Author: GETAWAYTHEBERKSHIRES

Home / Author: GETAWAYTHEBERKSHIRES

Sometime in 2002, the photographer Michael Jang went to the San Francisco Museum of Modern Art and dropped off some of his old pictures that he had recently rediscovered. At the time, the museum’s photography department had an open-submission policy; the curators would consider work that anyone brought in. Though Jang had worked locally as a successful professional photographer, he had all but forgotten about the work he had done in the seventies, when he was an art student who snuck into lavish parties, went to punk shows, and wandered the streets. The museum soon called him back, adding some of his work to its permanent collection and later exhibiting it as part of a show about California. Jang’s images were mischievous and quirky, full of visual jokes about how the rich and famous and the freaks and burnouts weren’t all that different from one another. In the years since, Jang has spent more time digging through his archives. The result is a stunning monograph, “Who Is Michael Jang?” (A related exhibition, “Michael Jang’s California” will be on exhibit at the McEvoy Foundation for the Arts, in San Francisco, from September 27th to January 18, 2020.)

Jang was born in 1951 and grew up in Marysville, in what was once Northern California’s Gold Rush country. In the sixties, as a high-school student, he would travel around Northern California projecting psychedelic light shows. In 1971, he enrolled at CalArts, in Los Angeles, in order to study design. But a random photography course introduced him to the work of Lee Friedlander and Garry Winogrand, who were interested in capturing the textures of everyday life.

The serendipity of Jang’s SFMOMA rediscovery seems fitting, given his playful, offbeat approach to taking pictures. For a school project, he spent months hanging out at the Beverly Hilton, a hotel famous for opulent parties and a steady stream of celebrities. Jang wore a tuxedo, made fake press credentials, and sneaked into as many parties as he could. In the “Beverly Hilton” series, he crosses paths with David Bowie, Ronald Reagan, Frank Sinatra, and Jimmy Stewart. Carl Reiner mugs for the paparazzi, pretending to eat Bea Arthur’s face. But it’s the partygoers, garishly prim and meticulously put together, who are the stars. An older woman in a fur collar steps out of a Rolls Royce, her hair an intricate maze of wavy bangs and knotted braids. She is at once dainty and superhuman. Another woman wears an elaborate hat, her dress a cascade of frills and lace. She looks as though she stepped out of an Art Nouveau painting, save for her annoyed smirk.

In the late seventies, Jang moved to San Francisco, where he would often wander the city, taking in its scenes and subcultures. His photos document a forgotten city, often capturing fleeting moments of emotional friction: two men implausibly nodding off amid the raucousness of Hooker’s Ball, a famed annual party organized for sex workers’ rights; Robin Williams, tranquilly lost in a friend’s hug, while others watch and snap pictures; a diligent photographer in the front row of a Ramones concert, trying to get a decent shot while everyone around her goes bananas. Jang’s photos revel in the unpredictable rhythms of public life, so long as you pay attention. At the funeral service for George Moscone, the San Francisco mayor who was assassinated, along with Harvey Milk, by a disgruntled political foe, Jang took in the eclecticism of the crowd that had come to pay respects. A man bulging in his striped suit stands alongside two little girls in tweed, their clashing patterns and generational gap subsumed by the scene’s melancholy.

My favorite series from “Who is Michael Jang?” is titled “The Jangs.” It’s essentially a photo album of his Chinese-American family in the seventies—subject matter that I’ve never experienced in art. So many of Jang’s more famous photos of celebrities and their admirers resulted from spontaneity and luck. “The Jangs” features portraits of his relatives at home—showing off their cherished possessions, like a wall of Baltimore Colts posters, goofing around with skis and wigs, enjoying a cigarette after dinner. His uncle gaily demonstrates his golf swing. All the kids sit on the couch, hiding behind issues of Mad magazine and comic books. There’s effervescence in these pictures, a kind of casual hope. All his aunts and uncles are wearing sunglasses, laughing at a joke we will never know. They’re untroubled, practicing the poses of being an American family.

Click Here: Cardiff Blues Store

Frana su El Capitan a Yosemite

August 25, 2019 | News | No Comments

Tom Evans segnala un’enorme frana su El Capitan, Yosemite, USA

Ieri a Yosemite, con la stagione autunnale delle big wall in pieno svolgimento, è stato miracolosamente evitato un disastro. Fortunatamente nessun climber è stato coinvolte nell’enorme caduta di massi che ha interessato la Waterfall Route sull’estrema destra di El Capitan.
Click Here: habitat tord boontje“Una piccola frana ha preceduto di un paio di minuti “la grande frana” – ha raccontato Tom Evans che è stato testimone dell’accaduto – “Abbiamo urlato e fischiato per avvertire i team in parete. Un paio di minuti più tardi con un suono acuto seguito da un boato fragoroso s’è staccata “quella grande”. La parete è stata subito oscurata da una nube di polvere. Dopo poco tempo sono arrivate le autorità per verificare quanto era successo e se qualcuno fosse stato coinvolto. Fortunatamente, da quanto abbiamo potuto capire, nessuno si trovava sulla linea della caduta dei massi. C’era un team che stava salendo “Bad to the Bone” e un altro su “Bad Seed and Regan is on Surgeon General”, che sono distanti della caduta. Chiunque si trovasse alla base della East Buttress sarebbe stato polverizzato… quindi il consiglio più saggio è… STATE LONTANI DA QUESTA ZONA, perché ci sono enormi blocchi instabili, pronti a distaccarsi al semplice tocco di una piuma.”
Per il report completo della frana, e per sapere di più sulle code sulla Salathe e per sentire come stanno progredendo Tommy Caldwell e Kevin Jorgeson sul loro Mescalito project, visitate www.elcapreport.com

In 2 giorni, il 28/06 e il 2/08/2010, Riccardo “Sky” Scarian con Paolo Loss ha aperto “Per Ricky” (250m, max 7c), una nuova via sulla parete Ovest della Cima della Madonna (Pale di San Martino, Dolomiti). Il 9/08 sempre Riccardo Scarian (insieme a Michele Gaio) ha realizzato anche la prima rotpunkt di questa impegnativa via che corre sulla grande parete proprio sopra ilo Rifugio Velo della Madonna. Il report della salita e la scheda della via direttamente da Riccardo Scarian.

Era da qualche anno che tornando dal lavoro, scendendo dal Passo Rolle, appena sotto San Martino, l’occhio mi cadeva sempre in un’unica direzione…Cima Madonna, parete ovest! Ogni volta vedevo una linea immaginaria che correva su quel muro giallo e nero. Sapevo che sul nero c’era già una via aperta in artificiale nel ’66 e sul giallo un’altra aperta più recentemente nel medesimo stile, il che mi rallegrava perché era sinonimo di ripido! La mia linea sarebbe corsa esattamente tra l’ocra e il nero. Proposi all’oramai inseparabile amico Paul la mia idea, che accolse subito con entusiasmo.

Decidemmo quindi di salire a dare un occhio, senza alcuna velleità, un’occasione per andare a trovare Anna, la nuova gestrice del Rifugio Velo, portare su un po’ di materiale e magari iniziare, giusto per segnare il territorio in maniera felina… Dopo i duecento metri di zoccolo iniziale, via Spigolo del Velo, eccoci sotto la parete, un’accurata ispezione per vedere dove sia meglio iniziare la nuova via… e poi si parte! Lo stile di apertura prevede libera, protezioni veloci il più possibile…e soste sicure!

Mi avvio e dopo qualche metro sono sul ghiaione… nuovamente con Paul, e con un appiglio ancora in mano… fortunatamente niente di grave. Riparto e dopo qualche metro mi rendo conto che la roccia non ne vuol sapere di trad e sono costretto a proteggermi con uno spit, mi posiziono sui cliff e dopo 7-8 minuti finisco il foro col mio pianta spit a mano, ma ahimè ho sbagliato punta e lo spit non entra…! Tra un imprecazione e l’altra riesco a ridiscendere da Paul…ci guardiamo e ridiamo, un unico pensiero corre in noi a quel punto…BIRRA!

Dopo qualche giorno siamo nuovamente sotto la parete, oggi vogliamo salire in alto. Dopo due ore, riesco a finire la prima lunghezza, Paul mi raggiunge e parto subito per la seconda, che fila via in un baleno…su una roccia fantastica! Paul è a pochi metri dal raggiungermi e nel giro di pochi minuti veniamo avvolti da un nero inquietante, ancora pochi attimi ed inizia il diluvio…giù le doppie e ci ritroviamo alla base fradici battendo i denti! Ora il pensiero è Rifugio!

Per vari impegni ci fermiamo per una settimana, ma il 2 agosto siamo nuovamente sotto la via, in poco tempo raggiungiamo il punto della volta precedente. Il terzo tiro è per Paul, in breve lo raggiungo e parto per il quarto. Nel tiro finale, un pilastro strabiombante giallo, con i primi metri non proprio “verdoniani” devo ricorrere nuovamente agli spit, alla fine saranno due…ed i restanti cinquanta metri di ottima qualità saranno tutti da proteggere… una meraviglia!

Ancora cinquanta metri facili e siamo in vetta, ci sediamo al sole e ci facciamo un “paglia”… siamo felici di aver lasciato il nostro segno su questa montagna piena di storia, accanto allo Spigolo più famoso ed elegante delle Dolomiti. Questa via l’abbiamo dedicata ad un Amico!

Il 9 agosto compio la prima “rotpunkt” assieme all’amico Michele Gaio, mentre Paul è già in Canada…!

Un ringraziamento speciale ad Anna, Veronica, Rolando e Pietro.

Riccardo Sky Scarian

Click Here: pandora Bangle cheap
>>> Vai alla scheda della via <<<

Il Tor des Geants 2011 è stato vinto da Jules Henry Gabioud (79h58m) e Anne Marie Gross (91h28m). La gara è attualmente ancora in corsa e lungo il percorso avanzano ancora 323 trailers, che dovranno raggiungere il traguardo entro le 16.00 di sabato 17 settembre.

“Grandi sorprese, ribaltamenti di classifica, ritiri improvvisi di atleti di alto livello: anche questo è il bello del Tor des Géants – così il direttore di gara Alessandra Nicoletti ha aperto questa mattina la conferenza stampa – Certo, non immaginavamo un’edizione così avvincente, piena di colpi di scena, come la difficile ma doverosa decisione di squalificare un concorrente”. Si tratta della squalifica  del ticinese Marco Gazzola, che ieri ha raggiunto per primo il traguardo percorrendo nell’ultimissimo tratto un tracciato che non era quello di gara. “Abbiamo applicato rigorosamente il regolamento – continua Alessandra Nicoletti – E siamo felici perché alla fine a vincere su tutto è stata l’etica del trail, la correttezza sportiva. Il miglior risultato che potevamo ottenere”.
 
“Un’edizione con un alto livello atletico ma soprattutto umano”  ha proprio tenuto a ribadire Aurelio Marguerettaz, Assessore al turismo, sport, commercio e trasporti Regione Autonoma Valle d’Aosta. “Sono messaggi straordinari, di rispetto dell’altro, che ci arrivano dal mondo della montagna, dove l’agonismo non è tutto. I concorrenti sono arrivati con una grande voglia di affrontare i sacrifici e di godere, nonostante la fatica incredibile, dei paesaggi straordinari della nostra regione. In questo il tempo bellissimo ci ha aiutato, permettendoci di presentare al meglio il territorio della Valle d’Aosta”.
 
E infatti, dopo l’abbraccio di Gazzola all’arrivo di Gabioud, non verrà dimenticato l’altro episodio di solidarietà che ha visto protagonista il terzo classificato, Pablo Criado Toca, che si è spogliato di giacca e pantaloni per vestire Stephane Couleaud, il concorrente francese giunto terzo al rifugio Bonatti, a soli 11,9 km dal traguardo. “E’ stato un gesto naturale – ha detto l’atleta spagnolo, che inseguiva a un’ora e 25 minuti di distacco il francese – Couleuad stava male e aveva freddo, l’ho soccorso e accompagnato fino al rifugio Bonatti”.

Il francese, atteso come terzo classificato, non c’è l’ha fatta ad ultimare quello che, anche la leggenda vivente del trail, Christophe Le Saux, ha definito l’endurance trail più duro al mondo. Arrivato secondo, Le Saux ha commentato: “Il Tor des Géants non è il trail più lungo, ma è sicuramente il più duro, per le salite e soprattutto per le discese che bisogna affrontare. Confermo ciò che ha detto Ulrich Gross”. L’altoatesino vincitore dell’edizione 2010, costretto al ritiro a poche ore dalla partenza, stamattina guardava orgoglioso la sorella Anne Marie Gross, arrivata anche quest’anno quarta assoluta e prima fra le donne: “Sono felice di aver vinto per la seconda volta questa straordinaria gara, un’avventura ricca di emozioni. Un ringraziamento particolare va a tutte le persone che mi hanno aiutata e incoraggiata lungo il percorso”. Ha  battuto il record del fratello, arrivando 29 minuti prima , il vincitore dell’edizione 2011, il giovanissimo svizzero Jules Henry Gabioud: ” E’ stata una gara molto dura, con momenti bellissimi. Il più emozionante è sicuramente legato al passaggio da Col Malatra, a 2 km da casa mia”. Seduto accanto a lui, il connazionale Marco Gazzola: “Nonostante tutto un’esperienza indimenticabile: non importa la squalifica, che ho trovato giusta. E’ stato un mio errore, causato dalla stanchezza, da tutte le ore di cammino e dalla mancanza di sonno”.

Intanto continuano gli arrivi in una Courmayeur vestita a festa. Dopo Anne Marie Gross, sono arrivati nelle prime ore del mattino anche Eric Arveux e il primo uomo italiano, il valdostano Giancarlo Annovazzi. L’ispettore forestale arrivato sesto dopo 93 ore e 57 minuti ha anche stabilito il nuovo record valdostano della corsa. Tra Gressoney e Courmayeur ancora 323 trailers che dovranno raggiungere il traguardo entro le 16.00 di sabato 17 settembre.

Classifica
1 Gabioud Jules Henri 79:58:26
2 Le Saux Christophe 84:09:46
3 Criado Toca Pablo 89:43:07
4 Gross Annemarie 91:28:21
5 Arveux Eric 92:55:46
6 Annovazzi Giancarlo 93:57:40
7 Tissot Laurent 96:28:04
8 Grange Giuseppe 96:58:05
9 Saroglia Mauro 96:58:06
10 Rosello Sole Eugeni 98:17:39

Click Here: cheap true religion jeans

Il 01/05/2011 Joshua Lavigne e Raphael Slawinski hanno effettuato la prima salita di Tsunami (300 m, M5 WI5+) sul Mt Patterson nelle Rocky Mountains in Canada

A meno di un mese dalla prima salita di The Peach a Storm Creek, Raphael Slawinski continua a fare quello che gli riesce meglio: aprire nuove vie nelle Rockies Canadesi. Il 1° maggio il professore di fisica si è recato a Mt Patterson sopra la famosa Icefields Parkway insieme alla guida alpina canadese Joshua Lavigne. I due hanno aperto Tsunami, una linea di 300 metri a destra della famosa via Riptide. Slawinski aveva scoperto la linea di recente, mentre ripeteva la classica via di misto Rocket Man. La cordata è salita per 6 tiri con difficoltà fino a M5 WI5+. Una volta raggiunto l’altopiano i due canadesi sono scesi in doppia lungo la via.

Lavigne ha descritto Tsunami come segue: "A prima vista sembra essere minacciata da seracchi, ma da vicino invece questi sembrano abbastanza benigni. Abbiamo salito la via in 6 tiri complessivi, per raggiungere il ghiaccio abbiamo salito 3 tiri di terreno molto alpino, con ghiaccio sottile e mistofragile. Raggiunto il ghiaccio, tre tiri ci hanno poi portato in cima ai seracchi. Una giornata meravigliosa in un ambiente ideale per una classica via di ghiaccio!"

Tsunami Mt Patterson prima salita di Raphael Slawinski e Joshua Lavigne

Click Here: cheap true religion jeans

Iker Pou, vie nuove tra Margalef e Ilarduia

August 25, 2019 | News | No Comments

Nella falesia spagnola di Margalef Iker Pou ha liberato Enemigo Público Nº1 8c+/9a) mentre in quella di Ilarduia ha liberato Harroputza 9a.

Iker Pou continua ad aprire nuove vie a tutto spiano. Dopo Nit de Bruixes, il basco ha liberato Enemigo Público Nº1 (8c+/9a), una via “praticamente senza appoggi” che, secondo Iker, è “una della più belle ed esplosive vie di Margalef”. Inoltre, sempre sul conglomerato di Margalef lo spagnolo ha anche liberato Fil per randa (8b+), El Tango del Jabalí (8b+), Cocainea Pura y Dura (8c) e Para el Este (8c).

Approfittando della sua grande forma, nella falesia vicina a casa sua, cioè quella di Ilarduia, Iker ha anche liberato Los Puntos Sobre las X (8c/c+) e Harroputza; quest’ultima descritta come “una delle vie che in assoluto mi ha stimolato di più”. 42 metri di 9a per una serie perfetta di tacche, ossia “un autentico gioiello per chi è in cerca di un tesoro.”


INTERVISTA IKER POU febbraio 2010

Iker Pou – Vitoria 05/02/1977
1994: El sentido de la vida, primo 8a a-vista
1994: Gora begira ez dago nekerik, primo 8b+ rotpunkt
1996: Mala vida, primo 8c rotpunkt
1998: Guenga, primo 8c+ rotpunkt
2000: Action Direct 9a, Frankenjura, Germania. 3° salita
2001: Wallstreet 8c Frankenjura, Germania
2001: Elfe 8c+/9a, Grimselpass, Svizzera
2002: Silbergeier 8b+/200m, Rätikon, Svizzera, 5° salita
2002: prima libera El Pilar del Cantabrico 8a+/500m, Naranjo de Bulnes, Spain
2003: El Niño 8b/850m, Yosemite, El Capitan, USA. 3° salita.
2003: Baing the sang 8c+/9a, Svizzera
2003: Mendeku 9a, Basque country, Spagna
2004: prima libera Bravo Les Filles 8b/600m Tsaranoro- Madagascar
2004: The Nose 8b+/1100m, Yosemite, El Capitan, USA. 32 di 34 tiri in libera
2005: Eternal Flame 8a/1100m, Trango Tower Himalaya, con il “Pou Brothers Variantion” 8a a 6000m
2006: Franco-Argentine route 6c+/1300m, Fitz Roy, Patagonia. 5 tentativi, ritirato 40m dalla cima.
2006: Quinto Imperio, Naranjo de Bulnes, Spagna
2007: Supercanaleta 6c-M6-90º/2000m, Fitz Roy, Patagonia
2007: Blaue Lagune 7b+/250m, Legacy 7b+/320m, Batman 7b+/250m, Cleoplatra 7c/270m, Wendenstock, Svizzera. Tutti a-vista
2007: Begi Puntuan 9a, paesi Baschi, Spagna
2007: prima salita Lurgorri 8c+/250m, Naranjo de Bulnes, Spagna
2008: prima salita Azken Paradizua 7a-M6-90º/600m. Zerua Peak, Antartica.
2009: prima salita Marcados por el Chañi 85/M6/600m, Chañi Chico, Argentina
2009: prima salita Orbayu 8c+/9a(500m). Naranjo de Bulnes. Spagna.
2009: Maritxu kilkerra, primo 8b+ a-vista
2010: Demencia Senil 9a+, Margalef, Spain
2010: Solo per vecchi guerrieri, 8c/9a Dolomiti
2010: Pan Aroma sulla Cima Ovest di Lavaredo, Dolomiti
2011: La Classica Moderna, nuova via sul Monte Bianco per Barmasse e fratelli Pou
2012: prima salita Nit de bruixes 9a+ a Margalef

Click Here: NRL league Jerseys

Century Crack, il video

August 25, 2019 | News | No Comments

Il video di Pete Whittaker e Tom Randall su Century Crack 8c nei Canyonlands, USA.

Ci rendiamo conto che ne abbiamo già parlato non poco, ma siccome è la offwidth più difficile al mondo, forse vale la pena anche guardare il trailer del film appena uscito. Ecco che si capisce sia la dimensione della fessura, sia le tecniche usate da Tom Randall e Pete Whittaker. Non il solito 8c di piccole tacche…
Click Here: kenzo online españa

Century Crack 8c

August 25, 2019 | News | No Comments

Tom Randall e Pete Whittaker hanno ora proposto il grado di 8c per Century Crack a Canyonlands, USA.

All’inizio di ottobre gli arrampicatori britannici Tom Randall e Pete Whittaker hanno effettuato la prima salita in stile pinkpoint di Century Crack, quell’enorme, maestoso tetto nel Canyonlands, USA, completamente orizzontale e solcato da una fessura talmente perfetta che è difficile persino da immaginare. La salita ha segnato il culmine di due anni di intenso allenamento specifico e anche se entrambi, Randall e Whittaker, la subito definita come la più dura offwidth che avevano mai salito, c’era comunque bisogno di tempo e di mettere la salita in prospettiva per produrre un grado credibile.

Nelle settimane che seguirono i due inglesi hanno rapidamente ripetuto alcune tra le più difficili offwidths del paese e questo tour li ha portati a Zion dove hanno ripetuto Gabriel 5.13c (aperta da Pamela Pack) e Price of Evil 5.13b, e a Indian Creek dove hanno ripetuto la famosa Belly Full Of Bad Berries (liberata da Brad Jackson e persino salita a-vista da Whittaker). Queste, più la recente seconda e terza salita di Army of Darkness 5.13d (Rob Pizem, 03/2008) a Canyonlands, l’a- vista di Lucille a Vedauwoo di cui avevamo dato notizie e più di 100 altre difficile offwidths negli USA e in tutta l’Europa ora hanno fornito la base per il grado di Century Crack, che credono sia 5.14b, o 8c.

Randall ha ragionato a lungo sul suo blog e fa notare che la velocità con cui hanno salito la via (il primo tentativo del secondo giorno sulla via) è dovuto in grande parte al fatto che tutti gli allenamenti erano stati effettuati con quella via in mente. Scrive Randall “Come molti sanno, Pete ed io abbiamo trascorso due anni allenandoci di brutto nella fessura costruita nella mia cantina. Ci siamo allenati in modo specifico per Century. Avevamo una copia, quasi esatta, dell’intera via e ci siamo allenati… allenati … e allenati. In questi due anni abbiamo fatto oltre 5000m di questa fessura, il che equivale ad avere già salito la via 42 volte ciascuno. E’ questo il punto che ci tengo a ribadire – lo so che sembra veloce fare un importante progetto in soli 2 giorni, ma in effetti avevamo già fatto innumerevoli sessioni sulla via a casa. Tutto questo allenamento è stato accuratamente preparato per poter essere al massimo della forma durante il nostro viaggio negli Stati Uniti e per evitare sovra allenamenti”.

Pete Whittaker ha concluso, giustamente: “Penso che qualsiasi grado per la via, sia 6c o 8c, non rende l’idea di cos’è fare questa salita. Per averne un’idea bisogna andare laggiù ed effettivamente stare sotto e provarla. Questo è l’unico modo per sentire la vera mostruosità della bestia. Allora andate lì, sarebbe bello avere un altro parere!”

Click Here: Fjallraven Kanken Art Spring Landscape Backpacks

Pop-music history is filled with dreamers who came and went, leaving behind just enough to scramble a latter-day listener’s sense of what was once possible. In 1967, the Jamaican record label Sunshine released a seven-inch single by a man named Stephen Cheng, titled “Always Together (A Chinese Love Song).” The track begins in the loping, offbeat style of rocksteady: a guitar
cranking through a skanking rhythm, the bass slinking up and down


in the background. But things get odd when Cheng starts singing. Most Jamaican rocksteady singers of the time mimicked the cadences of American soul. Cheng
sings in a bold, over-the-top style reminiscent of Chinese opera.


The words he sings are in Mandarin: the lyrics for “Always Together” were adapted from “Girl from Ali Shan,” a folk song that originated in Taiwan, thousands of miles from Jamaica. “Always Together” was obscure even upon its release; eventually, it became a cherished novelty among hard-core Jamaican-music fans. But, for years, the few historians and collectors who knew about it wondered about its provenance. Chinese Jamaicans played a significant role in the island’s rocksteady and reggae scenes, as both performers and producers, but Cheng was an unknown. Where did he come from? And where did he go?

Last year, I joined the curatorial team at New York’s Museum of Chinese in America for “The Moon Represents My Heart,” an exhibit focussed on the role that music has played in Chinese-American life. Our show didn’t have a central story, because there’s no single thing that might credibly be called “Chinese-American music.” Instead, we tried to explore how music brings meaning to our lives, whether we are singing in church or at a karaoke bar; freestyling with friends or dancing at a rave; learning enough chords to make a racket at a club or in the garage. Sometimes the meaning of such experiences doesn’t come into focus until later—the piano lessons you were forced to take as a child morph into a predisposition for synth-pop. Music shapes our identities in ways that, like a forgotten recording artist, can be difficult to trace. Our show’s title came from a 1977 hit by the Taiwanese pop singer Teresa Teng, whose songs about romance and reunion bound people throughout the Chinese diaspora, serving as a beacon for those who would never return home. Naturally, we were drawn to musical stories involving unlikely circuits of encounter. One day, while working on the exhibit, I mentioned Stephen Cheng to one of the museum’s curators, Andrew Rebatta. I played “Always Together” for him, and he was entranced. Within a week, he had tracked down Cheng’s family.

Click Here: true religion jean short

Cheng, we were surprised to learn, was a New Yorker. He had died in 2012 and was survived by five children, who told us that music was a constant part of their upbringing. Their father was born into a well-to-do family in Shanghai, in 1921, and worked as a journalist there after college. In 1948, he moved to Hawaii, where he had family, and then to New York, where he attended Columbia, and later studied singing at Juilliard. He was cast in Broadway shows, including “The World of Suzie Wong” and “Flower Drum Song,” and he recorded an album of Chinese folk songs for New York’s Monitor Records. His summers were spent performing theatre and touring.

Cheng’s children knew most of this growing up. But they had not learned about “Always Together” until recently. In November, 2017, Cheng’s son Pascal discovered it by chance on YouTube—he had listened to some of his father’s other recordings, and the site’s algorithm suggested it to him. The song had been uploaded to YouTube in 2010, around the time the single was reissued by a Japanese record label specializing in Jamaican obscurities. Pascal left comments below the YouTube video and on music blogs, touting his father’s long career and asking if anyone knew about the song’s origins.

After Rebatta, the curator, contacted Cheng’s family, Cheng’s daughter Danielle came by the museum. She brought a collection of files that their father had kept about his musical exploits: news clippings and magazine articles, advertisements of shows in Jamaica and Trinidad, glossy photos of him performing on “The Steve Allen Show” and the Jack Paar show. (He also performed on “The Ed Sullivan Show.”) In some of the photos, Cheng is dressed in a silk robe, marking him as Chinese; in others, he sports the sharp suit or flowy shirt of a nineteen-sixties lounge singer. He wears a broad, blissful smile in nearly all of the pictures.

Cheng saw music as a way of reaching people outside his predominantly Chinese-speaking world. His ability to sing in different languages allowed him to tour throughout the West Indies, catering to communities of Chinese immigrants, and, after a successful string of shows in Suriname, he secured a hotel-lounge gig in Trinidad and Tobago, where he performed a repertoire that included songs in English, French, German, Italian, Spanish, and Chinese. He became a minor star. In the late sixties, he worked with the local government to stage a series of shows as a benefit for the National Stadium of Trinidad, bringing, as he would later write, “the Chinese out of the confines of the strictly Chinese community to work with the other racial groups for the benefit of their whole country.” His fame spread to Jamaica. On a visit sponsored by the Chinese Benevolent Association, he met Byron Lee, a renowned Chinese-Jamaican musician, and they recorded “Always Together.”

Back in New York, in the early seventies, Cheng started a band called the Dragon Seeds. (Byron Lee had a band called the Dragonaires, though it’s likely the similarity is a coincidence.) Among the files that Cheng’s children brought was a draft of a press release that described the Dragon Seeds’ approach to blending Chinese traditional song with a softened version of American rock—“a new Chinese folk rock sound,” minus the “screaming.” Trying to imagine what the Dragon Seeds actually sounded like was dizzying. Reviews described Cheng’s singing as “attractive,” “sensitive,” and “attractively unassuming”; the Times praised his “superior way of reacting to the moods of each song.” The band’s lineup featured twelve musicians playing Chinese instruments, surrounding a four-piece jazz band. They played the Public Theatre and benefits for Chinatown churches. In 1971, they were invited to be part of Jazz in the Garden, a Museum of Modern Art concert series that also included legends of jazz, blues, and Latin music. The program included Elvin Jones, Odetta, Big Mama Thornton, and Mongo Santamaría among the performers. Cheng and the Dragon Seeds was the only act that I had not previously heard of, the only one that hadn’t left an obvious legacy.

Stephen Cheng, August, 1971.
Photograph by Leonardo Le Grand / MOMA

Some time after Danielle dropped off the files, she provided a couple of reels of quarter-inch tape, one recorded in Jamaica, presumably with a local band, and the other a live Dragon Seeds set from Town Hall. It seemed possible that the second reel represented the entirety of the Dragon Seeds’ extant recordings.

So much of what we know about immigrant life, even in the not very distant past, is thanks to hoarding and scavenging, rather than the sort of careful personal archiving one sometimes sees among the more powerful and well-to-do. When we were putting together “The Moon Represents My Heart,” we wanted things that could bring shape and texture to the role that music had played in Chinese-American life, and I thought it would be easy to find personal mementos and fan-club membership cards, mixtapes or photos of epic karaoke nights. But, when you don’t see yourself as part of a scene or a movement, you may not think such things need to be saved. Immigrants have not tended to regard their own lives as rising to the status of history. Sometimes they simply don’t have the room or the resources to keep records of their lives.

We converted Cheng’s reels into audio files, but I was hesitant to listen. Lost artifacts are almost always better in the imagination, burnished by hope and yearning. When we pressed play, I was captivated by Cheng’s voice. He croons with a kind of desperate earnestness. There were standards, such as “The Shadow of Your Smile” or “Softly as I Leave You,” that I’d heard hundreds of times before, but never with his amateurish zeal, which soars above his band’s tasteful, jazzy pop. He sings with a slight accent and seems to compensate for it by singing louder, with more passion. There’s a groovy song inspired by the Chinese tale of the “Butterfly Lovers”; he races through English-language lyrics about lovers reuniting in heaven,
accentuating his words with a series of delirious, scat-like trills and the Chinese expression “Ai-ya! Ai-ya!”

The Dragon Seeds fizzled out after a few years, and Cheng redirected much of his energy from performance to teaching. He gave voice lessons at the New School, N.Y.U., the Stella Adler Conservatory, and Sarah Lawrence College. In 1991, he published “The Tao of Voice: A New East-West Approach to Transforming the Singing and Speaking Voice,” a book that tried to fuse ancient Chinese philosophy and breathing practices with Western vocal technique. It wasn’t intended only for aspiring performers: Cheng wanted to help all kinds of people feel confident using their voices, whether to sing or to give presentations at work.

The reels that Cheng’s children brought didn’t contain other rocksteady gems like “Always Together,” though the Dragon Seeds did record
a more traditional version of “Girl from Ali Shan.”


There was also a funky version of another Chinese folk song, “Girls from Daban City.” On all of the tracks, Cheng sounds impossibly hopeful, as though his effervescence can’t be contained, and he can’t help but share it. His performance spans styles and eras: he affects a heavy vibrato croon here and lightly tiptoes through syllables there, occasionally flitting between English and Mandarin. The song I can’t stop listening to is his version of “Yesterday.” The recording begins with a dutiful polish, but soon Cheng breaks free of the cool economy of the Beatles’ original, and begins singing with a kind of operatic gusto. It’s a song about longing and memory, and he’s trying to sing it into tomorrow.

“The Moon Represents My Heart: Music, Memory and Belonging” is on view at the Museum of Chinese in America, in New York, until September 29th.

Félix Auger-Aliassime Is Trying to Stay Calm

August 24, 2019 | News | No Comments

Some tennis players leave an afterimage in the mind. Roger Federer flying into a forehand, his gaze lasered on the point of contact. Serena Williams with a flexed arm and clenched fist after serving an ace, roaring, “Come on!” Novak Djokovic sliding into a shot, his core balanced and legs akimbo. Rafael Nadal twirling his racquet over his head, his mouth a glorious snarl.

When I think of Félix Auger-Aliassime, I think of his split step. It’s not a flashy movement, not something that you’d put on a poster. It’s an automatic motion, drilled into players from a young age as the best way to balance the body and prepare the feet to move quickly in any direction. But, when Auger-Aliassime split-steps, my eyes are drawn to him. There is something regal about it, a suggestion of potential power.

Auger-Aliassime is tall—six feet four, with a high fade that lends him a couple more inches. He has broad shoulders, a tapered waist, and, like many tennis players, surprisingly slender arms. But his legs are tree trunks. When he hops into that slight squat, preparing to step toward the ball, his back, straight, forms a slight angle with his hips; his head is high and still, parallel to the racquet in his hands. Then comes the burst of speed. What’s striking is the solidity of his legs and the lightness of his feet beneath them: he seems at once grounded and practically floating.

He has the glory shots—a leaping scissor-kick backhand, a running forehand whip, jaw-dropping drop volleys—but they flow from that ready position. Take a typical highlight from his win over his fellow-Canadian Vasek Pospisil in the first round of the Rogers Cup, earlier this month. In the second game of the match, Auger-Aliassime sent down a middling serve right into the strike zone of Pospisil’s backhand; the toss and follow-through of his service motion carried him far into the court. Pospisil leaped on the ball and sent back a deep return. Auger-Aliassime was caught in no man’s land, between the baseline and the service line, but he remained calm: in a fluid sequence, he split-stepped, took a stride back and to his left, and caught the ball with his backhand. Pospisil was closing on the net, assuming that Auger-Aliassime’s reply, if he managed one, would be a weak floater that he could knock away. Instead, it was a perfectly placed passing shot. There was a lot to marvel at in the exchange—the softness of Auger-Aliassime’s hands as he half-volleyed a ball that was almost past him, the strength to control its trajectory from an awkward position, the imagination to try the shot at all—but none of that was as impressive to me as the way he recovered from being out of position. He didn’t scramble. He was ready.

Auger-Aliassime turned nineteen on August 8th—the same day, as it happens, that Roger Federer turned thirty-eight, exactly twice the younger man’s age. Auger-Aliassime is not the only rising star in men’s tennis who is expected to win grand slams someday, but he is the youngest, and is already talked about in the same breath as Top Ten players. Two years ago, after his seventeenth birthday, he became the youngest man to break into the Top Two Hundred since Rafael Nadal did it, in 2002. In May, he became the youngest man to enter the Top Twenty-five since Lleyton Hewitt did it, in 1999. (He’s now at No. 19.) “He’s probably the one that I like the most from the young generation, as a tennis player and as a person, I think,” Djokovic said when asked about him, in July. In late 2017, Federer invited Auger-Aliassime to train with him in Dubai for a couple of weeks, offering not much in the way of advice but something potentially more valuable: a close view of his own example. “I was mainly surprised by how hard he works,” Auger-Aliassime said, adding, “If he does that at thirty-seven, well, I had better start working, too.”

The larger public got its first real look at Auger-Aliassime last year, at the U.S. Open, when he faced his friend and countryman Denis Shapovalov, in the first round. For two sets, on a hot day, the players—at once intimate and contrasting—thrilled the crowd with a tight match. But then Auger-Aliassime brought on the trainer, who pulled out a stethoscope to listen to his heart rate; in the third set, Auger-Aliassime visibly began to fade. Down 4–1, his heart racing too fast, he retired from the match. The two friends embraced at the net, and Auger-Aliassime broke down, sobbing into Shapovalov’s shoulder.

He moved on quickly, in the way the young can do. His condition was benign, the match withdrawal necessary but not alarming. That night, he hung out with Shapovalov in Shapovalov’s hotel room and just “chilled,” Shapovalov told me. By breakfast, Auger-Aliassime was smiling. At the start of the year, he had broken into the Top Hundred. This year, he has made three finals and two semifinals. He twice beat Stefanos Tsitsipas, who is only two years older than Auger-Aliassime but is already ranked fifth in the world. After the second time, Tsitsipas called him “the most difficult opponent I’ve ever faced.” He added, “I’m sure if he ever gets the difficult chance to play Nadal, Djokovic, or Federer, he’s going to beat them, for sure.” Auger-Aliassime lost to Nadal a few weeks later.

When Wimbledon rolled around, the oddsmakers pegged Auger-Aliassime as the sixth-favorite to win it, behind only Tsitsipas, Alexander Zverev, and the three men who have dominated the game for the past fifteen years—Nadal, Federer, and Djokovic. Tsitsipas and Zverev promptly lost in the first round, leaving only the big three as better bets to win. “I thought it was crazy,” Auger-Aliassime told me a month later, on a hot evening in Washington, D.C. He laughed. “I was telling my coaches, ‘People need to relax.’ ” Prior to Wimbledon, Auger-Aliassime had never won a grand-slam match.

In truth, any bet against Djokovic, Federer, or Nadal winning Wimbledon was probably a bad one—and Auger-Aliassime knew it. He defeated Pospisil in the first round, and the young French player Corentin Moutet in the second, before being upset by another young Frenchman, Ugo Humbert, in the third. Humbert subsequently lost to Djokovic, who won it all.

When I talked with Auger-Aliassime about the hype surrounding him at Wimbledon, he told me, “I think people also maybe wanted a story.” For a long time, there has only been one story in men’s tennis: the three best players in the history of the sport challenging one another year after year after year. It’s a fantastic story, an epic—long and twisting, full of tension and surprise, with well-developed characters and distinct rivalries. But, to many in tennis, the lack of legitimate challengers—and the fact that the gap between the top players and the field only seems to be growing—has become disconcerting. Djokovic, Federer, and Nadal have won the last eleven straight slams. Except for a ten-month stretch, when Andy Murray was ranked No. 1, the world’s top spot has been held by Djokovic, Federer, or Nadal since February, 2004. (Auger-Aliassime was three years old then.) No player currently under the age of thirty has ever won a major title. Dominic Thiem is the only player born after 1990 even to make a grand-slam final or semifinal.

Auger-Aliassime was born in 2000, in Montreal. His mother, Marie Auger, is a French-Canadian schoolteacher; his father, Sam Aliassime, is a tennis instructor from Togo. Along with Pospisil, Shapovalov, Bianca Andreescu, and Milos Raonic, he is part of a cohort of rising Canadian tennis stars who are the children of immigrants or who are immigrants themselves. “We all arrived in Canada at a young age or, like myself, were born there,” he said. “We all consider ourselves a hundred per cent Canadian. But different routes, different backgrounds—I think that gives us an opening on the world.” Auger-Aliassime credits the immigrant mentality of his father with inspiring his own work ethic. “I know for my part it helped, seeing what my dad had to sacrifice to come to Canada, leaving all his family behind,” he said. “I think he really gave us the tools and the education that you have to work, you have to earn your place in this world.”

Auger-Aliassime’s family moved to Quebec City when he was still a child. He grew up watching tennis in person, at the academy where his father worked, and on television—he would watch Wimbledon finals and then run around the house, telling his father that he was training to be in one. He played in his first tournament when he was six, and reached the final. He has a vivid memory of the 2008 Wimbledon final, between Federer and Nadal, often called the greatest match ever played. He recorded it on a VHS tape and watched it over and over on a small television in his room.

It was his dream to become a great player—and it was his father’s dream, too. His mother was more wary. When Auger-Aliassime started to travel to tournaments at a young age, his mother, Marie, worried about him missing school, and missing out on childhood. She emphasized schoolwork and encouraged him to take piano lessons. (This spring, wearing a bow tie and jacket, he performed at the Monte-Carlo Masters players’ party.) When Auger-Aliassime and his father came home from the courts at the end of the day, they were not allowed to talk about tennis. His mother, he said, wanted him to be “a normal person.”

But Auger-Aliassime is not normal—not as a tennis player, anyway. “He is different,” the young American prospect Reilly Opelka said, after playing him in Washington. “That’s one thing you will find in common with all the great players,” he added. “They are different.” That much was clear even when Auger-Aliassime was barely more than a boy. At fourteen, he began working on his game at Canada’s National Training Centre, in Montreal, and, a few months later, became the youngest player ever to win a main-draw match on the Challenger circuit, the level just below the men’s tour. He made deep runs in the major junior tournaments, reaching the finals of the 2016 junior French Open and winning the junior U.S. Open later that year. He won three Challenger titles before he turned seventeen. He played his first tour-level match in February, 2018. In it, he hit forty-nine winners, saved three match points, and eventually lost, to the world No. 38, Filip Krajinovic.

When Auger-Aliassime was still playing juniors, agents filled the stands at his matches. Commentators told one another to head to the outer courts to catch a few of his games. There have been tennis prodigies before, of course, including some younger ones; a handful of men won their first major when they were seventeen. But careers were built differently then: there was less money, less science, less of a premium placed on experience. No one dreamed of players sustaining their peaks into—let alone throughout—their thirties.

What made Auger-Aliassime different, from the beginning, was that he doesn’t play like a phenom. He is neither a counterpuncher who finds ways to win nor a kid who gets hot and hits the court’s white lines. He plays in the modern baseliner style: big serve, decent return, strong on both the backhand and forehand wings. But his game is eerily efficient. He is always balanced—there’s that split step—which helps his quickness. However hard he hits the ball, his power seems harnessed. He has a short backswing, fantastic racquet-head speed, and clean technique, which allows the ball to pop off the strings. His movements are precise and consistent, even on the run or under pressure. He’s not afraid to go for winners, but he knows when to hold back and how to calibrate his shots—showing a kind of restraint that few players, let alone teen-agers, master. He understands, too, how much of that self-control comes from training the mind, not just the body. He began visualization exercises when he was seven or eight, and he rarely seems flustered. Paul Annacone, who has coached Pete Sampras and Roger Federer, told me that this quality of Auger-Aliassime’s reminds him of those players. When he makes a mistake, he doesn’t panic. More than one person mentioned to me that he asks for a towel after making an error, as if to wipe it from his mind. He moves on.

Usually. Auger-Aliassime is excellent when the stakes are highest; the stats bear that out. The A.T.P.’s “under pressure rating,” a metric that combines break-point results with deciding sets and tiebreaks, has him as the sixth best on tour, just behind Nadal. But he is hardly immune to tension—especially on his second serve, the most psychologically taxing of shots. Miss it, and the returner has a free point. Make it weakly, and the returner can seize the better court position. Hit it well, and the advantage stays with you. Double faults happen, of course—and there are instances where it makes sense to risk one—but among the better players they are rare. Federer, Nadal, and Djokovic average about two a game. Auger-Aliassime? Nearly five.

They have come, on occasion, at bad moments, or in bunches. In March, during his semifinal match against John Isner at the Miami Open, one of the biggest tournaments of the year, he was serving for the first set, at 5–3, when he had a double fault, and then another. On Isner’s break point, Auger-Aliassime took his time, his stance wide. He lowered his racquet into his windup and tossed up the ball, sliding his feet together and rising to strike his serve. But it was a stiff and hurried motion, and the ball clipped the top of the net and fell—his third double fault of the game. Serving for the second set, again at 5–3, he tightened up once more. Isner won both sets in tiebreaks, and so the match. “It’s like I caught a virus or something,” Auger-Aliassime said afterward.

It wasn’t an isolated occasion. At the Citi Open, in Washington, D.C., on August 1st, Auger-Aliassime played Marin Cilic, who was hitting particularly aggressive returns. Auger-Aliassime responded with eleven double faults. Soon after, at the Canadian Open, playing in front of a fervid home-town crowd, he lost to the eighth-ranked Karen Khachanov, 6–7(7), 7–5, 6–3. He had twelve double faults in the match. At the Western & Southern Open, in Cincinnati, his final tournament before the U.S. Open, in a match against the qualifier Miomir Kecmanovic, he hit three double faults on his first five second-serve points. He finished the match with ten—and an astonishing double-fault rate of more than twenty per cent.

This is partly the result of a tactical decision: Auger-Aliassime, like a number of the top young players, goes for more on his second serve than most. But there are also mechanical issues at play, clearly. You can see how his slow preparation could develop kinks; his racquet can decelerate as he whips it around. His ball toss wanders, sometimes by as much as a foot. But technical issues are, by his own admission, related to psychological ones. Pressure causes physiological changes. “You get physically tight,” he told me this summer. “That’s chemical. Your brain just sends signals. Your arm gets heavy. You can’t go against it. It just comes.” It came at Wimbledon, when he lost to Humbert, a young and lower-ranked player. “It got to a point where it was a bit embarrassing,” he said afterward. The pressure “is not easy to deal with at my age,” he said in Washington, adding, “It’s all pretty and nice on TV. But, in my head, sometimes it’s not all pretty.”

The more he succeeds, the more he puts himself in these situations, getting deeper into matches and tournaments. Then, sometimes, he succumbs. This is how it works, of course: athletes build resilience through experience, or they break down. Federer was famously hotheaded when he was Auger-Aliassime’s age. For years, Djokovic was known for being a little bit frail mentally. Auger-Aliassime wants to follow their trajectories toward inner toughness. His goal at the start of the year was to break into the Top Fifty; now, he is on the cusp of the Top Twenty. Federer, Nadal, and Djokovic were “like gods, or almost gods” to him once, when he was a child. These days, he’s looking to beat them, and he believes that he can. But he knows that they are still better than he is; he continues to study their tactics in big moments, to learn what they do differently from him.

And what is that? “If I knew it, I would probably do it!” he told me. He added, “They know how to play in big moments. They know how to handle themselves. I think that’s something that you can’t learn that fast. You need some time. You need some years inside of you. I don’t want to rush it.”

In the meantime, he will face Shapovalov again, on Monday, in the first round of the U.S. Open. This time, he is the favorite, the seeded player, and is under the greater pressure. It isn’t easy to play good friends, Auger-Aliassime acknowledged when we spoke. “You don’t have the same desire to beat them,” he said. They know each other so well. But no matter the opponent, he says, he wants to be motivated more by respect than by revenge. “Every loss—that player showed me what I need to improve.” It doesn’t sound like a cliché when he says it. This is simply where he is now, readying himself for what comes.