Search Results for: music

A Short Distance from Southie, but a World Away

DenisTangneyJr/Getty

Tara Wanda Merrigan | Longreads | September 2017 | 14 minutes (3,431 words)

 

South Boston, my first world, extends out on the Boston Harbor like an oversized jetty. Winds that whip off the brisk, slate-colored ocean often make the neighborhood feel 10 degrees colder than the weather report, a great advantage in the summer. The grid of streets mapped onto its slopes — lettered verticals and enumerated laterals — offers relieving certainty in a haphazardly planned city known for its confusing road designations. The three-decker, a multi-family home with three individual apartments stacked on top of one another, reigns supreme here. Before gentrification swept across the peninsula and housing prices skyrocketed, entire extended families could live together in the blissful discord of tight quarters. South Boston was, and still is to some extent, the kind of place where residents nod to the people they pass on the street, because if they don’t know the passerby personally, he’s likely the best friend of one of their uncle’s drinking buddies. It is a small town in an urban metropolis. For all these reasons, and many others, some residents insist it’s the best place in the world.

My parents spent the first years of their marriage in South Boston — commonly called “Southie” by residents — living in a waterfront multi-family on Columbia Road. It was there I learned how to crawl and to push buttons on the television remote, and, when presented with my first birthday cake, to smear chocolate frosting all over my face. But a few months before my sister was born, my nuclear family moved to Milton, a “white flight” suburb south of Boston. But the house stayed in the family, and the rest of my mother’s family — my grandparents, uncles, cousins — stayed in South Boston. So it was in South Boston that I celebrated holidays. It was in South Boston that I spent my childhood summer vacations, sitting in front of the air conditioner in my grandparents’ tiny three-room apartment on East Eighth Street.

And Columbia Road once again became my home, after my parents’ divorce seven years ago and the subsequent selling of the house in the suburbs. (It’s as if the suburban experiment was just some dream gone awry.) So Columbia Road was the place I sought refuge when I left my first post-graduate job at a magazine in New York. I lived with my Aunt Jola and Uncle Jack in the first-floor apartment. They tended to me well. They offered me coffee in the morning and wine in the evening. My aunt learned my favorite foods — avocados, blue corn tortilla chips, kale — and made sure to buy them when she went to the market. She saved the Sunday Globe for me. From my bedroom window I could see the small waves of the Boston Harbor splash against the beach across the street.

But after a few months I realized I had to leave Southie. After you’ve lived in a place so different from your home and become of that place, you can never really go home again.

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My Journey to the Heart of the FOIA Request

Illustration by J.D. Reeves

Spenser Mestel | Longreads | September 2017 | 21 minutes (5,400 words)

On July 2, 1972, Angela Davis was sitting in the Plateau Seven restaurant in Santa Clara County, California, a few blocks from the courthouse where she’d spent the previous 13 weeks on trial for criminal conspiracy, kidnapping, and murder. The jury had just started deliberating, and Davis was eating with Rodney Barnette, a friend and former Black Panther. While the two talked, a local reporter emerged from the courthouse pressroom with news for Davis’s family and the activists gathered there: Four black men had hijacked a Western Airlines 727 jetliner carrying 98 passengers and were en route from Seattle to San Francisco. (Later it was confirmed there were only two hijackers, one man and one woman.) Not only were the hijackers demanding $500,000 and four parachutes, but they also wanted these items delivered by Davis, who was to stand on the runway of San Francisco International Airport in a white dress.

When the news reached the restaurant, several patrons around Davis and Barnette suddenly surrounded the pair’s table; these were in fact FBI agents dressed in civilian clothes. Almost a year earlier, Davis had been charged in California with aiding and abetting a murder. Though she hadn’t been at the scene, authorities alleged that guns she’d purchased were used to kill a superior-court judge. The Black Panthers relied on sympathetic Vietnam veterans, like Rodney Barnette, to acquire arms and train new members to use them. Barnette, however, had left the Panthers four years earlier following a suspicious interaction. At a meeting, a stranger claiming to be part of the “Panther Underground” had called Barnette into a back office and told him to beat members who arrived late. Barnette objected. (“We can’t do that to our own people,” he said an interview later. “How could we differentiate the police beating people, and us beating people?”) The man suggested he leave the group.

“I always thought he was some FBI agent,” Barnette would tell an interviewer in 2017. “Some agent provocateur or informant that all of a sudden appeared to try to split the party up.” This unnerving feeling of suspicion persisted even after Barnette left the Panthers. The FBI continued to interview his family members in Ohio, Massachusetts, and Los Angeles, where Barnette had moved and gotten a job as a letter carrier. Despite stellar evaluations from his superiors, in 1969 Barnette was fired from the Postal Service, after less than a year on the job, for living with a woman he wasn’t married to, which qualified at the time as “conduct unbecoming a government employee.”

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The End of ‘Rolling Stone’ As We Know It

33-year-old editor and publisher Jann Wenner at the 1979 relaunch of 'Look' magazine, which would last only a year. (AP Photo/Suzanne Vlamis)

In the end, Jann Wenner was always going to sell Rolling Stone. The current timing is certainly unprompted and a bit of a surprise — Wenner, along with his son Gus, the president and chief operating officer of Wenner Media, announced this week the magazine is now open for bids — but there had been indications in recent years that the once groundbreaking magazine would soon be top edited by someone other than Wenner.

Wenner has passed on opportunities to sell Rolling Stone in the past, including an offer of $500 million that he turned down two decades ago. But in 2017, the timing was too good to pass up. This year is the 50th anniversary of Rolling Stone‘s founding, and not only is the occasion being marked with an HBO documentary co-directed by Alex Gibney, Knopf is publishing the first major Wenner biography this fall, written by Joe Hagan. (Full disclosure: I fact-checked the book.)

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Writing the Monsignor

Illustration by Nicole Rifkin

Mary O’Connell | Longreads | September 2017 | 18 minutes (4,609 words)

 

How we loved his very name: Monsignor Thomas O’Brien. The elevated French titlethat magnificent silent “g” — coupled with his sturdy Irish name, which, imbued with our cultural bias, suggested all good things. Monsignor O’Brien can tell a joke like nobody’s business! Monsignor O’Brien loves Jameson shots and telling stories late into the smoky night! Monsignor O’Brien always carries Tootsie Rolls to give to children! Monsignor doesn’t stand on ceremony, no sir! Did you hear him mumble “Holy Shit” when his sleeve brushed the altar candle and caught fire?

Now Monsignor O’Brien belongs to a lost age, our personal Pompeii. Excavate us from the lava ash and see us in our innocence: our voluminous eighties hair and hoop earrings, our hands clutching cassettes tapes, The Go-Go’s, A Flock of Seagulls, LL Cool J. See the random fortune that shaped our days and gave us our bold, laughing profiles, the lowered eyes and caved shoulders of a different experience. It was a time when “monsignor” or “priest” was spoken without the slightest wince, without the explicit worry — uh-oh — before the saddest of the sad trombones replaced the golden crash of church bells at Midnight Mass, before the newspaper stories and the movie and the documentaries told a truth more devastating and inconvenient to the faithful than anything Al Gore could conjure, before Sinead O’Connor ripped up a photo of John Paul II on Saturday Night Live. (Note to my outraged 24-year-old self: Go ahead and proclaim Sinead a delusional attention whore, for that will amp up your moral vigor and you will feel ever so righteous, ever so wholesome! But she knows things.)

Back then, we believed the Monsignor was a holy man, but he also walked among us as a totally regular guy, so we pitied him his natural yearnings stemmed by sacrifice. We mourned with him when he gave a Mother’s Day homily about missing his own mother. We spied him driving through McDonald’s with nobody in the passenger seat, nobody in the backseat. The lonely subtext: Having a family of his own to sit down to dinner with was pretty much off the table.

Yet we imagined that loneliness as sublime. It was the waxen sweetness of ivory altar candles and spent wedding roses, the scrape and rasp of his black wing-tips on the icy church steps at dawn, a dinner taken by himself, something hearty, we imagined, something priestly: Shepherds pie chased with Folgers coffee in an earthenware mug stamped with a chunky Celtic cross. Later, if he craved a treat and if it wasn’t Lent, Monsignor O’Brien might eat an off-brand sandwich cookie leftover from a funeral luncheon while he watched the Chiefs on the small TV in the rectory. Later still, he might lay in bed with a notebook, laboring over his upcoming homily.

Perhaps he would rise and pace for a bit; the business of inspiration and enlightenment was surely stressful, the word of the Lord so far-off, so starry and oblique. In his endearing humility, Monsignor O’Brien would never quite feel up to the task of interpreting God for the rest of us. Did he console himself by thinking that the valor was in the effort, not the accomplishment? Did he click off his bedside lamp and listen to jazz on his AM/FM clock radio as his eyelids fluttered shut? Did Miles Davis and Ornette Coleman take him to his rest? Goodnight, Monsignor O’Brien. Goodnight, Jesus. Goodnight to all those saints and angels who have sung your praises throughout the years.

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Jemele Hill Knows What You Really Want to Call Her

Jemele Hill. (Rich Polk/BET/Getty Images for BET)

Are you a sports fanatic? It’s okay. Neither am I. Truly the only thing I know about ESPN is it’s a channel featuring 24 hours of sport shows complete with CNN-like graphics that swirl in and out and flash like an Atlantic City tableau (that, and nine out of ten men you meet have ESPN push notifications on their phones which make more alarming sounds than Amber alerts for lost children).

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The Oldest Restaurant in Kabul: Where Tradition Trumps Rockets

Illustration by Joe Gough.

Maija Liuhto | Longreads | September 2017 | 10 minutes (2875 words)

 

In the Old City of Kabul, there is an area known as Ka Forushi, the bird market. Visiting this old, roofed bazaar with its tiny lanes, spice sellers, and dancing boys is like walking into a scene out of “One Thousand and One Nights.”

It is here, among the clucking chickens, crowing roosters, and cooing doves, that Kabul’s oldest restaurant, Bacha Broot, has been serving delicious chainaki — traditional lamb stew — for over 70 years. Bacha Broot, named after the original owner who had peculiar facial hair, is from the Dari, meaning “boy with a mustache.”

While wars have raged on the restaurant’s doorstep, very little has changed inside. The claustrophobic stairs, the sparse interior, the tiny door easily missed in the maze-like bazaar; all in their original state. While modern fast food joints lure Afghanistan’s younger generations with pizza and burgers, Bacha Broot stays loyal to its recipe for success. The famous chainaki — lamb on the bone, split peas, and onions cooked for four hours in tiny teapots — has drawn customers for decades, during war and peace, good times and bad.

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Raising Brown Boys in Post-9/11 America

Illustration by Kjell Reigstad

Sorayya Khan | Longreads | September 2017 | 23 minutes (5,871 words)

My mother was white and my father was brown, my mother Dutch, my father Pakistani. If she’d had a choice, she would have been brown. She tried, sitting near swimming pools during short summers in Vienna and long ones in Islamabad, but her attempts came to a full stop with basal cell carcinoma, when sunscreen replaced sun as her best friend. My father’s brown was constant, except that when he grew older and gray, in the right light and on the right part of him, his color lightened. I, on the other hand, am in between. I pretended I didn’t know I was brown until we moved from Austria to Pakistan and I saw it all around and made it mine. But the truth is that it took leaving behind Pakistan to claim the country and color as my own.

Color is a fact, a given, for my American-born children. We didn’t wake up one morning and decide our children were ready for the news: You’re brown. Almost as soon as they could talk, they put their little arms next to mine and decided they were darker. They were always right, because when summer came and my color deepened, so did theirs and our skin tones never matched. Next to their father’s, their arms and legs were not a match, but close enough. “That’s okay,” my sons said about my outsider status and patted my arm because they must have thought I needed comforting. Soon enough, they asked, “Where are we from?” I’d say, “You are from where we are from, Pakistan. And also from where you were born, here.” Naeem, my husband, would remember my mother and add, “Also from Holland, where Nani is from.” There is no flag for their combination and, anyway, the white in that equation, the one-fourth of them that is my mother, was ignored even then. “She’s the brownest person we know,” I heard them say once, as if they knew all along that color is a state of mind, not pigment.

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On Why Joni Mitchell Deserves Her Due

(Photo by Larry Hulst / Michael Ochs Archives / Getty Images)

At Bookforum, Carl Wilson writes on the genuis of Canadian singer-songwriter Joni Mitchell. In looking at David Yaffe’s Reckless Daughter: A Portrait of Joni Mitchell, Wilson argues that Joni’s musical talent and accomplishments have been “asterisked” over the years because she was a woman, and that it’s long past time she got the recognition she deserves for pushing musical and cultural boundaries with songs built on her “chords of inquiry” (unique chords based on her own tunings).

It’s 1984 or 1985, Prince and the Revolution are in California, and they decide to drive out to Joni Mitchell’s house in Malibu for dinner. All devotees—Prince says his favorite album ever is 1975’s The Hissing of Summer Lawns—they chat and admire her paintings, and then Prince wanders to the piano and starts teasing out some chords. “Joni says, ‘Oh wow! That’s really pretty. What song are you playing?’” as band member Wendy Melvoin later recalls. “We all yelled, ‘It’s your song!’” Prince will perform his gorgeous arrangement of Mitchell’s “A Case of You” in concerts up to the final month of his life.

This anecdote from David Yaffe’s Reckless Daughter: A Portrait of Joni Mitchell is rare for being sweet and funny, not sad or rancorous. It’s endearingly humbling, while still hinting at her ample ego: She really does love her own stuff, even when she doesn’t know it’s hers. And why shouldn’t she? For more than a decade, the singer from Saskatchewan bounded from masterpiece to masterpiece, her second-string songs superior to almost anyone else’s best. Yet, among her generation’s legends, she is the most persistently sidelined.

Mitchell excelled at channeling the subconscious of her time, especially as it was negotiated between men and women, but she was also always trying to get outside that orbit. She didn’t want to be a case of anything, except herself. The very chords she played were unique, belonging to no tradition except the one she generated with her own tuning system. She’s called them her “chords of inquiry—they have a question mark in them.” It wasn’t until she began working with jazz musicians that she found a band that could follow her (the rock dudes were hopeless). Herbie Hancock and Wayne Shorter took her as a musical peer. With rare exceptions, she refused to let anyone else—that is, any man—produce her albums, making her a pioneer in the studio too. No wonder Prince identified.

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The Whistleblower in the Family

Spencer Platt/Getty Images

Pearl Abraham | Michigan Quarterly Review | September 2017 | 18 minutes (5,007 words)

“The power of narrative stems from the narrator’s ability to be there and then, as well as here and now.”

— C. Fred Alford, Whistleblowers: Broken Lives and Organizational Power

1

In 1974, the year Richard Nixon resigned to avoid impeachment, my father, a man with rabbinic aspirations, was deep in his own pickle, indicted for conspiracy and fraud in the federal summer school lunch program.

Nixon was brought down by Deep Throat, the pseudonym given the informant who passed information to Washington Post journalists about his administration’s involvement in what came to be known as the Watergate Scandal. My father got off somehow.

With him in court for one of his hearings, I suffered his ashen face, then his palpable relief when the case was deferred or dismissed, I’m not now sure which. I also don’t know whether his case made headlines the way rabbinic and priestly scandals do these days, “Five NJ Rabbis Arrested for Fraud and Conspiracy” a recent one.

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Chords of Inquiry

Longreads Pick

In looking at David Yaffe’s, Reckless Daughter: A Portrait of Joni Mitchell, Carl Wilson argues that Joni’s musical talent and accomplishments have been “asterisked” over the years because she was a girl, and that it’s long past time she got the recognition she deserves for pushing musical and cultural boundaries with songs built on her “chords of inquiry” (unique chords based on her own tunings).

Source: Bookforum
Published: Sep 1, 2017
Length: 7 minutes (1,810 words)