Search Results for: new york times

Who I Became at the Running of the Bulls

Illustration by Giselle Potter

Ella Alexander | Longreads | July 2017 | 16 minutes (3,919 words)

 

I wanted danger. My identity as a liberated woman, or at least an adventurous girl, was inextricably linked to placing myself in the way of unnecessary bodily harm and, though I’d never have admitted to it, my blue U.S. passport seemed like a strong enough shield to stop anything truly bad from happening. So, although I was a demographic outlier — a 19-year-old American girl travelling alone —
my presence in Pamplona made sense, at least in my mind. The running of the bulls presented itself to me as the ideal prepackaged brush with death, with the bonus of a possible existential realization. Knowledge of life and death, the value of every breath, etcetera.

Pamplona was just one in a series of strange places I’d found myself after neglecting to map out my trip any more definitively than a plane ticket from Jerusalem, where I had family, to Rome and another one home from Berlin two months later. I had been making strategically bad decisions all summer, using money my grandfather set aside for education to bankroll a solo-backpacking trip through Europe. Before I left, all my friends were gearing up for art gallery internships or ice cream shop jobs, and a flutter of joy ran through me every time somebody heard my summer plans and asked, “Isn’t that dangerous?” or, “Haven’t you seen Taken?”

I’d reply, “I can’t spend my life worrying about things like that,” or sometimes, “If I die then you’ll have a great story for parties. You can say, ‘I knew this girl who got murdered in Europe.’”

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Becoming Estranged from My Family ‘Was the Best Thing for Me’

Jessica Gross | Longreads | July 2017 | 20 minutes (5,000 words)

When Jessica Berger Gross told her parents not to call one summer day on a street corner in Manhattan, she didn’t know she’d never speak to them again. Seventeen years later, she remains estranged from the father who physically abused her throughout her childhood, the mother who stood by, and her two brothers, who minimized the abuse. In her memoir Estranged, which follows a much shorter Kindle Single of the same name, Gross—whose previous books include About What Was Lost, an anthology she edited on miscarriage, and the yoga memoir enLIGHTeneddetails these violent rages, and the bewildering way in which they were intertwined with love and affection.

Gross and I spoke by phone about the process of getting her history on the page, the intricacies of her family dynamic, Long Island (where we both grew up), being Jewish (which we both are), and, inevitably, the fact that we have the same name.

I’d love to start by talking about the title you chose for both your Kindle Single and your memoir, Estranged. It’s an interesting word, now that I’m rolling it around in my mind—it literally means you’ve become a stranger to your family. What does it mean to you?

At the very start of the Kindle Single, I had the definition of that word. And that is, becoming a stranger and becoming a foreigner and, in a sense, becoming strange.

When I made the decision to stop talking to my parents, I didn’t even have a word for it. I had done a lot of thinking about child abuse and I knew that that’s what had happened to me, but I didn’t realize when I said, “Don’t call me, I’ll call you,” that basically I was making a choice to become estranged. I had never met anyone who had done that, that I knew of. I’d never heard anyone talk about it. It’s such a strange thing when you take an action and it’s not till years later that you can name it.

As we’re talking, it’s occurring to me that it’s an odd word in a certain way—because the truth of it is that in some ways you were estranged even when you lived with your family, right?

Yes.

You only become estranged afterward if you feel like a stranger in your own home in the first place.

That’s so true! [laughter] My brothers would always say, “Oh, you were adopted, you’re not really a part of our family,” [though I wasn’t adopted]. But their idea was that I was different—and I really was. And everyone in my family really resented that I was different, and I felt that so strongly growing up. So, absolutely. I felt strange in my family and it was in leaving them and making my own family and the family of the larger extended family of my friends that I could no longer feel strange. Read more…

Despair All Ye Who Enter Into the Climate Change Fray

(jcrosemann / Getty)

A New York Magazine story on climate change is making the rounds on the internet, frequently being shared by people characterizing it as a “terrifying” “must-read.” “It is, I promise, worse than you think,” writes David Wallace-Wells, who goes on to tell his readers that even the most anxious among them are unaware of the terrors that are possible “even within the lifetime of a teenager today.”

What many readers seem to be overlooking is how frequently words like “may” appear in the text of Wallace-Wells’ article. “May” is in there seven times; “suggest” six times, “possible” and its variants a few more. Wallace-Wells is, of course, referencing the positions of scientists, whom he says have become extra cautious due to “climate denialism,” steering the public away from “speculative warnings” that could be debunked by future scientific progress, weakening their own case and giving weight to their opponents.

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An Unforgiving Legal System Welcomes Black Immigrants to America

Carl Lipscombe, the deputy director of the Black Alliance for Just Immigration, helps black migrants navigate legal and racial complexities in the U.S. ( Photo by John Michael Kilbane)

Hawa Allan | Longreads | July 2017 | 3500 words (14 minutes)

Words are said to have settled meanings, yet their formal definitions are often eclipsed by the images they give rise to in our minds. An “immigrant,” for example, is defined as a person who moves to live in a foreign country. Yet in the United States this word has often come to symbolize persons of Mexican, or Central or South American descent. The term “white immigrant” has a dissonant ring; those who move to the U.S. from parts of Europe or Australia are often casually referred to as “expats,” connoting a leisurely freedom of movement not typically conferred to an immigrant. A “black immigrant” is deprived of easy free associations. Black immigrants are unmarked, indivisible from African Americans whose lineage extends to the country’s inception.

The Black Alliance for Just Immigration (BAJI) has been working since 2006 to identify the distinct legal issues black immigrants face, and the burden of racial discrimination they share with African Americans in the United States. Last year, BAJI published a report with NYU Law School that provides a detailed statistical analysis of the country’s estimated 3.7 million black immigrants. This population is often caught at the intersection of racial profiling and the unforgiving immigration laws that target those with criminal records for removal. Although black immigrants make up 5 percent of the unauthorized population in the U.S., they make up 20 percent of the population facing deportation on criminal grounds. Black immigrants, according to the report, have suffered disproportionately under Clinton-era immigration legislation aimed at sorting “good” immigrants from “bad” immigrants associated with crime or terror.

I recently spoke with BAJI’s Deputy Director Carl Lipscombe about the state of black immigration in America. This is the first in a series for Longreads about the challenges faced by lawyers working during the Trump administration.

***

Hawa Allan: What is the mission of the Black Alliance for Just Immigration?

Carl Lipscombe: BAJI tackles issues affecting black immigrants using a few different approaches. One way is organizing. We work with members of our community on issues that are important to them and we empower them to take action on their own behalf. We also do advocacy, working in partnership with other organizations towards policy change on local, state and federal levels. We have staff in New York, Los Angeles and Atlanta, and we also have a policy manager based in Washington D.C. who educates elected officials about broad topics affecting black immigrants. And we have two attorneys on staff that I supervise and who provide direct legal services to members of our community.

HA: So there are three aspects to BAJI’s work — public policy advocacy, organizing, and direct legal services. Was this three-pronged mission present at BAJI’s inception or did it develop organically over time?

CL: We were started in 2006 by civil rights and racial justice leaders, veterans who saw immigration as a continuation of the racial justice struggle. They soon realized that the immigrants’ rights movement was definitely not black-oriented. There were rarely black people at the center of immigrants’ rights cases, which were very Latino-focused, so they added the aspect of engaging black immigrants with the struggle for immigrants’ rights.

HA: At least anecdotally, I’m aware of tensions between black immigrant communities African American communities, although persons outside both groups tend to lump them together on a purely visual basis.

CL: I think the issues are still the same. There is obviously a distinct impact of harsh immigration policies on black immigrants, but both groups face criminalization, economic inequality, lack of access to adequate health care, and educational inequities.

HA: I suppose I was thinking about how competition over already meager resources can tend to pit groups that should otherwise be aligned against each other. How black immigrants, being newcomers who are uninitiated in America’s racial issues, think they can somehow “rise above” discrimination.

CL: Yes, I think those are historic tensions. But from our perspective, a lot of these tensions are manufactured by elected leaders, and by corporations in order to pit black people against one another. I think these tensions are fueled by outsiders and from the media. In reality, black immigrants and African Americans are similarly situated in certain contexts. When a black person is walking down the street and a cop stops them, they’re not going to be asked “Are you an immigrant or are you African American?”

HA: Of course.

CL: Last fall, we released a report on the State of Black Immigrants. Even though black immigrants have high educational attainment rates on par with Asian immigrants, they still have the highest unemployment rates and the highest poverty rates among all immigrants. They are over represented in the deportation system, we believe, largely because of their race. Black immigrants represent only about five percent of immigrants in the country but over twenty percent of those in deportation facilities.

Apart from refugee communities, black immigrants mostly live interspersed with African Americans in cities and face the same issues when it comes to criminalization: over-policing and the ramifications of broken windows policing.

HA: When you’re organizing, do you find you’re trying to convince black immigrants and African Americans that they have more in common than they think?

CL: We’re getting people to realize that we have a shared struggle. We have this amazing program at our national conference held every couple of years called the African Diaspora Dialogues, which gets people in small groups — black immigrants and African Americans — to share their migration story and how they experience race in the U.S. So we do a certain amount of work to break down those barriers.

HA: In terms of police brutality, some of the major figures who have symbolized the gravity of this issue include black immigrants, like Amadou Diallo, who was from Guinea, and Abner Louima from Haiti. And there was a more recent case on the West Coast…

CL: Yes, a Ugandan immigrant, Alfred Olango outside of San Diego. One thing that I find striking is that over the last couple of years, there have actually been quite a few black immigrants who have been killed by police. But their cases haven’t gotten as much publicity. Alfred Olango’s sister called the police because—he wasn’t necessarily violent, she just called them to calm him down.

HA: He had a mental health issue.

CL: And he wasn’t threatening her. She didn’t feel as though she was physically in danger but thought maybe the police could help her. Alfred was killed within moments of the police arriving. He was a black refugee, he was a chef, he was from Uganda, and the spin, the immediate spin, was “Oh he had a mental illnesses.”

HA: Right, the media narrative…

CL: It was also reported that he had been arrested before for traffic violations. Because he has been arrested before it means the police should show up and kill him?

HA: When organizing around police brutality do you find that you have to provide a different level of awareness to black immigrants as opposed to African Americans?

CL: I think because of the amazing work of Black Lives Matter over the last few years and the attention that police abuse has gotten, people get it. And that’s across the board. All black people get it. Any time I’m in a taxi or I’m on one of those ride-hailing services and I talk to the drivers, who are often black immigrants, and I tell them what I do, they talk about police brutality. What I find interesting is that they always talk about immigration along with policing. So I think people get it.

HA: I was wondering whether black immigrants who are very recent residents of the United States don’t have the same understanding of how their presence is threatening to the police.

CL: America has a very unique brand of racism. I think that a lot of black immigrants are just not used to it in their home countries where are ethnic tensions, xenophobia, even racism to a certain degree — but racism in the U.S. is very different.

HA: I’m thinking about bodily movements, gesticulation. People especially from the African continent…many have rather large presences, right?

CL: Yes, our communities talk with our bodies. Our voices are loud sometimes and those types of things can seem threatening — black people who are animated.

HA: There is a certain, I believe, experiential education you get from being a black person growing up in the United States. You learn to move your body in a certain way, how to move through the world.

CL: Yes, to make yourself smaller.

HA: Make yourself smaller and make yourself safer. But as a newcomer to this American situation you don’t have that kind of education, and that can put you in danger.

CL: I was born here and I grew up in the Bronx. I was taught how to deal with the police by my family. I was told to always carry my ID to the point that I thought I had to carry ID by law. I was taught to always speak respectfully to the police so that nothing happened to me, so I didn’t get arrested or worse. A lot of immigrants aren’t taught this. They aren’t taught to cower to the police or to be afraid of the police.

HA: I was just thinking about Amadou Diallo reaching for his wallet…a simple movement like that obviously doesn’t justify the violence that followed. But I imagine him thinking that all he had to do was to prove who he was and everything would be fine.

CL: Yes.

HA: From the report on the State of Black Immigrants, I was surprised to learn that the United States Citizenship and Immigration Service doesn’t track immigration data by race, only by country of origin.

CL: I was at a conference recently where the history of immigration was being discussed. There were a number of court cases defining whiteness, and it’s surprising, given the history of our immigration laws, that we don’t track this data by race. It actually makes research on black immigrants very difficult because we have to use a combination of USCIS data and census data.

HA: Which makes the category of “black immigrant,” as defined in the report, both over-inclusive and under-inclusive.

CL: Specific communities were particularly difficult to track. For example, it is very hard to get an accurate number of Afro-Latinos in the country because some Afro-Latinos don’t self-identify as black. Latinos generally don’t self-identify as black in U.S. Census surveys.

Even among those who might self-identify as black, many of their home countries are only recently starting to recognize that some of their residents are black. It was only a year or two ago that Mexico acknowledged that there were black Mexicans.

HA: It’s fascinating that a country that was organized around race, both in the context of slavery and immigration, wouldn’t be tracking this data.

CL: Well, if they did track this data by race, it would make it a lot easier for attorneys to sue for discrimination.

HA: So BAJI was founded in 2006, and I understand that particularly damaging immigration laws discussed in the report came into effect in 1996 — crystallizing the link between the criminal justice system and immigration enforcement. Would you mind discussing this legislation: the Anti-Terrorism and Effective Death Penalty Act (AEDPA) and the Illegal Immigration Reform and Immigrant Responsibility Act (IIRIRA)?

CL: I think it’s important the two bills are taken together. The first one, IIRIRA, expanded the criminal grounds for deportation as well as mandatory detention. Originally, there were only less than a dozen offenses that could get one deported. And even in those cases, judges had discretion over whether or not to detain someone and to ultimately deport them.

After 1996 those grounds expanded to about two dozen. IIRIRA expanded the grounds for deportation and AEDPA was terrorism-related. It established a means of restitution for victims of “terrorist activity” and enabled the federal government to detain individuals believed to be involved in terrorist activities.

Up until the passing of these laws, the U.S. removed on average maybe a couple of thousand people a year. While Obama was in office, we removed on average 375,000 people a year. Obama removed more people in eight years than in the entire history of the U.S. going back to 1892.

HA: Obama used the rhetoric about wanting to keep “families” in the country and get “felons” out — the good immigrant versus bad immigrant.

CL: What a lot of people don’t realize is that the definition of “felon” under immigration law is expansive. A teenager who throws an orange at a teacher—if they are charged with assault — would be considered an aggravated felon.

HA: In your view, are these the laws that created this nexus of racial profiling and the over representation of black immigrants in deportation proceedings?

CL: Yes, they are. These laws were passed during the Clinton years, but the administrative infrastructure for their enforcement was really set up during the Bush years, after 9/11 when immigration was moved under the newly-established Department of Homeland Security.

HA: Immigration effectively became an issue of national security.

CL: Yes, and Obama further funded Bush’s administrative infrastructure.

HA: And now, of course, we have Trump.

CL: Yes — now we have Trump.

HA: His rhetoric might be bolder—

CL: But he’s using the same laws and infrastructure as Obama.

HA: After immigration was placed under this anti-terror rubric, we now have the so-called Muslim ban. With respect to the Supreme Court recently reinstating certain portions of the ban, does BAJI have any specific response?

CL: Yes—well, for a start, Trump wanted all citizens from those countries to be banned from entry, which he didn’t get and which is good. But I think the Supreme Court did create confusion by carving out an exception for individuals that have a “bona fide” relationship with a person or entity in the U.S. The definition of that term is very unclear. The administration last week issued guidance on what they considered a bona fide relationship to be. It’s limited to immediate family and fiancés and stepchildren, so grandparents will be unable to enter the U.S. As you know, a lot of this community, particularly the black community, don’t come from nuclear families. We come from cultures where the entire community is involved with child rearing and care-taking.

HA: There was a very interesting editorial in the Washington Post that used the recent Supreme Court decision as a basis for refuting the idea that lawyers alone could save us in the age of Trump.

CL: Oh yes, I saw that.

HA: When the travel ban was first instituted, there were a lot of lawyers who went to airports to represent affected persons. Then lower courts decided the travel ban was unconstitutional. There was this hope, especially with figures like Sally Yates, that maybe the law could curb the excesses of the Trump administration.

CL: I agree with that general sentiment — that the law is an important protection for immigrants and a strategic tool that can support those in crisis — but we definitely need more than the law. If we’re really going to change the system, we need to organize, we need to change the leadership, we need to change those who are creating the laws and those that are enforcing them in this harsh, egregious way.

HA: Two of the countries affected by the travel ban are in sub-Saharan Africa: Somalia and Sudan. When Trump was campaigning in Minneapolis, he called the Somalis who resettled there terrorists.

CL: Yes.

HA: Of course people have focused on Trump’s statement about Mexicans being rapists and the idea of criminalizing immigrants in general, but can you speak to his statements about not only Somalis but also Haitians with regard to TPS (Temporary Protected Status)?

CL: Historically, when we’ve talked about Latino immigration, the context has been the “valedictorian” and the “Dreamer,” the business owner and the immigrant worker—the person who is here to work. But the narrative about black immigrants has been similar black people in general: That Black immigrants are charity cases who are here to take advantage of whatever resources there are in the U.S.

HA: So when Donald Trump’s administration said they were going to review whether or not to extend temporary protected status for Haitians who fled here after the earthquake….

CL: Yes, one thing that they did, which was unprecedented, was Trump had his administration look into the criminal backgrounds of Haitians. That has never happened before.

HA: I wanted to ask you about your personal history. I see that you started off as a labor organizer and then you were a public defender, and then you moved onto doing communications for social justice organizations.

CL: I started off in labor organizing when I was in college. I was active at Brooklyn College with adjunct faculty that was organizing. I was in student government and they came to us for support. I started getting interested in the labor movement because I just saw the power of unions and that we could actually make changes in our workplace and shift power dynamics. After undergrad, I interned with an organization called Jobs With Justice, which is a coalition of unions, students, faith groups and community organizations.

What I liked at Jobs With Justice was that we worked at different intersections. It was broadly a worker’s rights and economic justice organization, but we worked on those issues as they impacted immigrants and black people and the environment and healthcare and so on. So I was exposed to these different issues. And I have always had an interest in fighting on behalf of black people and immigrants, that’s why I got into this work. When I got burnt out from organizing I decided to go to law school.

HA: Is that because you wanted to address these issues from a legal perspective?

CL: I think that legal advocacy and organizing compliment one another. When I was an organizer, we often had to work with lawyers on policy — experts and what not — and I found a lot of them just didn’t understand my community, and saw it as their jobs to tell us what we can’t do and what isn’t possible.

When I was an organizer, I felt as though the job of lawyers was to take our power away. They took power away from communities rather than adding to it. And I thought to myself that it would be great to have that skill set and to really be able to use it in a way that merged with organizing and complimented organizing. So I became a public defender after law school. And I’m from the Bronx, so I was fortunate enough to be able to work as a public defender in the Bronx.

I saw that there just weren’t attorneys who were experts in the issues affecting black immigrants. There weren’t many attorneys who were expert at litigating in immigration court, or representing immigrants with criminal backgrounds or with mental illness or histories of substance use.

When I was a public defender, I realized a lot of my clients were black immigrants and I didn’t know that there were legal organizations devoted to black immigrants. There were a lot of organizations focused on Latino immigrants and Asian immigrants but not black immigrants. I was the first person at BAJI with a legal background, so I was able to get our legal program off the ground.

HA: Progressive movements often have to be reactive because they respond to the immediate needs of people who have the least access to resources to defend themselves. Right-wing movements, to the extent that we can call them movements, tend to be more ideological: the purpose of taxes, or questions about “liberty.” They’re not immediately responding to the needs of particular groups of people.

Is there a sense that BAJI in particular, or progressive movements in general, are implementing a vision for moving society forward? Is this even possible when progressive movements are constantly on the defense?

CL: You’re right that progressives are responding to crises. We’re trying to protect the few decent laws that we have on the books, or at least prevent the worst from happening. But at the same time this work is tied to a broader vision of the world that we want see—a world where black people, immigrants, Muslims, woman, trans and queer communities are able to live with freedom and dignity.

I think that we need to keep our eye on the long-term goals. There are times when the people we work with are facing an emergency and we want be there for them, but we do it in the context of fighting for our dreams. Working with other organizations, and being a part of the Movement for Black Lives and other similar groups, I can say the same thing for them. We’re all working toward a broader vision.

The Top 5 Longreads of the Week

Photo by bass_nroll via Flickr (CC BY-NC-ND 2.0)

This week, we’re sharing stories from Eliza Brooke, Aaron Cantú, Michael Kruse, Lucinda Chambers, and Lucas Reilly.

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My Grandfather’s Fateful Goodbye, Reimagined

Illustration by Joe Gough

Karissa Chen | Longreads | July 2017 | 23 minutes (5,772 words)

 

This is how I always imagine my grandfather’s departure from Shanghai: him, a lanky boy of 19, wearing khakis and a pressed shirt, standing near the docks with a small brown suitcase in hand. I imagine the shirt to be white with intersecting gray lines, a series of chess-sized squares on his body. Maybe he’s wearing a matching beige jacket too, or a hat of some sort. I assume that going overseas was probably a big deal at the time, an occasion you were supposed to dress up for.

For some reason, in this scene, I don’t see the man traveling with my grandfather—a friend of my great-grandparents he might have called Uncle. Instead, I see my great-grandmother, small and slightly bent over, her lined face rearranging its features as she struggles not to cry. I see her gazing up at her tall boy, adjusting his shirt, touching his lapel, fussing the way mothers do. I see her pressing a sack of oranges into his palms, worried he’ll be hungry on the boat. Now he’s brushing her fingers away, annoyed, impatient. He’ll only be gone for a few weeks, he reminds her, three months at the most. She tells him not to do anything rash out there. She tells him to listen to Uncle. I can see him barely registering her words. I can see his eyes lingering on the boat and the ocean and the tiny island of Taiwan he can’t yet make out. I can see that his mind is already gone from his childhood home and she can see it too. She takes a deep breath and smiles. She tries to be happy for him, to be proud of her youngest son. She tries to remember that boys his age are fighting wars in the north, and that she is lucky, so lucky, that all he wants is to explore the world. She tries to be happy that her boy will not only be well-educated, but also well-traveled, but he is her baby boy and she is his mother and he’s never traveled so far from home before.

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When it Takes Being Thrown to Learn How to Land

Illustration by Katie Kosma

Joanne Solomon | Longreads | June 2017 | 10 minutes (2,527 words)

 

My ESL student had his first dream in English the same night I dreamt about Matias. I dream in ex-boyfriends. So the morning I left Ben’s apartment and jumped on my bike, I was already thrown. I headed down Myrtle Avenue, fast, trying to escape my own skin. I wasn’t wearing a helmet.

My courtship with Ben was filled with long bike rides: sunset trips to Red Hook, routes that wrapped around rivers and crossed boroughs. When our bikes were stolen, locked together outside a café in plain daylight, Ben gave me his mom’s sturdy Dutch road cruiser that she didn’t use anymore. It was an upgrade, with a bell and a basket and newly tightened brakes.

I had sobbed into Ben’s arms the night before about my impending breakup. I’d been having an affair with Ben on and off for months. My boyfriend, Matias, lived in Mexico City. We had loosely discussed seeing other people on the heels of a fight that ended with him screaming, “If you feel like I am wasting your time, then you should go out and meet someone who won’t!” Still, we’d never had an explicit talk about actually going through with it.

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Prog Rock: The Musical Genre That Won’t Die

Scientists say cockroaches are one of the few things that will survive a nuclear holocaust. Add prog rock to that list. Defined loosely by its intentional complexity, over-instrumentation, jazz elements, and classically-trained, ambitious musicians who rejected simpler, visceral forms of rock, the “progressive” form known as prog rock has been dissed and dismissed since it paraded its feathered hair onto the scene in the early 1970s. Even though its progressive ethos progressed itself out of existence, the prog oeuvre still has legions of fans and just as many enemies.

Why? In The New Yorker, Kelefa Sanneh examines the genre to search for answers. Did prog ever achieve its lofty goals of pushing rock into “a higher form of art”? I mean, where do you go when you’ve already reached the stars? Down into hell? For some, hell is an Emerson, Lake & Palmer synthesizer solo without end, or even one with an end.

The genre’s primary appeal, though, was not spiritual but technical. The musicians presented themselves as virtuosos, which made it easy for fans to feel like connoisseurs; this was avant-garde music that anyone could appreciate. (Pink Floyd might be the most popular prog-rock band of all time, but Martin argued that, because the members lacked sufficient “technical proficiency,” Pink Floyd was not really prog at all.) In some ways, E.L.P. was the quintessential prog band, dominated by Emerson’s ostentatious technique—he played as fast as he could, and sometimes, it seemed, faster—and given to grand, goofy gestures, like “Tarkus,” a twenty-minute suite that recounted the saga of a giant, weaponized armadillo. The members of E.L.P. betrayed no particular interest in songwriting; the group’s big hit, “Lucky Man,” was a fluke, based on something that Greg Lake wrote when he was twelve. It concluded with a wild electronic solo, played on a state-of-the-art Moog synthesizer, that Emerson considered embarrassingly primitive. An engineer had recorded Emerson warming up, and the rest of the band had to convince him not to replace his squiggles with something more precise—more impressive. In the effortful world of prog, there was not much room for charming naïveté or happy accidents; improvised solos were generally less important than composed instrumental passages.

The audience for this stuff was largely male—Bruford writes ruefully that, throughout his career, women “generally and rather stubbornly stayed away” from his performances. The singer-songwriter John Wesley Harding, an obsessive prog-rock fan, suggests that these musicians were “afraid of women,” and that they expressed this fear by shunning love songs. What they provided, instead, was spectacle. As the American crowds got bigger, the stages did, too, which meant more elaborate shows, which in turn drew more fans. Weigel notes that, in one tour program, the members of Genesis promised to “continually feed profits back into the stage show.” (At one point, the show included a stage-wide array of screens displaying a sequence of hundreds of images, and, for the lead singer, a rubbery, tumorous costume with inflatable testicles.) Yes toured with sets designed by Roger Dean, the artist who painted its extraterrestrial album covers. Dean’s innovations included enormous, sac-like pods from which the musicians could dramatically emerge. Inevitably, one of the pods eventually malfunctioned, trapping a musician inside and prefiguring a famous scene from “This Is Spinal Tap.” The competition among bands to create bigger and brighter spectacles was absurd but also irresistible, and quite possibly rational. American arena stages, like LPs, needed to be filled, and so these bands set out to fill them.

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Faster Than the Speed of Sound: An Interview with Holly Maniatty

Holly Maniatty interprets at a Rise Against concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

Cody Delistraty | Longreads | June 2017 | 11 minutes (2787 words)

 

Holly Maniatty is moving faster than anyone in the Wu-Tang Clan. She bounces up and down, her whole body undulates, her hands fly as she signs, her eyes flare precisely, her mouth articulates the lyrics. She is in the front row at the Bonnaroo music festival in Manchester, Tennessee, where she’s interpreting the concert for Deaf fans. The other American Sign Language (ASL) interpreter at the show looks at her in awe. Maniatty doesn’t pause.

Maniatty, who grew up in rural Vermont and holds degrees in interpreting and ASL linguistics, is a sensation in the Deaf community and among hip-hop fans. When she interpreted a Killer Mike concert, also at Bonnaroo, the rapper was so impressed with her rapid movements and visible passion that he jumped off the stage and began dancing with her. With a smile, he rapped a series of nasty words and phrases. Maniatty kept up; the crowd went wild.

Maniatty is an in-demand ASL concert interpreter and has grown in fame, appearing on late night shows from Jimmy Kimmel to Jimmy Fallon. Her skill is hard-won; for a single concert, she often prepares for up to 40 hours, to understand every aspect of the musical group she’ll sign for. She wants to provide near-perfect information to her Deaf patrons, so she learns everything: the group’s entire backlist, where they grew up, what charities they give to. By knowing the group she’s interpreting, she can more precisely — and more quickly — interpret their performance.

Maniatty wants to use her profile to bring greater equality to Deaf people. “There’s this whole population of culture in America that sometimes is easily overlooked and not served,” she tells me. Likewise, she wants attention turned not toward her but toward the Deaf performers who are breaking stereotypes of what it means to be a performing artist and what it means to be Deaf. She mentions her great respect for Deaf performers like Sean Forbes, Dack Virnig, and Peter Cook.

Maniatty and I discussed the boundaries of language, the complexities of interpreting, and raising awareness for the Deaf community. Throughout it all, she was upbeat and energetic, stressing how grateful she is to get to do what she does. Deaf or hearing, it’s hard not to look forward to her next concert.

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How did you become interested in ASL?

I had ideas about going to art school and I really felt like I wanted to be an interpreter and I went for it wholeheartedly. I was very fortunate to be accepted to RIT (Rochester Institute of Technology). The National Technical Institute for the Deaf is there so they have a large population of Deaf students. I lived in a dorm with Deaf people and interacted with Deaf people, and most of my friends were Deaf, so I was really lucky to have that immersive experience, and because of that, I gained the language quickly. Since then, it’s really been one of the fulfilling things I could ever think of in life, really.

I worked for a short time as a staff interpreter at RIT and as a freelance interpreter, and just randomly was asked to do a concert. They were having a hard time finding an interpreter for it. I jumped in and found that I really loved the work because of the preparatory process: going through the music and analyzing the lyrics, and doing what an interpreter would call “text analysis” of the intent of the speaker and, hopefully, the received message of the person you’re interpreting for. I fell in love with that process.

That was in between my two degrees, and I went back to school to get a degree in ASL Linguistics because I felt like there was so much more that I needed to know about the language before I could really do this at the highest level. The University of Rochester has a fabulous program that includes linguistics classes, brain, and science classes, but also a lot of Deaf history, and Deaf folklore, and Deaf poetry. I was able to take those classes, and it really helped build my skill. From there, I just started doing shows and patrons liked the interpreting that I was able to offer, and they requested me to do shows.


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Was that your big break?

After I moved to Portland, ME, I got involved in Bonnaroo and interpreted there, and, again, that was patron-driven: someone that I had interpreted for before asked if I was able to go to Bonnaroo, and I contacted the accessibility department there.

Starting at Bonnaroo was a big step for me because it wasn’t just one show a night. Over the course of a weekend, an interpreter at a festival can do fifteen to twenty shows in just three to four days. That was a big step for me and brought me to another level of being able to do a variety of music throughout one day. You could go from something that was more lyrical and folk all the way to something that someone would refer to as a hardcore rap show. It definitely stretched my skills, and I think built me up to be a better interpreter every single year that I did it. I just really enjoyed that.

There’s a fabulous team of interpreters that come from all over the country to do Bonnaroo so it was a great opportunity to learn from other professionals, and we had this great, little brain trust going on — learning from each other and working together and supporting each other through that process. It was one of the pivotal interpreting opportunities I had.

Where does your particular skill set lie?

That’s such an astute question. No one has ever asked me that. I think the things that most prepares me for this work is my ability to look at communication as a whole entity — almost this global package. I try to use as many different possible ways to communicate a message as possible. Obviously the sign language, but then there’s the poetic aspect of music that you’re always trying to relay and put that experience out there for a person that’s at a show.

I always go back to what I would term as “the old Deaf masters,” like Clayton Valli and Patrick Graybill and The National Theater for the Deaf and all those old things we watched on VHS tapes when I was in college — that’s how old I am. Going back to them and seeing how they creatively used their language and then incorporated that into the way you communicate as a human being. So accessing people’s visual representations of things — like if they’re talking about a political movement, what was the picture that went along with that political movement? Or what was the striking Pulitzer image that goes along with that, and trying to access that through the interpretation. I research how the performer moves, and I think that speaks a lot to how they feel about one particular song or album. You see the way they shift their body posture and even the way they’re projecting their voice can be different based on the album, which goes back to a time in their life.

The more you look at communication as a global thing — a global delivery as opposed to just looking at the language itself — you’re able to communicate things a lot more efficiently and a lot more effectively than if you were just kind of thinking, How can I translate this instrument to sign language? Music is about so many more things than that, and if you’re going from very rich and lush movement to ASL, which is also a very rich and lush medium, you want to take advantage of everything you have.

…the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for.

Is there something we can learn about translation from how you interpret ASL?

I do think that there are implications with any language — cultural implications. In Taiwan, February 14th is not Valentine’s Day; it was their February 14 Massacre so you couldn’t go from English to Taiwanese or whatever dialect you were using there and not understand the implication when somebody mentions February 14th. I think that in any language, you have to understand the cultural implications, and ASL is so deeply tied with American cultural experience.

I’ve learned, obviously, from my Deaf professors that you have to understand that cultural implication. I grew up near Canada in Northern Vermont, and on Quebec license plates, it says, “I will remember.” I never really understood that, and then I had a professor who was from France who explained to me the whole cultural implication of “I will remember,” as in Quebec will always remember their relationship as being kind of separate from Canada. So it’s interesting. If you delve into the culture of the language, you’ll have a more complete translation and one that moves people in the appropriate way.

What’s the most important part of interpreting music for Deaf patrons?

I think the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for. Ultimately the goal is that they’re feeling the exact same thing as everybody else. When you hit that interpreting sweet spot, there’s nothing else like it. You’re just like, “Yes! Mission accomplished!”

Tell us about the connection you make with Deaf patrons.

I did a Beastie Boys concert, and the patrons were really excited about it, and I worked really hard to make sure the cultural references in Beastie Boys songs and the funny puns were tangible. There are moments when everyone’s like, “Oh no. He just didn’t say that” all at the same time, including the Deaf patrons. That’s what you go for. Those are the moments when the twenty to forty hours of preparation for the ninety-minute show are absolutely worth it.

I don’t know about you, but I definitely had experiences where I’m at a concert and I think a song means one thing, and then I’m in a crowd of people and we’re all kind of feeling the same thing, and then I see the performer and I’m like, “Oh, that’s what they meant?” I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it. That’s really the challenge. You’re just setting an opportunity before somebody, and they grasp it just like everybody else.

I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it.

Why hip-hop?

It just became my thing over the last ten years of interpreting. The Beastie Boys concert was a huge education for me because I was like, “Yeah, I can do that.” And then I was like, “Wait a minute. What is this song about? Wait, who and what are they referencing?” I didn’t grow up in metro New York City so I didn’t know about the Pelham train so I had to look that up and I read all of that. And I mean that whole song has like seventeen different historical references about Manhattan in it and for someone who didn’t grow up there, that’s huge.

I ended up falling in love with the simplicity of hip-hop. It’s this really lush and diverse use of language. Everyone’s really excited about Hamilton because it’s telling a story in a more modern way, but hip-hop’s been doing that for a long time. They broke barriers. They broke social barriers, racial barriers standing for a long time. I think the masterful way that people use language in hip-hop songs is just amazing. It just fascinates me. I read everything I can about hip-hop culture. Every single time, in the same way that I feel like I learned something new about American Sign Language on a weekly basis, I’m learning something new about hip-hop on a weekly basis.

Holly shakes hands with Method Man from the Wu-Tang Clan while interpreting their concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

Hip-hop is often the place where the vernacular of American English is first stretched. Are you likewise trying to expand the possibilities of ASL?

I’m a second-language learner, so I will never use ASL to one hundred percent of its potential like a native user. I understand and respect that. ASL is so complex and has so many beautiful nuances. It really is a perfect medium to translate any kind of hip-hop, just the way in which you can communicate so many concepts very, very quickly. Many of the aspects of ASL are spatial. We use first-person perspective and storytelling mode. It’s literally the perfect medium to make this accessible in a different language.

To what extent is the body a vital interpreting tool?

I think it’s super important. In preparation for a show, you have to think about the lyrical story and the story of the person who wrote it, but you have to think about the musical story too. Jay Z, in 99 Problems, uses this really awesome technique where there’s this weird static noise behind the lyrics where he’s “becoming” the cop that pulls him over. The way in which people are mixing and DJs are mixing their songs with these acoustic effects is really relayed in your body and the way you’re positioning your body in interpreting, and I think that — as much as the words — is important. The context is important, and the beat is just as important. There are some songs you know in just the first three seconds, like It’s Tricky from Run DMC. And that’s really important. If you can make your body movements equally as iconic as the music that’s written, it just enhances the access to the concert and to the musician.

What’s the most creative you’ve ever had to be when signing a lyric?

I think one challenge was when we were doing a back-to-back concert with Eminem and Jay Z. They’re very different performers, with very different approaches to the way they deliver the same genre of music. You have to be able to show that. Eminem had done a lot of sampling of other R&B like Rihanna, so that was a big challenge — to be really visceral like him and then kind of emotional like her in the same song and just kind of switch back and forth between that based on the lyrics and the hook.

I think, too, ideally as an interpreter, you’re making yourself vulnerable to whatever emotion the music is about. So there are some songs that are emotional and you have to go there, and it’s a risk. You really go the whole way and try to make the interpretation as accessible as possible even if it’s emotionally risky for you and other people there.

What do you see as your contribution to the Deaf community at large?

I hope my contribution to the Deaf community is bringing a greater spotlight to their need for access to interpreting. Not just concert interpreting — any kind of interpreting. The Americans with Disabilities Act just had its birthday; it’s twenty years old and people still struggle on a daily basis to get interpreting services for basic things like doctor’s appointments and surgeries.

I hope that somebody hears about this crazy person doing whatever concert and then looks at my page and sees maybe something about a Deaf performer like Sean Forbes or Dack Virnig and then they check out Deaf performers and then they go to their page and say, “Oh wow, this Deaf person is posting that the EDHI law is up for renewal in the United States House and that’s for early detection of hearing loss in children so that there can be ASL services and early intervention services.” There’s this whole population in America that sometimes is easily overlooked and not served.

Interpreters have an inside look on people’s lives. It’s a huge privilege being in a partnership with the Deaf community and Deaf culture. I will continue interpreting. and I will continue trying to be an advocate for access for Deaf people.
 

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This interview has been edited for length and clarity.

Cody Delistraty is a writer based in Paris. Follow him on Twitter: @delistraty.

After Marriage Equality, to Party, or to Protest?

Spenser Mestel | Longreads | June 2017 | 16 minutes (4,021 words)

 

June 26th, 2015 starts out as a regular Friday. At my summer internship at a financial fraud firm in Midtown East, Manhattan, I try to finish my work early so I can leave by 3 p.m., as I’ve done for five of the past six Fridays, but all I can manage is to listen to the fluorescent lights hum. I’m hungover. With a heavy sigh and a hand on my forehead, I go to open my project for the day. Just then, a friend texts me: “We won.” It takes a minute to register. I’d had a feeling the decision might come today, but I shrug, stand up, and walk to the office kitchen to make tea. My head hurts.

I walk back to my desk, a small cubicle, and sit down inside the wall with my name (misspelled) on a temporary laminated sign. I stare at the icon under my cursor, “Anti-Money Laundering,” and decide to check the news instead. I scroll past the soaring rhetoric and indignant vitriol — nothing I haven’t read before. The other summer intern walks past my desk. “We won,” I say without inflection. “It was five to four.” She smiles and sits down at her computer. Then, I see Nic, an analyst, and the news starts to feel more urgent. “You and I can finally get married,” I yell to him from across the room. He shifts in place, his eyes darting between the rows of people seated between us. “Yeah, let’s go right now,” he says with a forced laugh. No one looks up from their screens, and I sit back down at my desk. The fluorescent lights hum.

Still a little groggy, I check Facebook on my phone and watch a video of the spectators waiting to hear the decision outside the Supreme Court. “I’m so scared,” a voice says off camera, “I’m shaking.” Then the crowd erupts around two women, who start hugging. The one facing the camera has her eyes shut tight behind rectangular glasses, her left hand pressing her partner’s head against her own, the other holding a sign: Be Proud. A demonstrator with a rainbow bandana around her neck smiles and speaks into a microphone: “We weren’t sure. We weren’t at all sure, but how could you not be here for this?”

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