Search Results for: LA Weekly

Swipe White

Illustration by Wenting Li

Jennifer Chong Schneider | Longreads | December 2018 | 15 minutes (3,673 words)

Last summer, my friend and fellow English professor, Danielle, was punched in the face by a white man. When she called the police on him, she was arrested for fighting. She sent me this information in an email, and later I saw pictures of her bloody nose, split lip, fractured teeth. She is a black woman, and I can think of no other reason for her arrest.

After this episode of violence, before she left the country for good, fed up with America and its racist antics, Danielle gathered her friends to say goodbye. We were at a bar and there was only one white woman at the table, a salacious marketing peon who regaled us with sex stories in the style of a late 1990’s HBO show. She told us about her current sexual conquest, a Puerto Rican man who is muscular and masculine. Then she looked at Danielle and said she also loves to have sex with black men, adding that all black men have huge dicks, Puerto Ricans are next in line, and Asians have the smallest dicks, because she slept with an Asian person once. She insisted white men were the only group with any diversity. “White men are unpredictable,” she said, “there’s no rhyme or reason.”

I stood up, put my hands on the edge of the table and considered flipping it over, but decided to just leave. Danielle followed me out and asked if I was upset. I told her I was leaving to go have sex with an Asian man with a huge dick, and the anger rose inside of me for a reason I couldn’t articulate at the moment.

In the morning, Danielle forwarded me a pages-long email from the white woman, prefacing it by saying she and another black professor at the table spent hours berating the white woman until she cried; but she cried not about her sexual racism, but because she liked me and now I’ll never be her friend. I read Danielle’s message and deleted the other.
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Where Have All the Music Magazines Gone?

Getty / Photo illustration by Katie Kosma

Aaron Gilbreath| Longreads | December 2018 | 25 minutes (6,357 words)

When other writers and I get together, we sometimes mourn the state of music writing. Not its quality — the music section of any good indie bookstore offers proof of its vigor — but what seems like the reduced number of publications running longer music stories. Read more…

Memory and the Lost Cause

MEMPHIS - OCTOBER 04: Hernando De Soto bridge in Memphis, Tennessee on October 4, 2016. (Photo By Raymond Boyd/Getty Images)

Danielle A. Jackson | Longreads | December 2018 | 9 minutes (2,360 words)

 A few days after my father’s funeral, I rented an Airbnb on Memphis’s Second Street, two avenues over from the Mississippi Riverfront. From one window, in the mornings, I could see riverboats slowly slinking by. From the other, a view of the Hernando de Soto Bridge. Named after the conquistador who arrived from Florida in 1541 in search of gold, the bridge was constructed in 1982. It connects Tennessee to Arkansas and is in many ways a dividing line between America’s east and west coasts.

During their heady romance, my father drove the length of that bridge from West Memphis, Arkansas to court my mother. She once told me they’d ended their relationship in a teary conversation while driving across. The night of my first date, at 16, I parked and walked along Riverside Drive, just south of the Memphis entrance to the bridge. It was late in August, the dog days of summer, the start of my junior year in high school. The air was sticky and sweet, mosquitoes nipped at my shoulders. I had a feeling of expectation in my heart, an idea of a future that I could construct.

The Mississippi River is a marvel. It is filthy, contaminated, and mostly unsuitable for swimming, drinking, or fishing. It is also, for me, steadying and grounding. It is a site of many beginnings, and something told me it was where I could grieve my father privately after many days of public ceremony. About a year before he died, I’d started missing home and made plans to go back for an extended time, for longer than a visit. In my longing, the reasons I left nearly 20 years before seemed a nebulous mix of striving and progress and running from something, or some things, I was not yet ready to name.

Memphis is a place where, if you’re Black, and you can, you leave. It is a proud majority Black city, and Blacks have power, but it was and is a tenuous kind of power, slow-coming and distributed in a scattershot way among a selected few. We elected our first Black mayor during my lifetime, in 1991, nearly 20 years after Atlanta. And I remember when white students left my school by the dozens and how my mother labored to enroll me in another school, to follow the current of good teachers to a better place.

My mother grew up and raised all of her children in Memphis, but five years ago, she, too, left, to live out her retirement elsewhere. In the years since, I heard a lot about a “reverse migration” where young Blacks, disappointed and frustrated by the urban North, went back to the Southern states of their ancestors for better weather and lower costs of living. Last December, Memphis’s monument to Nathan Bedford Forrest, a Confederate general responsible for the brutal Fort Pillow Massacre and an early leader of the Ku Klux Klan, came down. This year, a new cadre of progressive leaders like Tami Sawyer, London Lamar, and Lee Harris became elected officials. My dread about home and my longing for it began to work on me anew.


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* * *

“Americans do not share a common memory of slavery,” Blain Roberts and Ethan Kytle write in Denmark Vesey’s Garden: Slavery and Memory in the Cradle of the Confederacy,  a powerful account that uses the history of Charleston, South Carolina, the “cradle of the Confederacy,” or “slavery’s capital,” to trace the origins of the nation’s competing visions of slavery. One view, of slavery as “benevolent and civilizing,” say Roberts and Kytle, supported by “former slaveholders and their descendants” is “a whitewashed memory,” ignoring or minimizing how brutal it was when human beings were chattel, and how central slavery is to our nation’s history. The other vision, maintained in memories and ritual by “former slaves, their progeny, and some white and black allies,” has a gorier truth.

Memphis, founded as it was, on the Mississippi River, situated at the borders of Arkansas and Mississippi, has long been a commercial port. Americans purchased the land from the Chickasaw Nation in 1818, and the city incorporated in 1826; soon after, it became a point to transport and sell Mississippi Delta cotton. It also became an important slave market, and trading in slaves was how Nathan Bedford Forrest made his name.  He was, according to scholar Court Carney, “one of the largest slave traders on the Mississippi River,” and a two-term city alderman before enlisting in the army. Tennessee was the eleventh and last state to secede from the Union. Its mountainous eastern end, far away from cotton country and less dependent upon slavery, retained pro-Union sentiments throughout the war.

According to Kytle and Roberts, the myth of the “Lost Cause,” a term coined in 1866, took root among former Confederates in the decades after their loss. It emphasized the valor of the Confederate army and how’d they’d been outmatched by better resourced Union soldiers, but fought anyway. Standing in moral defeat (and with federal troops still occupying the South initially), former Confederates and sympathizers “scrambled to distance the Confederacy from the peculiar institution.” They claimed that while slavery played a part, it was loftier goals like states’ autonomy that the secessionists had fought for.

Yet this revision of historical memory was not benign. It coincided with losses of recently acquired rights of citizenship for freed men and women. Reconstruction officially ended in 1877 when federal troops left the South; by the 1880s, state governments began erecting barriers to voting rights and mandating separate accommodations for Blacks and whites in public spaces. Lynchings, usually committed as punishment or warning against some breach of social order, spiked in the 1880s and 1890s. According to data compiled by the Southern Poverty Law Center,  the biggest increase in dedications of Confederate monuments and memorials was in the early years of the 1900s. Memphis’s Forrest monument was dedicated at a ceremony attended by nearly 30,000 in 1905. Throughout the years, proponents of the monument included prominent leaders in business and city government, and they celebrated the former general’s “rough-hewn, unschooled martial style,” and held him up as a “pinnacle of southern manhood,” writes Carney. At least, publicly, they mostly minimized or ignored his history of brutality, but sometimes, when Blacks were particularly vocal and assertive, like during the push for desegregation during the 1960s, Forrest enthusiasts resorted to threatening an unruly populace that the general would be somehow resurrected to avenge something lost.

Even in Memphis of the 1980s and 1990s, when I grew up, remnants and relics of the Lost Cause mythos were everywhere. My first job was as an actor in a city theater performance of Tom Sawyer, a musical adaptation of Mark Twain’s first novel, The Adventures of Tom Sawyer. I played a friend of Amy Lawrence, essentially a chorus girl, and had two speaking lines. I was thrilled to have the job  — I was 12 and got to be out of school for more than half the day for rehearsals and performances. I earned a weekly stipend and adored learning from the veteran actors in the theatre’s resident company. The cast was a mix of company members and actors from outside, and we were a multicultural crew. A Black actor played Tom Sawyer, and I was the one Black girl in the chorus. Nigger Jim was played by another Black girl; we only called her character Jim. The actress had several speaking lines and performed a solo musical number to the song “Buffalo Gal,” a song I now know is from a minstrel written by early blackface performer John Hodges. Throughout his life, Mark Twain wrote about his love of minstrel performances, calling them “nigger shows.” He said in his autobiography, “If I could have the nigger-show back again, in its pristine purity and perfection, I should have but little further use for opera.”

Watching the actress’s adroit performance every afternoon and night, singing along with the rest of the chorus to songs about the glorious Mississippi and the whistle of steamboats, I don’t remember feeling anything I would call embarrassment. I sometimes got a vague feeling of discomfort, but, truth be told, I thought I was different from the other Black actress. I was, after all, playing a schoolgirl, not a slave on the run. Weren’t we simply celebrating the glory of Mississippi River towns? Our shared land and culture? I was a child and I was deluding myself.

It is only now, looking back, that I realize that none of the theatre’s resident company, the actors with guaranteed jobs and pay for the season, were Black. While researching this piece, I learned that is still the case.

A subterranean racism is intertwined with many Southern artifacts and practices. It is an incomplete nostalgia, a false memory, a longing for an old South stripped of the truth of what living then meant for many people. At Memphis’ Sunset Symphony, a seemingly benign, popular, old-fashioned outdoor picnic was held on the Mississippi River every May. “Ol’ Man River,” from the musical Showboat, with lyrics by Oscar Hammerstein II, was performed for 21 years by local bass singer James Hyter as the crowd-stopping finale, with encore after encore. Hyter would change the lyrics many times throughout the years, removing words like “nigger” and “darkey.” Even without the hurtful words the song still describes a Black man’s life of impossible toil.

It is only now, looking back, that I realize that none of the theatre’s resident company, the actors with guaranteed jobs and pay for the season, were Black. While researching this piece, I, learned that is still the case.

* * *

Late last month, the investigative journalist and author Nikole Hannah-Jones tweeted a long thread about the failed slave revolt allegedly planned by Denmark Vesey in Charleston in 1822. “This man was free and prosperous,” she wrote, “but never separated himself from the enslaved, recruited 9000 ENSLAVED PEOPLE — 9000! — to his plot to liberate enslaved in SC, overtake the armory, commandeer a boat and then sail to Haiti…” She said she learned “next to nothing” about Vesey, despite being  an African-American studies major in college, and that omitting or minimizing the truth of Black resistance is a form of “social control.” Indeed, the details of Vesey’s plot, its scale and depth, explained in a comprehensive biography by David Robertson, are remarkable.

In high school, what I learned about North American slave rebellions and resistance was cursory. I knew they happened; I learned them as facts — a laundry list of who, what, when, and how: Stono’s in South Carolina before the American Revolution; Nat Turner in Southampton, Virginia; John Brown at Harper’s Ferry.

I didn’t learn that they were more than isolated incidents — that those individual instances of resistance acted in concert with other global eruptions. They were also proof of how utterly unsustainable slavery was. Rebellions, small and large, were “frequent and were ferociously put down,” throughout the Americas, according to a website dedicated to information about Bristol, England’s role as a trading port in the transatlantic slave trade. This resistance is a missing link in the gap between the two strands of collective memory about slavery. It disrupts the Lost Cause narrative of slavery as benign, and its history has been deliberately suppressed. Robertson writes, “In order that his life and actions not be publicly commemorated, any black person, man or woman, seen wearing mourning in the streets of Charleston within a week of his [Vesey’s] execution was to be arrested and whipped.”

…the act of imagination is bound up with memory. You know, they straightened out the Mississippi River in places, to make room for houses and livable acreage. Occasionally the river floods these places. “Floods” is the word they use, but in fact it is not flooding; it is remembering. Remembering where it used to be. All water has a perfect memory and is forever trying to get back to where it was.

From,”The Site of Memory,” Toni Morrison; Inventing the Truth: The Art and Craft of Memoir

* * *

Identity is nothing if not a collection of memories, strung together over time, lunging forward to inform and create a future. Who and what we mourn, too, is bound up in what we love and value. According to Kytle and Roberts, newly freed people held countless public commemorations and a “yearlong wake,” to celebrate the end of slavery, including, in one instance, a procession with a “hearse carrying a coffin labeled ‘Slavery.'” The first Memorial Day, held May 1, 1865 was an occasion when Black volunteer associations in Charleston reburied the remains of Union soldiers in properly marked graves.

Walking in the new Memphis, twenty years after the last time I lived there, I was often lost. There was little pedestrian traffic, but many police cars in the tourist spots I visited. An old Black man, ostensibly homeless, asked for my carton of takeout food. In an old place I loved years ago, sitting at a piano bar alone, having a cocktail, I was the only Black person who was not obviously an employee. In the new places, a fancy coffee shop and a fancier restaurant, it was the same. Chicago’s South Side monument to Ida B. Wells-Barnett may be erected before the end of 2019. There is a marker for her in Memphis, on Beale and Hernando Streets, near the offices of the Free Speech, the newspaper for which she wrote columns, investigated lynchings, and urged Blacks to leave the city if they were not treated more humanely. Wells-Barnett took up that work after grieving the March 1892 lynching of her friend Thomas Moss, a postman and an owner of the People’s Grocery, as well as two of his employees. That May, the Evening Scimitar printed an editorial about Wells-Barnett threatening “to tie the wretch who utters these calumnies to a stake at the intersection of Main and Madison streets.” At Main and Madison, a few blocks from the bridge, the river, and where I’d gone to rest after burying my father, there is no marker.

* * *

Danielle A. Jackson is a writer and associate editor at Longreads.

 

Longreads Best of 2018: All of Our No. 1 Story Picks

All through December, we’ll be featuring Longreads’ Best of 2018. Here’s a list of every story that was chosen as No. 1 in our weekly Top 5 email.

If you like these, you can sign up to receive our weekly email every Friday. Read more…

Alternative Reality: ‘California Divided’

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I thought that it was a good couple of weeks for alt weeklies as I surveyed recent stories published in alternative papers around the United States for the second installment in this regular reading list.

In Portland, the Willamette Week covered the city’s embattled mayor, Ted Wheeler. Maya Smith, a staff writer for the Memphis Flyer, filed a charming profile of a blind pharmacist named Charles A. Champion. Christina Sturdivant Sani looked at the underrepresentation of black journalists in D.C. for the Washington City Paper. In Phoenix, a New Times reporter zeroed in on the questionable practices of Arizona’s former parks director.

Back East, DigBoston took aim at Massachusetts’ state gun purchasing agreements. All About Beer, the country’s oldest beer mag, was eulogized in Durham’s Indy Week. Anthony Mariani, the editor of Fort Worth Weekly, wrote an intense personal essay on his brother’s suicide. And the Chico News & Review published an amusing and informative dispatch on the Jefferson separatist movement in Northern California.

It goes without saying that I came across more good writing than I could include in this modest list. But I hope this mix of profiles, investigations, and personal musings will keep you busy until next time.

1. “Portland’s Mayor Is Struggling on the Job. And It’s About to Get Harder.” (Rachel Monahan, December 5, Willamette Week)

The Willamette Week, Portland’s best alternative newspaper, gives readers a long, detailed status report on the city’s mayor, Ted Wheeler, whose term began at the beginning of last year. Reporter Rachel Monahan portrays an ineffectual leader who is losing the faith of his allies after failing to deliver on a number of campaign promises, such as providing a shelter bed for every homeless Portlander.

No man is an island, but Ted Wheeler looks marooned. Next month will mark his second anniversary in one of the highest-profile jobs in Oregon politics—and Wheeler is struggling in a remarkably public manner.

No one doubts his intelligence or his integrity. But nearly all of the two dozen people WW spoke to about Wheeler say those qualities are not enough. They describe a mayor unable to move the city forward on challenges large and small. He’s disappointed the left and the right, while frustrating the institutional players who want to see Portland’s achievements measure up to its potential.

Wheeler seems unable to take control.

2. “Dr. Charles Champion, a Memphis Institution for 50 Years” (Maya Smith, November 29, Memphis Flyer)

Charles A. Champion is the blind proprietor of Champion’s Pharmacy and Herb Store on Elvis Presley Boulevard in Memphis, TN. Maya Smith, a staff writer for the Memphis Flyer, has written a lovely profile of this 88-year-old pharmacist, who now spends most of his time greeting customers at the front of the store.

Opaque lenses hide eyes that, for the last four years, have been able to make out only faint light. The man in the glasses, wearing a white coat embroidered with “Dr. Charles A. Champion,” sits in a green chair in Champion’s Pharmacy and Herb Store on Elvis Presley Boulevard. Champion is 88 years old, but still has his wits about him and shows up to work every day.

His wife of 60 years, Carolyn Champion, is sitting to his right. His cane, a stack of newspapers, and a plastic bucket of peppermints are on his left. Trusting his ears and gentle nudges from his wife, he gives one of each to everyone who walks by. Champion is the owner of the South Memphis pharmacy and has been there every day (Tuesday through Saturday) since 1991.

There are many fine details in this piece. But I liked this one in particular, a saucy quote from Champion, who has several strong opinions on medicine: “I turn down more people than I serve,” he says. “Just because you want a certain drug, it doesn’t mean you need it. I have to be the one to look out for people. I won’t give someone medicine just so they can continue living unhealthy.”

3. “California Divided” (Stephen Magagnini, November 29, Chico News & Review)

California’s Jefferson separatist movement has always served journalists well. In 1942, a reporter for The San Francisco Chronicle named Stanton Delaplane won a Pulitzer for his coverage of the “gun-toting citizens” who wanted to secede from the Golden State. In the Chico News & Review, Stephen Magagnini takes stock of the movement as it exists today in Northern California, which he describes as an “unlikely assortment of survivalists and hippies, pot growers and hardline cops, real estate appraisers and loggers, fencing instructors and gun lovers, Latinos and anti-immigrants.” Jefferson’s leader is Mark Baird, a rugged Trump supporter and something of a libertarian cowboy.

The movement has long been popular with a segment of rural far-Northern California, but Baird, 65, a strapping reincarnation of John Wayne, started breathing new life into Jefferson five years ago. The 6-foot-4-inch fire tanker pilot, rancher and Siskiyou County reserve deputy sheriff cuts an impressive figure. He sports a black belt holster, but instead of a sidearm, packs his weapon of choice, a copy of the Constitution.

Though it seems unlikely that the Jeffersonians will get their way, it would be foolish to dismiss the movement outright, given that Trump’s victory was a surprise to such a large swath of the American population.

4. “The Reality of Being a Black Journalist Covering Local D.C. News” (Christina Sturdivant Sani, November 29, Washington City Paper)

Christina Sturdivant Sani, the Washington correspondent for The Commercial Observer and an urban journalism fellow at Greater Greater Washington, takes a look at the underrepresentation of black journalists in D.C.’s media scene.

As a black journalist and native Washingtonian, I am equally proud to report local news and frustrated by my industry.

Beyond local black media, such as the Washington Afro American and the Washington Informer, there’s an underrepresentation of black journalists at print and digital outlets that cover D.C news.

In a city comprised of 47 percent black residents—the largest racial demographic in the city—it pains me that “mainstream” publications are majority white, most of them by a significant margin. It’s also telling that after writing for a dozen local news outlets, I’ve only had black editors at the Afro.

To its credit, City Paper gives Sturdivant Sani the space to take a look at its own track record with diversity. “Many editorial staffs around town, including Washington City Paper,” Sturdivant Sani writes, “could use a heavy dose of melanin — to document D.C.’s historically black culture and preserve the wellness of its black journalists.”

5. “Parks and Wreckage: Meet the Archaeologist Who Brought Down Parks Boss Sue Black” (Steven Hsieh, November 29, Phoenix New Times)

Steven Hsieh, a staff writer for Phoenix New Times, digs deep into an Arizonan archeological scandal. The protagonist of his story is Will Russell, who, while serving as a compliance officer for Arizona State Parks, blew the whistle on Sue Black, the department’s director who, with her deputy director, James Keegan, approached development “with more regard for awards and political ambition than archaeological sites,” Hsieh writes.

During Russell’s year and a half at Parks, he grew angry over practices he viewed as flagrant violations of state law.

Not long after he was hired, it became clear to him that Black and her allies, especially Keegan, did not value his role as a compliance officer. Parks leaders pressured Russell to treat antiquities sites not as cultural resources in need of protection, but as obstacles to development.

Records obtained by Phoenix New Times show Arizona Parks built gardens, trails, campgrounds, picnic areas, and cabins on several archaeological sites without following procedures intended to protect Arizona’s cultural resources.

6. “Fire Sale” (Chris Faraone and Curtis Waltman, September 27, DigBoston)

DigBoston, the cleverly named alt weekly, is currently knee-deep in an investigation into Massachusetts’ opaque state gun purchasing agreements, in collaboration with the Emerson College Engagement Lab and Muckrock, the non-profit news site.

Since the beginning of this year, our team at the Boston Institute for Nonprofit Journalism has examined hundreds of state purchasing agreements, for everything from heavy crime-fighting equipment to consumables for laser printers. Of the many contracts that caught our attention, the firepower free-for-all unpacked herein (SP16-AMMO-X85, abbreviated as AMMO in following references) stands out as especially dubious, with entities on all sides operating in an unchecked fashion despite being on the radar of state prosecutors. Nearly three years into the AMMO arrangement, a malleable open call that allows for multiple contracts to be approved under it, vendors have leveraged the opportunity to make millions of dollars off the state. For most of those procurements, there was no competitive bidding. And the process is far from transparent.

The second installment in the series was published in late November, and the next part, on tasers, will come out in January, according to Chris Faraone, who co-wrote the story and serves as DigBoston’s news and features editor.

7. “Saying Goodbye” (Anthony Mariani, November 15, Fort Worth Weekly)

A recent cover story for Fort Worth’s alternative newspaper — which, every week, publishes breaking news and cultural criticism along with a longform piece that usually tops out around 5,000 words — gets quite personal. Anthony Mariani, the editor of Fort Worth Weekly, writes about his brother Adam’s suicide, and the essay is sad, manic, and occasionally uplifting.

Everyone keeps telling me not to blame myself, that there was nothing I could have said or done to have changed a thing. But why? Why can’t I blame myself if that’s going to make me a better person, a better son to my mother and a better brother to my sister and other brother? And, perhaps most importantly of all, a better husband to my wife and father to my son? I was a lazy brother to Adam. There is no doubt about that. That is a fact. I could have called him more often. I texted him a bunch but rarely ever called. And I knew. I knew he was not doing well. Our mom exploded a couple of years ago when I chose to spend my vacation with my friends instead of with Adam. What’s the big deal? I whined. I even solicited Adam’s blessing while I was living it up with my buds. Ever humble and ever supportive of his little bro, he wrote off Mummy’s angst toward my vacation as her simply being her usual neurotic self. At least that’s what he told me. He was a good brother that way.

8. “For 39 Years, Local Mag All About Beer Shaped the Craft Beer Scene. This Is How It Collapsed.” (Michael Venutolo-Mantovani, November 27, Indy Week)

America’s oldest beer magazine, the Durham-based All About Beer, founded in 1979, appears to have ceased publication in mid-October. The magazine, whose website now sits abandoned on the web like so much digital flotsam, played a large part in elevating the country’s burgeoning craft beer movement, as Michael Venutolo-Mantovani makes clear in his detailed postmortem for Indy Week, the alt weekly serving North Carolina’s Research Triangle.

At the magazine’s founding, there were fewer than one hundred breweries across America, nearly all of which were mass producers such as Anheuser-Busch, Miller, and Coors. But even then, AAB quietly heralded the ultra-nouveau movement of craft and small-batch brewing. Its fourth issue had a brief mention of newcomer Sierra Nevada—today the seventh-largest brewer in the U.S., with production facilities in Asheville. In the decades that followed, AAB found itself on the leading edge of an exploding scene.

It’s a sad moment when a publication goes under. Let’s pour one out for All About Beer.

***

Matthew Kassel is a freelance writer whose work has been published by The New York Times, The Wall Street Journal and The Columbia Journalism Review.

Blowin’ Up the ‘90s

Mark Terrill, Associated Press / Photo illustration by Katie Kosma

Rebecca Schuman | Longreads | December 2018 | 11 minutes (2,795 words)

The ’90s Are Old is a Longreads series by Rebecca Schuman, wherein she unpacks the cultural legacy of a decade that refuses to age gracefully.

* * *

The 1990s did not end on January 1, 2000. The monumental anti-climax of Y2K — a computer “bug” that was supposed to screech our Earth to a Scooby-Doo foot-cloud halt, but instead did bupkis — was a truly apt expression of the preceding decade. But even discounting Y2K, I’ve got some serious issues with the alleged “turn of the actual millennium” as the endpoint of the most intentionally underwhelming decade of the 20th century. And not just because 2000 (zero-zero) is so obvious and overplayed — though there is, of course, that.

The actual termination point of the ‘90s required an attitudinal shift that would decentralize the role of Generation X as the admittedly-petulant target of all culture and advertising — the thawing of the winter of the bong-ripping couch-slacker’s discontent; the disappearance of gin and juice from house-party bars; the centering of the hot tub on The Real World; the sobering realization that both men and women were from Earth and just sucked; the demise, for that matter, of Suck itself.

In point of incontrovertible fact, the 1990s would not end in the United States until the aughts’ resurgence of aggressive consumerism and even more aggressive vacuity came to dominate all aspects of sociopolitical and popular culture. So the only question is: When was that? There are more potential answers than squiggles on a Fido Dido sweatshirt.

Was it in 2001, when the original Fast and the Furious premiered? 1996, when Blur released that WOO-hoo song? Was it 2010 — you heard me, two thousand and ten — when enough grandparents had shuffled off the mortal coil to make the primary avenue of written news consumption digital rather than paper?

I have spent an unnecessarily and perhaps questionably extensive amount of time researching in this subfield, and I present my findings to you now in a perplexing new format (I believe it is called a “list-cicle”?) that is apparently the only thing young people are able to read.

Read more…

Seventeen

Kristina Servant / Flickr CC

Steve Edwards | Longreads | December 2018 | 19 minutes (5,135 words)

I don’t remember the therapist’s name, only that he had closely cropped silver hair, a soft voice, and kind, deep-set eyes. He was a postdoc in the psychology department — whatever that meant. He wanted me to know that our sessions would be recorded and could be included in his dissertation — whatever that meant — and would I be OK with that? I said sure. He smiled and studied my face. It was September, a smell of rain in the air. One of those evenings when the dark sets in early and surprises you.

I’d just started my senior year of high school but had already been accepted to Purdue, which was only a half hour from home and where my brother had enrolled two years prior. I’d been to campus once or twice to go to parties with him. But I’d never been there by myself. I’d never been inside the psych building.

My mother set up the meeting. I didn’t know what I wanted to study, and she thought the university would have career counselors. She looked up counseling services in the phone book and made an appointment.

It was an honest mistake. Like the time I told her I needed a cup for baseball and she’d bought me a plastic drinking cup. She hadn’t been to a four-year university. My father, who had earned a degree in chemistry from Eastern Illinois, wasn’t any help with administrative tasks and probably wouldn’t have known any different either. What other kinds of counseling services besides career counseling would there be at a university? And I went along with it because that’s what I did: I floated like a cloud through my life. If my parents thought I needed to be somewhere and do something, I went there and did it. Not out of duty so much as out of a desire to avoid conflict. The thought of fighting over things I didn’t care about depressed me.

And I went along with it because that’s what I did: I floated like a cloud through my life…Not out of duty so much as out of a desire to avoid conflict. The thought of fighting over things I didn’t care about depressed me.

If anything, however, I thought maybe counseling services could help me choose a major, which apparently was important. I’d looked at the lists when we filled out the application, and most of them seemed terrible. Economics. Accounting. Some I didn’t even know what they were. Sophomore year of high school we’d taken a long fill-in-the-blank aptitude test to help us identify future careers. One question asked if we liked to be outside. I said yes and was told I should be a farmer. But even I knew that that wasn’t how farming worked. I felt duped by the test and wrote it off, like I’d already written off most of school. It was all one big time suck, state-sanctioned babysitting until we turned 16. None of my teachers seemed happy with their lives and careers. Better not to even think about it.

The therapist asked me a few questions about myself and I answered them. I’d grown up in a tiny town not far from campus. My folks were still married, and both worked — my mom as a doctor’s assistant and my dad for a pharmaceutical plant — and my brother went to school here. We were in a band together. I played bass.

“You’re interested in thinking more about choosing a major. Thinking about a career,” the therapist said. “Yes?”

“I guess.”

“What sounds good?”

“I want to be a poet,” I said.

He nodded thoughtfully and wrote something in his notebook. When he looked up again, I said if not a poet, a rock star.

“A musician?”

“Sure.”

He nodded again, wrote more in his notebook. I glanced around the room, which was square and sterile, lit by a fluorescent light, the walls a soft neutral tone. I had no idea where the camera that was recording us was located.

Over the next hour, as we kept chatting, the questions got surprisingly personal. But what did I care — I floated. If this was what I was here to do, might as well get it over with. Might as well tell the truth. Did I believe in God? Sure. Was I sexually active? Yes. Or at least I had been. Had I ever considered suicide? Yes. What was the occasion? Some nights, I said, just out driving, I thought about popping my seatbelt and steering into oncoming traffic. What kept you from doing it? I didn’t know. I didn’t want to hurt anybody else. And I guess, honestly, I just wanted to see how everything was going to end. He wrote it all down. This was a far cry from the fill-in-the-blank aptitude test I took sophomore year. I kept looking around the room, my armpits sweating. Wherever they had hidden the camera it was very discreet.


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That I would accidentally end up in therapy was emblematic of my life at 17. Things just seemed to happen to me, and out of curiosity and boredom I went along with them. Other people were such mysteries. I would watch my parents and teachers and kids at school and wonder why they did the things they did or thought the things they thought. It all seemed arbitrary. And no matter how long or deep my ruminations, I got no closer to understanding. The path of least resistance became my mode. I rolled my jeans, wore only certain brands of shoes, combed my hair how everybody else combed theirs. I wasn’t a conformist in hopes of attaining some higher social status. Rather, it was the easiest way not to care. I had music and TV shows and being outside and reading if the book was any good. Maybe someday I’d get motivated.

That I would accidentally end up in therapy was emblematic of my life at 17.

***

I hadn’t known Rachel Thompson well when we started going together the previous spring. She was a grade behind me. She ran cross-country and was a junior varsity cheerleader, and when she and her friend got dumped by their boyfriends mere weeks before prom, they approached my best friend and me about double dating. It was only after agreeing that I learned Rachel had something of a reputation.

“You play your cards right,” my friend whispered to me conspiratorially over the phone one night, “and you could end up getting laid.”

I didn’t hate the idea.

How many times had I paused in the crowded hallways at school and watched girls rushing to and from class, laughing, books in their arms, and wondered — sadly, self-pityingly — if any of them wanted it as badly as I did?

But I wasn’t enough of an asshole to commiserate about something like that with my friend on the phone. Or at least not about a specific person. Or maybe I’m getting it all wrong in the remembering and we were always talking about girls at school, objectifying them, talking up the things we would do if given the chance. Maybe I didn’t commiserate on the phone that night with my friend because this time it was about me.

Rachel Thompson lived in a little farmhouse way off in the country. School consolidation in our rural Indiana county put 25 miles of cornfields and grain silos between us, distance enough that every trip out felt like a journey. Her dad worked at a factory in town and was missing his front teeth but wore partials. Her mom was friendly and frail, a special ed teacher where I’d gone to middle school. They had a biological son who was 21 and already married, and Rachel, who they’d adopted as a baby. They loved each other and were a happy family and they welcomed me as one of their own straight away. The day of prom I came dressed in my tux and with a corsage to pin to Rachel’s dress, and everyone was there, all smiles and warmth and good cheer. Her brother had a camcorder and kept ribbing me about being unable to get the corsage on right until finally her mother stepped in and straightened things out.

I liked the Thompsons, and I liked Rachel. In the weeks after prom, we spent more and more time together. We were both on the track team and would hold hands and talk on the long bus rides home from away meets. On the weekends, I’d drive out to her house and watch movies on TV with her and her folks, and afterwards we’d hang out in the living room alone. They had a piano. She’d play and sing “The Rose” and “From a Distance” by Bette Midler. I loved the warmth of her voice, the way it filled the whole house.

“Play your cards right and you could end up getting laid,” my friend had said. But he didn’t know how she played the piano. Neither did I. I couldn’t have anticipated the intimacy of those performances in her living room. The occasional missed chord followed by a correction. Her voice reaching up for a note.

Being around her made me feel like a different person. Or maybe more like myself. As though I didn’t have to blend in or hide. As though I was worth something for no other reason than that I was here and we were together.

‘Play your cards right and you could end up getting laid,’ my friend had said. But he didn’t know how she played the piano. Neither did I. I couldn’t have anticipated the intimacy of those performances in her living room. The occasional missed chord followed by a correction. Her voice reaching up for a note.

We used to listen to Pink Floyd late at night. We made out to it sometimes, too, down in my folks’ basement. I didn’t understand the meaning of the lyrics, just that they were meaningful. The way a line could lift me out of myself and remake me. The way kissing Rachel could lift me out of myself and remake me. I felt stupidly lucky. Happy. What had I done to make any of this happen? I had no idea. And I didn’t care. I couldn’t see a single advantage to thinking too much and somehow jinxing it all.

I remember one afternoon we were driving some empty county road listening to the radio and talking as the cornfields whizzed past. Rachel reached over and lay a hand on my thigh. I glanced at her, smiling, uncertain. She stared straight ahead. As I kept driving, she inched her hand over until she was holding me with it. Everything got quiet. The music and the fields swam away from us. I pressed on the accelerator — 60, 70, 80 mph. Nothing had ever felt as thrilling. Then she laughed. And I laughed. Finally we came to a stoplight at an intersection with another highway and she took her hand back.

“Don’t think bad of me,” she said.

“Why would I?”

“For that.”

“I don’t,” I said. “I liked it.”

I never thought bad of Rachel — for anything. She knew what she wanted, and people who knew what they wanted fascinated me. How did they know? Was there something they understood about the world that I didn’t? Some anxious part of me always feared I was living life the wrong way. The thought of screwing up paralyzed me. Even as a kid, my family had called me “Lump” because rather than jump into the action, I sat back and studied the other kids and only joined the fun when I knew it was safe.

Rachel didn’t need a career counselor or to take an aptitude test. After high school she was going to enroll in a two-year associates degree and then work as an administrative assistant. She already typed 70 words per minute and with practice could reach 100 or 110. She had a starting salary in mind, a neighborhood where she wanted to live. I’d listen to her tell me these things and marvel at her confidence.

I didn’t know what I wanted. I didn’t even really know my options. I figured I’d go to college and see what happened. That had been the only real story my parents had pushed on me — go to college. We didn’t talk about what it would be like or what I might do once I was there. One night my mother was helping me fill out my application. I had to check a box for a major as part of the process. I mentioned Creative Writing, the only thing on the list that looked halfway interesting. My mother pointed to the major right above it: Communication. She thought liberal arts majors all took pretty much the same classes and said communication might sound better on a résumé. We were sitting at the kitchen table. She looked up at me, pen poised and ready. “OK,” I said. “Communication.”

Some anxious part of me always feared I was living life the wrong way. The thought of screwing up paralyzed me.

I didn’t want to argue because on some level it didn’t matter. I wasn’t going to convince her and I didn’t want go to the trouble of trying. It was easier to concede. But beneath that expedience opened a sinkhole of unacknowledged truth. I didn’t want to share that part of my life — my private thoughts and feelings, my hopes and dreams and vulnerabilities — with her. Or with anyone. It didn’t feel safe. There is plenty of poetry in small-town Indiana but there aren’t many poets there to sing it. For years, on instinct, I stuffed down my emotions, hid my heart away, kept secret the million delicious melancholies a poet perceives before language arrives to set them free. Part of the reason people who knew what they wanted fascinated me was that I couldn’t figure out how they dealt with the pain of being so exposed. Or didn’t they feel what I felt inside? The burden of some fragile, unacknowledged gift. A sense of life’s utter strangeness. Life’s brutality and grace. What I had learned was to blend in, to keep perfectly still. If no one knew me, no one could hurt me.

But at the same time, I was desperate to be known. On long drives through the country, or after we’d made out on the couch in her living room, I’d spill my guts to Rachel, talking music, telling stories about my family, sharing poems I’d written in a journal. And I’d ask questions, too, and listen to her answers. She was kind, thoughtful, funny. That she could so easily be herself had opened up space for me to do the same. And she never judged me. I remember when we finally had sex — my first time — she didn’t laugh at how quickly it was all over. Or she laughed but not in a bad way. She said, “You’re kidding, right?” but seemed more amused than anything, and after a few minutes we tried again with greater success. It was tentative and awkward and fun and sweet.

Afterward, we got dressed and drove to her brother’s house for a family picnic and kept looking at each other, sharing glances. I realized half the fun of sex was knowing you’d had it, the secret in your smile. Though maybe if anyone in her family had really looked at us just then they’d have known. And that was the other exciting part I hadn’t considered — the work of keeping it a secret. Her hulking factory-worker father with the missing front teeth, giant teddy bear though he was to Rachel, could have crushed me like a beer can. But I was too dumb and happy to be afraid. I piled baked beans and hot dogs and potato salad onto a plate.

The one person I told, a friend since kindergarten who I knew I could trust, said, “Have you even told her you love her yet?”

“No,” I said.

“Do you?” he said.

The question surprised me. I hadn’t considered it once in the whole time Rachel and I had been hanging out. It felt beside the point. Of course I loved her. Did I have to say it for her to know? Had I made a mistake by not saying it? Had I broken some unspoken rule? It pained me to think I’d messed something up without even knowing.

The next time we had sex I whispered “I love you” in her ear. She didn’t say it back. She sighed and said, “You’re sweet.”

Of the two of us, Rachel was the sweet one. I remember on her dad’s birthday, she wanted to surprise him at work so we hit Taco Bell and Burger King and McDonald’s, got him a big bag full of his favorite fast food treats for lunch. He worked on the shop floor at Alcoa, an aluminum supplier. When he came out to greet us he was sweating and streaked with grease. And at first he thought something was wrong — what were we doing there? Then she handed him the bag and he looked inside. Tacos. Burgers. A hot apple pie. The look on his face as he realized she’d gone to all those different places for him. I thought he might cry right on the spot.

The next time we had sex I whispered ‘I love you’ in her ear. She didn’t say it back. She sighed and said, ‘You’re sweet.’

My dad worked in a factory, too — a pharmaceutical plant — but I’d never taken him lunch as a surprise. I hardly even knew what he did there all day long. Family meant something more to Rachel. On one of those nights she’d played the piano and sung for me, we ended up snuggling on the couch. She told me about her biological mother.

“All I know about her,” she said, “was that she was morbidly obese. So I have to watch myself. That’s all I really know.”

We’d had sex several times, but I’d never felt closer to her, or more overwhelmed by tenderness, than in that moment. It was how she said I love you back.

One Sunday night in early summer, I went with the Thompsons and some of their friends to a carnival a half hour down the road in Crawfordsville. Rachel had been coming to the carnival, she said, for as long as she could remember. It reminded me of the county fair I’d gone to every summer when I was a kid and would stay for a few weeks with my grandparents in Illinois. It made me think about how inside Rachel was a whole world of memories and experiences, and that I was lucky for a glimpse. That night we walked the fairway holding hands. Barkers called for us to toss softballs into milk canisters, pitch pennies onto plates. Swells of melodic pipe organ music spilled from the carousel. Kids spun themselves dizzy on a Tilt-A-Whirl. I remember looking up at the Ferris wheel — this giant spinning disc of light against the night’s darkness — and how, at the very top, an empty seat rocked back and forth. The poet in me knew it meant something but I wasn’t sure what. For a moment, I felt unaccountably sad and alone, even though there were people all around and I was in love.

***

In mid-July, Rachel and I spent a week apart — and at 17, a week is a long time. Led by my mother and a friend, my church youth group attended the Presbyterian Youth Triennium at Purdue, where some 5,000 kids from around the country swarm campus for seven days of fellowship and singing and sharing ideas.

It was something to do the way going to church was something to do. Every Sunday I dutifully got up, got dressed, and endured boring Sunday school lessons and sermons and droned along with the hymns. I liked some of the stories, like when Jesus turned over the money changers’ tables in the temple, but the supernatural stuff left me cold and I instinctively hated people’s moralism and judgmental attitudes. Part of every service was a prayer the congregation read aloud. The gist was to acknowledge our selfishness and insufficiency, our pettiness, our weakness, the stain of sin made manifest through our desires.

It fetishized shame.

I remember always wondering why we should apologize for being human when we’d never asked to be born. And if God made these bodies of ours, why deny ourselves the pleasure or pain of inhabiting them?

On the first night of Triennium, everyone gathered in Purdue’s Elliot Hall of Music. It was crowded and noisy, more like a rock concert than a church service. “Brown-Eyed Girl” played over the loudspeakers and kids my age — several thousand of them — sang and swayed and hung off each other. I didn’t know what to think, only that I liked it. And whatever it was that allowed them to so freely express themselves — I wanted it.

Over the course of the week, I met kids from California, Pennsylvania, Louisiana, Hawaii. They were vibrant and energized. They talked about travel, music, movies, art, poetry, philosophy. Things no one had ever really talked to me about before — or at least not with that intensity. Learning about their lives gave me a glimpse of something beyond Indiana and its cornfields and grain silos and empty railroad tracks, and beyond boring hymns and the weekly recitation of my inadequacies at church. What if instead of being passive and private and cautious, I became joyful and engaged with life like these people I was meeting? What did I have to lose?

What if instead of being passive and private and cautious, I became joyful and engaged with life like these people I was meeting? What did I have to lose?

Rachel and I spoke by phone once or twice that week. It was hard to explain to her what was happening inside of me. I didn’t have the words yet. And I felt guilty. Anxious. A feeling had begun to creep over me that I’d been dishonest with her somehow, that maybe I hadn’t really loved her but only been interested in sex. If I was going to be joyful and free, I had to look at myself clearly. I had to be honest. That I wanted sex at all felt like an indictment enough against my character to prove I was capable of using someone for it. I don’t know. It was irrational. Somehow feeling excited about a new life seemed a betrayal of the old.

I remember driving out to see her the day after Triennium ended. We laid in a hammock in her backyard and I probably sounded like a lunatic trying to convey to her how spiritually enlightened I felt. That night we had dinner and watched a movie with her folks. After they went to bed we made out on the couch.

“Do you think,” Rachel said breathlessly in my ear, “that you’d come right away … I mean, if we just put it in for a second?”

“Yes.”

“You would?”

“Yeah,” I said. “Probably.”

We sat up and straightened our clothes. Her curly hair glinted in the lamp light, the ends all frazzled. She was pretty. She smelled like fresh laundry. It seemed like maybe a thousand years since her mom had helped me pin the corsage to her prom dress.

We broke up at the end of July, during the Tippecanoe County 4-H fair. I don’t recall exactly what Rachel’s involvement had been with the fair but her being there meant we didn’t see each other or talk on the phone much, and with that on the heels of my week away, an inevitable drift set in. I remember feeling secretly grateful for the time apart. Since that night at her house after Triennium, I’d only started to feel more guilty and anxious about our having had sex. It had nothing to do with her but with me. It had nothing to do with sex. Or God. Rather, it was the part of my psyche obsessed with protecting itself from hurt. I don’t know how to explain it, only that it’s always been there, a dark current in my thoughts. The most generous interpretation I can give it is to say that it wielded shame like a weapon in a misguided attempt to save me from myself. It raised doubts. It lied. It preferred the cold certainty of loneliness over the chaos of love. I was too confused to say anything to Rachel, to even try to talk things through. Instead, I said nothing. I stopped acting like her boyfriend and waited for her to break up with me.

The night she called and suggested we hang out with other people, I quickly agreed. She said it just seemed like we were in different places right now. She was confused but not upset, or at least not outwardly so. I said she should enjoy being at the fair. She should have fun and hang out with whomever she wanted.

After we hung up, I waited to feel something, but nothing came. A coldness, maybe. There had been guys in her life before me, and there would be guys in her life after me. That’s what I told myself to assuage my guilt. I had chosen fear over her.

The last time I saw Rachel that summer was in my parents’ kitchen a few weeks before school started. She stopped by to drop off a T-shirt or something I’d left at her house. She talked for a while with my folks and my brother, and then we were alone.

“My period came,” she said.

My cheeks burned.

“Good,” I said.

She had told me when we first started having sex that the physicality of her cross-country training meant that sometimes her period skipped a month but not to worry about it. It startled me to have already forgotten to worry. Meanwhile, the whole last month, she had been wondering if she could be carrying my baby.

“It’s weird, isn’t it?” she said, pushing a glass of iced tea from one hand to another. “To think that we used to do that?”

“No.”

“It’s not weird?”

“It’s not weird,” I said.

But I said it in a way that meant I didn’t want to keep talking about this — not if it was going to hurt. In that moment I was the human equivalent of a closed door. I thought the best thing for both of us was to pretend nothing had happened. I couldn’t look her in the eye. I said again it wasn’t weird, and that she shouldn’t feel bad. She stared into her glass of iced tea. If there was more she wanted to say, she kept it to herself. She said she should probably go. I said OK.

A therapist might have been able to help me sort through the complexity of such a moment and find some compassion for myself. A therapist might have inquired into the circumstances and early life events that made turning into the human equivalent of a closed door seem like my best option. I could also have used a therapist to process my return to earth after the high of my spiritual awakening. Maybe I’d had a vision of some new possibility for a life outside Indiana and the narrow walls of my thinking, but I still had a year of high school to get through. I spent most of it goofing off, playing guitar, pretending I was some kind of poet by reciting “The Waste Land” in speech class. It made me feel important to tell a room of my peers that April was the cruelest month. Who cared what it meant?

In the process, I might have seen Rachel more clearly, too. At 17 I didn’t understand how much our culture hates women, that a woman couldn’t want sex — the same thing I wanted — without paying a price. I thought if I loved her none of that mattered. I thought being nice was enough. Or maybe it’s more accurate to say that I carefully avoided thinking about those things. Nothing in my training for manhood required it.

At 17 I didn’t understand how much our culture hates women, that a woman couldn’t want sex — the same thing I wanted — without paying a price. I thought if I loved her none of that mattered. I thought being nice was enough. Or maybe it’s more accurate to say that I carefully avoided thinking about those things.

I remember in the hallway at school one day that fall, Rachel’s ex-boyfriend came up and slapped me on the back and said, “Know why we go out with girls like Rachel? Because they like to fuck.”

He said it matter-of-factly, without a trace of rancor or vengeance. As I recall, he was smiling, practically congratulating me. In my naivete, I chalked it up to his just being an asshole, end of story. Across the years, however, what I see is a boy convincing himself — and trying to convince me — that fucking is all women are for. There aren’t enough therapists in the world to fix what’s wrong with men like that.

I’ve had the good fortune of returning to therapy as an adult — on purpose this time — and one of the questions my therapist likes to ask is what I’d say so my former self if I could. What would I like for him to know in moments of hardship or stress? And I’m always shocked when the answer arrives, some bit of simple wisdom that was inside me all along. That to be human is to hurt. That love is worth the suffering it brings. But really all I want to do is put my arm around him and tell him to buck up, maybe read him a poem by somebody who’s still alive. I want him to know nobody’s perfect and there’s a chance every day to make things right if you fuck up. And I want to thank him for that image of the empty seat at top of the Ferris Wheel, which has become a talisman for my intention to open myself to things I don’t understand. “You did your job,” I want to tell him. “You got me here.”

Not that I know for sure how that all happened. I had maybe three sessions with the kind-eyed “career counselor” at Purdue before I figured out that we weren’t really talking about careers. And I think it surprised him at the end of that third session when I announced I would no longer be coming to see him. He was surprised but didn’t try to convince me to stay. He said he thought I was very mature for my age, and that I had a bright future ahead of me. I felt bad and hoped I wasn’t letting him down. I didn’t want to mess up his research and writing. But I could tell from his questions about my life, and from his genuine interest in the answers, that if we kept talking he was going to make me feel things I didn’t want to feel. I wasn’t ready for that. I didn’t know if I’d ever be ready. What kind of comfort was there in confronting the things that hurt you? The times you’d been cruel or the victim of cruelty? What could possibly be gained by diving into the question of why you wanted the things you wanted? The longer I could put off that conversation the better, even if some part of me knew it was inevitable. What I wanted at 17 was to glide just a little longer in the safety of my childhood. What I wanted was to float. And that’s what I did, out of his office into the dark of another September night.

***

Steve Edwards is author of Breaking into the Backcountry, a memoir of his time as the caretaker of a wilderness homestead in southern Oregon. He lives in Massachusetts with his wife and son.

***

Editor: Krista Stevens

Copy editor: Jacob Gross

Living to Create: Talking Music and Writing With Drummer Emily Rose Epstein

Katie Stratton/Getty Images

People who know Emily Rose Epstein know her as the propulsive drummer in Ty Segall’s band. From 2009 to 2015, Epstein toured and recorded with the guitar wizard and his crew of talented friends. She and Segall met at the University of San Francisco. They were both media studies majors. During Epstein’s first few years drumming with Segall, she continued pursuing her interests in journalism and editing. She interned at Thrasher magazine, San Francisco Weekly, Razorcake, Jello Baifra’s record label Alternative Tentacles, and she DJ’d and booked guests at the legendary student radio station, KUSF. Like her work history, her musical influences range widely, from Subhumans to Bob Wills to The Byrds. Naturally, her musical interests come through in her writing.

She wrote her graduating thesis on Patti Smith’s gender identity. She wrote an earlier paper about Led Zeppelin and the occult, and for SF Weekly, she wrote about her local Bay Area music scene. Rock musicians don’t get enough credit for their intellect or literary interests. I mean, Queen’s guitarist Brian May is a damn astrophysicist! Epstein shatters rock stereotypes. She proves that just because you thrash a Gretsch doesn’t mean you can’t curl up with books and string together beautiful sentences. You can, to be cliché¸ do things yourself. That’s what punk is: not dressing a certain way, but dictating the terms of your existence. Epstein took a break from touring in 2015 to work in LA, where she grew up, and plays in the country band, Blue Rose Rounder. She was kind enough to speak with me about her other life as a writer and reader.

***

Aaron Gilbreath: You started playing drums in a punk band at age 13 with a bunch of older guys from UCLA, and you were so young lots of venues made you sit outside before the gig. When did you get interested in writing and journalism?

Emily Rose Epstein: It was instilled in me from a young age that I would be a writer. My grandparents were both writers, and my uncle. My grandfather, Robert Epstein, was the Executive Arts Editor and a writer for the LA Times and the Herald Examiner, and he nurtured my creativity from a young age. We wrote poetry together all the time. He would share his work and make sure I was always making something new myself. He was a really inspiring person to be around ─ my first muse! I think more than anything I always thought I would be a poet, but journalism became something I could do more rigorously in an academic environment and potentially as a career. I always felt that it was more fun to make art than to cover it though, so that’s what dislodged the idea of being a career writer.

I was very into zines, punk journalism, and archives when I was younger, but I don’t think I became personally interested in journalism until I went to college. I never took it seriously until then. At that point I got deep into it ─ audio, print ─ just because it seemed like the right move for someone who was into the arts and writing.

AG: So it wasn’t the shrinking of newspapers or writers’ shaky financial prospects that dislodged the idea of a writing career? That is a tough decision for many writers and editors, though: do you take the risky road of making your own stuff, or do you pursue a hopefully more stable career editing, producing, or publicizing others’ work.

ERE: Yeah, thankfully I wasn’t faced with that. Music kind of took over my life and I lacked the time and drive to do anything but creative writing while I was playing music professionally, or whatever you want to call it, ha ha. It’s hard to say what path I would have taken had I not been whisked away by Ty.


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AG: Just to clarify, your grandfather shared his arts journalism with you, or his poetry? Or both?

ERE: Both! But mostly the poetry. Writing, brainstorming, working was central to his existence, and I think he knew I was really excited by that stuff, so we wrote every day and read every day. Writing was like magic, and he could always summon the spirits in both of us that were moved to make things. I was young when he passed, so I don’t think I was fully aware of, or able to grasp, what he was working on professionally.

AG: So poetry and prose? Have you continued writing poetry, or does it inform your other writing?

ERE: Oh of course, yeah. I’ve always written poetry, always will. I think I write less now than ever before, but now I’m writing differently. It’s interesting being in a country band: you almost have to learn a new way to write, and I’ve really been enjoying the simplicity of that. It’s satisfying to get back to the basics, to learn how to say something with fewer words, to get down to basic emotions that everyone can relate to but to figure out a way to do that in the most meaningful way.

The biggest gift the teachers gave me was telling me to get out into the city, the world.

AG: Muses are so essential to refining our interests and building confidence, so it sounds like you were fortunate to have a few in the family. Did your family history lead you to pursuing your media studies degree at USF? And did your time at USF help you refine your professional and artistic pursuits?

ERE: Perhaps, yes. Many members of my family work in the arts or are artists in some capacity, or writers, or work in the media, so I suppose it was always something I was around and in tune with. But honestly I didn’t know what I needed from school while I was there. (It’s true that “Youth is wasted on the young!”) I just knew that I needed to commit to getting a degree, and I wanted to major in something that could help me figure out what my path would be. USF’s Media Department was interesting. It certainly connected me with some fascinating people and lifelong friends, but the biggest gift the teachers gave me was telling me to get out into the city, the world, to look for real opportunities to work and create and consume media, so that’s what I did. I devoted myself to independent print, music, and film in the Bay Area in every way that I could, as a creator, consumer, lover, fighter.

AG: That is a gift, and you made incredible use of your time. Between ThrasherRazorcake, KUSF, and Alternative Tentacles, is it safe to say you were considering editing or journalism as a career?

ERE: Oh yeah, I never had any grand ideas that any of the music I would make would be popular or could support me, so I always assumed that I would work for an independent publisher or publication and do creative writing and music on the side.

AG: What was it about independent publishers that attracted you? You didn’t consider working for New York book publishers like FSG or interning at The New Yorker?

ERE: I considered working at several larger publications. I had an option to be a part of a program in London for writers that would have positioned me to intern for Rolling Stone London, but I decided to do a tour with Ty instead. I don’t know, I guess I never got far enough in my “career” as a writer or editor to know how that would have panned out, but I am a huge fan of small publishing houses where you can really sink your teeth into what you’re doing, where you can be a part of every process of publishing if you want to. I love the informality and the intimacy of that kind of environment. I’ve never been more inspired, really, as when I was working for RE/Search Publishing a few days a week, editing, transcribing, brainstorming, conducting interviews, working on layouts for books, fact-checking. I would come home and my young brain would never turn off: I had Schwaller de Lubicz and Timothy Leary and Philip Lamantia and Lawrence Ferlinghetti and Andre Breton and Lydia Lunch and Leonora Carrington and Throbbing Gristle dancing through my thoughts all day and night, peppering every aspect of my life with rich new ideas. I assumed you’re not going to get that full-on immersive experience at a large publishing house, but I guess I don’t really know!

AG: Was your interest in both playing music and writing ever a problem or source of confusion for you, or did these different pursuits fit together in your mind?

ERE: It fit together at the time when I was writing for publications like SF Weekly. I was able to showcase bands in my columns that weren’t otherwise getting attention in the Bay Area, like the Baths (later the Royal Baths), Sic Alps, CCR Headcleaner, Rank/Xerox. That was exciting to me. But I do wish I had figured out ways to fit them together in my brain and body sooner; it took me a long time to feel confident with the songwriting process and letting my words collide with melodies. I think until quite recently I was self-conscious about sharing personal writing. I could write about other people’s music all day, but I wish it hadn’t taken me so long to fuse those two passions into one form, without collaborators steering me along the path or validating my work.

AG: So does that mean you’re currently writing your own music and also doing more personal writing? I was curious whether you were drawn to first-person narratives or memoir as well as journalism. As for being self-conscious about sharing, what changed for you?

ERE: Yes, I am writing a ton of music these days and have been for the past few years. That’s the bulk of the writing I do now. I still feel quite uncomfortable with the nakedness of writing memoirs or first-person narratives for anyone but myself. My songs are pretty bare, but I feel comfortable doing that because the writing is caressed by melody and rhythm. I’m an open book in a lot of ways, certainly emotionally, but I am pretty private too, so I think it would be a difficult transition to write and share in that way.

As far as being self conscious about sharing, I overcame that after getting out of a really difficult period in my life. I think for a year or two I really struggled when I left Ty’s band with understanding who I was, what I needed from life. I knew I needed to get out on my own in so many ways, but I didn’t know how, didn’t know what the goal was, didn’t know what I was capable of. I had a lot of difficult things happen in my personal life during that time, and I think when you learn really tough life lessons that force you to sort of wake up in a way you’ve never had to before, you also begin to realize how short life is, how universal pain is, how incredible people are around you. As those changes were happening within me. I really learned to love and forgive myself in a way I never had been able to before, and with that, I kind of also learned to learn to not give a fuck. There was just something in me that got lighter in the face of the heaviness. So now when I sing and write, I sing and write with a confidence I never was able to have before. I just really don’t care if people don’t like what I’m doing, and I’m even more grateful than ever when people connect with what I’m doing in a positive way, because I’m really living to create again, and I do hope that my music connects with people and is comforting in the ways that country music can be and has been for me.

I would come home and my young brain would never turn off.

AG: One of the interesting things about your writing is that you were an active part of the musical world you covered for SF Weekly. Playing music then, you were surrounded by so many incredible bands and personalities. Did profiling buddies like Sic Alps or John Dwyer present any challenges or tensions?

ERE: There’s always a strangeness to writing about your friends’ bands; you are biased in so many ways. It’s also difficult to get your friends to remember that they need to communicate with you as though you don’t know all the facts when you’re interviewing them. That stuff can be tricky. I think I spent more time editing my CCR Headcleaner interview than anything else I’ve written, just because there was so much in there that no average reader would be able to understand. Other than that, I never really experienced any challenges. All of the writing I was doing for the Weekly or my interviews for KUSF were so informal and basically fluff pieces, so the bands were just happy to be featured, and I was happy to be able to give them the attention I felt they deserved. I suppose if I had been doing longform journalism at the time, it would have been more difficult to be totally truthful or give the reader everything they think they want.

AG: On tours, did you bring along books and hit bookstores in different towns, or was that kind of literary life too difficult on the road?

ERE: I read incessantly on the road. I would go through tons of books on tour. I would finish my books and then finish Mikal’s books and then have to pick something up on the road sometimes! I loved hitting up bookstores and thrifting for books around America and the world, though. I really miss having that much time to devote to reading. It was great being on the road too, planning out what to read depending on where you were going. There was a tour where we spent a lot of time in France, so I made sure to bring Celine. Huysmans, Vonnegut, Brautigan, and Didion were always favorites of ours for traipsing through America.

AG: When you quit touring with Ty, was that an indefinite hiatus, or do you intend to drum with Ty again?

ERE: I never say never, but there’s no sign of that happening anytime in the near future. I’m not really playing drums these days, and Ty and I are on different creative wavelengths. I love him and think he’s doing great things always. He’s one of those people who has endless creative energy and I really admire that, but I know I needed to get out on my own and explore the things I wanted to do, and his creative needs are forever changing, too, so he and I are both thriving creatively but separately at this time!

The Wrong Pair

Getty / Photo illustration by Katie Kosma

Lisa W. Rosenberg | Longreads | November 2018 | 15 minutes (3,844 words)

 

Dr. Alvarez furrowed his brow, crouching to view my right breast head-on, inscribing something on it with a dark blue marker — a map for his scalpel.

“You’ll notice a real laterality here,” he said, glancing up at one of his two male assistants, presumably residents. “Not so much on the left.”

“Yeah,” The younger physician concurred. “Wow.”

I bit my lip, amused. I was too giddy to be mortified. Nothing in life prepares you for a situation where three guys in white coats marvel at the nuances of, and the contrast between, your breasts. I sat, compliant, tolerant. My greatest wish was coming true. On the other side of this day would be relief from my aching middle back, from carrying around twin entities that had never felt like mine, and which had contributed to a struggle with body image that lasted through my mid-40s.

When Dr. Alvarez finished marking me up, he asked if I had any more questions before they wheeled me in for anesthesia. He had explained everything already: what kinds of I incisions would be made for minimal scarring, what the healing process would be like, how long before I’d be able to run.

“How small can we go?” I said, though we’d been over this as well.

“A C-cup,” he said. “Any smaller would compromise the integrity of the breast.”

Integrity and my breasts had never belonged in the same sentence as far as I was concerned. I felt no guilt about my choice, no reservations. A woman I’d met at physical therapy a few weeks before, who had overheard me talking about the upcoming surgery, had clicked her tongue at me.

“God don’t mess up,” she’d said.

But he did in my case, I’d wanted to tell her. I pictured a boob conveyor belt where God’s helpers — whoever they might be — awarded specially-selected, custom-designed boobs for every female in the queue. I imagined a woman in line before me: broad, tall and brash, with frosted, feathered, Barbara Mandrell hair, pausing to fix her slingback heel. Then me, pushed forward, forced to take the double E knockers that God had designed for her, instead of the nice, delicate A cups intended for my slight frame.

“A B-cup might be nice.” I told Dr. Alvarez.

“I’ll do my best,” he said.

Read more…

The Fault in Our Stars: On Fake Celebrity Interviews

Photo illustration by Katie Kosma

Soraya Roberts | Longreads | November 2018 | 11 minutes (2,670 words)

“I play with my breasts, not to show off but to demonstrate a kind of revulsion. I simply transform myself into a voice for all the tormented souls of this world.”

That’s Courtney Love in 1996 in SZ, the magazine belonging to one of the largest newspapers in Germany, Süddeutsche Zeitung. It sounds a little crazy, but then, she’s a little crazy. And anyway, Tom Kummer, the Swiss journalist who attempted to style himself after Hunter S. Thompson, always filed outlandish exclusives and cover stories like this from Los Angeles — Pamela Anderson on her aching implants, Mike Tyson on eating cockroaches, Bruce Willis on immorality. From the mid-nineties to 2000, he was kind of a celebrity himself. Beloved by editors, he also wrote for the German magazines Der Spiegel and Stern and Switzerland’s Die Weltwoche. In fact, it was in the latter that, roughly two years before the Love interview, he wrote, funnily enough: “She plays with her breasts not to show off but to demonstrate revulsion. She wants to embody the voice of all tormented souls in the world.”

Tom Kummer had been flagged for fabrication before, but it wasn’t until an exposé in Focus magazine in 2000 that it was confirmed: he had never interviewed Love, or Brad Pitt or Sharon Stone or Kim Basinger, or anyone really. SZ followed with a breakdown of his deceit, like The New York Times would with Jayson Blair in 2003; it published an apology for the “falsified” stories and fired editors Christian Kämmerling and Ulf Poschardt. You would think Kummer would at least nod at contrition — like Janet Cooke in 1982, like Stephen Glass in 1998 — but he took the Jonah Lehrer route instead and talked boundaries. He even had a name for his approach: borderline journalism. “I wrote impressionistic, creative, literary descriptions of the life of stars in the form of so-called interviews,” he told The Guardian in 2011, adding, “Everybody loved my stuff and I guess they were addicted to some kind of illusion that stars should talk like I made them talk.” He claimed he was never asked for proof, that his editors had approved of his methods. As Stern’s publisher told the Times, they — Kummer and his editors — “appeared to have a different idea of journalism.” Read more…