Posts Tagged ‘Boston’
January 15, 2015 | by Wesley Strick
Making a pop-up book about burlesque.
My mother Racelle, a painter, met the production designer Peter Larkin in the midsixties when she went to work for him as a scenic artist. After my parents divorced, Peter and Racelle became an item, eventually marrying. Peter had a long, Tony Award–winning Broadway career and then moved into film, designing pictures like Tootsie and Get Shorty. He’s a brilliant illustrator, as well—Ralph Allen, who’d conceived the musical Sugar Babies, collaborated with Peter on his book The Best Burlesque.
Burlesque, it turns out, is one of Peter’s great obsessions. Over the past twenty years, he’s created a mass of drawings, mock-ups, and maquettes for Panties Inferno, a pop-up book on the subject. Now eighty-eight, he continues to refine the work, though publishers have told him the book is too expensive to manufacture and publish—something about the glue points. But his pop-ups and drawings are wonderful, a testament to his comprehensive knowledge of the old burlesque scene. I called him to talk about his process and the basis of his fascination with burlesque as well as its history, which he feels has been mischaracterized since burlesque began to die out in the late fifties and early sixties.
Where does burlesque begin, for you?
The word burla is some kind of antique Italian. It means “joke,” and the first burlesque was imitations of what went on uptown. It was a family affair. People brought their lunches and stuff. Florenz Ziegfeld had The Ziegfeld Follies, which probably cost a lot of money—that show had nude ladies in tableaux, but they were forbidden to move. The curtain opened on Aladdin’s cave, say, or an artist’s studio, and all the ladies were still.
But in the early twentieth century, forward-thinking people like the Minsky brothers, of Minsky’s Burlesque, made it so that for a lot less money you could go and see the women moving. It changed tremendously through the years. These acts started out with a preponderance of acts and comics and maybe one or two strippers, and as it went on, more and more time was given over to strippers. The comics were furious. They started to use bluer material, to get even. Read More »
January 9, 2015 | by Sadie Stein
As the hostage situation in Paris unfolds, the correspondents on CNN keep using the word okay. Are the hostages okay, how many are okay, et cetera. Okay means “alive,” of course. It’s a strange euphemism.
We have all heard the theories: OK is of Choctaw derivation, or possibly West African. Some linguists attribute it to the “comical misspellings” craze of the 1830s, while others cite Martin Van Buren’s Old Kinderhook campaign, or attempts to lampoon Andrew Jackson as an illiterate who couldn’t manage “all correct.”
What is pretty generally agreed is that the first published usage dates from 1839, in the Boston Morning Post. Describing an outing by the Anti-Bell-Ringing Society, the paper reports: Read More »
September 10, 2014 | by Dan Piepenbring
- In celebration of its many contributions to arts and letters, Boston has approved a plan to turn a section of the city into the first-ever Literary Culture District. “Plenty of respected (if banal) institutions supported the effort to turn downtown Boston into a literary district … What’s baffling, though, is the metrics by which we’ve decided to judge their progress—more plaques, more street fairs, and more statues, not more writers, more affordable apartments, and more books.”
- Among the many anti-Amazon domain names owned by Amazon: www.fuckamazon.com and www.boycottamazon.com. Your dissent will not be tolerated, peon.
- Elif Batuman on awkwardness, America’s latest bugbear: “We have a hand signal for awkwardness, and we frame many thoughts and observations with ‘that awkward moment when … ’ When did awkwardness become so important to us? … ‘Awkward’ implies both solidarity and implication. Nobody is exempt.”
- Apocalypse fiction as immigrant metaphor: “The same way X-Men comics are sometimes considered as representations of the American civil rights movement, the apocalypse genre represented my shifting understanding of ‘home’ … For immigrants, solitude and the trap of memory are central conditions. The appeal of [apocalypse fiction] is that it renders this so finely.”
- The art of drug branding: the haunting, grimly comic logos on baggies of heroin. “References in the names reflected the addict’s illusions of grandeur (So Amazing, Rolex, High Life) but also the insidious destructive nature of drugs and the ultimate endgame (Flatliner, Dead Medicine, Killa).”
April 14, 2014 | by Dan Piepenbring
- This fall, Boston plans to erect an impressive new statue of Edgar Allan Poe: a raven at his side, a veiny heart tumbling from his “trunk full of ideas,” his coat billowing in the wind.
- Against the word relatable: “It presumes that the speaker’s experiences and tastes are common and normative … It’s shorthand that masquerades as description. Without knowing why you find something ‘relatable,’ I know nothing about either you or it.”
- “Futurologists are almost always wrong … The future has become a land-grab for Wall Street and for the more dubious hot gospellers who have plagued America since its inception and who are now preaching to the world.”
- Why are so many young-adult novels set in dystopias? “The complete collapse of the narrative of what a secure future looks like for today’s young people … [has] fostered a generational anxiety about how to cope with overmighty state power.”
- In case you missed it—last week, “a German fisherman pulled a 101-year-old message in a bottle out of the Baltic Sea.” (It was not, thankfully, an SOS to the world.)
- “In the recent history of American music, there’s no figure parallel to Tom Lehrer in his effortless ascent to fame, his trajectory into the heart of the culture—and then his quiet, amiable, inexplicable departure.”
November 18, 2013 | by Adam Wilson
Instead of attending my ten-year high school reunion I went to a psychic healer. This was the Boston suburbs, on the eve of Thanksgiving. Annually, on the night in question, prodigal Massholes in the eighteen-to-thirty-five demographic flock to the bars in Allston, Brighton, and downtown Boston for both informal and official reunions. Said reunions are marked by blackout binge drinking, vomit-flooded gutters, vomit-mouthed makeout sessions, and less-than-sober car rides back to the suburbs in mom-borrowed minivans. Boston radio DJ’s have euphemistically dubbed it “Amateur Night.”
If this sounds appealing, then we may have been friends in high school—at least in a superficial, pass the blunt kind of way—but no longer have much, if anything, in common. I don’t mean that to sound snobbishly pejorative. I grew up just outside of Boston, in Newton, Massachusetts, a wealthy white enclave famous for Fig Newtons, a high concentration of psychiatrists, and its recent reign as CQ Press’s safest city in America. It is a place filled with driven parents and overachieving children; of the roughly 350 students in my graduating class, nearly a dozen went to Harvard, not to mention all those who attended safety schools like Princeton, Brown, and Cornell. Many of my former classmates have gone on to great success. But high achievement and Frat Boy idiocy are not mutually exclusive. Like Clark Kent, my former classmates slip easily from business attire to superhero casual, removing stiff shirts at happy hour to reveal Red Sox logos. By day they are lawyers, doctors, and titans of industry. By night they drop their ‘r’s and instigate fisticuffs with tough-talking townies. In part, this performance reeks of rich kid guilt—it’s a certain kind of slumming—but more so, I think it speaks to something particularly Bostonian, a product of drinking too much dirty water, or years spent sitting in obscured view seats at Fenway, or a Kennedy-inherited Irish McLiberalism, in which money is disconnected from decorum.
I know all of this—the styles and habits of my former classmates—through Facebook, of course. I have followed these classmates for years online, sharing in their triumphs and tragedies, comparing my sex partners to theirs. In a sense, social media has rendered reunions obsolete; it has killed our curiosity. No longer does one attend a reunion wondering whatever happened to so-and-so, or shocked that the band geek has blossomed into a beauty. And though romantic comedies have emphasized the important role reunions can play in the healing of one’s high-school psychic wounds, the truth, these days, is that life’s winners have already etched their humble brags into our collective conscience online.
But maybe I was just bitter and embarrassed. It’s not that I was in such bad shape ten years on—I’d managed to kick a drug habit (Tylenol PM), move out of my parents’ basement, and trick a wonderful woman into dating me—but that in a group of high achievers, I was definitively unimpressive. After a long period of unemployment, I had moved to New York and become the cliché of a struggling writer, working part-time in a bookstore, publishing occasional TV recaps online, and squeezing into the skinniest jeans I could manage. I’d received a number of rejections on my autobiographical novel about a twenty-something stoner who can’t get over high school. Read More »
October 28, 2013 | by Sadie Stein
- A group of advocates is looking to establish the nation’s first literary cultural district in historically-rich Boston. Says the Globe, “Its proponents don’t know exactly where its borders will lie, or what, precisely, visitors will do, but more significant is this: the very idea that there could be a literary cultural district is recognition that the city is undergoing a renaissance.”
- A Cleveland house where Langston Hughes lived as a high-school student is on the market, following a foreclosure.
- Germaine Greer has sold her archive to her alma mater, the University of Melbourne. The feminist’s portion of the three million dollar sale will go to her charity, Friends of Gondwana Rainforest.
- “Because we are less sure of what fiction is ‘saying,’ we are less preemptively defended against it or biased in its favor. We are inclined to let it past our fortifications. It’s merely a court jester, there to amuse us. We let in the brazen liar and his hidden, difficult truths.” Rivka Galchen on the relevance of fiction.