{"id":109670,"date":"2017-04-07T09:59:01","date_gmt":"2017-04-07T13:59:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109670"},"modified":"2017-04-07T11:05:47","modified_gmt":"2017-04-07T15:05:47","slug":"this-bridge-is-for-saxophonists-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/07\/this-bridge-is-for-saxophonists-and-other-news\/","title":{"rendered":"This Bridge Is for Saxophonists, and Other News"},"content":{"rendered":"<div id=\"attachment_109671\" style=\"width: 728px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/sonny_bridge.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109671\" class=\"wp-image-109671 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/sonny_bridge.jpg\" width=\"718\" height=\"404\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/sonny_bridge.jpg 718w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/sonny_bridge-300x169.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109671\" class=\"wp-caption-text\">Sonny Rollins on the Williamsburg Bridge in the sixties.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>The Williamsburg Bridge is a fine name for a bridge, especially when one half of that bridge ends in Williamsburg. But not every Williamsburg Bridge has given a safe harbor to one of the greatest jazz musicians in history\u2014and say one had? Shouldn\u2019t we name it after the saxophonist, and not the neighborhood? The neighborhood has had a good run; it\u2019s time for a change. Amanda Petrusich has the story of Sonny Rollins\u2019s secret tenure on the bridge, where the tenor player loved to practice, hiding in plain sight: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/a-quest-to-rename-the-williamsburg-bridge-for-sonny-rollins\" target=\"_blank\">In 1961, a story by Ralph Berton appeared in <em>Metronome<\/em>, a trade rag<\/a> \u2026 Berton had come across Rollins playing atop the Williamsburg Bridge, which crosses the East River and connects North Brooklyn to the Lower East Side of Manhattan. He filed a short dispatch about the encounter. In an effort to keep Rollins\u2019s practice space private, Berton changed the location to the Brooklyn Bridge, and gave Rollins the somewhat ridiculous sobriquet \u2018Buster Jones\u2019 \u2026 Almost every day between the summer of 1959 and the end of 1961, Rollins\u2014who was born in Harlem, and at the time lived in an apartment at 400 Grand Street, just a few blocks from the entrance to the bridge\u2014walked out and stationed himself adjacent to the subway tracks, playing as cars full of commuters rattled past.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Michael Hofmann reminds us that Elizabeth Bishop is essentially a fugitive figure, unstuck in time: \u201c<a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/elizabeth-bishop-biography\/?CMP=Sprkr-_-Editorial-_-TheTLS-_-ArtsandCulture-_-Unspecified-_-Quote-_-Unspecified-_-ACCOUNT_TYPE\" target=\"_blank\">At Vassar, she was \u2018the Bish,\u2019 had an early, nay, prophetic taste for tweed, was recorded in the 1930 yearbook as \u2018Bishop of the barbarous hair.\u2019<\/a> There was something out of place or out of time about her, or both; attributable perhaps, partly, to spending her earliest years in Nova Scotia, and having three grandparents who were Canadian. A singer of hymns and a student of the harpsichord, her favorite poets George Herbert and Gerard Manley Hopkins and\u00a0Baudelaire\u2014was she more seventeenth-century, or nineteenth? \u2026 Since her death in 1979, Bishop has been so universally and I think often falsely or sentimentally championed by us, we don\u2019t see the contrariness or the heroic effort of living against her time and culture; we like to think of her in San Francisco, blithely passing a joint to Thom Gunn or accepting one from him, and generally letting it hang out after all, all or some.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>James Meek witnessed the end of British chocolate as we know it, as Cadbury shuttered their Somerdale factory\u2014open for eighty years\u2014and moved operations to Poland. \u201c<a href=\"https:\/\/www.lrb.co.uk\/v39\/n08\/james-meek\/somerdale-to-skarbimierz\" target=\"_blank\">Dave Silsbury, a Unite official at the factory, worked there for thirty-four years. His father had worked there; he, his brothers, his daughter and his son-in-law were employed there when it shut<\/a><a href=\"https:\/\/www.lrb.co.uk\/v39\/n08\/james-meek\/somerdale-to-skarbimierz\">. \u2018Cadbury was all we knew,\u2019 he said. \u2018We were institutionalized.\u2019 He was one of the last workers to leave, haunting its near deserted production halls, packing up for the auctioneers before the final shutdown in March 2011<\/a>. By that time, the production lines had been stopped, one by one, dismantled and shipped off. The Mini Eggs production line was trucked the thousand miles to the new factory in the village of Skarbimierz in February 2010. In March, Caramel and Freddo were moved to Cadbury\u2019s Bournville plant and Fry\u2019s Chocolate Cream went to Blois in France. In June, the Crunchie bar line and Fry\u2019s Turkish Delight were moved to Poland, followed in September by Curly Wurly, and in December by Chomp, Fudge, Picnic and Double Decker. \u2018We watched the last few Double Deckers go through,\u2019 said Silsbury. Someone took a photo of the final Fudge to come down the conveyor.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Francine Prose delves into her fascination with HBO\u2019s <em>Big Little Lies<\/em> and its depiction of sex: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/04\/06\/big-little-lies-sex-and-the-city-in-hell\/\" target=\"_blank\">My somewhat inchoate sense of why I found this aspect of the series so unnerving was greatly sharpened when, a few days before the season finale, I heard Northwestern University professor Laura Kipnis give a talk on rape and victim culture on campus<\/a>. Why, she asked, have young people sometimes seemed to embrace the extreme gender stereotypes\u2014aggressive males, passive females\u2014that their feminist mothers had worked so hard to challenge? Why have college students been so ready\u2014so eager\u2014to see themselves as survivors of injury and trauma, as Kipnis argues they have been? Why are they so likely to see sex as a violation, as rape? Listening to Kipnis, I found myself thinking of\u00a0<em>Big Little Lies<\/em>, of little boys observing or overhearing their deranged, hyper-masculine fathers, of little girls being treated like fragile flowers, too precious and delicate for this world. I thought of how the parents in the series routinely underestimate the acuity of their children\u2019s moral awareness, of their ability to understand what the grown-ups are doing.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Christian Lorentzen knows the end of the world is coming, for popular culture tells us so, has always told us so, will not stop telling us so. But who can afford it? he wonders. \u201cThe sold-out\u00a0<u><a href=\"https:\/\/www.nytimes.com\/2017\/04\/06\/t-magazine\/end-of-the-world.html\" target=\"_blank\">Survival Condos\u00a0in the Atlas missile silo in Kansas, kitted out for off-grid living for up to five years and equipped with simulated high-rise views, were priced between $1.5 million and $3 million<\/a><\/u>. (A second residential silo is now said to be under construction.) For those who want to remain in the light but get around without fear of snipers or rioters,\u00a0Alpine Armoring\u00a0offers quasi-military upgrades for popular sedans and SUVs. The famine-minded can invest in the\u00a0Harvest Right\u00a0freeze dryer for as little as $2,245, and make their bananas and scrambled eggs last a quarter of a century. By that time I doubt the apocalypse will have transpired but the very real twin forces of climate change and automation will have rearranged the world. The future belongs to robots that can surf.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: renaming a bridge in New York after an iconic jazz artist; Britain\u2019s chocolate factories in decline; and more.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[28254,28253,11841,629,17447,11279,2029,330,1768,28251,28252,23888,3878,14201,7592,14787,28250],"class_list":["post-109670","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-big-little-lies","tag-cadbury","tag-chocolate","tag-elizabeth-bishop","tag-factories","tag-globalization","tag-hbo","tag-jazz","tag-michael-hofmann","tag-practice","tag-saxophone","tag-sexual-assault","tag-sonny-rollins","tag-the-apocalypse","tag-tv","tag-violence","tag-williamsburg-bridge"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Sonny Rollins Used to Practice the Sax on the Williamsburg Bridge<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: renaming a bridge in New York after an iconic jazz artist; 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