The Longreads Blog

Obama’s Typographic Legacy

Image via Wikimedia Commons

The relative distinctiveness of campaign logos is a recent development: There was a time when they all looked basically the same, give or take a star, often featuring the same stylized, waving flag.

The 1990s and early 2000s were a different time, with less media noise and fewer shiny objects vying for voters’ attention, so there was less need for candidates to distinguish themselves through symbolism and color—and perhaps a hesitation to do anything that stood out too much. Instead, virtually all of them opted for similar shades of red and blue, and used similar fonts and imagery.

It was the 2008 election, and that famous letter “O,” that changed everything, says designer Sagi Haviv, a partner in the New York firm Chermayeff & Geismar & Haviv who has designed logos for the Library of Congress, Armani Exchange, and Harvard University Press, among other clients.

Ali Elkin writing for Bloomberg Politics about campaign logo design. Elkin posits that President Barack Obama’s iconic “O” logo fundamentally shifted the way candidates think about design and branding. Her piece also includes a wonderful critique of the 2016 campaign logos from designer Sagi Haviv.

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How We Discovered Pluto

Photo: NASA HQ

At National Geographic, Nadia Drake has been writing about NASA’s New Horizons spacecraft reaching Pluto this week, and she’s also written about our history with the former planet, which was discovered by 24-year-old Clyde Tombaugh on February 18, 1930:

Tombaugh spent about a year searching for the missing world, using an instrument called a blink comparator. The noisy machine let viewers flip back and forth between long exposures of the sky, often containing hundreds of thousands of stars, taken several days apart. Anything that traveled a significant distance during that time—a planet or an asteroid, for example—would appear to move as the images flipped.

On that late afternoon—it was February 18—Tombaugh was manning the comparator and squinting at thousands of stars, evaluating each one by eye. Suddenly, in photos taken six days apart in January, he spied a small speck of light that didn’t stay put. In one image, it was to the left of two bright stars. In the next, it had jumped a few millimeters to the right of those stars. Tombaugh flipped back and forth between the images and watched the spot leaping in and out of its original position. He grabbed a ruler and measured the precise difference in the spot’s position. Then he found another photo of the sky, taken earlier in January, and searched for the same spot. Finally, he used a hand-magnifier to confirm the potential planet’s presence in one more set of photos, taken by a different camera. After 45 minutes, Tombaugh was convinced.

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Big Macs Are Trophies to Some People

I would scan the commercials for every tiny detail about what life was like when you lived somewhere where there was a McDonald’s: sunshine, happy music, food wrapped up like presents in special papers and boxes, cups that came with lids and straws. Straws! People in the real world ate food in brightly colored packages and lived in houses with sidewalks and lawns. Nothing bad ever happened there. No one was cold, no one got hurt, no one died. They had flush toilets and hot water, and they had McDonald’s, and they were happy all the time because of it.

We went into Fairbanks a few times each year; whenever we flew in a visit to McDonald’s was almost guaranteed. Everyone from the villages went to McDonald’s if they could: eating there meant participating in a world we, kids from “the bush” (a general way of referring to rural Alaska), didn’t feel like we had access to, but could only admire from afar. Going into Fairbanks and eating at McDonald’s conferred status.

Elisabeth Fairfield Stokes writing in Eater about the role McDonald’s played in her life growing up in the tiny “bush” town of Fort Yukon, Alaska.

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The Democratic Fame of Silent Movie Stars

Fredric March and Clara Bow in "The Wild Party," 1929. Photo via Wikimedia Commons

The period known as “Classic Hollywood” began in the late ‘20s/early ‘30s, with the gradual consolidation of the studios, and ends at a nebulous point in the 1950s. In the earliest days of the so-called “movie colony,” you could get a job in the moving pictures if you a) had a great face (Clara Bow); b) did an effective job of using exaggerated face and hand motions to make up for the lack of sound (Theda Bara); c) had a special vaudevillian talent, like slapstick comedy or dancing (Buster Keaton); or d) were in the right place at the right time (Loretta Young).

You could have a thick accent, you could barely speak English, you could have classic British elocution — it didn’t matter, because with silent film, the audiences would never hear your voice. Most stars came from nothing or next-to; very few had anything that we’d consider an education. In many ways, it was fame at its most democratic.

Anne Helen Petersen writing for Buzzfeed about the actor Mark Wahlberg, and how his career  has borrowed from the old Hollywood playbook.

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If the ‘Big One’ Hits Seattle

In the New Yorker, Kathyrn Schulz describes the horrific devastation that would occur if a massive earthquake hit the Pacific Northwest. Scientists have calculated the odds of the big Cascadia earthquake occurring in the next 50 years as “roughly one in three.” Here’s a description of what might happen to Seattle:

The shaking from the Cascadia quake will set off landslides throughout the region—up to thirty thousand of them in Seattle alone, the city’s emergency-management office estimates. It will also induce a process called liquefaction, whereby seemingly solid ground starts behaving like a liquid, to the detriment of anything on top of it. Fifteen per cent of Seattle is built on liquefiable land, including seventeen day-care centers and the homes of some thirty-four thousand five hundred people. So is Oregon’s critical energy-infrastructure hub, a six-mile stretch of Portland through which flows ninety per cent of the state’s liquid fuel and which houses everything from electrical substations to natural-gas terminals. Together, the sloshing, sliding, and shaking will trigger fires, flooding, pipe failures, dam breaches, and hazardous-material spills. Any one of these second-order disasters could swamp the original earthquake in terms of cost, damage, or casualties—and one of them definitely will. Four to six minutes after the dogs start barking, the shaking will subside. For another few minutes, the region, upended, will continue to fall apart on its own. Then the wave will arrive, and the real destruction will begin.

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A Black Woman’s Body on the Tennis Court: Claudia Rankine on Serena Williams

What does a victorious or defeated black woman’s body in a historically white space look like? Serena and her big sister Venus Williams brought to mind Zora Neale Hurston’s “I feel most colored when I am thrown against a sharp white background.” This appropriated line, stenciled on canvas by Glenn Ligon, who used plastic letter stencils, smudging oil sticks, and graphite to transform the words into abstractions, seemed to be ad copy for some aspect of life for all black bodies.

Hurston’s statement has been played out on the big screen by Serena and Venus: they win sometimes, they lose sometimes, they’ve injured, they’ve been happy, they’ve been sad, ignored, booed mightily (see Indian Wells, which both sisters have boycotted since 2001), they’ve been cheered, and through it all and evident to all were those people who are enraged they are there at all—graphite against a sharp white background.

—Poet Claudia Rankine, writing in Citizen: An American Lyric.  Rankine’s book—a form-shifting treatise on race, primarily composed of prose poems—includes a lengthy essay on Serena Williams’s place in the lily-white world of professional tennis. Citizen has been hugely lauded since its October 2014 publication, winning the National Book Critics Circle Award for poetry and the 2015 Pen Open Book Award, among others. Williams won her sixth Wimbledon title on Saturday and is currently the top-ranked female tennis player in the world.

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The Missing History of Ravensbrück, The Nazi Concentration Camp for Women

Sarah Helm | Ravensbrück: Life and Death in Hitler’s Concentration Camp for Women | Nan A. Talese | March 2015 | 48 minutes (13,071 words)

 

Below is a chapter excerpted from Ravensbrück, by Sarah Helm, as recommended by Longreads contributing editor Dana Snitzky. Read more…

How Should Nuclear Inspections Work in Iran?

A historic Iran nuclear accord has been reached, promising to lift sanctions in exchange for the country reducing its nuclear ability. The agreement is expected to be published in the next few days and include the crucial mechanics related to nuclear inspectors’ access to sites. Scott Ritter, a former intelligence officer with the United States Marine Corps and Chief Inspector for the United Nations in Iraq from 1991 to 1998, argued against “no notice” inspections in Iran in his recent London Review of Books essay:

My first experience as a weapons inspector was in implementing the Intermediate-Range Nuclear Forces Treaty between the US and the former Soviet Union, and I’m a firm believer that on-site inspections should be part of any arms control agreement. As a United Nations weapons inspector in Iraq, I worked closely with the IAEA to investigate Iraq’s past nuclear weapons programme, and I have confidence in the IAEA’s ability to implement the Nuclear Non-Proliferation Treaty. The provisions of the NPT are at the heart of the framework agreement with Iran, and the measures contained in it – which include sophisticated remote monitoring, and environmental sampling at undeclared facilities – should be more than adequate to establish whether or not it has diverted any nuclear material to a weapons programme. The framework agreement also calls for a range of verification measures beyond those required by the NPT. These cover centrifuge production and aspects of the uranium fuel cycle such as mining and processing, and are needed to verify that Iran isn’t engaged in covert uranium enrichment using a secret cache of centrifuges and unaccounted-for stocks of uranium ore. No notice inspections to investigate ‘possible military dimensions’, however, go far beyond anything required by the NPT. The question is whether such an intrusive measure is warranted or whether, as Iran argues, the inspections would infringe its legitimate security interests.

The facts appear to support Iran’s position. Countries subjected to intrusive no notice inspections have to be confident that the process isn’t actually an intelligence-led operation aimed at undermining their legitimate interests. The nuclear framework agreement with Iran doesn’t require the IAEA to accept anything Iran declares at face value, but none of its protocols justifies no notice inspections of military sites. Iran signed the Joint Plan of Action in 2013, and has abided by the verification conditions it required without incident. This track record should count in its favour, especially when you consider the dubious results of no notice inspections since they were first carried out in 1991.

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The history of no notice inspections in Iraq does not bode well for their use in Iran. Such inspections are intelligence-based exercises. The bulk of the intelligence underpinning the US concerns over ‘possible military dimensions’ comes from the ‘alleged studies’ documents – a series of files the IAEA obtained in 2008 which appear to show that Iran had conducted some nuclear weapons development in 2002 and 2003. Their credibility has often been called into question and the Iranians declare they are fake. There’s good cause, too, to believe that much of the remaining intelligence buttressing the CIA’s case against Iran is flawed. The strange tale of the Iranian physicist Shahram Amiri, whose defection the CIA facilitated in the spring of 2009, serves as a case in point. Amiri was for several years before his defection an American agent-in-place whose reporting was used by the CIA in formulating its assessments on Iran. But his re-defection to Iran in 2010 suggests that he may have been a double agent, calling into question all his reporting to the CIA, before and after his defection. Operation Merlin, in which the CIA attempted to pass on to Iran flawed designs for a nuclear weapon, further undermines the CIA’s credibility as a source of information about an alleged Iranian nuclear weapons programme.

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Covering the ‘Black Twitter’ Beat

Asking how am I going to cover Black Twitter is like asking how I’m going to cover American culture. I’m never going to get all of it, but I’m going to pull what I find interesting.

Dexter Thomas, as interviewed by Chava Gourarie in the Columbia Journalism Review. Earlier this week the Los Angeles Times hired Dexter Thomas to cover Black Twitter and other online communities.

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The 1960s Rediscovery of Antoni Gaudí

Today, Antoni Gaudí is unquestionably perceived as an architectural giant—seven of his works are UNESCO World Heritage Sites, and after an unlikely decades-long campaign for sainthood the legendary architect could be beatified in 2016—but interestingly, this wasn’t always the case. Martin Filler explored the Spanish Catalan architect’s legacy in a piece for the New York Review of Books. According to  Filler, Gaudí languished in critical limbo for three decades after his 1926 death. It wasn’t until the 1960s that popular opinion began to shift:

Although the Expressionists and Surrealists had esteemed Gaudí as a fellow visionary, popular attitudes began to change dramatically in the 1960s, a decade of worldwide social and cultural ferment that made Gaudí’s work speak to a young generation alert to imaginative and expressive qualities long dismissed as pathologically bizarre, especially in architecture. Indeed, there is something almost psychedelic in his freewheeling aesthetic, characterized by distorted forms, propulsive patterns, kaleidoscopic colors, and quirky materials. The rediscovery of Art Nouveau during the 1960s carried Gaudí along with other newfound fin de siècle heroes of the burgeoning counterculture, including Aubrey Beardsley, Alphonse Mucha, and Louis Comfort Tiffany.

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