The problems within the pro-choice movement:
"Some of these leaders and their similarly aged deputies have been reluctant to pass the torch, according to a growing number of younger abortion-rights activists who say their predecessors are hindering the movement from updating its strategy to appeal to new audiences. This tension had been brewing for years, but in 2010, Keenan told Newsweek that she worried that the pro-choice cause might be vulnerable because young people weren't motivated enough to get involved. The complaint struck young activists like Steph Herold, 25, as an effort to place blame on others for mistakes the establishment pro-choice movement has made along the way. 'They are the generation that gave us legalized abortions, but they also screwed up,' says Herold, pointing to the pro-choice establishment's failure to stop the 1976 Hyde Amendment, a law that prohibits federal funding of abortions and disproportionately affects poor women. At a conference last May, Herold heard a women's-clinic owner who has worked in the abortion field for some 40 years echo Keenan's complaint--that young people aren't involved enough in the pro-choice movement. Herold was furious. She stood up and, trembling, walked to a microphone. 'We're counseling your patients and stuffing your envelopes,' Herold told the clinic owner. 'You should be talking to us and not just about us.'"
PUBLISHED: Jan. 14, 2013
LENGTH: 18 minutes (4625 words)
Inside the group's 50th anniversary reunion tour: How the legendary group fell apart and came back together, and how Brian Wilson gets along with his old bandmates:
"The vibe in Burbank is collegial, but each Beach Boy is locked into his own orbit. Wilson and Love tend to communicate through the musical directors they’ve retained from their respective touring bands; Jardine, Johnston, and Marks hover on the margins. Over lunch, Jardine tells me he’s been urging Love to open the second half of the set with 'Our Prayer,' the hushed choral prelude to Smile, but so far, Love has been brushing him off. 'With him, you never know if it’s confrontational or uncomfortable because he’s able to mask any kind of negativity,' Jardine says. 'You never know if you’ve fucked up or not.' When I mention '‘Til I Die,' a stark Wilson solo composition from 1971, Johnston, who’s sitting nearby, insists that it was 'the last Brian Wilson recording. Ever. The career ended for me right with that song.' But why? 'Because he was still 100 percent,' Johnston explains. 'Now, he’s ... you know, a senior guy.'"
PUBLISHED: May 29, 2012
LENGTH: 22 minutes (5663 words)
A killing in Mississippi is the first in the state to lead to a hate-crime conviction. Deryl Dedmon is going to prison for killing a 47-year-old black man, James Anderson, with his truck:
"The Dedmon case is shocking for many reasons, but none more disturbing than this belief that a churchgoing white teenager could kill a blameless African-American man he called a 'nigger' and not be a racist. By all legal definitions, what he did was a hate crime. And yet it also appears to have been a chillingly unacknowledged one—an extreme example of white people doing racist things while rejecting the R word itself. David Duke. George Wallace. James Watson. Michael Richards. Don Imus. The list is long and always growing, the rolls swelling in banal and not-so-banal ways. At root, all this 'nonracism' reflects a national confusion—now that police dogs and burning crosses are behind us—about just what a 21st-century racist is."
PUBLISHED: April 9, 2012
LENGTH: 14 minutes (3579 words)
Resuscitating a battered newsweekly in 2011 is a tough bit of business. Last year, The Daily Beast and Newsweek lost a combined $30 million. Ad page numbers tell how difficult it is, too: Newsweek’s ad page performance between April to September was down 18 percent, according to the Publishers Information Bureau quarterly report. This is easy to dismiss (what isn’t down these days!) — but Time is up 4 percent for the year, The Economist is flat and Newsweek is competing, year-over-year, against a version of itself that had an ownership change, a lame duck editor and a very uncertain future.
PUBLISHED: Nov. 18, 2011
LENGTH: 8 minutes (2094 words)
Here are some details about Lynda Barry that didn’t appear in her autobiographical song. She’s a cartoonist whose weekly strip, “Ernie Pook’s Comeek,” was a staple of alternative newsweeklies for almost 30 years. (Next month, the publisher Drawn & Quarterly will release “Blabber Blabber Blabber,” the first in a 10-volume retrospective series of her work.) She dips Copenhagen tobacco and fights against wind farms. She e-mails stupid YouTube links to her old buddy Matt Groening, the creator of “The Simpsons.”
Barry reinvented herself as a creativity guru as the market for her comic strip dried up, publishing two boundary-blurring books on inspiration and teaching writing workshops for nonwriters. Barry’s advertising copy is clear: “THIS CLASS WORKS ESPECIALLY WELL FOR ‘NONWRITERS’ like bartenders, janitors, office workers, hairdressers, musicians and ANYONE who has given up on ‘being a writer’ but still wonders what it might be like to write.”
PUBLISHED: Oct. 27, 2011
LENGTH: 12 minutes (3102 words)
This is one version of David Carr, which he endorses: a veteran of the alternative newsweekly scene, and the media-focused Web 1.0 craze; a former crack addict and single father on welfare who has written a memoir all about it without sparing himself, who tweets with abandon, moves comfortably among the paper's enemies at dinners, parties and media events; a journeyman reporter who is content to have the ear of the executive editor and the cub reporters alike on an informal basis, grateful as he is to have the job he has. It's not wrong, but it's not complete.
PUBLISHED: June 23, 2011
LENGTH: 27 minutes (6882 words)
Eleven years ago, one of Washington's most tradition-bound companies placed a bet that would transform its fortunes. The wager, by The Washington Post Co. and its Kaplan division, took the form of a $165 million purchase of an Atlanta-based chain of for-profit vocational schools that catered to low-income students. The bet was big — the price equal to the profits earned that year by The Post Co.'s print-media pillars: this newspaper and Newsweek magazine. So was the payoff. But what proved a deftly timed business move brought other, less welcome scrutiny to a family-run company that had long prided itself in serving the public interest.
PUBLISHED: April 10, 2011
LENGTH: 20 minutes (5209 words)
What happened to Jeloudov is a part of life in the armed forces that hardly anyone talks about: male-on-male sexual assault. In the staunchly traditional military culture, it's an ugly secret, kept hidden by layers of personal shame and official denial. Last year nearly 50,000 male veterans screened positive for "military sexual trauma" at the Department of Veterans Affairs, up from just over 30,000 in 2003. For the victims, the experience is a special kind of hell—a soldier can’t just quit his job to get away from his abusers.
PUBLISHED: April 3, 2011
LENGTH: 8 minutes (2222 words)
What food says about class in America. "In America," epidemiologist Adam Drewnowski wrote in an e-mail, "food has become the premier marker of social distinctions, that is to say—social class. It used to be clothing and fashion, but no longer, now that 'luxury' has become affordable and available to all." He points to an article in The New York Times, written by Michael Pollan, which describes a meal element by element, including "a basket of morels and porcini gathered near Mount Shasta." "Pollan," writes Drewnowski, "is drawing a picture of class privilege that is as acute as anything written by Edith Wharton or Henry James."
PUBLISHED: Nov. 22, 2010
LENGTH: 8 minutes (2157 words)