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The Genius of Marie Kondo and the Evolution of Decluttering

Marie Kondo

In 1881, Eunice White Bullard published All Around the House, Or, How to Make Homes Happy, a 468-page manual on everything a head of household needed to know to keep things in order. Bullard, the wife of Henry Ward Beecher, dedicated chapters to everything from managing laundry to pickling, washing flannel, and cooking a goose. Read more…

On DJ Kool Herc and a Seminal Moment in Hip-Hop History

Photo by edenpictures

Journalist Jeff Chang’s 2005 book Can’t Stop Won’t Stop offers a history of hip-hop culture, and he’s particularly good at capturing the 1970s Bronx neighborhood party scene that helped start it all, with a young Jamaican-born DJ named Clive Campbell—who moved to the Bronx with his family as a child and soon started hosting parties as DJ Kool Herc. Here, Herc describes the moment he started experimenting with isolating the break in certain songs:

Herc carefully studied the dancers. “I was smoking cigarettes and I was waiting for the records to finish. And I noticed people was waiting for certain parts of the record,” he says. It was an insight as profound as Ruddy Redwood’s dub discovery. The moment when the dancers really got wild was in a song’s short instrumental break, when the band would drop out and the rhythm section would get elemental. Forget melody, chorus, songs— it was all about the groove, building it, keeping it going. Like a string theorist, Herc zeroed in on the fundamental vibrating loop at the heart of the record, the break.

He started searching for songs by the sound of their break, songs that he would make into his signature tunes: the nonstop conga epics from The Incredible Bongo Band called “Apache” and “Bongo Rock,” James Brown’s “live” version of “Give It Up Turn It Loose” from the Sex Machine album, Johnny Pate’s theme to Shaft in Africa, Dennis Coffey’s “Scorpio”— Black soul and white rock records with an uptempo, often Afro-Latinized backbeat. Then he soaked off the labels, Jamaican style. “My father said, ‘Hide the name of your records because that’s how you get your rep. That’s how you get your clientele.’ You don’t want the same people to have your same record down the block,” Herc says. Here was one source of hip-hop’s competitive ethic and beat-this aesthetic.

In a technique he called “the Merry-Go-Round,” Herc began to work two copies of the same record, back-cueing a record to the beginning of the break as the other reached the end, extending a five-second breakdown into a five-minute loop of fury, a makeshift version excursion. Before long he had tossed most of the songs, focusing on the breaks alone. His sets drove the dancers from climax to climax on waves of churning drums. “And once they heard that, that was it, wasn’t no turning back,” Herc says. “They always wanted to hear breaks after breaks after breaks after breaks.”

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Heather Matarazzo on the Childhood Search for Her Biological Parents

Heather Matarazzo, who made her film breakthrough in 1995’s Welcome to the Dollhouse and has appeared on shows including Grey’s Anatomy, is now blogging about her life and her experiences in Hollywood. Her latest piece is a deeply personal one, about the curiosity and fear that came with secretly searching for her biological parents:

I’m 9 or 10 years old. I’ve snuck into my parents’ bedroom and am quietly walking across their carpet, praying that I don’t make a sound. I open their closet and find the brown metal box. My heart is pounding, hands shaking. I crouch down, balancing on the balls of my feet, ready to jump up and escape at the potential first creak of the stairs. Silence. So far so good. I lift the top up slowly. It doesn’t betray me by squeaking. I’m grateful. My little fingers search through the vanilla colored tabs labeled BILLS, LICENSES, etc., until I finally find the one I’m looking for: “FOSTER.”

I cock my head to one side, straining to hear any sign that I might be caught. Reassuring myself that I am safe to proceed, I gently lift the folder out, and look inside. Shamefully, I can’t remember the exact contents inside of the folder, except for the one thing that was most important to me: my true name.

“HEATHER CORLEY”

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E.L. Doctorow: 1931-2015

INTERVIEWER

Isn’t there an enormous temptation as a fiction writer to take scenes out of history, since you do rely on that so much, and fiddle with them just a little bit?

DOCTOROW

Well, it’s nothing new, you know. I myself like the way Shakespeare fiddles with history; and Tolstoy. In this country we tend to be naive about history. We think it’s Newton’s perfect mechanical universe, out there predictably for everyone to see and set their watches by. But it’s more like curved space, and infinitely compressible and expandable time. It’s constant subatomic chaos. When President Reagan says the Nazi SS were as much victims as the Jews they murdered—wouldn’t you call that fiddling? Or the Japanese educators who’ve been rewriting their textbooks to eliminate the embarrassing facts of their invasion of China, the atrocities they committed in Manchuria in 1937? Orwell told us about this. History is a battlefield. It’s constantly being fought over because the past controls the present. History is the present. That’s why every generation writes it anew. But what most people think of as history is its end product, myth. So to be irreverent to myth, to play with it, let in some light and air, to try to combust it back into history, is to risk being seen as someone who distorts truth. I meant it when I said everything in Ragtime is true. It is as true as I could make it. I think my vision of J. P. Morgan, for instance, is more accurate to the soul of that man than his authorized biography … Actually, if you want a confession, Morgan never existed. Morgan, Emma Goldman, Henry Ford, Evelyn Nesbit: all of them are made up. The historical characters in the book are Mother, Father, Tateh, The Little Boy, The Little Girl.

-From George Plimpton’s 1986 conversation with E.L. Doctorow, author of books including Ragtime, The Book of Daniel, The March and Billy Bathgate. Doctorow died Tuesday in New York at age 84.

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Marilynne Robinson on Writing and Discipline

INTERVIEWER

Do you keep to a schedule?

ROBINSON

I really am incapable of discipline. I write when something makes a strong claim on me. When I don’t feel like writing, I absolutely don’t feel like writing. I tried that work ethic thing a couple of times—I can’t say I exhausted its possibilities—but if there’s not something on my mind that I really want to write about, I tend to write something that I hate. And that depresses me. I don’t want to look at it. I don’t want to live through the time it takes for it to go up the chimney. Maybe it’s a question of discipline, maybe temperament, who knows? I wish I could have made myself do more. I wouldn’t mind having written fifteen books.

INTERVIEWER

Even if many of them were mediocre?

ROBINSON

Well, no.

-From novelist Marilynne Robinson’s 2008 Paris Review conversation with Sarah Fay.

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‘Dr. V’ Writer Caleb Hannan Speaks for the First Time About What Went Wrong

“It didn’t need to exist. And that was not something that occurred to me in the process of reporting.”

Out of everyone who read an early draft of “Dr. V’s Magical Putter,” only Caleb Hannan’s wife asked him the most critical question of all: Did this story even need to exist?

Hannan spoke publicly for the first time on Saturday at the Mayborn narrative journalism conference in Texas, in a panel called “Anatomy of an Error,” to dissect what went wrong with his 2014 story for Grantland, which ended with the suicide of a transgender woman. The story led to massive public criticism—as well as an internal investigation at ESPN and a letter of contrition from editor Bill Simmons—about how Hannan and his editors handled the story, and whether the reporting pushed a woman to take her own life. Hannan was joined on the panel by writers Hanna Rosin and Michael J. Mooney, and Boston Magazine editor (and one of Hannan’s early critics) S.I. Rosenbaum.

Speaking in a room filled with hundreds of journalists, Hannan was both extremely self-critical and at times emotional as he went through the chronology of reporting and editing for the piece.

Late in the process of vetting the story, Hannan said he was contacted by one of Grantland’s freelance fact-checkers, who raised concerns about the story—the first time anyone other than his wife had voiced those concerns. “Some of the first words out of her mouth were, ‘There’s a chance this woman is going to hurt herself,’ and I said, ‘I know and I’m scared shitless, and I don’t know what to do,’ and she said, ‘Okay I just want to make sure I said that.’ And that’s a conversation I immediately should have taken to my editor, but I didn’t.”

Why not, he was asked.

“I don’t know.”

Hannan reflected on the ideas that journalists should hold people accountable or seek out the truth at all cost. But it’s not that simple. “At every point in the reporting I could justify myself going forward … ‘I’m doing my job.’ But part of the job was to assess whether it was worth it. And there were two people who saw that. In talking with my wife, in talking with this fact-checker, I said, ‘What happened?’ And they said, ‘You were in denial.’

“There’s this idea that it’s not going to happen to me. There is a momentum to a story that’s hard to stop. … It would have been a blow to my ego to set aside something I knew was going to be talked about. But I should have.”

Should You Keep Having Sex During a 9.0 Earthquake, and Other Pressing Questions

Photo by Maëlick

If you’ve been too scared to read this week’s New Yorker story on the apocalyptic earthquake that’s threatening to destroy the Pacific Northwest, here’s a lighter take from Dan Savage, who had a short conversation with Seattle author Sandi Doughton about her 2014 book Full-Rip 9.0: The Next Big Earthquake in the Pacific Northwest and how worried we should really be:

The New Yorker quotes a FEMA official who says that “everything west of Interstate 5 will be toast.” So all of us up here on Capitol Hill—we can see I–5 from here but we’re to the east of it—are going to fine, right? We don’t have anything to worry about, right?

You’ll be bruschetta—more refined, but equally toasted.

It’s true that the shaking weakens with distance from the fault, but I wouldn’t count on that tiny margin to save you. What I think the FEMA official meant is that a lot of our infrastructure in Western WA—utilities, roads, some bridges, brick buildings—will be wrecked, and access to the coast will be cut off.

I’m kind of disappointed you didn’t ask me about sex! But, sadly, I probably know more about earthquakes.

You want a bonus sex question? Let’s say two people are having sex when the full rip 9.0 megaquake hits. Should they stop and take cover? Or should they keep going because this might be the last time they ever get to have sex? Would your advice be different if they were, say, on top of Capitol Hill versus in a cabin on the beach in Seaside, OR?

On Capitol Hill, in a relatively new building with no chandelier or mirror or glass light fixture hanging over the bed, I say carry on. The motion from the quake might be a pleasing addition. In Seaside, give it up, put on your shoes and run for your life because the tsunami is coming.

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Taking A Different Approach to Kids and Bad Behavior

Students in class, 1932. Photo via Iowa Digital Library

Writer Katherine Reynolds Lewis, in Mother Jones, examines the latest approaches to addressing children and discipline—most notably, that timeouts, negative consequences, and other traditional punishments might not be as effective in many cases as helping kids manage their own emotions. It’s based on “Collaborative and Proactive Solutions,” a program that was developed by psychologist Ross Greene (author of The Explosive Child):

In 2004, a psychologist from Long Creek Youth Development Center, a correctional center in South Portland, Maine, attended one of Greene’s workshops in Portland and got his bosses to let him try CPS. Rodney Bouffard, then superintendent at the facility, remembers that some guards resisted at first, complaining about “that G-D-hugs-and-kisses approach.” It wasn’t hard to see why: Instead of restraining and isolating a kid who, say, flipped over a desk, staffers were now expected to talk with him about his frustrations. The staff began to ignore curses dropped in a classroom and would speak to the kid later, in private, so as not to challenge him in front of his peers.

But remarkably, the relationships changed. Kids began to see the staff as their allies, and the staff no longer felt like their adversaries. The violent outbursts waned. There were fewer disciplinary write-ups and fewer injuries to kids or staff. And once they got out, the kids were far better at not getting locked up again: Long Creek’s one-year recidivism rate plummeted from 75 percent in 1999 to 33 percent in 2012. “The senior staff that resisted us the most,” Bouffard told me, “would come back to me and say, ‘I wish we had done this sooner. I don’t have the bruises, my muscles aren’t strained from wrestling, and I really feel I accomplished something.’”

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The Day ‘the Elephant Joined the Band’: A Rape Hidden in the Runaways’ History

From reporter Jason Cherkis and the Huffington Post’s new Highline magazine comes a devastating story about ’70s teen rock band the Runaways. Bassist Jackie Fuchs reveals that early in the band’s history, she was drugged and raped by their producer Kim Fowley in front of several bandmates, including Joan Jett. She stayed silent for decades. (Jett is not commenting.)

Jackie showed up at the next band practice some days later, not ready to stop being a Runaway. Although she was nervous about how her bandmates would treat her, she at least expected them to acknowledge that something bad had happened. But the girls hardly registered her presence. They just plugged in and started running through their songs. That was the day, Jackie says, “the elephant joined the band.”

Jackie took her bandmates’ silence to mean that she should keep quiet, too. “I didn’t know if anybody would have backed me,” she says. “I knew I would be treated horribly by the police—that I was going to be the one that ended up on trial more than Kim. I carried this sense of shame and of thinking it was somehow my fault for decades.”

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What Happens When a Doctor Decides to Battle a Drug Cartel

Cartel Land, the new documentary by director Matthew Heineman in theaters July 3, follows Dr. José Manuel Mireles, a small-town physician known as “El Doctor,” who leads the Autodefensas, a citizen uprising against the violent Knights Templar drug cartel in the state of Michoacán in Mexico. The above clip, exclusive to Longreads, features Mireles attempting to gather volunteers and support from one town.

Things have changed for both the Knights Templar and the vigilantes since the film’s completion. As Heineman told Variety: “Very, very quickly I realized that this story was much more complex and much more gray, that the lines between good and evil were not that clear. I became obsessed with trying to figure out what was really happening, who these guys truly were, where the movement was going, what the endgame was.”

More Stories from Mexico’s Drug War:

1. “The Hunt for El Chapo” (Patrick Radden Keefe, The New Yorker 2014)

2. “The Murderers of Mexico” (Alma Guillermoprieto, New York Review of Books 2010)

3. “The Mistress and the Narcotraficante” (Ricardo C. Ainslie, Texas Monthly 2013)