The Longreads Blog

What Street Suffixes Can Tell Us About Home Value and Neighborhood Size

Next we looked at street suffixes — the “roads,” “drives” and “boulevards” — and found that, for instance, homes on “Washington Street” are usually different from homes on “Washington Court.”

For one thing, a house on Washington Street is probably older. Different street suffixes were popular at different moments. “Streets” and “avenues” were stylish in the 1950s, “ways,” “circles” and “courts” in the late ’80s.

Street suffixes also offer clues about the size of their neighborhood. Boulevards and avenues include the most homes on average, while courts and lanes include the fewest.

Most significant, suffixes have a lot to say about home prices. Homes on “streets” are almost always among the least valuable. If you’re looking for a higher-value home, you’re much more likely to find it on a “way” or a “place.”

Spencer Rascoff and Stan Humphries, writing for the New York Times. Rascoff and Humphries analyzed years of data about home sales and listings to learn about the relationship between home value and street name.

Read the story

Björk’s New Album Is ‘Almost Like a Diary’

Photo: Peter Reid

This time, it’s personal: Björk describes her latest album, Vulnicura, as a singer/songwriter endeavor. In this extraordinary interview with Jessica Hopper (an excerpt from the upcoming issue of the Pitchfork Review), the enigmatic musician talks candidly about sexism in the arts and her musical partnerships and influences, and she touches briefly on the emotional devastation that inspired her songs. Here, Björk shares her advice for other women artists:

I have to say—I got a feeling I am going to win in the long run, but I want to be part of the zeitgeist, too. I want to support young girls who are in their 20s now and tell them: You’re not just imagining things. It’s tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I’ve been guilty of one thing: After being the only girl in bands for 10 years, I learned—the hard way—that if I was going to get my ideas through, I was going to have to pretend that they—men—had the ideas. I became really good at this and I don’t even notice it myself. I don’t really have an ego. I’m not that bothered. I just want the whole thing to be good. And I’m not saying one bad thing about the guys who were with me in the bands, because they’re all amazing and creative, and they’re doing incredible things now. But I come from a generation where that was the only way to get things done. So I have to play stupid and just do everything with five times the amount of energy, and then it will come through.

When people don’t credit me for the stuff I’ve done, it’s for several reasons. I’m going to get very methodical now! [laughs] One! I learned what a lot of women have to do is make the guys in the room think it was their idea, and then you back them up. Two! I spend 80% of the writing process of my albums on my own. I write the melodies. I’m by the computer. I edit a lot. That for me is very solitary. I don’t want to be photographed when I’m doing that. I don’t invite people around. The 20% of the album process when I bring in the string orchestras, the extras, that’s documented more. That’s the side people see. When I met M.I.A., she was moaning about this, and I told her, “Just photograph yourself in front of the mixing desk in the studio, and people will go, ‘Oh, OK! A woman with a tool, like a man with a guitar.’” Not that I’ve done that much myself, but sometimes you’re better at giving people advice than doing it yourself. I remember seeing a photo of Missy Elliott at the mixing desk in the studio and being like, a-ha!

It’s a lot of what people see. During a show, because there are people onstage doing the other bits, I’m just a singer. For example, I asked Matmos to play all the beats for the Vespertine tour, so maybe that’s kind of understandable that people think they made them. So maybe it’s not all sexist evil. [laughs] But it’s an ongoing battle. I hope it doesn’t come across as too defensive, but it is the truth. I definitely can feel the third or fourth feminist wave in the air, so maybe this is a good time to open that Pandora’s box a little bit and air it out.

Read the story

Life with Mental Illness: A Reading List

From the CBC documentary "Forever Child"

Below is a guest reading list by journalist Genna Buck. Buck wrote our recent Longreads Member Pick, “Autistic and Searching for a Home,” published by Montreal’s Maisonneuve magazine. She was generous enough to share this follow-up reading list—one story, one documentary, and three books—on what it’s like for those who suffer from mental illness, and for the families that care for them.  Read more…

The Inequality of Maternity Leave in the United States

Photo by vinothchandar

In Bloomberg Businessweek, Claire Suddath reports that there are only two countries in the world that don’t have some type of legally protected, partially paid leave for working women who just had a baby: Papua New Guinea and the U.S. The result is another big gap between the haves and have-nots:

The policies vary widely across industries and pay grades. A BLS survey of “business, management, and finance” workers—basically, those in white-collar jobs—found that 26 percent of them get paid leave. At many Silicon Valley companies, which compete for talent, new parents have it made. Facebook offers a little more than four months to everyone. Google offers five for mothers and three for fathers or new adoptive parents. The company developed its policy a few years ago when it noticed that many new mothers were quitting their jobs. After it added two more months and offering full pay, the number of new mothers who left the company dropped by half.

Some older companies also have generous policies. Goldman Sachs offers four paid months, and General Electric offers two months to moms and two weeks to dads or other parents. Waitresses and sales clerks are often out of luck; only 6 percent of service workers get anything at all. That means the ability to adjust to parenthood, learn to breast-feed, and manage a newborn becomes a luxury only certain people can afford. “We have these policies set up from the Mad Men era when dads worked and moms stayed at home. But that doesn’t reflect the American workforce anymore,” says Gillibrand, who as partner at the Manhattan law firm Boies, Schiller & Flexner wrote the firm’s maternity leave policy in 2002.

Read the story

Link Rot, or Why the Web May Be Killing Footnotes

The Web dwells in a never-ending present. It is—elementally—ethereal, ephemeral, unstable, and unreliable. Sometimes when you try to visit a Web page what you see is an error message: “Page Not Found.” This is known as “link rot,” and it’s a drag, but it’s better than the alternative. More often, you see an updated Web page; most likely the original has been overwritten. (To overwrite, in computing, means to destroy old data by storing new data in their place; overwriting is an artifact of an era when computer storage was very expensive.) Or maybe the page has been moved and something else is where it used to be. This is known as “content drift,” and it’s more pernicious than an error message, because it’s impossible to tell that what you’re seeing isn’t what you went to look for: the overwriting, erasure, or moving of the original is invisible. For the law and for the courts, link rot and content drift, which are collectively known as “reference rot,” have been disastrous. In providing evidence, legal scholars, lawyers, and judges often cite Web pages in their footnotes; they expect that evidence to remain where they found it as their proof, the way that evidence on paper—in court records and books and law journals—remains where they found it, in libraries and courthouses. But a 2013 survey of law- and policy-related publications found that, at the end of six years, nearly fifty per cent of the URLs cited in those publications no longer worked. According to a 2014 study conducted at Harvard Law School, “more than 70% of the URLs within the Harvard Law Review and other journals, and 50% of the URLs within United States Supreme Court opinions, do not link to the originally cited information.” The overwriting, drifting, and rotting of the Web is no less catastrophic for engineers, scientists, and doctors. Last month, a team of digital library researchers based at Los Alamos National Laboratory reported the results of an exacting study of three and a half million scholarly articles published in science, technology, and medical journals between 1997 and 2012: one in five links provided in the notes suffers from reference rot. It’s like trying to stand on quicksand.

The footnote, a landmark in the history of civilization, took centuries to invent and to spread. It has taken mere years nearly to destroy. A footnote used to say, “Here is how I know this and where I found it.” A footnote that’s a link says, “Here is what I used to know and where I once found it, but chances are it’s not there anymore.” It doesn’t matter whether footnotes are your stock-in-trade. Everybody’s in a pinch. Citing a Web page as the source for something you know—using a URL as evidence—is ubiquitous. Many people find themselves doing it three or four times before breakfast and five times more before lunch. What happens when your evidence vanishes by dinnertime?

Jill Lepore, writing for the New Yorker about the Internet Archive and the difficulties of preserving information on the Web.

Read the story

An Ex-Industrial Fisherman Rethinks His Job

Bren Smith. Photo by echoinggreen

Diane Ackerman | The Human Age: The World Shaped By Us | W. W. Norton & Company | September 2014 | 16 minutes (3,877 words)

 

Below is an excerpt from the book The Human Age: The World Shaped By Us, by Diane Ackerman, as recommended by Longreads contributor Dana Snitzky. Read more…

How the MTA Introduced the Touch Screen to New York City

In a recent piece for Next City writer and illustrator Aaron Reiss looks at the design of the MTA’s automated ticket kiosk. As a germaphobe, Reiss hates the amount of screen-touching the MTA kiosk requires, but as he investigates the history of the machine and meets with its creator he begins to understand the reasoning behind the design:

The first thing [the machine’s creator, industrial designer Masamichi] Udagawa did was to provide some context for the realities of New York City in the late 1990s, when the MTA ticket vending system was being developed. What I hadn’t realized before was exactly how novel these machines were at the time.

“This was the first time a touchscreen was really [going to be] introduced to the public [in New York City],” remembered Udagawa. “When [the MTA ticket] machine came out in 1999, 50 percent of subway riders didn’t have bank accounts, so they had no experience with ATMs, let alone touch screens.”

It’s interesting to note here how in the late 1990s the ATM could be used as both an inspiration and as a cautionary tale. Remember, the iPhone was a good seven years off and touchscreens were far less common than they are today. That guided Antenna’s design in a major way. “It was a different world in ’99, even if it was only 15 years ago,” Udagawa said.

The issue is perhaps best illustrated by Udagawa’s explanation of the “Press to Start Screen,” one of the features of the MTA design that most niggled at me.

A huge number of people who tested early mock-ups of the machine were at a complete loss when met with the new touchscreens, he said.

At this point, I was beginning to see the problems with my hyper-efficient ideas of trimming excess screens. I was quickly grasping that the system I battled with daily was created for a different time.

In the late ‘90s, when Udagawa and his team were hired by the MTA to make the machines more user-friendly, riders had a very different relationship with technology and in particular, with technology in the public realm.

Aaron Reiss, writing for Next City. 

Read the story

Slither and Hiss: Four Stories About Snakes

This week, I’m sharing four stories about snakes and the people who love, hate, and tolerate them in equal measure. But first, a haiku:

Scary, beautiful
Important to religion
Slithering and scaled.

1. “The Pentecostal Serpent.” (Asher Elbein, The Bitter Southerner, September 2014)

An Atlanta zoo. A dusty office at the University of Tennessee. The mountains of Appalachia. A small church in Alabama. How has the life of the handled snake touched each of these? Read more…

The Unlikely Roots of Solitary Confinement

In a perverse tribute to human endeavor, solitary confinement began as a reform. Thinkers in Britain, the Netherlands, and the United States in the late 18th and early 19th centuries imagined that it might be possible to induce criminals to change from within, especially if they could be kept isolated from one another and from the corruptions of the outside world. The philosopher Jeremy Bentham’s famous design for a Panopticon—a circular prison with a central “inspection house” that allowed authorities to look into any cell at any time—was predicated on the idea that the prisoner under constant surveillance would internalize authority’s gaze, and cease misbehaving.

The Panopticon itself was never built, but Bentham’s ideas of solitary confinement and penitent reflection appealed to Pennsylvania Quakers, who incorporated them into an idea for a new kind of prison that was built. Philadelphia’s huge Eastern State Penitentiary, completed in 1829 and still standing, deviated from the Panopticon by making no cell visible to any other; rather, cells were located in corridors that radiated like spokes on a wheel from a central hall. Each cell had a Bible, and each prisoner was given piecework jobs. Cultivators of silence, the Quakers believed that isolation would help criminals mend their ways. The Pennsylvania system was copied all over the world, and the word “penitentiary” became universal.

One reason for the rapid spread is that the new penitentiaries appeared to be an advance over capital and corporal punishment, which had been the main penalties up to that time. As Michel Foucault observed, the locus of punishment shifted from a criminal’s body to a criminal’s mind. Reformers in England believed they had found in solitary confinement the “most terrible penalty” short of death that a society could inflict—and yet, in their view, the penalty was also “the most humane.” It turned out that the therapeutic value of isolation was negligible; in fact, solitary confinement made prisoners worse, to the point of driving many of them mad. The penitentiaries were successful, however, in inflicting punishment and keeping prisoners away from society—which, people felt, was on the whole a bargain.

Ted Conover, writing in Vanity Fair about the psychological horrors of solitary confinement.

Read the story

What It Was Like to Record Michael Jackson’s Voice

The Jackson 5 in 1972. Photo via Wikimedia Commons

I was still in Detroit, and I got a call from Berry Gordy — he was out in California — and he said, “We signed these kids. We finished the album and listened to all the mixes, and I don’t like any of the mixes. I’ll send you the multitracks, and I want you to remix the whole album.” And I said, “Anything you want me to do?” He said, “No, do what you think is best.” It was The Jackson 5’s first album. I was in the studio, all by myself mixing. I’ll tell ya, the first time I heard Michael’s voice, my jaw hit the floor. “This little kid can sing!” But yeah, that’s how it started, and, like I said, that’s how he [Berry] trusted people. He trusted my ability to scrap all the mixes that he had, send me the multitracks, and say, “You do it.”

So the first time you heard Michael’s voice, would you say that you instantly knew he was the real deal?

His pitch was great and he had good emotion. He was like an adult in a kid body. He really impressed me. He wasn’t just singing words — he came from the heart. Once I moved up to L.A., I was with him a lot. Michael was a good kid; I really liked Michael. He would sit next to me in the control room and would ask, “What does this do? What does that do? Why does that happen?” He was very into the behind the scenes thing too. He was always fascinated by the equipment, how things were accomplished, and how you do it. He was very soft-spoken and very polite, until he got behind a microphone, and all of a sudden, bang — “Who is that guy?” I liked him a lot. He was a very nice person. He was genuine. It was not easy to be Michael Jackson. He couldn’t go anywhere without putting on a disguise, because he’d be mobbed. I heard one time he had never been into a grocery store, because he couldn’t even walk into a grocery store. Jermaine [Jackson] was telling me they went to a grocery store when they’d closed, and they flipped the manager a couple of bucks so that Michael could walk around. He couldn’t believe all the aisles and shelves of food — that blew his mind.

Russ Terrana, in Tape Op magazine, on his time working as Motown’s chief studio engineer.

Read the story