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Yesterday Once More: Why the Carpenters Are Still Huge in the Philippines

Karen Carpenter in concert at the Birmingham Odeon, 1976. (Photo by Andre Csillag / Rex Features)

Karen Tongson was named after the 1970s soft-rock music icon Karen Carpenter, and she immigrated to the United States from the Philippines soon after Karen Carpenter died in 1983 at age 32. As Tongson returns to the country of her birth, she examines what fuels the Carpenters’ continuing popularity in her home country and how their music has had affected her life. Read the story at BuzzFeed.

While the Carpenters mania that seems to exist in perpetuity in the Philippines might easily (and to a certain extent rightfully) be construed as yet another of the many vestiges of the nation’s colonial entanglements with the United States — what the scholar Vicente Rafael describes in White Love and Other Events in Filipino History (2000) — I want to make a case here for a power relation more difficult to parse: a different dynamic, another species of intimacy. You see, the Carpenters belong to us, not the other way around.

But with Karen Carpenter, we aren’t just fans, followers, or cheerful colonial acolytes, Taft’s infamous “little brown brothers” worshipping another white woman’s prudish perfection. Karen’s voice is our voice…we have the power to reanimate her, for better or worse, as our echo.

I begin to understand what Karen has actually done for me. She is more than my namesake; she is my constant. She is the anchor to a now, a then, a never-was, and a never-will-be. Karen Carpenter’s dispassionately passionate vocals multiply not only across the harmonies in her own recordings but also through countless Filipino voices, making sense of both Manila and the Southern California suburbs that became my eventual home.

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How Temple of the Dog Pioneered a New Genre of Music Videos in the ’90s

Photo collage by Kjell Reigstad

Matt Giles | Longreads | May 2017 | 15 minutes (3,772 words)

Last month, Pearl Jam was inducted into the Rock and Roll Hall of Fame. Introduced by David Letterman, who looked resplendent with his chin-length beard, it was a fitting honor for one of the greatest rock groups of all time. “I feel like maybe we’re about halfway there to deserving an accolade of this kind of stature, but this is very encouraging,” said Eddie Vedder, Pearl Jam’s lead singer, as part of his acceptance remarks.

What was left unmentioned by Vedder and his fellow bandmates was the collaboration that directly preceded Pearl Jam’s formation more than 25 years ago in Seattle—a supergroup that enjoyed its own moment in the spotlight last year.

Temple of the Dog only released one album, but after a two-decade hiatus, the group reformed in June and announced a multi-concert tour across the United States. Normally, this wouldn’t have made headlines, but it did because Temple of the Dog was a mix of soon-to-be superstars from Pearl Jam and Soundgarden, including Jeff Ament, Stone Gossard, Matt Cameron, Mike McCready, Chris Cornell, and Vedder (who didn’t tour, but was in the original lineup). These rock gods had never officially toured as Temple of the Dog (there have been a few shows here and there, and every few years a video of Cornell and Vedder jamming out to “Hunger Strike,” the band’s hit single, goes viral), but this tour was the first time the musicians got together as the early-’90s super group. “We’re essentially a baby band,” Ament told Rolling Stone in a recent oral history of the band. “We’re 25 years down the road, but we’ve never toured.”

The tour renewed the attention paid to Temple’s “Hunger Strike” music video. Released three times over the ensuing decades, the video — sparse, loaded with symbolism, and an ode to both the city of Seattle and Andy Wood, the Mother Love Bone singer whose death both launched and inspired Temple’s founding — gained notoriety for helping to foment the wave of the ’90s video genre. You know what they look like: dark colors, set in nature, elderly individuals writing on a chalkboard, anthropomorphism, warped graphics, unconventional camera angles, and more. The TV sitcom “How I Met Your Mother” mocked the style in the 2013 episode, “PS I Love You”; the episode featured the alt-rock backstory of Robin Scherbatsky, whose breakout hit had all the ’90s music video trappings (including extras clad in flannel). Read more…

The Top 5 Longreads of the Week

President Donald Trump pauses as he talks to media before signing an Executive Order on the Establishment of Office of Trade and Manufacturing Policy at The AMES Companies, Inc., in Harrisburg, Pa., Saturday, April, 29, 2017. (AP Photo/Carolyn Kaster)

This week we’re sharing stories by Evan Osnos, Ashley C. Ford, Michael Grabell, Chris Heath, and Becca Andrews.

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The Love and Terror of Nick Cave

Longreads Pick

When musician Nick Cave’s son Arthur died, Cave dealt with his grief the only way he knew how: by continuing to write music. “Songwriting is an immensely positive act,” Cave said, “nothing to do with sadness or depression, no matter what you’re writing about.” A film made about the new album’s recording offers a penetrating portrait of tragedy, creation and grief.

Source: GQ
Published: Apr 27, 2017
Length: 29 minutes (7,286 words)

On Mastery: Learning Kyudo — One of Japan’s Oldest and Most Respected Martial Arts

Photo by Vladimer Shioshvili (CC BY-SA 2.0)

Leigh Ann Henion was drawn to archery by her grandfather’s passion for it. She travels to Japan to improve her archery skills by learning Kyudo — a form of archery that is one of Japan’s oldest martial arts. In her short yet intense course, sensei Kazuhisa Miyasaka helps her realize that achievement with the bow and arrow comes only after mastering one’s mind.

We have not talked about the fact that, when our grandfathers were alive, our nations and families were adversaries. Or that when I asked him to introduce kyudo in just a handful of days, I was making an impossible request. But we both knew.

Miyasaka touches my arm, tightening my actions like the precise folds of origami. My projectiles hit sand, nearer and nearer the target. Until. Twack. I pierce paper. The target is so far away I’d need binoculars to see exactly where my arrow rests.

I’ve achieved an obvious goal. But my release felt no more important than my stance, this arrow no more special than the one sent before it. I arrived in Japan hoping to understand why hitting a target isn’t the most important part of this tradition. Now, I know the closest I’ll come is the realization that it doesn’t matter to me whether I hit.

When I hear the target rip again, from a second arrow, I realize that I had not been listening for it.

Miyasaka has been recording my final day with a video camera. He turns my attention to a flat-screen television, which seems out of place in front of the chalkboard where he sketches feather patterns. When he pushes play, I see a woman I do not recognize. She moves through the stages of kyudo form with deceptive ease. At one point, she closes her eyes.

When I see the pale cocoons of my eyelids, I think to myself: Seriously? I remember none of it.

Miyasaka looks out at the target and says, “You did that yourself. You have real skill now.”

But the sound of my target-slaying was not one of accomplishment.

It was a signal that, as long as I’m alive, I will not be done.

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Rachel Cusk on Eschewing her ‘Cuskness’ For Her Alter-Ego in ‘Outline’ and ‘Transit’

Heidi Julavits profiles memoirist and novelist Rachel Cusk for New York Magazine’s The Cut. Julavits focuses on various aspects of Cusk’s writing, including the ways in which her approach to “autofiction” is somewhat different from that of some compatriots in the land of blurred lines between memoir and fiction. Those include Sheila Heti, Ben Learner and Karl Ove Knausgaard, all of whom tend to infuse their protagonists with recognizable strains of their personalities.

Both Outline, which came out in the U.S. in 2015, and Transit are narrated by a woman named Faye, who, like Cusk, is divorced, has two children, and is a writer. Faye describes, or really more accurately transcribes, her encounters with other people. In Outline, she travels to Greece and meets a man on a plane; she goes to a restaurant with a friend; she teaches a writing workshop. She is less an interlocutor than a recording device or a processing machine. She receives. Faye, in literary terms, is a cipher. She is a zero, a naught, a nothing.

In Transit, Faye becomes slightly more “visible” (and audible) via her involvement in a home-renovation project; she converses with contractors and pacifies angry neighbors. Nothing happens, really, but these books are nonetheless gripping self-portraits of multiple humans. They are like eavesdropping on strangers, or watching a secret video feed of strangers, if those strangers were also casual philosophers. The conversations vacillate between the mundane and the lofty, as if the characters — enabled by Faye’s ­presence — are always grasping at bigger life questions. Outline and Transit both are welcome breaches of privacy that emphasize the intensely shapeless loneliness of people. They are books about middles.

Faye, while she shares biographical data with Cusk and appears to present and process events from Cusk’s actual life, is quite different from the characters devised by other autofiction writers of late — Sheila Heti, Ben Lerner, Karl Ove Knausgaard — with whom Cusk is frequently grouped. The books of these writers, though distinct from one another, more centrally feature an authorial self; about Heti, for example, Cusk says, “She uses herself, her Sheila-ness, much, much, much more than I do.” Cusk does not, in these novels, use her Cuskness. And yet she’s filtering through a narrator that does not by accident resemble her.

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A History of American Protest Music: How The Hutchinson Family Singers Achieved Pop Stardom with an Anti-Slavery Anthem

Hutchinson Family Singers, 1845
Hutchinson Family Singers, 1845. "Unknown Artist, American School: Hutchinson Family Singers (2005.100.77)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Image via Wikimedia Commons.

Tom Maxwell | Longreads | March 2017 | 9 minutes (2,170 words)

 

On March 18, 1845, the Hutchinson Family Singers were huddled in a Manhattan boarding house, afraid for their lives. As 19th Century rock stars, they didn’t fear the next night’s sellout crowd, but rather the threat of a mob. For the first time, the group had decided to include their most fierce anti-slavery song into a public program, and the response was swift. Local Democratic and Whig papers issued dire warnings and suggested possible violence. It was rumored that dozens of demonstrators had bought tickets and were coming armed with “brickbats and other missiles.”

“Even our most warm and enthusiastic friends among the abolitionists took alarm,” remembered Abby Hutchinson, and “begged that we might omit the song, as they did not wish to see us get killed.”

It wasn’t that most people didn’t know the Hutchinsons were abolitionists. The problem was that slavery (as well as its parent, racism) was an American tradition, and performers who wished to be popular did not bring their opposition onto the stage. Five of our first seven presidents, after all, were slaveholders. Read more…

Is There a Lost Galleon in the Desert?

While inspecting the property, Carver noticed that the fence posts were oddly shaped. Jacobsen said this was because they came from a boat he’d found on his property. Jacobsen promptly left for Los Angeles, and his wife invited Carver to stay in the main house, because she was afraid of a “crazy Swede” who was prowling the area. Carver asked her about the ship. “We had a bad windstorm awhile back, and it blew a lot of sand off of one of the dunes near the back of the house,” she said, according to Grasson. “When the storm was done, Jakie noticed what looked like the front of a boat coming out of the ground, so he went to investigate. It took Jakie quite some time to get through all the sand, but when he did he found a small chest full of gems. But when he tried to lift the chest out it fell completely apart.” Jacobsen used a sifter to retrieve the spilled jewels.

On that recording, Carver says he saw the ship protruding from the ground. He also says that, during his trip to Los Angeles, Jacobsen met with a lawyer named Levi and a pawnbroker named Barney, presumably to trade some of the treasure he’d found.

In Newsweek, Alexander Nazaryan recounts one man’s search for a Spanish galleon that legends say traveled up the Sea of Cortez into California’s desert interior and never got out. Or maybe it’s a Viking ship. Even in that bright desert sun, the facts are hazy.

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Xenu’s Paradox: The Fiction of L. Ron Hubbard and the Making of Scientology

Illustration by Pat Barrett

Alec Nevala-Lee | Longreads | February 2017 | 28 minutes (7,744 words)

 

I.

L. Ron Hubbard published over four million words of fiction in his lifetime, but his most famous story consists of just a few handwritten pages. Before their contents were leaked in the early ’70s, they could be viewed at the Advanced Organization Building of the Church of Scientology, a hulking blue edifice off Sunset Boulevard where visitors were handed a manila envelope to open in a private room. Most had paid thousands of dollars for the privilege, which made it by far the most lucrative story Hubbard, or perhaps anyone, ever wrote—a spectacular rate for a writer who spent much of his career earning a penny per word.

The story itself, which has become more familiar than Hubbard or any of his disciples ever intended, revolves around the figure of Xenu, the tyrannical dictator of the Galactic Confederation. Millions of years ago, Xenu, faced with an overpopulation crisis, threw hordes of his own people into volcanoes on the planet Earth—then known as Teegeeack—and blew them up with atomic bombs. Their spirits, called thetans, survive to the present day, clinging to unsuspecting humans, and they can only be removed through dianetic auditing, a form of talk therapy that clears the subject of its unwanted passengers.

One of the church members who read this account was screenwriter and director Paul Haggis, who was a devoted Scientologist for over three decades before resigning in an ugly public split. Haggis told Lawrence Wright, the author of the seminal New Yorker piece that became the exposé Going Clear, that after finishing the story, he got the wild idea that it was some sort of insanity test—if you believed it, you were kicked out. When he asked his supervisor for clarification, he was informed: “It is what it is.” Haggis read it again, but the same thought continued to resound in his brain: “This is madness.” Read more…

Michael Joyce’s Second Act

All photos by Sam Riches.

Sam Riches | Longreads and Racquet | January 2017 | 19 minutes (4,882 words)

RacquetOur latest Exclusive is a new story by Sam Riches, co-funded by Longreads Members and co-published in conjunction with Racquet magazine’s second issue.

Michael Joyce climbs into his father’s station wagon on a Sunday afternoon, the light of southern California glowing soft and gold. Joyce is tiny and cherubic, his face freckled and full, his hair a shock of strawberry blonde. He is 12 years old and has already spent six of those years playing competitive tennis, and he’s become very good at it.

In another six years, Joyce will become the junior national champion. After that victory, he will hoist a heavy trophy overhead and cameras will pop and flash and reporters will shout questions in his direction, and his ascension, as a professional tennis player, will begin. In an especially vibrant era for American tennis, Joyce’s cohort will include Andre Agassi, Pete Sampras, and Jim Courier. He will play each of them, with varying levels of success, and at his peak he will be ranked as the 64th best male singles player in the world.

During his playing days, David Foster Wallace will write about him in his seminal tennis essay, “The String Theory,” later republished in A Supposedly Fun Thing I’ll Never Do Again: Essays and Arguments, and through that work, Joyce’s career will persist, a blip of his existence anthologized in pop culture. In the years that follow, at every tournament Joyce attends, someone will ask him about that story, about Wallace, and about that period in his life.

A wrist injury will end his career early but not his successes. He will coach Maria Sharapova for six years and two Grand Slam titles and become a known commodity as a coach and mostly forgotten as a player, a fact that will annoy him greatly, but also be inarguable.

On this day, though, none of that yet matters. Defeat had been meted out by another prodigious talent, another boy born with a natural inclination towards the sport. Joyce, at 12 years old, was not yet thinking about his professional future, he was not yet aware that his youth and working adulthood would blend together without interruption; he just knew that when he won, everyone around him seemed happier and he liked that. He liked the way his view of the world, from the back seat of the station wagon, seemed to grow larger and brighter on those days, the family joyful and contented, his father sometimes pulling off the road for a post-match ice cream.

This would not be one of those days, though. Joyce had lost. His opponent, a lefty, put heavy topspin on the ball. It was a style that Joyce had yet to encounter, and when his opponent walloped it back, deep into the corners, a distance, both literal and metaphoric, grew between the boys.

The resulting defeat was felt so strongly and shared between Joyce and his father, also named Michael, that they diverted from their regular route home, drove out to the edge of town, and pulled to a stop at a factory that manufactured ball machines. Joyce didn’t know this factory existed, he didn’t know how his father knew it existed, but soon enough a new ball machine was rattling in the trunk, and they were on their way home.

Years earlier, in the family backyard, Joyce’s father had torn down the tree house, filled in the swimming pool, and put up a tennis court. Joyce received instruction from famed tennis technician and legendary hard ass Robert Lansdorp and his father, who taught tennis in the army, would replicate the lessons at home.

Now, in the backyard, the machine stood in his father’s place, rapid firing balls that sliced and hooked and spun through the air, mirroring the shots that Joyce had missed earlier in the day. Joyce’s task was to remain there, outside, until he understood how to play every shot. For three hours, Joyce batted at the air, fought through fatigue, and ignored his body that was wilting with exhaustion.

Later, when his mother and sister returned home from a day of running errands, his mother stormed into the backyard. “What are you doing?” she shouted at his father. “The poor kid is exhausted.” It was then that Joyce took his first break, his hands now raw and red and blistered over, his frustration giving way to tears.

This is an unseemly side of athletics: the labor that is overlooked in the delirium of mass mediation, the absurdity that we ignore because it is ugly and alarming and unhealthy, but also necessary. It is very hard to go pro in any sport, and few sports are as isolating as tennis. On the court, there is nowhere to hide, no teammates to mask individual deficiencies. As a result, the life of an athlete, even a young one, has to be dwindled down to a singular focus, and then refined over and over again. Joyce did not yet fully understand why this level of sacrifice was required—but it wouldn’t be much longer until he did.

“When I was younger I almost felt like the happiness in the family depended on how I was doing in tennis and it probably did a little bit and that was the sad reality of it,” Joyce says. “If I won we went out for lunch and everyone’s happy. If I lose, my dad’s kinda pissed and my mom’s pissed at my dad. It’s a lot of pressure on a kid. It’s not a normal childhood.”

That day, in the backyard, with his mother’s help, Joyce learned that he had to stand up for himself. He had to be able to say no, his mother told him. He couldn’t please everyone, not all the time, and his self-worth couldn’t be dictated by wins and losses. This was a hard lesson to learn, of course, and Joyce describes that day, and his father’s course of action, as “a bit nutty,” but it worked. A few months later, Joyce played that same boy and won in straight sets.

Through the cursory nature of their careers, athletes learn of life’s brevity earlier than most and at another angle and a different depth. Joyce is now a father and husband, and the things that used to matter to him, matter less now. The priorities of his life have shifted, but tennis remains near the top and so does what he loves most about the sport: the game’s simple binaries, that there is one winner and one loser. On a tennis court, you are exposed and vulnerable, and you have to face whatever comes your way and face it alone. Joyce has come to enjoy that. He has viewed his life through the lens of tennis, his ambitions and desires distilled through its filter. His experiences have shaped who he is, sometimes in small, indiscernible ways, and other times in larger, sweeping turns. He grew up in the sport, and in public, and now, at 43 years old, Michael Joyce begins his second act. Read more…