Posts Tagged ‘God’
June 18, 2014 | by Jonathan Wilson
According to the American Society of Interventional Pain Physicians, Americans consume 80 percent of the world’s painkillers—more than 110 tons of addictive opiates every year. As a writer in The Guardian put it, the U.S. must be a very painful place to live.
How much of that pain has been caused by soccer? Not much, at least not to begin with: an unlikely and magnificent 1-0 victory over England in World Cup 1950 (held then as now in Brazil) featured a bunch of part-timers putting the boot to the “Kings of Football.” It didn’t require so much as a baby aspirin. Since then, working on the “no pain no gain” principle so beloved of hackneyed American high-school football coaches, the U.S. has enjoyed a steady climb up the world rankings and some encouraging advances in international tournaments, including a World Cup quarter-final in 2002. Still, in the last sixty-four years, there have been more losses and draws—a draw in the U.S. means, as we all know, a loss—than wins. But not many Americans were following the team during all that. I imagine only a fraction of a ton of painkillers were consumed.
Now, though, after this week’s stirring 2-1 victory over Ghana, the 80-percenters are getting on-board big-time, and The New York Times is reporting that a majority of Americans are convinced, unlike their coach, that the USA can triumph in Brazil. The team is clearly riding for a fall, isn’t it? They play Portugal on Sunday. One would think it’s pass-the-Tylenol time. Read More »
October 9, 2013 | by Sadie Stein
Selected from AbeBooks’ Weird Book Room.
August 30, 2012 | by Joseph Bernstein
You will likely have noticed by now the writerly fashion of building an essay by numbered sections. These sections can vary from just a single sentence to many pages. Sometimes a section will bear one or more indentations or line breaks and will stretch into a mini-essay. Sometimes there will be as few as three sections and sometimes there will be more than a hundred.
Writers, such as God, have been numbering sections for a very long time indeed, and I do not wish to suggest that this technique is new, rather that it is increasingly used. My proof is a general sense that this is happening, nursed into conviction by a robust confirmation bias.
Quite often these sections comprise a series of declarative sentences, near aphorisms, sayings that, breathed from the lips of drunks, would by most of us be taken in, swished around and then spat out.
These sections comprise wild declarative sentences, aphorisms, sayings that, belched from the throats of drunks, would be swished around and then spat out.
To take one example, “The only picture that it seems appropriate to paint in 2012 is a painting of people having their picture taken by famous paintings.”
January 20, 2011 | by Wesley Yang
This is the second installment of Yang’s culture diary. Click here to read part 1.
Bach Organ Works.
One of my many collegiate affectations was to play old records on a plastic turntable that I purchased at a garage sale. I had a bunch of classical LPs from my parent’s living-room bureau that I brought with me, including the Sinfonia Concertante in E-flat Major and Beethoven’s Concerto for Piano and Orchestra in E-flat Major. The poor fidelity of those enormous sounds pressed through that tinny speaker gave the music an abstract and deconstructed quality that made it somehow purer.
My best friend at the time was Hoon, who was only four feet, eleven inches tall and very slight. We both shaved our heads totally bald in the summer between freshman and sophomore year in emulation of Michel Foucault. “I have a good head,” Hoon assured me in advance of shaving it. He was right—it was a very elegant ovoid shaped like a coconut that you could hold in the palm of your hand. I doubted I would have a good head, and after spending an evening trying to depilate it with a disposable Bic razor (I had to go to the barber the next day to finish the job, as there were impacted clumps that would not come off), I discovered that, in fact, I have a grossly oblong, egg-shaped head.
During my sophomore year at Rutgers, I fell into a desperate and unrequited passion for a Colombian girl who lived a floor above me in the river dorms (where I had moved after feeling alienated in Brett Hall, the honors dorm where 95 percent of the students were Orthodox Jews from South Jersey), and then had something like a minor breakdown. I would spend hours staring at the record player as it spun out this strange celestial music that induced a cold rapture that was intense in its longing but inhumanly remote. It seemed the aural manifestation of an austere and exacting God. I never quite enjoyed it, but everything else felt irrelevant.
I never really got over that record of Bach. I carried the little plastic record player with me throughout the rest of college, until finally my roommate during senior year snapped the record in half in a passive-aggressive fit. He had reason to be upset with me: I had made out with his sixteen-year-old sister who had visited us for a week after refusing to return to school that January. We stayed together, on and off, for the next seven years.
Very recently, I downloaded a complete set of Bach organ works by another performer and assembled a playlist of the tracks that made up the original record. The tonalities do not compare in beauty and strangeness to the ones recorded on the LP, and now I think I hear what the roommate must have heard. At the time, he confessed to me that he believed I played that record specifically for the purpose of tormenting him, and that was the reason he broke it.
July 2, 2010 | by Lorin Stein
It won't be news to aficionados, but this spring the gospel historian and producer Anthony Heilbut released a new compilation, How Sweet It Was: The Sights and Sounds of Gospel's Golden Age. A copy arrived last week at White Street. The CD contains some knockout live performances: Brother Joe May, Mahalia Jackson at her best, Dorothy Love Coates "groaning and even barking" onstage with the Swan Silvertones.
But it's the companion DVD that I can't get out of my head. It contains twenty-seven kinescope clips from the early sixties, most from a half-hour syndicated program called TV Gospel Time, nearly all of them rare and hard to find. Plug in your earphones, close your door—do what you need to do—and brace yourself for the download. You just can't watch Marion Williams sing "It Is Well With My Soul" without laughing and crying. At least I can't, and I've seen it a dozen times. Ditto J. Robert Bradley's "Amazing Grace." Mahalia Jackson once said, "Nobody need mess with 'Amazing Grace' once Bradley gets through with it." This performance bears her out. As Heilbut writes in his liner notes:
You'll hear a few members of the choir, and Rosetta Tharpe herself, hollering out as he sings. This was not the usual practice on TV Gospel Time, where songs rarely lasted long enough to get people happy. But Bradley could move the coldest church.
In its classic form, gospel was music designed to kill—to slay the congregation in spirit, moving them not just to laughter, tears, and hollers, but to screams and even seizures. The first woman who started shrieking was known, in the parlance of the gospel quartets, as "Sister Flute." Big churches had volunteers in nurses' uniforms to tend to the stricken.
Later these forces were unleashed on white teenagers, to memorable effect. Little Richard, Sam Cooke, James Brown, Aretha Franklin, Tina Turner, Marvin Gaye, Al Green—two whole generations of soul singers got their start and their sound in church. You know what they can do. And you know the idioms too: You set me free. You set my soul on fire. Have mercy. Help me now. I need you early in the morning/in the midnight hour/in the evening/to hold my hand. Not to mention that rock and roll standby: I feel all right. Read More »