The Longreads Blog

The Beer Drinker’s Guide to Getting Through 9/11

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Joshua Bernstein is one of the more prolific craft beer writers working today. (Longreads featured a Q&A with Bernstein after the publication of his recent book, Complete IPA) As he explains in an essay about living in New York on and after 9/11 for Good Beer Hunting, Bernstein’s path has been winding, including stints working at American Baby magazine, and editing a porn magazine.

His office was located in Chinatown, a brisk walk from the Twin Towers, and even before that clear blue morning, Bernstein liked to escape the doldrums of his office job by fleeing to his apartment’s rooftop in Astoria and doing what every New Yorker in their twenties has done: drink.

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The Mastery and Magic of Rachel Kaadzi Ghansah

Toni Morrison dancing at a disco party in New York City in 1974. "She wasn’t born Toni Morrison. She had to become that person," writes Rachel Kaadzi Ghansah in her 2015 New York Times Magazine cover story on the author. (Photo by Waring Abbott/Getty Images)

Cashawn Thompson created the hashtag #BlackGirlsAreMagic on Twitter in 2013 to draw attention to the accomplishments and resilience of black women in the public eye like Michelle Obama. With T-shirts, tote bags, videos, and news headlines, #BlackGirlMagic soon went viral. Like “(To Be) Young, Gifted, and Black,” a song written by Nina Simone, and “Black Lives Matter,” the affirmation “Black Girls Are Magic” creates positive associations with blackness and reconstitutes its possibilities. “Say it loud!” James Brown sang in his 1968 song “I’m Black and I’m Proud.” In other words, let us not cower — let us like ourselves.

Affirmations like #BlackGirlMagic are important corrective tools, especially now, with a president in office who weaponizes language to stir up policies that are hurtful for communities of color. Still, I worry that a focus on black women’s extraordinariness obscures the unfairness of what we overcome. I wonder if, along with a litany of archetypes that have lingered in the public imagination, #BlackGirlMagic fortifies an idea that black women can endure anything, that we don’t need protecting.

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Taking Up Smoking at the End of the World

John Sherman | Longreads | September 2017 | 9 minutes (2,250 words)

 

I started smoking this year. In Berlin, where I lived before recently returning to New York, almost everyone seems to smoke, almost everywhere, almost all the time. It’s like a 1970s game show, but in German and with better hair.

It wasn’t the ubiquity of smoking that sold me as much as the opportunity to become excellent at rolling cigarettes — a simple task that is wildly impressive when done well. The most practiced rollers can assemble a factory-grade filtered cigarette in about ten seconds, packing it casually against a thumbnail while your own attempt looks like a slightly crumpled, pregnant snake, leaking tobacco from both ends.

I’ve watched Berliners roll cigarettes walking, standing up in a moving subway car, and even once while biking through traffic on Karl-Marx-Straße. A German friend claimed her father could roll a cigarette inside his pants pocket, which, bullshit or not, puts the bar for trick-rolling higher than I can even imagine.

Aside from being a cheap way to smoke — about €5 for a bag of decent rolling tobacco, plus €1 each for filters and rolling paper — it’s an excellent sideline for fidgeters, people like me who can’t help but curl straw wrappers into intricate fiddleheads, or peel the label off their beer bottle to fold origami fortune tellers. Cigarette rolling is a mini-craft project unto itself, repeatable and perfectible. I probably enjoy rolling cigarettes even more than I enjoy smoking them.

***

I don’t mean to be flip about the health hazards of smoking, which are illustrated in full color on every side of every tobacco product I’ve ever purchased, and rattled off by every serious smoker I’ve ever talked to about it. I was born in America in 1989; the only thing I know about smoking is that it’s bad for me.

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On the Internet, Nobody Knows You’re a Cartoonist Hustling for Money

(Jesse Dittmar for The Washington Post via Getty Images)

A successful media model is often a quiet one, gathering up money from the unglamorous corners of the market, cutting checks for its writers and artists in small but regular amounts. When Bob Mankoff retired from the New Yorker this year after twenty years as the Cartoon Editor, he left behind one of most successful new media models of the era: The Cartoon Bank. It was a database he founded in 1992 and ran from an apartment in Yonkers, and it helped cartoonists license their work for thousands of dollars a month. But when Condé Nast bought the Bank from Mankoff in 1997, the money began to dry up and the model began to fail.

Paste magazine recounts the rise and fall of the Cartoon Bank, which was begun by Mankoff with an $1,800 Apple computer and a $745 scanner, and built into a database with over 20,000 images from 50 cartoonists, categorized by subject: “The market was individual consumers as well as businesses; if you ran a dental association, for instance, you could easily find dental-themed cartoons for your monthly newsletter. Early customers included Bloomberg Financial Markets, which delivered a cartoon to 41,000 subscribers each morning,”

With fees ranging from $100 to $1000 for a single image, cartoonists could start to rely on checks coming in from the Bank, and some cartoonists were receiving residiuals of $30,000 to $40,000 a year. But when Condé Nast took over, things began to break and cartoonists saw a reliable income dwindle to nothing.

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A Bakery Death Reveals the Vulnerable Lives of Temporary Workers

(Daniel Berehulak/Getty Images)

Twenty-three year old refugee Amina Diaby died in Fiera Foods’ Ontario factory while making croissant dough. She was a low-wage temp worker, one of thousands in Ontario, and her hijab got stuck in a machine. For The Toronto Star, reporter Sara Mojtehedzadeh worked undercover on Fiera Foods’ production line in order to document the dangers of Canada’s growing temp economy works. Fiera’s system is stacked in businesses’ favor, with poorly trained temp workers risking their lives and health for low pay, no job stability, no benefits and few legal protections in return.

It’s a system that’s on the rise, and consumers should check their foods’ labels and research chain restaurants’ sources. The foods we buy from Costco and Dunkin’ Donuts might have been processed by newly arrived immigrants just trying to survive while they pursue the same dream of upward mobility that we do.

Temp agency employees are some of the most “vulnerable and precariously employed of all workers,” a 420-page report recently compiled by two independent experts for the Ontario government says.

Temps can be terminated at a moment’s notice, the report notes. Companies who use them are liable along with their temp agency for unpaid wages, including overtime and vacation pay, but not for most other workplace rights. Temps are often paid less than permanent counterparts doing the same job, and sometimes work for long periods of time in supposedly “temporary” positions. Agencies are not required to disclose the markups they charge on workers’ wages. New provincial legislation, which goes to second reading this month, seeks to tackle some of those issues.

Research conducted for the Toronto-based Institute for Work and Health also suggests that companies contract out risky work to temps. When a temp gets hurt, the company is not fully responsible because the temp agency assumes liability at the worker’s compensation board — saving their clients money on insurance premiums. This is a crucial financial incentive to use them.

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Eileen Myles: There’s No Escaping History

Eileen Myles attends the annual Edinburgh International Book Festival at Charlotte Square Gardens on August 23, 2017 in Edinburgh, Scotland. (Photo by Roberto Ricciuti/Getty Images)

At Rolling Stone, Helena Fitzgerald profiles punk poet and 1992 write-in Presidential candidate Eileen Myles. Myles’s new memoir, Afterglow, was released this week, and their first autobiographical novel, Cool for You, was recently re-released and included an introduction by I Love Dick author Chris Kraus.

Myles (who prefers gender-neutral pronouns) has been publishing since the 70s, but has lately experienced a new wave of popularity, gathering new young fans in part because of their Twitter presence and also the character inspired by them on Transparent.

Among other things, Myles talks with Fitzgerald about the importance right now of poetry and art as forms of resistance under the current U.S. presidential administration. Interestingly, though, Myles points out that what’s been happening really isn’t all that new.

In this current moment, the feeling that we’re facing an avalanche, that we might be destroyed, is hard to ignore. When prompted to speak about art in the current political moment, Myles says: “You know, there is nothing new about what’s happening now.” Myles goes on to call Trump’s assembled henchmen “a cabinet of cockblockers: an educational secretary who’s against education, an attorney general who’s a Klansman.” But they also stress that there’s precedent throughout our history for all of these, that none of these people came out of nowhere. As much of Myles’ work — such as the seminal “An American Poem” — has grappled with in the past, this is the America in which we have always lived. The James Comey testimony took place a few days before our meeting, and Myles was passionately skeptical of the liberal praise that has been showered on the former director of the FBI. “They’re like, ‘Oh, Comey’s the good guy!’ Are you kidding me? He’s talking about a Shining City on the Hill; he’s talking about the horror, and the outrage, of people interfering with our election — like that isn’t what we do in the Middle East and in South America. I’ve never been so driven to make the argument about the nature of our history.”

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Two Ex-Googlers Want to Make A Lot of Viral Tweets

Silicon Valley loves to disrupt industries by inventing things that already exist. Remember when Lyft invented buses? Good times. And just recently, the exec in charge of Apple retail announced that instead of “stores” their… stores… are now referred to as “town squares.”

Well, two tech bros are here with a new disruption to… the bodega industry. (I know, hold on, we’ll come back to this.) It’s so innovative, so fresh, so new, they named it…

Bodega.

They literally named it after the thing they’re aiming to “make obsolete.”

But wait, it gets better.

Per Fast Company:

Bodega sets up five-foot-wide pantry boxes filled with non-perishable items you might pick up at a convenience store. An app will allow you to unlock the box and cameras powered with computer vision will register what you’ve picked up, automatically charging your credit card.

It’s not even a bodega. It’s a vending machine.

These jabronis even have the audacity to make their logo a cat, a tribute to the omnipresent bodega cats they’re seeking to make homeless.

And of course because 90 percent of Twitter users are journalists and 90 percent of journalists live in New York City (these are not real statistics, don’t @ me), Twitter was not having Bodega™. Read more…

A Long, Dark Night of the Soul at Donald Trump’s Childhood Home

Drew Angerer/Getty Images

The house in eastern Queens where Donald Trump spent his first four years of life is now an Airbnb, but a night costs more than a bed at the Trump-owned Plaza Hotel, and the $816 doesn’t get you a fraction of that lavish experience. For Newsweek,  Alexander Nazaryan spent a night at the house, exploring the land of Trump’s birth and searching the environment for insights into what shaped him. He finds decor that’s the “raison d’être of Donald Trump, which is the endless veneration of Donald Trump.” Nazaryan shows how Trump likes to frame himself as an outsider from Queens who made his money in Manhattan — but how he is in fact a provincial creature with daddy’s money, born into the genteel suburbs of Long Island.

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The Unforgettable Edie Windsor

(Chip Somodevilla/Getty Images)

Something you might not know about Edie Windsor, the 5-foot-nothing, 100-pound woman whose landmark lawsuit brought down the Defense of Marriage Act, is that she was completely charming and lovable in person — rare of people we deify. You wouldn’t have to spend very long with her, just a few minutes at a press conference would have been enough. It’s said about a lot of people, but true of only a few: There was something eminently special about Edie.

When the Supreme Court ruled on United States v. Windsor in 2013, I was a local news reporter for Metro New York. I went to the LGBT Center in the West Village to see Windsor and her lawyers speak on their win. The organizers were very skittish about promising anyone face time with Windsor. She was elderly, 83 years old, they kept telling us. How could we be so demanding as to expect time with her? A cub reporter, I huffed showily, like a small, useless bird puffing out its chest to impress a murder of large crows who could not care less.

When I finally saw Windsor, I felt sheepish. She was elderly, and so petite. She wore a fuchsia silk shirt, her hair had a perfect Golden Girls bounce, and she had a huge smile. Despite her age and size, she didn’t seem frail; she had the air of a woman whose bones are shot through with iron. When her handlers tried to end the press conference, Edie insisted on reading the speech she prepared and then took questions. Her lawyers praised her tenacity, her courage, her determination. They said she made the country more American that day. She just smiled and turned right around and heaped praise back on them. “They made this old lady flourish,” she said.

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180 Overdoses, 18 Deaths, One Week

Spencer Platt / Getty Images

In July, The Cincinnati Enquirer sent 60 reporters, photographers, and videographers into the community to chronicle an ordinary week during the height of the heroin epidemic in Ohio and Kentucky.

In the interactive feature, “Seven Days of Heroin,” Terry DeMio and Dan Horn piece together a timeline from dozens of videos, transcripts, and field notes. It starts on Monday, July 10, and ends on Sunday, July 16, 2017.

It’s a little after sunrise on the first day of another week, and Cincinnati is waking up again with a heroin problem. So is Covington. And Middletown. And Norwood. And Hamilton. And West Chester Township. And countless other cities and towns across Ohio and Kentucky.

This particular week, July 10 through 16, will turn out to be unexceptional by the dreary standards of what has become the region’s greatest health crisis.

This is normal now, a week like any other. But a terrible week is no less terrible because it is typical. When heroin and synthetic opiates kill one American every 16 minutes, there is little comfort in the routine.

The accounts are harrowing. Vivid, often silent videos punctuate paragraph after paragraph of breathless bodies, emergency dispatches, orphaned children, and death tallies. Loved ones look on as lips turn blue, turn purple. As soon as the reader becomes accustomed to the rhythm of hourly tragedy, each story, like the drug, takes a turn for the worse.

Gaffney, 28, quit cold turkey after learning she was pregnant. She’s living now with the baby at First Step Home, a treatment center in Walnut Hills. They plan to move into an apartment together soon.

After years of addiction, Gaffney’s goals are modest. She wants to raise her child in a normal home. She wants a normal life.

Uebel finishes the examination. “She looks real, real good,” she says.

Gaffney is relieved. She scoops Elliana into her arms and takes her appointment card for her next visit to the clinic in December.

“See you then,” she says.

(Ten days later, Gaffney is dead from a heroin overdose.)

Peter Bhatia, editor and vice president for audience development at the Enquirer and Cincinnati.com, shares why they took on this 7-day project in a postscript:

We undertook this work – spreading our staff throughout courtrooms, jails, treatment facilities, finding addicts on the streets and talking to families who have lost love ones – to put the epidemic in proportion. It is massive. It has a direct or indirect impact on every one of us. It doesn’t discriminate by race, gender, age or economic background. Its insidious spread reaches every neighborhood, every township, every city, regardless of demographics. And it is stressing our health-care systems, hospitals and treatment capacity.

We set out to do this project not to affirm or deny differing views on the cost of battling addiction and its impact. Rather, we set out to understand how it unfolds day in and day out. I believe you will find what we found to be staggering. In the weeks ahead, The Enquirer will build on this effort, devoting more attention to actions our communities can take to make a difference against heroin’s horrible impact.

Hence the title of this ongoing project: “Heroin: Reclaiming Lives.”

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