Search Results for: Nature

A Bit of Mud is Good for You

Getty Images

In the Western world, humans spend 90% of their time indoors, more since the impact of COVID-19 — but disconnecting ourselves from the outside into sanitized boxes is not as safe as we may think. Caroline Winter explains in Bloomberg Businessweek that while light and air pollution are obvious issues, so is the microbiome of the built environment. The buildings we inhabit are full of microbes; inhale deeply and, “With each breath you bring oxygen deep into the alveoli of your lungs, along with hundreds or thousands of species.” Indoor microbe populations tend to be less healthy for us than those that exist outdoors — and, if you live in a green area, simply opening a window can promote a healthier environment. It may also help to be just a little less clean — ease up on the bleach and we won’t wipe out all the good bacteria with the bad. So don’t be afraid to breathe in a bit of the outside world, or get some mud on you: The microbes from species found on plants and leaves may actually be good for us.

Of course, the most urgent microbe-related question is where to find SARS-CoV-2 and how to kill it. Beyond that, there are also long-term questions. How can we promote indoor microbe populations that don’t make us chronically ill or harbor deadly pathogens? Can we actually cultivate beneficial microbes in our buildings the way a farmer cultivates a field? Experts including Van den Wymelenberg are confident all this is possible. “I really believe our building operators of the future and our designers will be thinking about how to shape the microbiome,” he says.

The term “microbiome” is most often used to refer to the population of microbes that inhabit our body, many of which help produce vitamins, hormones, and other chemicals vital to our immune system, metabolism, mood, and much more. In the typical person, microbial cells are as numerous as those containing human DNA and cumulatively weigh about 2 pounds. In recent decades our personal microbiomes have been altered by factors such as poor dietary habits, a rise in cesarean-section births, overprescription of antibiotics, overuse of disinfectants and other germ fighters, and dwindling contact with beneficial microbes on animals and in nature. According a 2015 study, Americans’ microbiomes are about half as diverse as those of the Yanomami, a remote Amazonian tribe.

Read the story

Longreads Best of 2020: Essays

All Best of Longreads illustrations by Kjell Reigstad.

All through December, we’re featuring Longreads’ Best of 2020. This year, our editors picked and featured hundreds of beautifully written and poignant essays published on the web. Because of the wide range of writing across many topics and themes, it was a challenge to sift through them all over the past several weeks to compile a definitive Best of Essays list. As I shortlisted stories, I realized there could be many different versions of this list, but, in the end, these eight reads really spoke to me.

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

* * *

Mississippi: A Poem, in Days (Kiese Makeba Laymon, Vanity Fair)

Kiese Makeba Laymon was on a book tour when the pandemic hit in the U.S. In this stunner of a piece that unfolds over 14 days, the author writes on fear, racism, death, and home amid a moment of awakening. We follow along on the journey, from event to event in Ohio and West Virginia, with Laymon’s observations and thoughts interspersed with daily COVID-19 death counts and the latest words or orders from Donald Trump and Mississippi Governor Tate Reeves. It’s a powerful meditation, one that will stop you in your tracks.

We are awakened, I want to believe.

75 miles from the armed confederate statue in Oxford, Emmett Till’s childish body was destroyed. 70 miles from that armed confederate statue, Fannie Lou Hamer was nearly beaten to death. 160 miles from that armed confederate statue, Medgar Evers was murdered as he enters his home. 80 miles from that armed confederate statue, Martin Luther King was murdered in Memphis.

It took way too much Black death to get here.

I am wandering around the spiritual consequences of materially progressing at the expense of Black death. I want to be courageous. I wonder, though, when courage becomes contagious—when courage is credentialized, subsidized, and incentivized—if it is still courage at all.

Today, as I prepare to push send, and I lather my hands in sanitizer, it feels a bit too much like cowardice.

Maybe I’ll wait to send tomorrow. Maybe I won’t send at all.

The Lafayette County Board of Supervisors, a group of white men, unanimously vote to keep the armed confederate monument in the middle of Oxford, the town where I live, teach, and write.

Humiliation, agony, and death, are what I feel.

It could all be so much worse, is what the worst of white folks want us to recite.

Read more…

Loving Molly, and Mourning Her: A Husband’s Extraordinary Essay

Chaichan Poradok / EyeEm

What does one say about a piece of writing as beautiful and devastating as Blake Butler‘s essay for The Volta about his late wife, poet Molly Brodak, who committed suicide in early 2020? Perhaps just this: Read it. Or as the writer himself has said, “Please read with care.”

By turns elegiac and funny, angry and warm, expansive and intimate, “Molly” is a feat:

Within the gardens of her darkness, Molly made up her own ways to believe—in art, in poetry, in nature, in creation. She did her best to surround herself with evidence that there might be any reason yet to try. God to her appeared as obvious folly, dressed up in desperate want for mindless relief against what she saw as the cold, dark universe. Even the thought of having children made her ill—how could anybody bring another life into this world where no one cares? Sometimes when I’d try to talk to her about her own childhood, slowly revealing itself, sometimes against her will, as of an irredeemable neglect, the walls in her would rise up, and she’d go blank.

–––

Molly hated long goodbyes. She preferred instead to turn away and not look back, not even waving. As she left my apartment, I would wait and watch to see if this time she would break her rule, as an exception—she never did. “The amount of fear / I am ok with / is insane,” Molly wrote in her poem titled “Molly Brodak.” “I love many people / who don’t love me. / I don’t actually know / if that is true.”

–––

“Love someone back,” she wrote in a poem that I read the first day I realized I already loved her and always would. “You just begin.” So I began.

 TW: suicide, self-harm, depression

Read the story

Longreads Best of 2020: Music Writing

All Best of Longreads illustrations by Kjell Reigstad.

A long, long time ago / I can still remember / How that music used to make me smile
—Don McLean, American Pie

If you like these, you can sign up to receive our weekly Top 5 email every Friday.

* * *

Like A Shovel and a Rope (David Ramsey, Oxford American)

In the before times, a little over a year ago, we traveled to Savannah, Georgia, for a music festival. It was fall, but still sweltering. We stood for hours directly in front of the stage, shoulder-to-shoulder with sweaty strangers who, too, love music. This seems like a heat-induced fever dream, an act now incomprehensible. The day’s highlight was seeing Shovels & Rope — the husband-and-wife duo of Michael Trent and Cary Ann Hearst — play live. The energy and intensity of their performance outshone the sun on that humid Georgia afternoon.

At Oxford American, David Ramsey’s intimate portrait of the hardest-working couple in rock ‘n’ roll is a love letter written in 40 short parts. Ramsey captures not only the je ne sais quoi of Shovels & Rope, he documents the down and dirty, the ordinary sleepless exasperation of raising a family while writing, recording, and touring.

Many of their best songs have a deliberateness on the topic of how to build a life, both wistful and hard-edged. “Making something out of nothing with a scratch and a hope,” they sing on “Birmingham,” their origin-myth anthem, “two old guitars like a shovel and a rope.”

There is a way of singing that is a distant cousin of the temper tantrum. A sound that simmers at the bend and snap of the spirit, fragile and fierce. We are peculiar animals that sing songs to each other, but we are still animals.

I think what got me hooked on the way that Cary Ann sings shares something of this current, the way something so powerful could have such brittle edges. Shovels & Rope is like this, too—they seem to conjure in each other a kind of frenzy, grease and fury, tender cries at the edge of a scream. They are an anthemic band, but their medium is the fragility of the anthem: Something about to break.

The thing that they do, I hesitate to say that you have to be there, but—there is an intimacy and devilment to their live performance, a lift and crash, that has been hard to capture on record. So that their art, like the lives they have carved out for themselves, is a thing on the move, uncatchable as a storm. Home and the road and home on the road.

Pure Magic: The Oral History of Prince’s Super Bowl XLI Halftime Show (Alan Siegel, The Ringer)

When I think of Prince, I remember his musical genius. How when he did something, he did it his own way and how his way was always a sharp cut above, a sneak peek into his brilliance, which seemed to radiate from him like heat from the sun. His approach to the 2007 Superbowl half-time show was no different, from how he secured the job and created the setlist, to how he ignored the traditional pre-event press conference requirement to play a few songs instead. Then of course, there was his legendary game-day performance — in the pouring rain, to boot. A truer artist there never was.

Meglen: We had a little meal, just the four of us. At the end of the meal, Prince reached down, and he had a little portable DVD player, because that’s what you had at the time. We weren’t going online at that point. He had a bunch of the previous Super Bowl halftimes. And he basically was critiquing them, saying, “This was good but I wouldn’t have done this.”

Hayes: This is what his thing is: “I don’t care about how you did it before. This is how I do it.”

Meglen: Which finally prompted Saltz to go, “What would you do?” He looked at Saltz, and in his normal Prince way, said, “Sir, follow me, please.” And the three of us followed him upstairs into the living room. And the entire band was standing there in position.

Hayes: He tried to give us a heads-up just to make sure we were on point. Just so, like, everybody knew their stuff.

Meglen: He went over, put on his guitar, and said, “Hit it.”

Arzate: He gave us actually all a private show. The cleaning people, myself, and the executives.

Mischer: When we said, “You’ll have to have a press conference. They would like to interview you,” Prince point blank said, “I don’t do interviews.”

Mischer: He said, “I’m just gonna play for them.” And we said “OK.”

Shelby J.: As we’re walking to the stage I’m like, “I think I’m gonna be sick.” All I can see ahead of me is all these cameras. And so there were these doors over to my left, I didn’t say a word to anybody. I just kindly excused myself for a moment. There were bushes outside. I literally got sick, stood back up, and was like, “OK.” And people were [there] in their Super Bowl garb, but they don’t know me from a can of paint, so I was cool with that. I shut the door and came back in.

Adande: Prince and all his people come out and kind of pick up their instruments, and take their positions.

Flanked by Australian dancers Nandy and Maya McClean—the Twinz—Prince stepped up to the microphone in a salmon-colored suit, thanked Mischer, and addressed the reporters sitting in front of him. “We hope we don’t rock your ears too much,” he said. “Contrary to rumor, I’d like to take a few questions right now.” At that moment, someone in the crowd blurted out, “Prince, how do you feel about performing …”

Adande: I think it was a plant.

Gongaware: It was one of the sportswriters.

Adande: Before he could even finish [the question], Prince just breaks into “Johnny B. Goode.”

Push Play (Chris Dennis, Guernica)

Throughout our lives, most thinking human beings struggle with the question of who we are. As Chris Dennis so eloquently puts it, “We align ourselves with some predominant pattern to alleviate not just our own loneliness, but the perceived loneliness of others around us—until some wild, original thing appears and, against our simpler nature, we leap for it.” For Dennis, loving the music of Dolly Parton and her unabashed conviction in being her made-up, bouffant, silicone-enhanced self helped him understand his own identity.

In the fall of 1986 I turned seven years old, and my father gave me a used black Magnavox boombox. It was sitting on the coffee table when I came home from school. “Push play,” my dad said, and the look on his face confused me, until I realized that the surprise—the actual gift—was the cassette tape he’d already put in the player. So I pushed play. Looking back, it’s obvious that he had fast-forwarded to the song he knew I would immediately recognize and want to hear, because I’d heard it on the radio in the car several times and sang all the words. But when I pushed play, I suddenly felt embarrassed, uncertain, because I loved the song very much and the gift meant that my dad knew: that he saw me, and approved of my loving it. I couldn’t have articulated it then, but I wasn’t sure if I wanted my dad to understand me in this way. I had some ineffable sense that loving Dolly Parton might be something I should hide.

Meet the Revolutionary Women Strumming Their Way Into the World of Flamenco Guitar (Lavinia Spalding, AFAR)

I started to study guitar four years ago, finally making good on a dream I’d put off and denied myself for decades. A few years later, I started studying bass too. Of all the decisions in my life, committing to music has had a profound influence on me, on how I perceive my limitations and my potential. It’s a daily labor of love, where focus and concentration bring small, yet regular rewards from learning to read music, playing songs, training my ear, and working on rhythm and timing. While I’ll never achieve mastery, Lavinia Spalding’s piece at AFAR immediately resonated with me. A child guitar prodigy, she gave up playing in her teens. In a bid to reclaim her music skills and reconnect with her late father, Spalding travels to Spain to study with three tocaoras — the oh-so-rare female Flamenco guitar masters. This piece reminds me of the sheer joy of learning music and how powerful a good teacher’s encouragement can be.

You don’t need to read music to play flamenco, she says. “Flamenco is ninety percent improvisational,” she explains. “It comes from the houses; it’s deep inside the people. It’s an ethnic music, not a scholastic music.” She suggests I simply follow along while she plays falsetas, or soleares melodies. Then her hands explode across the strings like fireworks, and all I can do is stare. And panic. And realize how unprepared I actually am.

Fortunately, she’s as encouraging as she is talented and tenacious. “You’ve got it!” she says again and again during our hour together. She repeats this praise even when it’s abundantly clear that I have not, in fact, got it. Toward the end of our lesson, she suggests I record a video of her playing slowly. Back in my rented apartment, I watch the video 50 times and practice fanatically—once for six hours straight—until I memorize the falsetas. And when my fingertips start tingling, I’m euphoric. I run my thumb over them like they’re a row of tiny talismans.

“I miss my body when it was ferocious”: The Transfiguration of Paul Curreri (Brendan Fitzgerald, Longreads)

Imagine that there is a thing you are put on this earth to do, and then suddenly, you’re no longer physically able to do it. This is exactly what happened to singer-songwriter Paul Curreri, who was cut down in his musical prime, sidelined by permanent injury. “Paul Curreri gives what few songwriters can,” Matt Dellinger wrote in The New Yorker in 2002. “It hits you soon and hard that you’re hearing something exquisite.” In this deeply researched and carefully crafted Longreads feature, journalist Brendan Fitzgerald documents Curreri’s uneasy relationship with his body and his art after suffering damage to the primary tools of his trade — his fretting hand and vocal chords.

In 2008, Curreri’s body began to mutiny. A vocal hemorrhage canceled a tour; another silenced him for more than a year. He self-produced two more studio albums, then he and his wife left Charlottesville. They tried Berlin, and then Austin, Texas. In 2012, while working on demos for a new album, Curreri injured his voice a third time, after which his body seemed all at once to come undone. A twinge in his fretting hand appeared overnight and did not resolve; a doctor told him the pain would not improve. Both arms became inflamed and ached in such a way that, for a time, Curreri found it hard to turn a doorknob or hold a fork. He shelved the new songs and moved with Sproule back to Charlottesville.

Curreri’s appeal, for me, had always lived in his brazen standoffs with limitation, failure, and dissolution. “Beauty fades — it goes a-crackin’ and a-juttin’,” he sang on 2004’s The Spirit of the Staircase. “Some folks go slow, some all of a sudden.” For years, Curreri’s work had shouted, and so he became a shouter of singular beauty. Then, he went quiet — slowly, at first, then all of a sudden.

* * *

Read all the categories in our Best of 2020 year-end collection.

Longreads Best of 2020: Food

All Best of Longreads illustrations by Kjell Reigstad.

Through December, we’re featuring Longreads’ Best of 2020. After revisiting the food stories picked by the team this year, we’ve narrowed down our favorites. Whether you are a fan of marmalade, bagels, or sushi, we hope you find something you enjoy. 

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

* * *

Flimsy Plastic Knives, a Single Microwave, and Empty Popcorn Bags: How 50 Inmates Inside a Michigan Prison Prepared a Feast to Celebrate the Life of George Floyd (Tana Ganeva, The Counter)

This is a story that puts you through a whole gamut of emotion — from frustration, admiration, joy, to sadness — all while discussing fried rice on a bagel.

The protagonist behind the bagel is Michael Thompson, an inmate of Muskegon Correctional Facility in Michigan, who has served 25 years of a 40- to 60-year sentence for selling marijuana in Michigan, a state where cannabis is now legal. But it is not his own plight that is concerning Thompson — he has been moved by the story of a Black man killed by a Minneapolis police officer — George Floyd.

Wanting to find a way to mark Floyd’s death, Thompson decided to share a special meal with his inmates in a “celebration” honoring Floyd’s life. Such a simple concept is a monumental task in prison — and you feel great pride in the inmates you are joining on this mission. First, there is the issue of money — Thompson wanted to feed the whole unit, but resources meant it had to be capped at 50 inmates. Some food was donated, and the rest Thompson bought from the commissary. Then there were tools — the entire operation had to be carried out using “only flimsy plastic knives, a single microwave, and empty popcorn bags.” The men struggled, tearing their hands up with plastic while cutting, but at the end, each “attendee was served one celebration bagel, a bag of chips, and a soda.” And that food was so appreciated — for some, the first cold pop they had drunk for decades.

More than just the enjoyment of the food, this meal brought the men together, even though they had to eat separately, because: “After they returned to their cells, each man sat in silence for 8 minutes and 46 seconds. And then they began to eat.”

Why Grocery Shopping Is on Its Way Out (Cory Mintz, The Walrus)

As a food writer, Corey Mintz loves a supermarket more than most — in fact, he got married in one: “between the cash register, the root-vegetable table, a group of … friends and family, and a display of maple syrup.” In this piece, he gives us a fascinating history of the supermarket, whilst bemoaning what is unwittingly being lost by more and more people as they choose to order their groceries online.

Written just before COVID-19 hit in full force, the topic is eerily prophetic of things to come. When Mintz discusses the loss of “getting out of the house; the freedom of choice; being in a large, expansive space; the visual stimulation of all that abundance on the shelves,” he was unaware that the arrival of the pandemic was soon to rush this reality to the fore for millions. However, as mental health deteriorates alongside isolation in 2020, the accuracy of some of Mintz’s other points is undeniable: The idea that interactions with local storeowners — or “weak ties” — “improve physical and mental health and … reduces loneliness.”

This year supermarkets have been bombarded by a new wave of online customers, and the herculean feat it takes to get a delivery slot suggests that the figures in this article — that 1.5 ­percent of people in Canada and 3 percent in the U.S. order their food online — are already out of date. Now that people have discovered the delight of bananas and chocolate biscuits turning up at their door will they ever go back to their local supermarkets? If these community interactions are lost on a permanent basis, what is the long-term cost?

Mintz will certainly be hoping that in the future we remember that “while other human beings can be annoying—clipping our nails on the subway, calling instead of texting, disrespecting the unwritten rule that the middle seat on a plane gets armrest preference—we need one another.”

Marmalade: A Very British Obsession (Olivia Potts, Longreads)

This essay resonates with the pure joy that a particular food can bring, but it’s not the most obvious of foods — a bitter citrus fruit boiled in sugar to create a breakfast condiment … a.k.a marmalade.

Potts’ language draws you into the kitchen with her as she brews up her concoctions, so you can almost feel the steam and stickiness as she drops “saffron strands into a couple of the jars, stirring last minute, and they hang, suspended in the jelly, perfect threads.” The pleasure she derives from her “potted sunshine” is apparent, but more fascinating is the complicated world of marmalade that she explores. A central theme of British culture — eaten by Samuel Pepys, James Bond, and Paddington Bear — it inspires fanaticism. Invited to judge at the World’s Original Marmalade Awards, Potts discovers that “the tricky, maddening nature of marmalade is precisely why people love making it.”

Along with Potts, we brace ourselves “for the marmalade obsessives” she would find while judging for four days at Dalemain. And yes, 50 sheep were dyed orange in readiness for this year’s festival, but despite herself, Potts finds herself entranced by this eccentric world, and when she is the first to try the marmalade that ultimately won the Double Gold International Marmalade award in the artisan category, she “wanted to ring everyone I know and tell them about this stuff.” It turns out the subculture of marmalade is rather delightful.

Once back at home, and in a global lockdown, Potts finds comfort in making her own marmalade: “there is something inherently optimistic about preservation, about putting something away for your future.”

Read this loving homage to marmalade, and you too will find “a small optimism, a hope of orange-colored happiness in your future.”

The Sacred Ritual of Meals with My Mother (Marie Mutsuki Mockett, Elle)

In this essay, Marie Mutsuki Mockett evokes the vivid associations we can have with food. She argues that the food of our youth — given to us by our mothers — formulates our palette for the rest of our lives. As a teenager, in the hospital with pneumonia, Mockett craved “Japanese soul food” — her mother brought her pickled sour plums, rice, and seasoned ground beef, and her “body reconstituted itself out of her nourishment.” Even today, when she is sick, she yearns for those flavors.

Now the tables have turned, and with her mother aging, it is Mockett who is bringing meals that bring her comfort, such as elegant flats of sushi with “the spinach … steamed, the water squeezed out, and the leaves placed into strips.” Despite her mother leaving Japan for the United States decades earlier, it is the food she grew up with, and taught her daughter to love, that they share — their personal and regional history interwoven.

COVID-19 has now robbed Mockett of the chance to share meals with her mother — whose nursing home was one of the first to shut its doors to visitors. She manages to express her devastation with a simple, yet searing, description: “Sometimes I get a photo of her eating her meals. There is no sushi on her plate.”

My Restaurant Was My Life for 20 Years. Does the World Need It Anymore? (Gabrielle Hamilton, New York Times Magazine)

This year has been a struggle for many small restaurants — with so many having to shut their doors. In this piece, Gabrielle Hamilton tells the story of the closure hers — Prune — but it is the tale of many. Written from a first-person perspective this is a deeply personal essay that exposes the pain of shuttering a lifelong dream.

Prune was 20 years old when the gates were finally rolled down. A bistro in Manhattan’s East Village, when it was born “there was no Eater, no Instagram, no hipster Brooklyn food scene.” Hamilton worked seven nights a week “driven by the sensory, the human, the poetic and the profane — not by money or a thirst to expand.” However, once she cut her first payroll check, she understood, that poetic notion aside, she was running a business. When COVID-19 hit there was “one piece of unemotional data to work with: the checking account balance,” and there was not enough in it.

It took a week to shut the restaurant. A week of cleaning and “burying par-cooked chickens under a tight seal of duck fat to see if we could keep them perfectly preserved in their airtight coffins.”

Then followed weeks of paperwork — desperately applying for grants and unemployment that failed to appear. Then further weeks of idleness and quarantine, and the realization that although there was still a month of food in the freezer, what about somehow getting hurt and needing serious medical care with no insurance? More questions followed: Is Prune necessary? Will restaurants survive the pandemic?

Having decided against delivery and going online, sticking to her vision of her restaurant “as a place for people to talk to one another, with a very decent but affordable glass of wine and an expertly prepared plate of simply braised lamb shoulder,” Prune’s shutters are still down.

* * *

Read all the categories in our Best of 2020 year-end collection.

A Reading List on Travel Influencers and the Politics of a Place

Photo by Oleg Magni

Influencers come in many flavors, including kid stars who make more money than you, self-made online traders involved in shady financial schemes, women hunters of #huntstagram, and COVID-denying wellness experts. At the end of 2019, brands were forecast to spend as much as $15 billion on influencer marketing by 2022. The pandemic, however, has forced many influencers to shift business models and strategies, especially those whose livelihoods depend on traveling the world.

But even before COVID-19, jet-setting content creators entangled themselves in problematic scenarios, posing questions about privacy, safety, and ownership, among other issues. These seven reads explore the world of travel influencers in the age of Instagram, and the implications of the industry and its content on tourism and politics.

1. How Western Travel Influencers Got Tangled Up in Pakistan’s Politics. (Samira Shackle, November 2020, The Guardian)

In recent years, Western travel bloggers and “adventure tourists” have come to Pakistan to discover the country and write about its beauty, while some — like Cynthia Ritchie — have ended up becoming political voices. Ritchie, who calls her work strategic communications, has received extraordinary access to restricted areas and officials, and her critics accuse her of being “a propagandist for the military with a white saviour complex.” In response, Ritchie and others, like Polish travel vlogger Eva zu Beck, see themselves as truth-tellers and storytellers. At the Guardian, Samira Shackle reports on the politicization of tourism in Pakistan.

The fanbase that has developed around Ritchie can be split into two camps. The first enjoys her travel content, and her sunny portrayals of Pakistan. For the second camp, who actively support the military and spend their time on social media attacking anyone they see as insufficiently patriotic, Ritchie is a useful ally, an outsider who reflects their worldview. “More power to you Cynthia. Keep exposing the filthy culprits who have eaten up this country like mites,” wrote one Twitter user.

In 2019, questions about Ritchie’s links to the army intensified on social media when she posted footage of a trip to Pakistan’s heavily contested tribal areas. She told me that the trip had actually taken place in the run-up to the 2018 election, and that it had been part of an “interview process” at which military officials were “assessing and monitoring me, my experience, and determining my worth and capacity as an individual”, and that afterwards she was offered a big project. It is difficult to know what to make of comments like this, given that at other times Ritchie flat-out denies working for the military.

Having offered this puzzling explanation, Ritchie then dismissed the entire controversy over the pictures as just another fuss about nothing. “Look, if I had anything to hide, I wouldn’t be publishing these things,” she said. She pointed out that anyone who wants to travel to the tribal areas needs army permission: “You can’t access some of these areas without the military.”

2. Instagram Influencers Are Wrecking Public Lands. Meet the Anonymous Account Trying to Stop Them. (Anna Merlan, April 2019, Jezebel)

In the spring of 2019, when areas of Southern California experienced a vibrant superbloom, thousands of tourists trekked to the fields of Lake Elsinore to pose with the poppies. And when the owner of the Instagram account @publiclandshateyou saw a photo of an influencer sitting among (and ruining) the flowers while holding a can of soup, he’d had enough. At Jezebel, Anna Merlan talks with the man behind this account, who educates people on the negative effects of Instagram tourism on the environment.

Right now you’re focusing pretty heavily on damage done during the superbloom. That must be because it’s the hot thing to photograph right now.

Exactly. Previously it was graffiti on rocks in national parks, but the superbloom is the thing of the moment. Influencers see this cool thing, do what they need to do to promote their products or take a cool picture. And then they move on to whatever else is cool, whether it’s, for instance, going out to the California coast, going past “closed” signs and taking a picture under a waterfall. Or whatever. And then Lake Elsinore, where Walker Canyon is, gets stuck with the aftermath. The people who live there. They have a poppy preserve that looks like a checkerboard. The people who did the damage are long gone. They’re on to the next thing.

The pushback you get seems to be a lot of comments like “they’re just flowers,” with the case of the superbloom photos, or comments that you need to calm down and focus on “real problems.”

I do try to respond to that and try to provide my point of view and get people to see, who might have lived in a city their whole life, who might not understand the biology of these areas. I say to them, “You’re not wrong, but I think that a lot of these bigger problems are symptoms of people not thinking about the little things and their impact.” Whether it’s the impact of of me stepping on a couple poppies or me getting my takeout tonight in a styrofoam container, people aren’t thinking about the impact of their actions and that’s applicable to small things like going off the trail, all the way up to big global issues like climate change or microplastics in the water.

3. Selfies and Sharia Police. (Mehr Nadeem, November 2020, Rest of World)

Instagram is the last open social media platform in Iran, where Iranians have felt freer to be themselves. For high-schooler and influencer Roya, this means taking photos of herself on the streets of Tehran, sans hijab, or wearing bright eye makeup or going sleeveless — types of things that are frowned upon by Iranian authorities. But as Instagram evolves into more of a space for organizing and political change in Iran, the government has increased surveillance on the app, writes Mehr Nadeem at Rest of World.

The increased threat of arrest is giving pause to Iranian Instagrammers who once saw the platform as a safe space to post freely.

Vania, a 17-year-old aspiring violinist who created her Instagram account to post videos of her music, saw that her friends were becoming careful of their online activity in the wake of the crackdowns. “One of my friends sings [on Instagram], and she was so worried, she did an encrypted location of another country in the caption so that they wouldn’t think she was Iranian,” Vania told Rest of World. It’s illegal for women to publicly sing in Iran, unless they perform to female-only audiences.

Sahba, an Iranian artist based in Canada, said she has second thoughts before posting to Instagram, even from her home in Vancouver. “I wasn’t really worried until the November protests, when I saw how people were arrested on the streets because of their social media posts,” Sahba said. “I try not to censor myself politically, but it’s something that’s always going to be in my head.

4. Whose Facade Is It, Anyway? (Alexandra Marvar, February 2019, Curbed)

Posing in front of photo-worthy facades like colorful street murals and famous buildings is one thing, but snapping a picture on someone’s property — in front of their pretty pastel door or on their adorable wraparound porch  — raises issues of privacy and etiquette. At Curbed, Alexandra Marvar explores homeownership in the age of the Instagram travel influencer.

Travel blogger and micro-influencer Valerie Furgerson, @redgypsea, says she’s never had a negative interaction with a homeowner: “A sort of influencer photographer’s code that I live by is, if you’re going to be shooting in a residential area, know what shots you want to get ahead of time and be quick about it. Not all tourists live by this code,” she says. “We definitely saw full-on photo shoots happening at Rainbow Row in Savannah, complete with big reflective umbrellas. I have found that if you are respectful of the residents, they will also be respectful of you.” I came across Furgerson’s feed by searching for pictures of Rainbow Row and reaching out to users who did photoshoots directly on the shipping pallet-sized front porches of these private homes.

“I don’t mind people just taking photos,” said T’s pink-shutters neighbor (whom I’ll keep anonymous), “but really I find it an invasion of my space when it’s on my porch.” If she’s returning on foot to her home and sees someone on her porch taking pictures, she hangs back until they’ve wrapped up their activities. But on more than one occasion, she’s been startled to open her front door to a person, or a group of people, posing in front of her. “The other thing,” she says, “is that it opens up liability issues that I don’t even want to think about.”

5. What I Learned at the Most Instagrammed Outdoor Places. (Lisa Chase, July 2020, Outside)

While visiting Arizona’s iconic landmarks and tourist hotspots like the Grand Canyon and Horseshoe Bend, Lisa Chase, writing for Outside, examines our obsession with documenting ourselves in nature, and the evolving art and process of photography in the era of iPhone-toting outdoor enthusiasts.

There have to be 75 to 100 of us here, all with smartphones in hand, tapping away. One teenage girl positions herself in warrior one pose on a rock, her back to the sun, slender arms overhead, taking a selfie. Nearby there’s a group of French guys murmuring “C’est magnifique” as they take photos of themselves in the gloaming. I think about an article I’d read by Sherry Turkle, an MIT professor who has studied the psychology of selfie culture. “A selfie, like any photograph, interrupts experience to mark the moment,” she wrote in The New York Times in 2013. “The selfie makes us accustomed to putting ourselves and those around us ‘on pause’ in order to document our lives. It is an extension of how we have learned to put our conversations ‘on pause’ when we send or receive a text, an image, an email, a call. When you get accustomed to a life of stops and starts, you get less accustomed to reflecting on where you are and what you are thinking.”

6. Travel Influencers, Meet Authoritarian Regimes. (Krithika Varagur, October 2020, Rest of World)

In December 2019, celebrities and Western travel bloggers were invited to attend a music festival in Riyadh, put on by Saudi Arabia’s General Entertainment Authority, in order to promote tourism to the region. “The Instagram posts coming out of the festival looked more Coachella than Sharia,” writes Krithika Varagur, and for those who attended the event, criticism was harsh. At Rest of World, Varagur asks: How could these influencers accept a paid trip from a repressive monarchy?

Despite this, several prominent influencers turned down the MDL Beast trip on ethical grounds, including American actress Emily Ratajkowski and American model Teddy Quinlivan. Quinlivan, who is transgender, said on her Instagram story: “If you have any semblance of journalistic integrity, maybe it might be a cute idea not to take money from foreign governments that, um, I don’t know, openly kill and assassinate journalists [and] LGBTQ+ people. Suppress women’s rights, suppress religious rights – I mean the list of shit goes on.”

“Every traveler has an obligation to think about the ethical consequences of their trip. … But it is even more critical for influencers because they are such important role models, especially for young people,” said Dr. Ulrike Gretzel, who researches technology and social media marketing at the University of Southern California. “Uncritically spreading political propaganda is unethical under all circumstances and especially in the form of branded content, where the lines are very blurry, and the audience might therefore not recognize it as such.”

7. The Digital Nomads Did Not Prepare for This. (Erin Griffith, November 2020, The New York Times)

“If you’re going to work from home indefinitely, why not make a new home in an exotic place?” In the New York Times, Erin Griffith shares the stories of those privileged enough to escape lockdown by joining the globe-trotting, remote-working set. But they eventually realize it’s not what they expect it to be. These digital nomads may not call themselves travel influencers, but the idyllic, away-from-home settings they work in — as they wait out the pandemic — are the same.

They Instagrammed their workdays from empty beach resorts in Bali and took Zoom meetings from tricked-out camper vans. They made balcony offices at cheap Tulum Airbnbs and booked state park campsites with Wi-Fi. They were the kind of people who actually applied to those remote worker visa programs heavily advertised by Caribbean countries. And occasionally they were deflated.

Others are struggling with the same vacation fatigue experienced by Mr. Malka, the Cabo-to-London-to-maybe-Bali wanderer. According to research conducted at Radboud University in the Netherlands, it takes eight days of vacation for people to reach peak happiness. It’s downhill from there.

When the pandemic hit, Mr. Stylianoudis, the lawyer, was on the island of Koh Phangan in Thailand. At first, he couldn’t complain about the tropical locale. Each day, after work, he swam in crystal-clear water. But after five months, he was itching to get out. He had become a regular at the island’s 7-Eleven. He even grew tired of the beach — something he hadn’t thought was possible.

The feeling of being trapped in paradise was hard to explain. “I started to feel like I was in a sequel of ‘Lost,’” he said.

Trapped Between Pavement and the Pacific

Longreads Pick
Source: Hakai Magazine
Published: Nov 10, 2020
Length: 10 minutes (2,500 words)

Shades of Grey

Getty Images

Ashley Stimpson | Longreads | October 2020 | 26 minutes (7,001 words)

It’s been nearly a decade since the numbers were tattooed in her ears, but they remain remarkably legible. In the right one, dots of green ink spell out 129B: Vesper was born in the twelfth month of the decade’s ninth year and was the second in her litter. The National Greyhound Association (NGA) gave that litter a unique registration number (52507), which was stamped into her moss-soft left ear. If I type these figures into the online database for retired racing greyhounds, I can learn about her life before she was ours, before she was even Vesper.

Smokin’ Josy was born to a breeder in Texas, trained in West Virginia, and raced in Florida. Over three years, she ran 70 races. She won four of them. In Naples on May 12, 2012, she “resisted late challenge inside,” to clinch victory, according to her stat sheet. In Daytona Beach on April 17, 2013, she “stumbled, fell early.” Five days later, after a fourth-place showing, she was retired.

Read more…

Longreads Honored with 14 Notable Mentions in ‘Best American’ Series

Longreads is delighted to announce 14 notable mentions for 13 pieces across the spectrum of the 2020 Best American series, published by Houghton Mifflin Harcourt.

Please see below for the full list of pieces included in each edition and those honored with notable mentions. Congratulations to all!

The Best American Essays

Included in the anthology:

Notable mention:

The Best American Science and Nature Writing

Included in the anthology:

Notable mention:

The Best American Travel Writing

Included in the anthology:

Notable mention:

The Best American Food Writing

Included in the anthology:

Notable mention:

The Best American Sports Writing

Notable mention:

Find Yourself

Photo Collage: "Find Yourself" by Stuart Horn/ Carolyn Wells

Elizabeth Isadora Gold| Longreads | September 2020 | 4,633 words (18 minutes)

It was 1981, in the Olde City section of Philadelphia. I was six. My parents were artists — my dad a cellist/composer/arranger and my mom a potter and teacher — and our tiny bathroom showed it. On one whole wall, my mom hung a poster of the San Francisco baths circa 1890, with lots of gents in one-piece suits and ladies in frilly bathing bonnets. By the toilet, on cinder block-and-board shelves, were stacks and stacks of magazines, New Yorkers, mostly. Postcards framed the mirror over the sink, fleshy vintage nudies with bobbed hair, standing in chorus lines.

Read more…