Search Results for: D Magazine

‘I’m Not Saving These Pit Bulls—They Are Saving Me’

Image by Stacy / Flickr / CC BY 2.0

After experiencing great loss in his life, Jason Flatt relocated to Georgia for a fresh start. Someone gave him a pit bull puppy, which he credits for saving his life and giving him something to live for. When Flatt went to the pound to get the pup a playmate, he noticed that all of the kennels had pit bulls. He decided to foster a few dogs, placed them in permanent homes, and then kept taking on more. In 2009, he founded an animal rescue foundation, Friends to the Forlorn, which specializes in rescuing pit bulls, but also special-needs dogs, pups in line to be euthanized, and those otherwise rejected by other organizations.

“The worse shape the dog is in, the more determined I am to fix it,” says Jason. To date, Friends to the Forlorn has saved 600 dogs and counting. At Atlanta Magazine, Candice Dyer profiles Flatt, who says he’s found exactly what he was put on earth to do: save as many dogs as possible.

“People assume I’ve been in prison,” he says with a shrug. “Women clutch their pocketbooks tighter when I walk by. Children point and stare. I get treated like a freak show.”

No matter; his unconventional presentation is a defiant statement of solidarity with his spirit animal. “Pit bulls and I both are looked down upon without people getting to know us,” he says. “We are judged by what we look like and not what we are. We both are expected to fail. I have always had to prove people wrong. So do they. I relate to them.”

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Longreads Best of 2018: Profiles

We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in profiles.

Sarah Smarsh
Journalist Sarah Smarsh has covered socioeconomic class, politics, and public policy for The Guardian, The New York Times, The Texas Observer, and many other publications.
Smarsh’s first book, Heartland, was long-listed for the National Book Award in nonfiction.

William Barber Takes on Poverty and Race in the Age of Trump (Jelani Cobb, The New Yorker)

The intersection of class, race, and religion — what could be more fraught in these times? Cobb’s rare combination of quiet wisdom and a steady journalistic hand is the perfect guide. He profiles Protestant minister William Barber, the progressive activist and co-chair of the Poor People’s Campaign, with thorough reporting and sensitivity, letting facts speak for themselves but humanizing the subject as no fact alone can do. I’ve been part of the Poor People’s Campaign at the ground level and was heartened to learn here that more than one respected source calls Barber “the real thing.” But, whether or not Barber is your political comrade, you will learn that he believes himself to be your spiritual brother — a refreshing fusion of political and moral force on the sometimes god-averse left.


Taffy Brodesser-Akner
Feature writer for The New York Times.

The mystery of Tucker Carlson (Lyz Lenz, Columbia Journalism Review)

This was a really good year for profiles, despite their death (reported annually). So good that it was very hard to narrow it down, and so I was very grateful that I couldn’t pick any from the New York Times, where I work, which really helped narrow it down. (Though you’ve just got to read this one.)

And how do you choose from the others: Dan Riley on Timothée Chalamet (though exactly which profile/article/photo/table of contents, even, under Jim Nelson wasn’t great?). Allison P. Davis’ Lena Dunham lede-ender of fallopian tubes like outstretched arms? Amanda Fortini opening Michelle Williams’ historically very locked vault. Emily Nussbaum on Ryan Murphy. Paige Williams on Sarah Huckabee Sanders. Wright Thompson on Geno Auriemma. Jessica Pressler on Anna Delvey. (Jessica Pressler on anything.) What a year.

But I finally picked one, and when I did, I realized it was a no-brainer. Lyz Lenz, who has terrifying amounts of talent, pulled off the neatest trick: A profile of screamy Tucker Carlson that walks the line of being way too self-referential, and yet somehow makes that work. It’s perhaps because it’s so funny. It’s perhaps because instead of looking for some fatuous lede scene it goes straight to the most prominent aspect of Carlson (why is he always screaming?). It’s perhaps because she knows that there is no end to the delight of knowing his full name: Tucker McNear Swanson Carlson. Or maybe it’s this section ender: “His publicist calls after our interview to make sure I know that Carlson is not a racist.” Whatever it is, I was very grateful for it.


James Ross Gardner
Editor-in-chief, Seattle Met.

Sarah Huckabee Sanders, Trump’s Battering Ram (Paige Williams, The New Yorker)

I lost count of how many times Paige Williams was obliged to deploy terms like “inaccurately,” “falsely,” “erroneous,” and “lie” in this extraordinary portrait of Sarah Huckabee Sanders. What’s remarkable about Trump’s press secretary though is that, at least here, those words are rarely used to describe statements by Sanders herself — but rather of those whose lies she must justify. It’s also what makes Sanders a cipher of our time. How does someone who vehemently claims to possess high moral character rationalize defending the indefensible? Put another way: How does one become that person? Williams’s search for an answer takes her to her subject’s native Arkansas, where in the ’90s the daughter of then governor Mike Huckabee “was given Chelsea Clinton’s former bedroom” in the governor’s mansion, and Little Rock “residents and journalists mocked the Huckabees as rubes.” Later, during a visit with a lifelong friend, we catch a rare glimpse of the press secretary uncoiled and away from the podium, “wearing tropical-print shorts and flip-flops, with a blue blouse and her pearls.” Details like these are certainly humanizing. But Williams isn’t here to vindicate Sanders’s transgressions. In 9,293 words she deftly dismantles the notion that the president’s “battering ram” might walk away from any of this with clean hands. “A press secretary who had an abiding respect for First Amendment freedoms likely would have resigned once it became clear that Trump intended to steamroll his way through the Constitution,” Williams offers early in the piece. “But Sanders stayed.”


Seyward Darby
Editor in Chief, The Atavist.

The mystery of Tucker Carlson (Lyz Lenz, Columbia Journalism Review)

Lyz Lenz’s profile of Tucker Carlson in the Columbia Journalism Review begins and ends with the subject shouting at the writer, but insisting that he’s not. It’s the perfect encapsulation of Carlson’s raison d’être in the Trump era: convincing people to believe lies despite proof of the truth sitting right friggin’ there in the form of scientific studies, sociological data, photographic evidence, and the like. And when gaslighting fails? To Lenz, hardy soul that she is, Carlson again demonstrates his favorite ripostes. He deflects probing questions with glib mockery, by rejecting a query’s value so that he doesn’t have to address it, or — my personal favorite — with pseudo-intellectual incoherence masquerading as the sort of wily argument that wins high-school debaters gleaming trophies. (This is a digression where I beg someone reading this list to pen the definitive essay on how debate is the root of political evil. I will tweet it every day, forever.) Lenz, wholly in control of her craft, injects the profile with her own anxiety and anger about Carlson’s bullshit and with sly reminders that, for too long, respectable media overlooked his bullshit because Carlson was quite good at mimicking Hunter S. Thompson. People keep wondering, wide-eyed, what happened to Tucker Carlson. They don’t want to admit that the answer is, and was always, right friggin’ there.


Krista Stevens
Senior editor, Longreads.

Jerry and Marge Go Large (Jason Fagone, Huffington Post Highline)

To Gerald “Jerry” Selbee, an “intellectually restless” dyslexic cereal box designer from Battle Creek Michigan, everything in the world was a puzzle to be solved. At age 64, Selbee’s mathematical mind discovered a loophole in the Michigan Lottery’s “Winfall” game. He figured he’d test his lottery strategy as something fun to do to in retirement. Jason Fagone wrote 11,000 words about how Jerry and Marge Selbee won $27 million gaming the Michigan Lottery over nine years and this piece has it all in a winning combination. As you root for the working man who finds a way to win against a big government entity, you too savor the thrill of solving a tough puzzle to make your lottery dream come true. This is longform at its finest.

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Read all the categories in our Best of 2018 year-end collection.

The World of Nora Ephron: A Reading List

Nora Ephron (Photo by Munawar Hosain/Fotos International/Getty Images)

Every Thursday, I wake up and perform the same routine: I drive to downtown Durham, NC, park and walk to the bakery for a coffee, then cross the street and unlock the bookstore I work at. I crank Dusty Springfield up, sweep the mats, straighten the display cases, and flip the open sign around. Occasionally, someone will wander up and try to come in, five minutes before open, at which point I can offer one of those tiny retail mercies — outsized, and ultimately more rewarding for me then them — and say, it’s fine, really, go ahead and come on in.

It’s a nice sequence, though it’s not lost on me that while doing my job I’m also reenacting a scene, one I’ve secretly carried close since high school. Few movies made it into my parents’ strict North Carolina household, but You’ve Got Mail did, somehow, and the opening reel played on loop in my head for years: Meg Ryan skipping down the steps, buying her coffee, rolling up the gate to her bookstore. It’s autumn in New York; the trees blaze with color and the Cranberries are playing. The scene was adhesive not just because it was a prelude to romance, but because it was a vision of adult life was that funny and smart and paid attention.

Ephron cherished the use of routine in her movies, in much the same way that she cherished the use of references — movies, books, songs — to make us feel as if we’re pulled into a greater narrative, one at once familiar and inevitable. Years after first watching the movie, I’d walk through Washington Square Park, smack dab in the middle of a thrilling autumn, as my friend SJ delivered an impassioned monologue about how messed up it was for Joe Fox to actively deceive Kathleen Kelly through an online avatar. (Now we have a set of unflattering romantic shorthands — catfishing, ghosting, benching — not yet available to Ephron in the ’90s.) In theory, I probably agreed with SJ, but I was new to the city and new to dating and not yet entirely deformed by cynicism. Mostly, I was distracted by how much the argument itself seemed pulled from an Ephron film: two friends (Ephron loved, and lingered, on the banter between friends) walking through a park, tugging their coats closed and arguing about love and narrative and the movies.

Somehow, You’ve Got Mail turns 20 this year. The landscape of romance and the social mores and New York has all changed (Amazon now representing a much less charming evil than 1998’s Fox Books), and my own relationship with her writing has changed, too. I’m less sure than I was, 10 years ago, about what she was trying to say. Still — I think the language she offered up for love and revision is as relevant as ever, and as happily easy to rip off. “Everything is copy,” Nora Ephron liked to say in reference to her omnivorous approach to art. Increasingly, I feel it’s just as true to say of the people who watch her movies and feel the tug of longing, of wit, and of attention.

1. “Nora Ephron’s Potato-Chip Legacy” (Matt Weinstock, June 28, 2012, The Paris Review)

In Greta Gerwig’s “Lady Bird,” last year, the most important — or at least, most quoted, most tweeted — line comes when the titular heroine is called into the office at her Catholic school. They’re discussing college options. It’s clear, the nun tells her, that she loves Sacramento. “I guess I pay attention,” Lady Bird says, at which point the nun looks at her intently. “Don’t you think that’s the same thing? Love and attention?”

Matt Weinstock makes a similar point about Ephron’s working definition of love, as found in a typical Ephron film — that anecdotal evidence of love can be found in the things you notice about another person, as when Harry delivers a monologue on New Years Eve, in When Harry Met Sally, about the amount of time that it takes Sally to order a sandwich, or when Sam describes his ex-wife in Sleepless in Seattle. Succinctly: “She could peel an apple in one long, curly strip. The whole apple.”

The beautiful thing about Weinstock’s piece is how closely it examines her flaws. It’s not mean-spirited, but it does take careful account of the inconsistencies of Ephron’s body of work, and the ways that she seemed to edit out her neuroses, or at least, outsource them to her characters. No matter. It’s a love letter, deeply felt, that doesn’t just pay attention to the quippy highlights of her legacy. The list of Sally’s idiosyncrasies that Harry rattles off, after all, aren’t all things that he necessarily likes about her. They’re his way of saying he’s paying attention.

2. “An Oral History of You’ve Got Mail,” (Erin Carlson, February 13, 2015, Vanity Fair)

Crisp white blouses, crab cake lunches on set, her aversion to the color blue — Delia Ephron, Meg Ryan, Hallee Hirsh (the actress that played Annabelle Fox — F-O-X!), and assorted cinematographers and producers from “You’ve Got Mail” gather to discuss Ephron’s relationship with her set, which of course also comes out to a conversation about her relationship with New York City.

John Lindley (cinematographer): [Nora] grew up in Los Angeles, right, but she had a love and a loyalty to New York that exceeded any native New Yorker that I ever met. She lived on the Upper West Side when we made that movie, and it was a little love story to the Upper West Side. And one of the things that I remember her saying is that many people think of New York as this monolithic, intimidating place. But when you live there, you realize that what it is: a bunch of little villages. And her little village was the Upper West Side.

3. “Nora Ephron’s Final Act,” (Jacob Bernstein, March 6, 2013, New York Times Magazine)

Ephron didn’t tell a lot of people that she was dying from Leukemia—an act of privacy that confounded her admirers, who’d grown accustomed to tracking her life, both onscreen and on paper. Wouldn’t a woman so intent on using her life for material (divorce, heartbreak, insecurities, messy purposes, dreams) want to write about her final act? Jacob Bernstein, Ephron’s son, wrestled with this idea enough to write a beautifully intensive piece on the last days of her death — and then, following in his mother’s footsteps, to turn it into art (“Everything is Copy,” his documentary, is available on HBO).

All her life, she subscribed to the belief that “everything is copy,” a phrase her mother, Phoebe, used to say. In fact, when Phoebe was on her deathbed, she told my mother, “Take notes.” She did. What both of them believed was that writing has the power to turn the bad things that happen to you into art (although “art” was a word she hated). “When you slip on a banana peel, people laugh at you; but when you tell people you slipped on a banana peel, it’s your laugh,” she wrote in her anthology “I Feel Bad About My Neck.” “So you become the hero rather than the victim of the joke.”

4. “On the Front Lines With Nora Ephron” (Lawrence Frascella, July 8, 2013, Rolling Stone)

What kind of generation did Ephron think she was writing to? Her movies were often cultural close studies, taking her essayistic impulse to diagnose and putting it to screen. In 1993, on the cusp of stardom — before Harry Met Sally and You’ve Got Mail — she debriefed with Rolling Stone’s (patently misogynistic) Lawrence Frascella about the state love in the 90’s.

The younger persons that I know, especially the ones in California, I don’t even think they have sex. They have business dinners and business breakfasts, sometimes two business breakfasts. But I believe very strongly that underneath all of that is just a bunch of romantic stuff. Everybody’s got it. That’s one of the reasons Tom Hanks’s character moves to the Northwest. He goes from Chicago, which is your modern, work-driven urban environment, to Seattle, which is – let me tell you, after three days there with my husband, Nick says, “This is a city where people have chosen lifestyle over work.” And he’s right. There are cities like this all over America, full of people who are kayaking and living the good life.

5. “You’ve Got Mail” (Casper Ter Kuil, February 20, 2018, On Being)

Like me, fanboy Casper Ter Kuile grew up loving “You’ve Got Mail,” and he freeze-frames that experience — of growing up in the age of AOL, and watching too natural-born enemies bumble blindly toward each other on a chat room — beautifully, here. In the late 90’s, it hadn’t become quite creepy to chat with strangers on the Internet—novelty still had its grip — but it also hadn’t become normal to the point of banality, either. There was plenty of room for projection.

MR. TER KUILE: Right. She doesn’t even know, really, who he is. And she says, at some point, “I just wanted to write this down. So good night, dear void. Even if it’s just going into the void, good night, dear void.” And I remember, like, I wrote that in my diary to myself. [laughs] I really thought I was that kind of person.

MS. PERCY: Oh, my God.

MR. TER KUILE: Just, like — yeah, just, like, you have so many feelings, and where is it all going? And I think that’s what I love about this movie, is, yes, it’s a love story, but they don’t meet until the very last scene of the movie. The story is really about an idea of someone. And I met my husband online, so there’s an echo in my own life here. But there is a — the story and the love that builds inside both of these characters is one of longing, and of really projection onto the unknown of what might be. And I’m someone who always lives kind of in the future. I love to think about future plans. And I think this movie is so much about that — that it’s — you get to create perfection in your mind before it even happens.

6. “An Interview with Nora Ephron,” (Kathryn Borel, March 1, 2012, The Believer)

Enough attention is directed at the aesthetics of mid-90’s romantic comedies, that it’s easy to forget that Ephron led a prodigious career as a journalist, for over a decade, before co-writing her first script with her first husband, Carl Bernstein, in the mid-70’s (she began her career as a mail girl at Newsweek, and went on to be promoted and, eventually, sue Newsweek in the class action lawsuit that was serialized in Amazon’s lamentably short-lived show, “Good Girls Revolt.”) Her 2006 interview in The Believer, though, devotes some nice attention to her years at the Post and Esquire, and the making of Ephron as a writer.

That moment, for me, was not Heartburn. It was a piece I wrote in Esquire called “A Few Words about Breasts.” I knew when I finished writing that piece that either it was going to be a huge success or be judged as a kind of “Who needs to know any of this?” kind of thing. One or the other was going to happen, but I absolutely knew that both were possible. By the time I did Heartburn, I was around forty. I had a very clear memory of being at my typewriter in Bridgehampton, where Carl [Bernstein] and I had had a house—that was now in the divorce—but we were still using it at alternate times. I was supposed to be writing a screenplay. And when I started writing, sixteen pages of that novel came out in two days. I thought, Oh, I’ve found it. The whole time the marriage was breaking up and I was in a state of complete torment and misery, I knew that this would someday be a funny story. I absolutely knew it. It was too horrible. It was too ridiculous not to be.

7. “Nora Knows What To Do,” (Ariel Levy, July 6, 2008, (The New Yorker)

This is one of the New Yorker’s best-paired profiles, with Ariel Levy a charming, adaptable match for Ephron’s rapid-fire banter. She also manages to pull a difficult trick, which is that her profile is an entirely reverent one which also finishes, in the last three paragraphs, with a modest pan of Julie & Julia. And yet, the register of the piece — staged thematically over award dinners and lunches across New York (if it has any flaws, it’s probably that too much time is probably devoted to Ephron’s tidy eating habits) — is still adoring, and probably gives us as much insight into the prismic mind of the icon as we’ll get.

Ephron detests whining: you can acknowledge a problem, but only in the service of solving it. “Nobody really has an easy time getting a movie made,” she said. “And furthermore I can’t stand people complaining. So it’s not a conversation that interests me, do you know? Those endless women-in-film panels. It’s, like, just do it! Just do it. Write something else if this one didn’t get made.

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Sarah Edwards s a freelance writer whose work has been published in The Village Voice, NewYorker.com, and The Baffler, among others.

Hellhound on the Money Trail

AP Photo/Justin M. Norton

Robert Gordon | Memphis Rent Party | Bloomsbury | March 2018 | 32 minutes (6,304 words)

 

This story first appeared in LA Weekly in 1991.

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The sun did not shine, but it was hot as hell the day a memorial stone was unveiled for bluesman Robert Johnson near a country crossroads outside Greenwood, Mississippi. About seventy-five people filled the tiny Mt. Zion church, a row of broadcast video cameras behind the back pew and a bank of lights illuminating a hoarse preacher as he praised a man who reputedly sold his soul to the devil.

There was no finality in setting the stone. The attention came fifty years too late, and even if his memory is more alive today than ever before, Johnson’s rightful heirs still have nothing but the name. This service was not about the body of the bluesman, which lies in an unmarked grave somewhere in the vicinity; it was about the guitar-shaped wreath provided by Johnson’s current record label, and about the video bite that would be beamed into homes around the country that April 1991 evening.

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Longreads Best of 2018: Sports Writing

We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in sports writing.

Mirin Fader
Writer-at-large for Bleacher Report’s B/R Mag.

Most Dominating Athlete of 2018: Simone Biles (Danyel Smith, ESPN the Magazine)

Danyel Smith’s ESPN the Magazine cover story of Simone Biles was one of the most impactful pieces of sports writing I read this year. After I finished it, I felt like I knew Biles. Smith got Biles to open up, to even admit the fear she feels while competing on bars (what Olympic gold-medal winning athlete readily admits fear?), which is a kudos to Smith’s skills as a reporter. Although I don’t know Smith personally, I felt like I could hear her voice throughout the piece. She seamlessly interwove history and culture and context and sport to put together one of the most versatile sports profiles I’ve ever read. My favorite paragraph really sums up Smith’s brilliance as a journalist, and Biles’ genius as a gymnast: “But no matter how sparkly her leotard, she’s a killer as stone cold as David Ortiz or Robert Horry ever was. She creates each time she competes. Plus, Biles will run the score up on you with a red cheer bow on a ponytail pulled higher than J-Lo’s.”


Louisa Thomas
Contributor for The New Yorker.

Juan Martín del Potro Strikes Back (Chloe Cooper Jones, GQ)

Juan Martín del Potro is one of tennis’s most popular — and inspiring and tragic — figures. Del Potro won the U.S. Open in 2009, beating Roger Federer, and then his wrists began to fray. Cooper Jones tells the story of his long journey back. This is a beautifully written profile, an insightful portrait of the player on the court and the person off it — but it is also, most movingly, a meditation on pain.

Drew Brees is Hiding in Plain Sight (Greg Bishop, Sports Illustrated)

Bishop tackles the age-old question of what makes greatness — or even the greatest — and why it can be so easy to overlook. Take Drew Brees, the subject of this piece. At the same time, without being didactic, Bishop reminds us of something else: as seriously as we take all the records, sports are fun. And so is this story.

Everyone Believed Larry Nassar (Kerry Howley, The Cut)

A thoroughly reported, devastating reconstruction of what might be the most important sports story in recent history: how Larry Nassar sexually abused hundreds of young women and not only got away with it, but thrived in the gymnastics community.

Joel Anderson
Senior writer for ESPN the Magazine.

The Search for Jackie Wallace (Ted Jackson, The Times-Picayune)

On the Friday before the Super Bowl, The Times-Picayune dropped this tremendous profile of former NFL player and New Orleans native Jackie Wallace and his heartrending — and apparently ongoing — struggle with homelessness and drug abuse. The story got its start in 1990, when photographer Ted Jackson came across Wallace living in a camp underneath Interstate 10. Jackson photographed him for a story that ran that year, which seemed to lead to Wallace being rescued from the streets and addiction. But this is where the story begins, as Jackson loses touch with Wallace over the years and details his search for him over the next couple of decades. There’s so much to love here, starting with the care Jackson and the Times-Picayune put into showing how drugs can unravel a life and into asserting the fundamental humanity of Wallace. Jackson also subtly shows there’s more to his relationship with Wallace — a reminder that reporting doesn’t have to be merely transactional — and much more to Wallace than his troubles. It’s surprising in all sorts of ways, but especially in how humanizing it is of Wallace.

Everyone Believed Larry Nassar (Kerry Howley, The Cut)

In excruciating detail, Kerry Howley showed here how Larry Nassar — the unassuming and relentlessly charming USA Gymnastics national team doctor — wormed his way into the homes and hearts of hundreds of young female gymnasts and their families en route to becoming one of the most notorious child sex abusers in modern history. It’d be irresponsible not to credit the herculean investigative efforts of the Indianapolis Star in breaking the case against Nassar and USA Gymnastics — and the many other reporters and media outlets who tracked the developments through Nassar’s sentencing in federal and state court — but Howley’s exhaustive story illuminates exactly how and why Nassar was able to escape detection for so long. It wasn’t because his victims were silent. Far from it, in fact. It wasn’t because Nassar was particularly discreet. No, Howley writes, it was because Nassar “was good at this.” Two scenes from Howley’s story show this best. The first is told from the vantage point of a 9-year-old girl, who was digitally penetrated by Nassar with her mother sitting only a few feet away in his living room in 1990. The second comes near the end of the story, when one of his victims manages to make him cry during his sentencing hearing and she feels briefly triumphant. I won’t spoil the final line for you but it’s an unforgettable close that couldn’t have been more perfect, or haunting.


Natalie Weiner
Staff writer for SB Nation.

The Children of Central City (Jonathan Bullington and Richard A. Webster, The Times-Picayune)

They Are the Champions (Katie Barnes, ESPN the Magazine)

Both of these stories are extraordinary examples of my favorite kind of sportswriting — the kind that uses sports’ near-universal appeal and reach to illuminate social and political issues. “The Children of Central City” uses the lens of one youth football team in New Orleans to examine violence in one of the city’s most dangerous neighborhoods; as its former coach explains early in the multi-part series, he’s had 28 former players be shot and killed over a 14 year span. The football team is a jumping off point through which the authors (and director — there’s a corresponding documentary) can explore how the trauma that comes from growing up surrounded by violence impacts kids’ lives, and how football is an escape, if an imperfect one. It’s a thoughtful, empathetic take on a story that’s too often left unexamined because it’s wrongly perceived as inevitable.

In “They Are the Champions,” two very different kids growing up in very different parts of the country share one thing: they are transgender. Their stories are pressing  not only because LGBTQ perspectives are grossly underrepresented in media as a whole, but also because they show that sports is the battleground where the very core of how we understand gender will be determined — a statement that sounds like hyperbole, but when you’re in the middle of Barnes’ story parsing the various ways people rationalize dividing sports by gender, quickly becomes self-evident. Mack Beggs and Andraya Yearwood just want to compete, and the world is going to have to catch up.


Matt Giles
Editor and head of fact-checking, Longreads.

Alone at Sea (Elizabeth Weil, New York Times Magazine)

Aleksander Doba has kayaked the Atlantic Ocean three times, and each crossing has been more dangerous than the last. Weil’s profile of the Polish native is an engrossing read of his trans-Atlantic trips, and why the 71 year old continues to push his body and psyche to such extreme limits. As he explains his reasoning to Weil, “I do not want to be a little gray man.”

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Read all the categories in our Best of 2018 year-end collection.

The Portrait of the Artist as a Criminal

This combination of June 2017 file booking photo shows Max Harris, left, and Derick Almena, at Santa Rita Jail in Alameda County, Calif. (Alameda County Sheriff's Office via AP, File)

A charismatic yet abusive and manipulative guru, derelict building owners who allowed habitation in a warehouse with wiring described as “grossly unsafe,” and an underfunded, mismanaged fire department all contributed to a fire at Satya Yuga, also known as the Ghost Ship, an art collective that was the scene of “the most deadly structure fire in the United States since 100 people died in the Station nightclub in Rhode Island in 2003.” But who’s taking the blame? Who’s incarcerated? Not the building owners. Not the fire chief. Not the electric company. Not the city of Oakland, California. Rather, as Elizabeth Weil reports at the The New York Times Magazine, it’s Derick Almena the charismatic guru, and also, inexplicably the second man taking the rap is a kind yet hapless vegan artist named Max Harris who first discovered the fire and attempted to put it out before it got out of control.

Yet life can be cruel, and even a person striving toward right thought can set off cascades of events that go incomprehensibly awry.

Satya Yuga had its own logic. You had to tolerate people playing music at all hours of the night. You had to not use your toaster and your teakettle at the same time because the electricity was channeled from Custom O’s auto shop to the warehouse and then dispersed through a complex river system of wiring and extension cords. You had to work on your own art, collaborate with the other members of the collective and also help build the living, breathing art installation that was the warehouse itself. The mock contract people signed upon joining the collective had only one condition: “Be Unconditionally Awesome.”

Around 11:20 p.m., Harris decided to leave his post at the door to go inside Ghost Ship to use the bathroom. As he entered the building, he noticed the light looked strange — a glow on the ceiling. He ran to his studio and grabbed a fire extinguisher. But by the time he returned, eight or 10 seconds later, the fire was out of control. At 11:23 p.m., Carmen Brito, the potter and substitute teacher, who lived in the back of the warehouse, woke up in a room filled with smoke and called 911. Upstairs, as fire rose through the baseboards, people started shrieking, pleading, streaming down the strange staircase.

As details began to emerge, the fire was not understood as an isolated, idiosyncratic catastrophe. It was understood as the product of civic and societal failings. In the years leading up to the fire, the Oakland Fire Department had been chronically underfunded, understaffed and mismanaged. Between 2011 and 2015, the department employed neither a fire marshal nor an assistant fire marshal — and it is the fire marshal’s job to ensure that property owners and tenants follow the city’s building code. To deal with the fallout after the tragedy, the fire chief retired.

They found the prosecution’s idea that Harris held what the district attorney described as “a leadership position in the warehouse” manipulative, infuriating and absurd.

There was no way for Harris to process the situation, no way to assimilate the facts. He always thought that if he moved gently through the world, the world would move gently over him. He thought that if he helped others, good karma or Jesus or both would take care of him. Had he not done enough? Every time he entered the courtroom, he felt the vast weight of the community’s grief and accusation. “It’s just wrong,” he said of the whole situation into the jailhouse phone. He lost friends in the fire. He had his own trauma to work through. How had his life taken him here, with all these bodies laid at his feet?

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Remembering Singer Nancy Wilson

Nancy Wilson autographing fans' photographs at Los Angeles High School,1967. AP Photo

Listening to Nancy Wilson’s “(You Don’t Know) How Glad I Am” over a half century after she recorded it is like taking a master class in voice control and phrasing. She incorporates Eartha Kitt’s tart enunciation and Dinah Washington’s melodic upticks in the verse. By the 22-second mark Wilson is stretching out the word “you” into its own little story of restrained passion in a way few singers can. This is Ella Fitzgerald-level breath control. When Wilson effortlessly leaps up the arpeggiated steps of “and you don’t know you don’t know you don’t know…how glad I am” in her first chorus, it’s a marvel of clarity and precision.

Nancy Wilson died on December 13, after an extended illness. She was 81.

Released in the summer of 1964, “How Glad I Am” broke the Top 20 and earned her a Grammy. Wilson, then five years into her recording career, already considered herself a pop artist. “People labelled me as jazz,” she said at the time. “I don’t like that designation. I want to be able to reach everybody, not just the jazz crowd.”

Although never quite able to dodge the label of jazz thrush, Wilson considered herself “a song stylist,” as she told The Washington Post. “That’s my essence,” she explained, “to weave words, to be dramatic.” Regardless, Time magazine once called her Ella Fitzgerald’s heir apparent. “At her opening at Los Angeles’ Coconut Grove last week,” they wrote in 1964, “the crowd of 1,000 voted her everything but the deed and title to the place.”

When she was 15, Wilson had her own television show called Skyline Melodies in Columbus, Ohio, singing pop tunes by request. She later played night clubs in the Bronx and Chicago, but it was venues like the Coconut Grove that encouraged Wilson to up her game. “Now I have to really entertain,” she told Music Business in 1964. “You can’t just get up there and be soulful in clubs like these. They expect a show and you’ve got to give them one. But this is something new and fresh and exciting for me. Even if I’m tired it doesn’t get me bugged.”

It’s a perfectly American thing to delineate forms of musical expression, assigning them to differing demographics for both performer and audience. The word ‘blues’ was tacked onto the end of many of what were called “race record” titles in the 1920s to serve more as a racial signifier than song description. Jazz, initially a product of black subculture, became the pop music of the 1930s and ’40s once accepted into the white American mainstream. Rock ‘n’ roll helped transform American teenagers into a lucrative consumer group in the 1950s, just as it signified that whites had started making and consuming black music.

These race and genre-based boundaries eventually dissolved. Producer Norman Granz asked jazz icons Louis Armstrong and Ella Fitzgerald to record an album of mostly white show tunes in 1956, to astounding success. Black entertainers like Nat Cole and Johnny Mathis soon gained access to mainstream stardom without the old restrictive labels.

Wilson came to prominence at a time when jazz, blues, and pop had become intertwined in the public consciousness, allowing her to move farther down the path blazed by her hero Jimmy Scott. Thus she was able to make jazz records with saxophonist Cannonball Adderley, slow burners like “Our Day Will Come,” and standards. “The Very Thought of You” was recorded by Billie Holiday years before, but Wilson’s early ’60s reading is more intimate and engaged. She stands perfectly poised between the earlier era of vocalists like Lena Horne and Anita Baker, and those — like Natalie Cole and Nnenna Freelon — whom she would inspire.

“In the ‘great tradition’ of blues, torch and jazz singers that began with Billie Holiday, Nancy Wilson leans toward the left wing, where pop meets jazz, a translator of popular standards into the jazz idiom,” Time wrote. “Her repertory is a treatise on variety and taste, spun by a voice of agile grace and knowing jazz inflection and phrasing.”

By the mid 1960s, Wilson was behind only the Beatles as Capitol Records’ best-selling artist, outselling Frank Sinatra and the Beach Boys. Her short-lived NBC program The Nancy Wilson Show earned an Emmy.

Wilson scored another hit in the late ’60s with “Face It Girl, It’s Over,” then embarked on a second career of ubiquitous television guest appearances. She again expanded her audience in the late ’70s with funky tracks like “Sunshine.”

By the end of the 1990s Wilson had issued more than ’60 albums and gathered up awards from the NEA, Urban League, Playboy, and the NAACP. She has a star on the Hollywood Walk of Fame and was recognized for her work in the Civil Rights Movement by the International Civil Rights Walk of Fame.

Successful before she was famous, and beloved until her death, Wilson stands almost alone in career consistency. Now we’re left with what Time called her “treatise on variety and taste.” The best tribute we can pay is some close listening.

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Tom Maxwell is a writer and musician. He likes how one informs the other.

Editor: Aaron Gilbreath; Fact-checker: Ethan Chiel

The Top 5 Longreads of the Week

A memorial to honor the dozens of people who died in the 2016 'Ghost Ship' warehouse fire. (Justin Sullivan/Getty Images)

This week, we’re sharing stories from Elizabeth Weil, Leah McSweeney and Jacob Siegel, Paul Kiel and Jesse Eisinger, Sean Patrick Cooper, and Priya Krishna.

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Longreads Best of 2018: Investigative Reporting

We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in investigative reporting.

Lindsay Gellman
Senior Researcher for investigative journalist Ronan Farrow

Why America’s Black Mothers and Babies Are in a Life-or-Death Crisis (Linda Villarosa, The New York Times)

Villarosa’s unflinching examination of giving birth while black in America has stayed with me. We lose black newborns and black mothers at astonishing rates; in the U.S., black infants are more than twice as likely to die as white infants, Villarosa writes, and black women are three to four times as likely to die from pregnancy-related causes than their white counterparts. Why? The piece lays out evidence for a theory that black women bear the trauma of systemic racism in their very physiology — that years of exposure to the stress of discrimination wreaks havoc on a body, and might contribute to pregnancy complications. Just as lethal, Villarosa’s reporting demonstrates, is the frequency and callousness with which medical staff routinely — and disproportionately — dismiss the complaints of black pregnant women and ignore warning signs.

The ISIS Files (Rukmini Callimachi, The New York Times)

Callimachi is a reporter’s reporter; she’s all about the documents. During five trips to Mosul spanning more than a year, she scoured abandoned buildings that had recently housed the workspaces, training grounds, courts, and living quarters of ISIS militants, stuffing tattered papers and folders the group had left behind into trash bags. Callimachi and her team ultimately carted off more than 15,000 pages of documents. Through the lens of these records, Callimachi describes a regimented governing body focused on collecting taxes, issuing birth and marriage certificates, and meting out punishments. ISIS, she writes, “even ran its own D.M.V.” There are practical applications for such insights, the piece suggests. Our prior misconceptions about extremist groups like ISIS, Callimachi writes, have led to tactical failures in U.S.-led efforts to defeat them, such as a focus on destroying petroleum reserves when the group relied more heavily on agriculture for revenue. All this from a haul of jettisoned papers.
Read more…

Longreads Best of 2018: Science and Technology

We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in science and tech.

Deborah Blum
Director of the Knight Science Journalism program at MIT and author of The Poison Squad.

They Know Seas Are Rising, but They’re Not Abandoning Their Beloved Cape Cod (Meera Subramanian, InsideClimate News)

For more than a year, Meera Subramanian has been traversing the country for InsideClimate News, creating a series of vivid and wonderfully balanced portraits of small communities wrestling with the havoc of climate change (whether they admit it or not). This one from October, focused on an increasingly flood-washed area called Blish Point, stands out for me. It’s a tapestry-like picture woven of relentlessly rising seas, threatened homes and businesses, the politics of climate change science, and pure, stubborn human reluctance to give up on a beloved way of coastal living.

Subramanian never raises her voice or treats any viewpoint with less than respect — although she occasionally deftly slides in the scientific arguments that counter climate denialism. She has an elegant way of making both people and place live on the page. The result is a compelling and compassionate narrative in which this one small, beautiful, vanishing strip of Massachusetts, perched on the edge of an encroaching ocean, becomes a microcosm for the much bigger story of change — and its reckoning — now being realized around the world.


Aleszu Bajak
Freelance science journalist, former Knight Science Journalism Fellow at MIT, and lecturer at Northeastern University’s School of Journalism.

God Is in the Machine (Carl Miller, The Times Literary Supplement)

Whether it’s your social media feed, prison sentence, or driverless car, our world is increasingly governed by algorithms. The terrifying thing is that we’re quickly approaching a horizon after which no one will be able to explain the code used or decisions made to build these things. This sobering excerpt from Carl Miller’s book, The Death of the Gods: The new global power grab, makes startlingly clear our ignorance of the machines we’ve hacked together. “Truth is dead,” as one programmer tells him. “There is only output.”


Ashley Carman
Tech reporter at The Verge and co-host of Why’d You Push That Button?

How Forlini’s Survives the Instagram Horde (Alex Vadukul, The New York Times)

Instagram has fundamentally changed where and why we visit the places we do. Alex Vadukul’s piece on New York Italian restaurant Forlini’s taps into this idea. He perfectly captures how one establishment’s demographics can change over time. One group of patrons goes for the food and convenience — Forlini’s is next to the courthouse — while another prefers it as a backdrop for Instagram photos. Vadukul includes incredible quotes, too, especially the one in which a Forlini’s owner marvels at how influencers manage to drink alcohol and stay thin. I wonder that, too.


Meehan Crist
Writer-in-residence in biological sciences at Columbia University, previously editor at Nautilus and The Believer.

Survival of the Richest (Douglas Rushcoff, Medium)

There’s a lot of bad science writing about transhumanism − rich people wanting to live forever by uploading their minds to computers, etc. But Rushcoff explores the very human drive for a post-human future by elegantly tracing links between the failures of global capitalism, the growing divide between rich and poor, the ongoing climate catastrophe, and what transhumanism is really all about: escape. It’s the best thinking I’ve read on the subject, and the piece stands out as a clear articulation of how some imagine − or fail to imagine − our digital future. I’m still haunted by the moment when a super-wealthy CEO who has paid to pick Rushcoff’s brain about “the future of technology” asks, “How do I maintain authority over my security force after the event?”


Surya Mattu
Investigative data journalist at The Markup, research scientist at the Center for Civic Media at MIT.

See No Evil (Miriam Posner, Logic)

Posner’s piece on using software to make supply chains more transparent contains some powerful observations. It elegantly highlights how some characteristic features of modernity have harmed rather than helped this endeavor. Large scale, distributed networks like the internet and global supply chains might be more resilient and efficient than their predecessors, but they are almost impossible to regulate. Similarly, modular information design and the ‘black box architecture’ of software helps scale businesses, but they can also obfuscate the decision making process of those in charge, leading to a lack of accountability.

As we grapple with the challenge of how to hold algorithmic decision-making accountable for the harm it can cause, this piece reminds us that the harm is often a feature of these systems, not a bug.


Neel V. Patel
Science and tech journalist, contributor to The Daily Beast, The Verge, Slate, Wired, Popular Science, Foreign Policy, and New York Magazine.

How Duterte Used Facebook To Fuel the Philippine Drug War (Davey Alba, BuzzFeed News)

Facebook had a bad year, culminating most damningly in a New York Times’ report in November that showed the company’s inability to safeguard the platform from nefarious parties trying to influence the 2016 election, as well as its unwillingness to take responsibility and make fixes. But the insidiousness of Facebook in the U.S. dwarfs what’s happening overseas. Davey Alba, writing for BuzzFeed News, illustrates how Rodrigo Duterte and his autocratic regime in the Philippines leveraged the platform to disseminate false news and propaganda, exacerbating the carnage inflicted by his war on drugs and dismantling many of the country’s democratic structures. It’s a terrifying example of what happens when our biggest fears of the unregulated sprawl of Facebook are realized.


Catherine Cusick
Audience editor, Longreads

Can Dirt Save the Earth? (Moises Velasquez-Manoff, The New York Times Magazine)

Readers may be more familiar with Nathaniel Rich’s historic New York Times Magazine story from this summer, Losing Earth: The Decade We Almost Stopped Climate Change, than with this epic piece on dirt that came out back in April, but Moises Velasquez-Manoff literally redefined on-the-ground reporting — on soil itself. This story helped me dust off all of my murky grade school memories of nutrient cycles while teaching me anew why these basic, natural processes are so relevant to every sustainable challenge we face. Maybe I’m just a fan of solarpunk, but I love reading about known, practical mitigation methods that are worth doing anyway, even past all of our many missed opportunities and catastrophic points of no return. Carbon farming may not be enough, but what it can do might still be miraculous. Stories that neither sugarcoat real options nor deny that any exist at least give us some time back — if not enough for a full second chance, then enough to do something more meaningful, ultimately, than wait.

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Read all the categories in our Best of 2018 year-end collection.