Search Results for: Business

Pay the Homeless

Santanu Majumdar / Getty

Bryce Covert | Longreads | June 2018 | 10 minutes (2,546 words)

He was standing on the median of a busy road one morning in the dead of a Massachusetts winter. With bare hands, he clutched a sign asking for money. I was a freshman in college driving to CVS, warm in my car.

I grew up in a rural beach community, where I hadn’t encountered many panhandlers. My experiences with people asking strangers for money came from a few family treks into New York City. Still, I had somehow absorbed a lesson—either spoken or implied, I can’t quite remember—about how to react: Don’t give any money when people ask for it. Doing so will only lead to bad things. The bad things weren’t specified, but drugs and alcohol were likely culprits, with the idea being that giving money to an addict hurts more than it helps. So when I passed that man asking for change, I wasn’t sure what to do.

Read more…

The Road to Asylum

As dawn arrives, Marfil Estrella looks out the window of the bus that will take her from San Salvador, El Salvador to Guatemala City, Guatemala. Photos by Danielle Villasana.

Alice Driver | Longreads | June 2018 | 21 minutes (5,300 words)

DISPONIBLE EN ESPAÑOL

“I want to finish elementary school.” — Karla Avelar, 40, founder of the Comcavis Trans Association, which advocates for LGBTI rights in El Salvador

* * *

“Women, don’t be deceived,” boomed the weary, yellow-eyed preacher, his sombrero tipped forward with a drama fitting for his bus-ride sermon, one that would last all the way from San Salvador, the capital of El Salvador, to Guatemala City. As he made his way down the aisle of the bus, he stopped to touch women and girls on the head or the arm. “Don’t let men trick you,” he shouted, holding his bible up so high its well-worn pages brushed the roof of the bus. He didn’t touch Marfil Estrella Pérez Méndoza, 26, whose chosen name translates to Ivory Star. As she rested her round, hopeful face on the bus window, dark eyes peering out into the rainy grayness of early morning, the preacher passed by without laying a hand. “How do you say asylum in English?” she whispered.

Marfil Estrella was born in Cuscatlán, El Salvador, in a body that never felt like her own. She was assigned male at birth, and at 15, she came out as gay to her family. Their response was to disown her. “They told me that I brought shame on the family, that I should forget about them, and that I needed to leave,” explained Marfil Estrella. Like many members of the LGBTI community in El Salvador, her family forced her onto the street, and her schooling ended abruptly at ninth grade because she had no money to continue. She fled to San Salvador and slept in a park where she met other gay boys. “I saw a transsexual, and I said, ‘I want to be like her! I want to be like her!’” she recalled. She lived on the street, grew out her hair, and began to dress in women’s clothes, but she had no way to earn a living and consequently became very thin. Eventually she started to do sex work, one of the only options available to trans women in El Salvador to earn money. Read more…

Can the Political Override the Personal?

graffiti reading "the feminists are taking over!"
And not a moment too soon. (Photo by Rich Anderson via Flickr (CC BY-SA 2.0))

In an essay at n+1, Harmful to Minors author Judith Levine looks back at her ideological and sexual history, and at the contradictions that challenge a young woman simultaneously burgeoning into her feminist and her sexual selves. Her wide-ranging retrospective paints a particular picture of a young feminist in 1970 en route to exploring bigger issues: the concept that the definition of “consent” might be historical, and the tensions between the personal and political (or what we think is the political) in the midst of the sexual revolution.

His fly is unzipped. When did that happen? He is kissing my mouth. Technically speaking, he’s a good kisser. I concentrate on this and try to relax, as instructed.

His pants are on the floor and mine are halfway down my legs. Did he do this or did I? He presses himself against my crotch. I squirm. Does he think I’m encouraging him? He moves more vigorously. Sal’s and my lovemaking, languid and aimless, floats before me like a childhood idyll. Adam’s parts are making contact with my parts, one businesslike step after another.

This is sex is the adult world, I think. Boy meets girl. Boy fucks girl. Girl fucks boy. Boy gets what he wants. Girl—no, Liberated Woman—gets what she wants. I wanted this, I remind myself.

If heterosexual sex is like sleeping with the enemy, should the good feminist be a political lesbian? Perhaps unfortunately, desire doesn’t really work like that.

But it is one thing to know something and quite another to feel it, and there’s a great distance between what you think you should desire and what you desire. With women I see the light; the light burns with rage at men. But in the dark with a man, another desire burns. The inescapable fact is that I still want men and want them to want me; I still wish to love and be loved by a man. With time and the help of consciousness-raising and a growing pile of users’ manuals like Our Bodies, Ourselves, I am getting to know my body and liking sex more and more. But it will be years before I have an orgasm in the same room with another person, as one CR group member puts it.

I continue to conduct my sex life according to the folkways and wisdom of the sexual revolution: If you can’t be with the one you love, love the one you’re with. When I fail to be swept into sexual ecstasy, the rumor of frigidity whispers icily into my ear. The women’s movement, meanwhile, has given me permission both to please myself and to reject men. I whipsaw between self-abnegation and self-righteousness. The feminism that is the key to my sexual liberation also erects a barricade between my beliefs and my happiness.

Read the essay

On Mourning, Learning a More Sober Fandom, and Letting Go

DEERFIELD BEACH, FL - JUNE 23:Hip-hop mourns rapper XXXTentacion after fatal shooting at roadside memorial. The Rapper Jahseh Dwayne Onfroy, who performed under the name Xxxtentacion was shot, June 18, 2018 on June 23, 2018 in Deerfield Beach, Florida. Credit: Hoo-Me.com / MediaPunch /IPX

Jahseh Dwayne Onfroy, the singer-rapper known as XXXTentacion, died after an apparent armed robbery on June 18. He was 20 years old. His first album, 17,  debuted at number two on the Billboard 200 last August, and a follow-up, ?, landed the number one spot in March. The popularity of his emotionally raw lyrics and sparse, cutting beats did not wane when allegations of strangulation, head-butting, kidnapping and other forms of physical and sexual abuse were made public last September.  In fact, XXX’s appeal only grew; fans as well as music industry insiders seemed to double down on their support. When the streaming service Spotify announced a plan to classify XXX and R. Kelly’s music as “hate content” and curtail promotion of the two artists, representatives of established hip-hop acts and label heads protested. Spotify abandoned the policy less than a month later, citing its “vague” language as one of the reasons for retracting.

I wrote about the accusations XXX’s former partner made against him in a post last month on Kelis, Nas, and hip-hop’s #MeToo problem. At the time, I hadn’t yet spoken to enough people younger than me, like my 16-year-old nephew, to try to understand the hold XXX’s music had on them. I hadn’t thought enough about how, when I was 15, I’d lose myself on the dance floor to 2pac’s “How Do U Want It,” finding respite from everything going on at home. Pac had already been accused and convicted of sexual assault by then, and though I didn’t yet have the language of feminism to help me process things, I have enough faith in my own intelligence to believe there was more to my love of Pac than simply ignorance or self-hate. He had a ferocious creativity and communicated a sense of striving and overcoming, and he was defiant of the hypocrisy of respectability. I needed to tap into all that to survive those times. Like XXX, Pac often toyed with the possibility of his own early death, and he lived racing towards it. At 15, I read this, too, as defiance.

Still, adult-me is resolutely angry about the harm these and other hip-hop men have caused. I am also curious about what it is in XXX’s desperately sad body of work that his fans cannot bear to part with. I can wager guesses, because we live in desperate times. This is a burning house with a weaponized high court, menacing ICE agents, screaming toddlers at the border and the killing of innocents in our interior. We want our heroes to transcend these circumstances, but often, they simply reflect our own horror right back at us.

Reporter and critic Stephen Kearse tries to make sense of XXX’s enduring appeal in a thoughtful essay for Pitchforkfor which he speaks to some of XXX’s listeners.

I sought out XXXTentacion fans expecting to meet reactionaries and trolls mired in bad faith and adulation—a cult, essentially. Instead I found folks who make the same choices and suspensions of disbelief as other fans and listeners, consumers enthralled by and navigating the same badlands of treacherous content as the rest of us. These fans’ relationship to XXXTentacion was—and, perhaps more than ever, is—entirely based on the music and its importance to them, and everything outside of that was dismissible hearsay. For them, “the charges” against him took the form of a vague stigma without a particular origin.

I was alarmed by their skepticism, but the way XXXTentacion’s fans conflated newsgathering, rumors, and #inspiration was no different from radio DJs or Reddit users opinionating into the void. Stigma is the opposite of prestige, but it functions the same way, providing a readymade lens for interpreting art regardless of new terms or information. This doesn’t mean that XXXTentacion and his fans were beyond reproach or that the widespread reluctance by the press to embrace his music was unwarranted. But it does reveal the limits of music being treated as a lifestyle—to embrace or reject wholesale—and artists being worshipped rather than engaged with, challenged, doubted.

If our current cultural moment is predicated on a more honest reckoning with who we idolize and who is harmed by that idolatry—the abused, the assaulted, the discarded, the ignored—perhaps we should also consider the how just as emphatically.

Kearse says a large part of our problem is the nature of fandom itself — how we adore our favorites so unequivocally. He wonders how we can love what we love soberly. By the end of the essay, Kaerse describes how his own approach to listening to and critically engaging with music has changed.

Taking abuse allegations seriously has altered how I discuss music, professionally and personally. I don’t leave artists’ controversies out of reviews or shy away from the hard questions in interviews. I don’t mount convoluted defenses for questionable lyrics, even for dead or respected artists. I respect and acknowledge the apprehension of other listeners when a song or line or tweet grates. Above all, I no longer stan, for anyone. I realize this could never be the universal approach to ethical consumption—contrary to the saying, not everybody’s a critic. But it’s a system of constant engagement, with artists, with their actions, and with myself. Even for my faves, finality never comes.

Is this sober approach to fandom enough of a stand? Kaerse’s piece reminded me of the work of Pearl Cleage, whose essay “Mad at Miles” from a now out-of-print  volume of the same name, grapples with the crimes jazz innovator Miles Davis admittedly committed against actress Cicely Tyson. Certainly, the fans of Davis occupy a more rarefied space in the American imaginary than those of any Soundcloud rapper. It’s nearly impossible to conceive of a world where Kind of Blue isn’t heralded. In her piece, Cleage spends time with Davis’ music and takes care to consider its utility, asking, “Can we make love to the rhythms of ‘a little early Miles’ when he may have spent the morning of the day he recorded the music slapping one of our sisters in the mouth?”

While Kearse gives us a blueprint for ethical consumption of the work of artists who cause such harm, Cleage suggests there can be none.

XXXTentacion’s death has caused another surge in his music’s popularity. I listened to “SAD!” for a while on a trip last week. On the track, the rapper threatens suicide if a lover leaves. That’s an abuse tactic, and it me hurt to listen. I wondered if my nephew, who makes beats and had been mournful of the late rapper’s death, was okay, so I reached out. That is all I know to do.

Further Reading:

Nurses, Unite!

Getty, Illustration by Katie Kosma

Livia Gershon | Longreads | June 2018 | 9 minutes (2,201 words)

Kate Phillips, a nurse who works in the intensive care unit at The Johns Hopkins Hospital, in Baltimore, is part of a group trying to form a union. “Every nurse here has talked about times where he or she felt unsafe because there was not enough staffing, not enough equipment, or medicines came late because there were not enough pharmacy techs,” she told The Sun. The administration, she went on, “can basically make all the decisions and they don’t look at things from the perspective of patient care like we do.” This past January in Virginia, Patty Nelson, a psychiatric nurse who is the chapter chair of her local union, called on the state’s general assembly to expand Medicaid as soon as possible, citing clients with mental illness and addiction who can’t get the treatment they need. And the California Nurses Association (CNA), the largest union of nurses in that state, has emerged as a champion of a single-payer health care system, fighting their way to their capitol. “We understand that these legislators are not going to do this on their own,” Bonnie Castillo, a registered nurse and executive director of the union, told California Healthline, a health care news site. “It’s going to take a movement of their constituents, nurses and other health care professionals. Legislators are going to need an intense amount of pressure, and that’s what we’re doing: We’re knocking on every door, we’re meeting and organizing.”

Nursing work, like most other health care jobs, is growing fast: the Bureau of Labor Statistics projects that the United States will add 438,100 jobs in registered nursing by 2026. Their strength in numbers has also brought organizing power: while most of the labor movement has declined in the face of pressure from unfavorable laws and moneyed opposition, in the past decade, nurses’ unionization rates have been gaining momentum, with tens of thousands more members.

Read more…

Just Try It, You’ll Like It, It’s Good for You

a bottle of soymilk next to a bowl of peeled soybeans and another bowl of whole edamame pods
Photo by Kjokkenutstyr Net (CC BY-SA 2.0).

The supermarket dairy aisle is increasingly the aisle of alterna-milks… but it all started with soy milk. Nadia Berenstein‘s deep dive into the history of soy milk at Serious Eats explains how soy milk was a hard sell for Americans until the Seventh-Day Adventists — who are vegetarian as a matter of of faith and are responsible for inventing many plant-based meat substitutes — decided to have a go at it.

Adventism’s soy-milk saint is Harry W. Miller, a doctor and medical missionary who spent decades in Japan and China, where he first became interested in soy foods. In 1931, Miller established an Adventist medical center in Shanghai, where cow’s milk was scarce and costly and where, though a handful of commercial soy-milk factories had recently begun operations, soy milk was usually not considered suitable for young children. In a series of feeding experiments, Miller and his medical staff showed that infants raised on soy milk were healthier than those given cow’s milk or Western baby foods; only breastfed babies did better. Cheaper and more nutritious than dairy milk, soy milk, Miller believed, was a perfect food—not just for babies, but for everyone—and he planned to build a soy-milk factory in Shanghai to make it more widely available.

There were just two problems: the flavor, and the farting. As traditionally prepared in China, soy milk often had a bitter taste and a peculiar flavor that soy-industry researchers call “beany.” “Beany” has variously been described as chalky, cardboard-y, or fishy; resembling sweaty feet; or reminiscent of licking a wet popsicle stick—all of which hint at its prismatic unpleasantness, particularly to Western palates.

Miller eventually had a divine revelation and figured out how to de-fart soy milk, but his first try at mass production didn’t go so well.

Miller’s Vetose Soya Milk factory began producing a bland, un-beany soy milk in Shanghai in 1937—a terrible time and place to start a new business. When the Japanese military invaded, Miller and his family fled, and the factory was destroyed in the ensuing fighting.

(Don’t worry! He started over again in Ohio.)

Read the story

Arundhati Roy: “Fiction is a Universe”

Arundhati Roy talks to a student during a 2016 march demaning the release of Delhi’s Jawaharlal Nehru University students who were arrested on sedition charges. (AP Photo/Manish Swarup)

In The Guardian, Tim Lewis curates an unconventional interview with Arundhati Roy: all the questions come from fans, famous and not. I particularly love her articulation of the ways in which all her writing, fiction and non-fiction, is political, in response to a question from writer Lionel Shriver about whether Roy worries that her activism detracts from her fiction.

I have always quarrelled with this word “activist”. I think it’s a very new word and I don’t know when it was born, but it was recently. I don’t want to have a second profession added to writing. Writing covers it. In the old days, writers were political creatures also, not all, but many. It was seen as our business to be writing about the world around us in different ways. So I don’t feel threatened or worried about that. For me, my fiction and my nonfiction are both political. The fiction is a universe, the nonfiction is an argument.

What I do worry about is the fact that writers have become so frightened of being political. The idea that writers are being reduced to creators of a product that is acceptable, that slips down your throat, which readers love and therefore can be bestsellers, that’s so dangerous. Today, for example in India, where majoritarianism is taking root – and by majoritarianism, I don’t just mean the government, I mean that individuals are being turned into micro-fascists by so many means. It is the mobs and vigilantes going and lynching people. So more than ever, the point of the writer is to be unpopular. The point of the writer is to say: “I denounce you even if I’m not in the majority.”

Read the interview

It’s Time for Hooters to GTFO

AP Photo/The Oregonian, Michael Lloyd

The common line about Hooters restaurants is that customers “just go there for the wings,” wink, wink. But no one’s unclear about the Hooters business model: sell sub-par food, invite clientele to objectify the female wait staff, tolerate sexual harassment, and present this all as “a family restaurant” where it’s all just fun and games, relax!

At GQJaya Saxena reexamines the boob-branded chain of sexist wing-slingers to see why our modern world, flushed with new life by the #MeToo movement, still has a place for this kind of business. Of course it shouldn’t, Saxena shows. But as long as the business model remains profitable and men dehumanize women, Hooters will continue operating as a place where men can ogle women in low cut shirts and short-shorts.

Strip clubs and sex work are still stigmatized in America. Waitresses everywhere are routinely harassed by customers, and are often told to suck it up or risk losing tips, but for Hooters Girls, there is significant job overlap with the stripping industry. Writer and stripper Janis Luna recently described her job as “to flirt and make them feel like a man.” Strippers look cute, they interact with you for tips, they listen, they laugh. The main difference for Hooters Girls is the parameters of the transaction are never clearly articulated.

If Hooters proves anything, it’s that women’s sexualized bodies aren’t actually offensive to the concept of “family fun.” But what Hooters lacks is transparency, and they use the plausible deniability to keep employees from complaining. “​Back then, my reaction to [Hooters being called a family restaurant] was more like, sure it is! We see families all the time! ​But I was definitely being defensive,” said Hubbard. “In reality, customers were 90 percent men, and we only saw a kid every few shifts. I don’t find it cute at all now, just gross and manipulative. It lets them say: We’re just playing around! Don’t be so uptight! It can’t be THAT offensive if kids are here!”

According to Anderson, she even had to sign away her right to sue if she was sexually harassed on the job. “When you are hired you sign a ton of documents, including one that basically states that you will not file a sexual harassment lawsuit against Hooters,” she said. “It also says that if you ever file any kind of legal claim against the company you forfeit your rights to go to court and instead will handle it within the company in arbitration.”

My recommendation: a complete rebrand, where all Hooters restaurants are converted into owl sanctuaries that house rehabilitated and/or endangered owls that children can learn about, interact with, and help rehabilitate. Fire all the male managers and let any of the cooks and female waitresses stay on as docents and biologists. Then when visitors rehash the old line about just coming for the wings, they’ll mean it. Until then, Saxena shows us how Hooters remains, like one of their lecherous male customers, on the wrong side of history.

Read the story

How the Self-Publishing Industry Changed, Between My First and Second Novels

Photo: Nicole Dieker

As of this writing, my self-published novel The Biographies of Ordinary People: Volume 2: 2004–2016 is currently ranked #169,913 out of the more than one million Kindle books sold on Amazon. When Biographies Vol. 2 launched at the end of May, it ranked #26,248 in Kindle books and #94,133 in print books. At one point my book hit #220 in the subcategory “Literary Fiction/Sagas.”

So far, Biographies Vol. 2 has sold 71 Kindle copies and 55 paperbacks, which correlates to about $360 in royalties.

I know what you’re thinking, and you’ve probably been thinking it since you saw the words “self-published.” But no, those sales numbers aren’t because my books are terrible—and I didn’t self-publish because my books were terrible either. (It’s a long story, but it has to do with an agent telling me that I could rewrite Biographies to make it more marketable to the traditional publishing industry, or I could keep it as an “art book” that would be loved by a select few.) Last year’s The Biographies of Ordinary People: Volume 1: 1989–2000 was named a Library Journal Self-E Select title; Vol. 2 was just selected as a Kirkus Reviews featured indie, with the blurb “A shrewdly unique portrait of everyday America.” I regularly get emails from readers telling me how much my books have meant to them, and how they couldn’t put their copies down.

So. I could tell you a story that makes The Biographies of Ordinary People sound like a triumphant success, and I could also tell you that in its first year of publication, Biographies Vol. 1 sold 382 ebooks and 157 paperbacks, earning $1,619.28 in royalties. Read more…

Nintendo Can Keep a Secret

Nintendo Switch
A gamer plays 'The Legend of Zelda: Breath of the Wild' on a Nintendo Switch. (Photo by Chesnot/Getty Images)

It is a truth universally acknowledged, or at least that one time by Howie Day and Kevin Griffin, that even the best fall down sometimes. What businesspeople are still trying to wrap their heads around is how a perennial blockbuster like Nintendo can fall down regularly for more than a century, innovate continuously from that prone position, and rise up, as if on cue, to master the art of fairytale comebacks.

In Bloomberg BusinessweekFelix Gillette tries to crack the code behind the gaming giant’s success, which remains as mysterious and unlikely as lucking into a banana bunch in the depths of an abandoned mineshaft.

Kimishima took a sip of tea. Next year, Nintendo will turn 130 years old. Once again, the outside world is wondering how a company periodically left for dead keeps revitalizing itself. But seesawing is nothing new for Nintendo. It has long alternated between fallow periods, in which the media churns out reports of pending doom, and boom times, during which Nintendo Mania is cast as an unstoppable force. What remains constant is the company’s understated and zealously guarded culture—the system at the root of its unusual ability to recalibrate, with some regularity, to humanity’s ever-evolving sense of play.

Miyamoto has offered some clues. He’s often told a story about how, when he was young, he discovered a cave in a bamboo forest outside his village of Sonobe, northwest of Kyoto. Initially afraid, he pushed deeper into the subterranean world, marveling at the feelings of mystery and soulfulness that washed over him. That sense of astonishment and animism persisted, helping to inspire hit games such as Donkey Kong, Super Mario Bros., and The Legend of Zelda. Miyamoto’s cave tale is to Nintendo acolytes as Plato’s cave allegory is to students of Greek philosophy: a way of framing the inherent challenge of perceiving reality. How to create a naturalistic gaming environment that opens a player’s mind to the transcendent elements within?

When it was Furukawa’s turn to speak, he noted that Nintendo makes “playthings, not necessities” and that if consumers stop finding its products compelling, the company could be swiftly forgotten. “It is a high-risk business,” he added. “So there will be times when business is good and times when business is bad. But I want to manage the company in a way that keeps us from shifting between joy and despair.”

If Nintendo, as a company, has long benefited from its artistic temperament, it suffers, too, from an artist’s restless insecurity. No matter how many times outsiders marvel at its work, its game designers must wake up each day, bike into the ivory cocoon of the R&D building, face the blank screen, and make something for the world.

Read the story