorkerNathan Heller writes about David Greaber’s Bullshit Jobs: A Theory, a book that examines our current work economy and how we attribute meaning to our lives with possibly (probably?) meaningless tasks.

[Bullshit] jobs are endemic even to creative industries. Content curators, creatives—these and other intermediary non-roles crop up in everything from journalism to art. Hollywood is notoriously mired in development, an endeavor that Graeber believes to be almost pure bullshit.

In a famous essay drafted in 1928, John Maynard Keynes projected that, a century on, technological efficiency in Europe and in the U.S. would be so great, and prosperity so assured, that people would be at pains to avoid going crazy from leisure and boredom. Maybe, Keynes wrote, they could plan to retain three hours of work a day, just to feel useful.

Is it possible that bullshit jobs are useful? In Graeber’s view, they simply reinforce their premises. “We have invented a bizarre sadomasochistic dialectic whereby we feel that pain in the workplace is the only possible justification for our furtive consumer pleasures, and, at the same time, the fact that our jobs thus come to eat up more and more of our waking existence means that we do not have the luxury of—as Kathi Weeks has so concisely put it—‘a life,’” he writes. 

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The Mr. Memory of Jazz

AP Photo/Jean-Jacques Levy

I’m a huge fan of saxophone genius Charlie Parker, the man known as Bird. Recently I’ve been listening to live recordings instead of his studio work, most taken from scratchy acetates of ancient radio broadcasts or lo-fi private recordings made by fans like the legendary Dean Benedetti. Even in our internet era, it can be hard to find detailed, reliable information about live recordings from, say, 1947 at LA’s long-defunct Hi-De-Ho Club. In the process of researching, I found David Remnick‘s 2008 New Yorker article “Bird Watcher.”

In it, Remnick profiles jazz historian and Charlie Parker devotee Phil Schaap, who’s hosted “Bird Flight,” on Columbia University’s radio station for three decades. Although this article is a decade old, it remains relevant because Bird’s art remains relevant, or as Remnick puts it, “There is no getting to the end of Charlie Parker.” Parker died in 1955, yet new CDs keep coming out containing historic live recordings that have finally been remastered or re-sequenced. Schaap’s knowledge is so deep that when Dean Benedetti’s lost live recordings of Bird — one of jazz’s true holy grails — needed preserving and documentation, Schaap did the job, reinforcing eight miles worth of disintegrating tape by hand. A repository of information, he relishes minutia and arcana; his show’s winding, digressive style blurs, in Remnick’s words, “the line between exhaustive and exhausting.”

Schaap is not a musician, a critic, or, properly speaking, an academic, though he has held teaching positions at Columbia, Princeton, and Juilliard. And yet through “Bird Flight” and a Saturday-evening program he hosts called “Traditions in Swing,” through his live soliloquies and his illustrative recordings, commercial and bootlegged, he has provided an invaluable service to a dwindling art form: in the capital of jazz, he is its most passionate and voluble fan. He is the Bill James of his field, a master of history, hierarchies, personalities, anecdote, relics, dates, and events; but he is also a guardian, for, unlike baseball, jazz and the musicians who play it are endangered. Jazz today is responsible for only around three per cent of music sales in the United States, and what even that small slice contains is highly questionable. Among the current top sellers on Amazon in the jazz category are easy-listening acts like Kenny G and Michael Bublé.

For decades, jazz musicians have joked about Schaap’s adhesive memory, but countless performers have known the feeling that Schaap remembered more about their musical pasts than they did and was always willing to let them in on the forgotten secrets. “Phil is a walking history book about jazz,” Frank Foster, a tenor-sax player for the Basie Orchestra, told me. Wynton Marsalis says that Schaap is “an American classic.”

In the eyes of his critics, Schaap’s attention to detail and authenticity is irritating and extreme. He has won six Grammy Awards for his liner notes and producing efforts, but his encyclopedic sensibility is a matter of taste. When Schaap was put in charge of reissuing Benny Goodman’s landmark 1938 concert at Carnegie Hall for Columbia, he not only included lost cuts and Goodman’s long-winded introductions but also provided prolonged original applause tracks, and even the sounds of the stage crew dragging chairs and music stands across the Carnegie stage to set up for the larger band. His production work on a ten-disk set of Billie Holiday for Verve was similarly inclusive. Schaap wants us to know and hear everything. He seems to believe that the singer’s in-studio musings about what key to sing “Nice Work If You Can Get It” in are as worthy of preservation as a bootleg of Lincoln’s Second Inaugural. Reviewing the Holiday set for the Village Voice, Gary Giddins called Schaap “that most obsessive of anal obsessives.”

When Charlie Bird died, fans painted “Bird Lives!” on buildings around New York City. Thanks to fans like Schaap, the epitaph holds true for fans like me.

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Chimamanda Ngozi Adichie Reckons with Fame

(Monica Schipper/WireImage)

Chimamanda Ngozi Adichie has published three novels and a short story collection; she was awarded a MacArthur “genius” grant in 2008, and her latest novel, Americanah won the National Book Critics Circle Award for fiction in 2013. Still, when Beyoncé quoted from Adichie’s TED talk “We Should All Be Feminists” for her song “Flawless,” the author ascended to a new level of fame. In a wide-ranging profile written by Larissa MacFarquhar for The New Yorker, Adichie addresses the increased scrutiny of her interviews and public statements, dives deep into the sights, sounds, and places that have inspired her work, and considers her legacy.

When she talks about feminism or gay rights in Nigeria, she knows what she’s getting into, and she does it on purpose. But her celebrity is such that even an offhand remark can set off a fracas that she did not anticipate. A few years ago, when asked by a journalist to comment on the shortlist for the Caine Prize, an English award for African fiction, she said she had no interest in the topic, although one of the nominees, she said, was “one of my boys in my workshop.” Her antipathy to the Caine Prize was long-standing, due to her dislike of a former administrator of the prize, whom she had found sexist and patronizing, and whom she venomously fictionalized in her short story “Jumping Monkey Hill.”

as though God, having created him, had slapped him flat against a wall and smeared his features all over his face

Asked where she went instead to find the best African fiction, she said, “My mailbox,” where she received her workshop students’ stories. On Nigerian Twitter, all hell broke loose. “It doesn’t take much brain juice to realize from her interviews that Ms CNA’s ego can sink an island,” wrote Manny. “So the best African fiction is in Chimamanda Adichie’s inbox?” Abubakar Ibrahim, a novelist, wrote. “I hail thee, queen-god mother. Go fuck yourself, Chimamanda.”

Earlier this year, Chimamanda commented to a reporter in France, “Post-colonial theory? I don’t know what it means. I think it’s something that professors made up because they needed to get jobs.” Nigerian academics reacted with hurt and outrage. “That’s it!” Difficult Northerner wrote. “We need to put Chimamanda in rice. How can you shit on postcolonial theory while claiming not to know what it means. The same postcolonial theorists who assign your books & videos in classes.”

She is O.K. in principle with not being liked: she thinks that the desire to be liked is something that women need to get over. A male friend of hers told her that Ifemelu, the main character of “Americanah,” was Chimamanda without her warmth, and she bristled at this, even though she thought it might be true. Why the hell are you judging her like that? she thought. If Ifemelu were a male, would you expect and want warmth? All the same, it is painful to be attacked. “Ta-Nehisi Coates said to me once that what hurt him the most, becoming successful, was how much it was black intellectuals who seemed to be out for him, and I know what that’s like. I told him that there’s a circle of Nigerians who are resentful of my international success, and it’s very hurtful, because I want my people to wish me well.”

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‘Unfettered Glamour’: The Legendary Career of André Leon Talley

NEW YORK, NY - 1979: Diana Ross and Andre Leon Talley dancing at Studio 54, c 1979 in New York City. (Photo by Sonia Moskowitz/Getty Images)

New York Times fashion director and chief fashion critic Vanessa Friedman profiles former Vogue creative director André Leon Talley upon the launch of “The Gospel According to André,” a feature-length documentary on Talley’s life. The film includes interviews with friends and former colleagues of Talley, such as Whoopi Goldberg, Fran Lebowitz, and Anna Wintour, and traces his love for fashion back to his early days in segregated Durham, North Carolina. It was the number one limited-release movie in box offices sales last weekend, according to Page Six.

For much of his career, Talley was the only black male editor of a top tier fashion publication. Goldberg says in the film that he was “so many things he wasn’t supposed to be,” but for most of the years of his rise, Talley did not publicly acknowledge the isolation and emotional strife that came with his influence. In a 1994 story for the New Yorker, Hilton Als described Talley, hauntingly, as “the only one.” Friedman’s profile illuminates the costs Talley paid for breaking ground.

When he tells this story in public, he often defangs it by rolling his eyes and pursing his lips, and then appending a joke about wanting to be in designers’ beds without the actual designer to see what kind of fancy sheets they had. But when he tells it in private, he doesn’t add the comic flourishes, and the muscle between his eyebrows contracts in an involuntary spasm.

For all the talk lately about the need for diversity on fashion runways, there has been much less about the fact that its executives and designers and editors in chief have been, and are still, largely white.

“Where are the black people?” Mr. Talley said. “I look around everywhere and say, ‘Where are the black people?’ I think fashion tries to skirt the issue and finds convenient ways to spin it. There are examples of evolution, but they are few and far between. The biggest leap of faith was Edward Enninful becoming editor of British Vogue — that was an extraordinary thing. Virgil Abloh getting Louis Vuitton men’s wear.”

Still, as far as progress made in the more than three decades Mr. Talley has been letting the insults bounce off his caftans, it doesn’t seem like very much. “As the world turns, it does not turn very fast,” he said.

He is hoping the film speeds it up. Mr. Enninful, for one, thinks it will. “It will mean a lot to a new generation to see that there was this man who grew up in the South and through all obstacles made it, because it will give young black kids hope and the aspiration to be in this industry,” he said.

Mr. Talley is also hoping it provides a platform to vault him to the next stage in his life.

“I could see myself being an Oscar Wilde and going on the road and sitting on stage and talking,” he said. When he said this, he was having lunch at Majorelle, a French restaurant on the Upper East Side that he loves because of its flower arrangements, its pistachio souffle and because it shares a name with Yves Saint Laurent’s garden in Marrakesh.

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The High Price of Being a #MeToo Whistleblower

Seth Wenig / AP Photo, Photo illustration by Katie Kosma

Tricia Romano | Longreads | May 2018 | 7 minutes (1,770 words)

 

A few weeks ago I was at dinner in New York with an old friend, an editor at the New York Times. She thrust out her phone. “Oh my god, did you see? Tanya!”

Tanya was Tanya Selvaratnam, one of the four women who’d accused New York Attorney General Eric Schneiderman of physical abuse in a New Yorker story by Jane Mayer and Ronan Farrow. She and I knew Tanya well. I’d met Tanya 15 years ago when I was a nightlife reporter for the Village Voice. We were fast friends and gallivanted around town together. Now, we had a few bazillion mutual close friends and acquaintances. In fact, right after dinner, I’d be going to her apartment to sleep, as I often did when I came back to New York to visit from Seattle, where I now live. Until that moment, I had thought I would be meeting up with her. She had texted that morning that she’d be home late, as she was going to a party. “Cool,” I wrote. “See you then.”

Instead, my phone started blowing up with messages from our mutual friends.

“Holy cow. Just finished reading the Eric Schneiderman NYer story. What a psycho. Are there any NYC AGs who go after the ‘bad guys’ that aren’t totally twisted? It’s worse than an episode of ‘Billions.’ Glad Tanya is ok.”

“I’m really sorry this happened to her and think she’s seriously brave for talking.”

“Ugh.”

I wrote Tanya and asked if she was ok.

She replied: “I won’t be staying at home tonight. If anyone asks about me, don’t say anything. If the buzzer rings or someone knocks on door, don’t answer. I’ll explain later. At dinner now. I’ll call after. Sorry I didn’t tell you before what was going on xo.”

My dinner date and I sat at the table, our eyes glued to our phones, as we read through the New Yorker story and its horrific details.

“Oh my god,” she said, “I just got to Tanya’s section.”

“Same.”

Silence.

Over dinner, we tried to process it. Some things became clearer to me in retrospect. Tanya had always been a pretty guarded person, and when I asked her how the demise of her relationship with her high-profile boyfriend had come about, she offered vague comments: “I’m glad it’s over.” “Happy to be free.” “Never dating a politician again. Always on.” No sturm, no drang, and devoid of details.

It turned out she’d been staying quiet for a specific reason — and had been cooperating with the New Yorker for many months.

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Politics and Prose

Alex Milan Tracy / Sipa via AP Images

Marie Myung-Ok Lee | Longreads | May 2018 | 15 minutes (3,630 words)

 

“Walls are built in the mind.” — Wole Soyinka

“The whole country is outraged and outspoken and you should be too

because if you’re not, then you’re not doing your part.”

— Rachel Coye, “New Year”

As a writer, a books columnist for the literary site The Millions, the co-founder of the Asian American Writers’ Workshop, and a literary citizen with prolific and brilliant friends whose readings and performances I could probably ink every night on my calendar, let’s say I go to a lot of book signings. Some have food, some have wine. Some have people who wander in and ask irrelevant questions with disarming earnestness.

At one reading where I acted as interlocutor, the novelist I was interviewing took out a package of Swiss chocolate she’d brought with her from Geneva, and instead of putting it on the plate with the wine, handed it to me with a sly smile. I’ve been to several readings where I have been the sole member of the audience. I was asked to do a reading that would involve live exotic animals as accompaniment. I went to one on the Lower East Side, back when it was truly gritty, where the writer was accompanied — overpowered, really — by a person blowing random high notes on a flute. Each reading offers something different, delightful, educational, new.

But I’ve never been to a reading/book signing that had protesters. Especially not for a book the Cleveland Plain Dealer called a “Beautiful, eloquent, and timely” memoir authored by a young writer with a new MFA, a Fulbright, and a Whiting Award. In the era of Trump, where there is something new to protest every day (women’s rights, the EPA, the NEA, gun control, tax cuts for the rich, healthcare…), what would cause the lovely indie bookstore, Books Are Magic to send out a warning on Facebook before the event?

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Zadie Smith on the Work and Influences of Deana Lawson

"Woman with Child," 2017. (Courtesy the Carnegie Museum of Art)

I’ve heard a lot of talk about geniuses lately, vis-a-vis the kind of music and films that are released in mainstream outlets and become pop culture. Even though we don’t enjoy network television the same way we did a few decades ago — all together at primetime, then in conversations at school or work the next morning — we now find our tribes on the internet, where we can absorb and discuss key cultural events as they unfold. It’s messy, this instant absorbing and convening. Sometimes it’s a lot to manage, and I always feel more mentally agile when I disconnect for a while and let everybody else prattle on. All in all, it’s great that we’re speaking to one another and thinking through how what we consume matters.

When Donald Glover’s video for his single “This is America,” premiered on the May 5 episode of Saturday Night Live, the internet was set ablaze. I watched both the video and the chatter and understood the excitement. It’s a provocative and beautifully shot music video, fantastical and well-performed, the kind of collage work that relies on the familiarity of its many parts to keep you entranced. We were talking about race and racism and the dizzying confusion of trauma and gun violence a lot already, right? Donald Glover is an exciting and intriguing pop culture figure who’s great at seizing a moment. But sometimes when I really need to be engaged about the complicated possibilities of blackness — or experience art as a moment of revelation — pop culture can feel flat.

For the New Yorker, Zadie Smith profiles another talented, young black creator making complicated and beautiful art: Rochester-born photographer Deana Lawson, who for the past decade has made a body of work that feels like a search for the black fantastic—the sublime, the sacred, or all of the above. Smith says that Lawson’s portraits look at their largely working class “regular people” subjects “before the fall”: suspended in time and space before the calamity of colonialism and systemized anti-blackness, while somehow, still keeping a record of its collateral damage. She places Lawson in context with other culture workers, such as Zora Neale Hurston, who have, through their own practices, searched for commonalities among people with African ancestry around the world. Smith’s writing about Lawson is as full of ideas as the work it theorizes, and is excerpted from the artist’s monograph that will come out in September.

Examining Deana Lawson’s “Sharon” (2007), a black viewer may find the confusion of her earliest days reënacted. Before you’d heard of slavery and colonialism, of capitalism and subjection, of islands and mainlands, of cities and ghettos, when all you had to orient yourself was what was visually available to you; that is, what was in front of your eyes. And what a strange sight confronts the black child! The world seems upside down and back to front. For your own eyes tell you that your people, like all people, are marvellous. That they are — like all human beings — beautiful, creative, godlike. Yet, as a child, you couldn’t find many of your gods on the television or in books; they were rarely rendered in oil, encountered on the cinema screen or in the pages of your children’s Bible. Sometimes, in old reruns, you might spot people painted up, supposedly to look like your gods — with their skin blackened and their lips huge and red — but the wise black child pushed such toxic, secondary images to the back of her mind. Instead, she placed her trust in reality. But here, too, she found her gods walking the neighborhood unnoticed and unworshipped. Many of them appeared to occupy lowly positions on a ladder whose existence she was only just beginning to discern. There were, for example, many low-wage gods behind the counters at the fast-food joints, and mostly gods seemed to shine shoes and clean floors, and too many menial tasks altogether appeared to fall only to them. Passing the newsstand, she might receive her first discomforting glimpse of the fact that the jail cells were disproportionately filled with gods, while in the corridors of power they rarely set a foot. Only every now and then did something make sense: a god was recognized. There’s little Michael Jackson and grand Toni Morrison, and, look, that’s James Baldwin growing old in France, and beautiful Carl Lewis, faster than Hermes himself. The kinds of gods so great even the blind can see them. But back at street level? Too many gods barely getting by, or crowded into substandard schools and crumbling high-rise towers, or harassed by police intent on clearing Olympus of every deity we have. And, for a long, innocent moment, everything about this arrangement will seem surreal to the black child, distorted, like a message that has somehow been garbled in the delivery. Then language arrives, and with language history, and with history the Fall.

Deana Lawson’s work is prelapsarian — it comes before the Fall. Her people seem to occupy a higher plane, a kingdom of restored glory, in which diaspora gods can be found wherever you look: Brownsville, Kingston, Port-au-Prince, Addis Ababa. Typically, she photographs her subjects semi-nude or naked, and in cramped domestic spaces, yet they rarely look either vulnerable or confined. (“When I’m going out to make work,” Lawson has said, “usually I’m choosing people that come from a lower- or working-class situation. Like, I’m choosing people around the neighborhood.”) Outside a Lawson portrait you might be working three jobs, just keeping your head above water, struggling. But inside her frame you are beautiful, imperious, unbroken, unfallen.

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A Remarkable Child

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Daniel Rafinejad | Longreads | May 2018 | 17 minutes (4,503 words)

My friend Sam makes experimental films I do not understand. Sam is an artist; I like Doritos.

Sam is tall, a little cross-eyed. He’s earnest but also contrarian and snobby. He acts like he’s the one person ever to have noticed the moon.

We met as freshmen at Columbia. I was flattered someone so cool would talk to me. Sam clothed and carried himself with a perfect carelessness, while I wore sweater vests and dropped things a lot.

I won Sam over by talking about weasel menstrual fluid.

“I like taxidermied animals, too,” I lied, as we rode the elevator up to the 11th floor of John Jay Hall one autumn afternoon. He was holding a stuffed rodent.

“It’s a weasel?” I mumbled.

“Yes,” he answered. He looked at me blinking, as if peering through a curtain of bangs, though his raven hair was combed and parted to the right of his clear, pale face. “His name is Portnoy.”

“Portnoy means ‘tailor’ in Russian,” I said. He looked down at me with a half-smile and studied my buzzed head. I continued with more confidence: “My great-grandmother, who, I think, was a witch in Iran, said that sleeping on a pillowcase stained with a she-weasel’s menstrual fluid chases away nightmares.”
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The Forever Nomad

Margarita Gokun Silver | Longreads | April 2018 | 18 minutes (4,386 words)

 

On an afternoon in August 2017, I walk out of the library and turn right. At the intersection, the pedestrian light comes on and I cross knowing that once I reach the end of Madrid’s Plaza de Colón, I’d wait less than a minute before I could cross again. I’ve done this walk every day for the past several years, my pace synchronized with the rhythm of traffic lights; my mind concentrated on counting the stairs — 14 of them: seven for my right foot to ascend and seven for my left — and my hand clutching a euro to give to the old man selling tissues on the corner. Everything is the same — skateboards banging against the concrete under the quick feet of their teen devotees, dogs running around the middle of the square let loose by their owners, and, up above, a giant red-and-yellow Spanish flag flying in the wind. Everything but one thing.

I’m on my way to a home that’s no longer there.

A week ago the movers came and methodically went through our three-bedroom apartment. They wrapped our glasses, plates, vases, and the ceramic Don Quixote in bubble wrap. They encased our furniture in cardboard, bending the thick corrugated boxes patiently so that when they were done our couch looked like a mummy-copy of its former self. They sealed our artwork — most of it painted by me — in wooden crates that resembled well-insulated tombs. I wanted to ask if the art could breathe through the layers of paper, plastic, and wood, nailed shut so tightly that not a ray of sunlight could get through. But they were busy, and I didn’t bother them. Instead I went into what used to be our bedroom, lay down on the bed that wasn’t coming with us, and concentrated on my own breathing.

By my count, this was the 18th time I moved homes. Some of those moves were miniscule — just several miles away from where I’d lived, my belongings riding in the back seat of a car in milk crates and an old laundry basket. Others were more substantial — intercontinental relocations that involved wrapped furniture, sea freight, and customs bills. What all of them had in common — and what set them apart from this last one — was that they didn’t evoke grief. Sure, many had been tinged with goodbyes and sadness, but none before had stopped my heart, gelled the blood inside of my veins, and perforated my body with holes that seemed to allow life to seep right out of it.

None of those moves had felt like loss.

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On Junot Díaz’s ‘The Silence’ and Our Uncomfortable Reckoning

Junot Diaz, winner of the Pulitzer Prize for his novel "The Brief Wondrous Life of Oscar Wao." (RICARDO HERNANDEZ / AFP / Getty Images)

It isn’t easy to read “The Silence: The Legacy of Childhood Trauma,” novelist Junot Díaz’s beautiful and searing personal essay published in the New Yorker’s April 16 edition. It’s the kind of piece “trigger warnings” were made for, the kind you don’t link to in your group chat without disclaiming. Sitting on a crowded, air-compressed Amtrak car on a cloudy Monday before 8 a.m., waiting to depart for a day trip to Philly, I was in a brain fog after reading it and texted its link to a friend without thinking. Not even five minutes passed before I came to my senses and tried to walk it back, like you would a text you’d mistakenly sent to a parent instead of a lover.

At about 5,000 words, “The Silence” is a #longread and not anybody’s crowdsourced listicle or half-baked take. By way of structure and content, it’s obvious that it took some mulling over, a life lived, to create. An essay, in the literary sense, is an attempt. The word comes from an old French verb meaning to try, and the first known writer to use it to describe his own work meant that he’d offer a lot of thoughts in an attempt to reveal himself — his mind, his consciousness, his relationship to the world outside —  on the page with some precision. There should be a discovery of something in an essay, a path, though perhaps meandering, through many questions that lead to an answer or lesson or something else entirely. That winding road is what makes an essay different from an article or a paper. It is an attempt to approximate the neural processes that make up thought, memory or revelation itself.

In the eighth paragraph of “The Silence,” Díaz tells us he was sexually assaulted by a trusted family friend when he was only 8 years old. The admission feels spat out and abrupt — it has taken a reserve of courage to get it out. He has written around this incident for years, he says, but fear and shame have choked his truth and cheated him out of years of a life lived with an honest reckoning, in community with other survivors. “And always I was afraid — afraid that the rape had “ruined” me; afraid that I would be “found out”; afraid afraid afraid,” he writes. Here, I feel the weight of shame for one of our society’s collective failures — how we too often allow the wronged to carry the burden of crimes committed against them. Read more…