Search Results for: New Yorker

Shelved: Sonny Rollins Live at Carnegie Hall

Bob Parent / Hulton Archives / Getty

Tom Maxwell | Longreads | February 2019 | 16 minutes (3,055 words)

 

Sonny Rollins was busy in 1957. The tenor saxophonist was present for about sixteen recording sessions, some private, most released, with his own bands as well as with groups led by Miles Davis, Max Roach, Dizzy Gillespie, and Kenny Dorham. His landmark A Night At The Village Vanguard, a live recording of two sets, one in the afternoon and one in the evening performed on November 3rd at New York’s legendary jazz club, became a standard by which other improvisers are judged. In addition, Rollins debuted at Carnegie Hall and headlined the first Monterey Jazz Festival the following year.

“When I look back, people say, ‘Oh, you did a lot of records in 1957…’ Well, I mean, I had to be told about it,” Rollins recently told an interviewer. “So, I guess it was more or less of a norm, you know.”

Read more…

The Top 5 Longreads of the Week

Christian Senyk / U.S. Navy via Getty Images

This week, we’re sharing stories from Christian Miller, Megan Rose, and Robert Faturechi; Robin Hemley; David Gauvey Herbert; Ian Parker; and Meghan Daum.

Sign up to receive this list free every Friday in your inbox. Read more…

The Battle Over Teaching Chicago’s Schools About Police Torture and Reparations

Illustration by Cha Pornea

Peter C. Baker | Longreads and The Point | February 2019 | 35 minutes (8,900 words)

This story is produced in partnership with The Point and appears in issue no. 18.

“What do you know about Jon Burge?”

Barely seven minutes into her black-history elective on the morning of April 16th, Juanita Douglas was asking her students a question she’d never asked in a classroom before, not in 24 years of teaching in Chicago’s public schools. She’d been preparing to ask the question for over a year, and she knew that for many of her students the conversation that followed would be painful. Disorienting. She didn’t like the idea of causing them pain. She didn’t want to make them feel overwhelmed or lost. But she thought, or at least hoped, that in the end the difficulty would be worth the trouble.

It was only second period. Several of Douglas’s students — a mix of juniors and seniors — were visibly tired. A few slumped forward, heads on their desks. I was sitting in the back row, so I couldn’t tell for sure, but I thought one or two might be fully asleep. Some were stealthily texting or scrolling through Snapchat. Others were openly texting or scrolling through Snapchat.

After a few seconds, Douglas repeated the question: “Do you know Jon Burge?”

A ragged chorus of noes and nopes and nahs.

“Tell me again what year you were born in,” said Douglas, who is 54 and likes to playfully remind her students that they don’t know everything about the world.

2000. 2001. 1999.

“Okay,” she said. “Well… Welcome to Chicago.”

Like so many new curriculum units in so many high schools across America, this one began with the teacher switching off the lights and playing a video. Who was Jon Burge? The video supplied the answer. Burge was a former Chicago Police Department detective and area commander. Between 1972 and 1991 he either directly participated in or implicitly approved the torture of at least — and this is an extremely conservative estimate — 118 Chicagoans. Burge and his subordinates — known variously as the Midnight Crew, Burge’s Ass Kickers, and the A-Team — beat their suspects, suffocated them, subjected them to mock executions at gunpoint, raped them with sex toys, and hooked electroshock machines up to their genitals, their gums, their fingers, their earlobes, overwhelming their bodies with live voltage until they agreed: yes, they’d done it, whatever they’d been accused of, they’d sign the confession. The members of the Midnight Crew were predominately white men. Almost all of their victims were black men from Chicago’s South and West Sides. Some had committed the crimes to which they were forced to confess; many had not. The cops in question called the electroshock machines “nigger boxes.”

The video cut to Darrell Cannon, one of the Midnight Crew’s victims. He spoke about getting hauled by cops into a basement:

I wasn’t a human being to them. I was just simply another subject of theirs. They had did this to many others. But to them it was fun and games. You know, I was just, quote, a nigger to them, that’s it. They kept using that word like that was my name… They had no respect for me being a human being. I never expected, quote, police officers to do anything that barbaric, you know… You don’t continue to call me “nigger” throughout the day unless you are a racist. And the way that they said it, they said it so downright nasty. So there’s no doubt in my mind that, in my case, racism played a huge role in what happened to me. Because they enjoyed this. This wasn’t something that was sickening to them. None of them had looks on their faces like, ugh, you know, maybe we shouldn’t do this much. Nuh-huh. They enjoyed it, they laughed, they smiled. And that is why my anger has been so high. Because I continuously see how they smile.

Text on the screen explained that Burge was fired in 1993, following a lawsuit that forced the Chicago Police Department to produce a report on his involvement in “systematic torture,” written by its own Office of Professional Standards. After his firing Burge moved to Apollo Beach, Florida, where he ran a fishing business. In 2006 another internally commissioned report concluded that he’d been a torture ringleader, but still no charges were brought; the Illinois five-year statute of limitations for police brutality charges had by then expired. In 2008 FBI agents arrested Burge at his home, and creative federal prosecutors charged him — not with torture, but with perjury. In a 2003 civil case, Burge had submitted a sworn statement in which he denied ever taking part in torture. In 2010 a jury found him guilty. After the trial, jurors pointed out that the name of Burge’s boat — Vigilante — hadn’t helped his case.

As soon as the video ended and Douglas flipped the lights back on, her students — most of whom were, like her, black — started talking. Their confusion ricocheted around the room.

“How long did he get?”

“Four-and-a-half years.”

“He only got four-and-a-half years?”

“That’s what I’m saying.”

“I really feel some type of way about this.”

“Is he still alive?”

“I’ve got it on my phone.”

“He didn’t torture them alone. Why didn’t anyone else get charged?”

“I’ve got it on my phone. He’s still alive.”

“I’m just… angry.”

“He lives in Florida!”

“Didn’t no one hear the screams?” Read more…

The Paths of Rhythm

Pfife, Q-Tip, and Ali Shaheed Muhammad of A Tribe Called Quest in the recording studio in New York City on September 10, 1991. Michael Ochs Archives / Getty

Hanif Abdurraqib Go Ahead in the Rain | University of Texas Press | February 2019 | 17 minutes (3,425 words)

 

In the beginning, from somewhere south of anywhere I come from, lips pressed the edge of a horn, and a horn was blown. In the beginning before the beginning, there were drums, and hymns, and a people carried here from another here, and a language stripped and a new one learned, with the songs to go with it. When slaves were carried to America, stolen from places like West Africa and the greater Congo River, with them came a musical tradition. The tradition, generally rooted in one-line melodies and call-and-response, existed to allow the rhythms within the music to reflect African speech patterns—in part so that everyone who had a voice could join in on the music making, which made music a community act instead of an exclusive one.

Once in America, where the slaves were sent to work in America’s South, this ethos was blended with the harmonic style of the Baptist church. Black slaves learned hymns, blended them with their own musical stylings that had been passed down through generations, and thus, the spiritual was born. In the early nineteenth century, free black musicians began picking up and playing European stringed instruments, particularly violin. It started as a joke—to mimic European dance music during black cakewalk dances.

Read more…

Shelved: Fiona Apple’s Extraordinary Machine

Paul R. Giunta / Getty

Tom Maxwell | Longreads | January 2019 | 17 minutes (3,315 words)

 

The remarkable thing about Fiona Apple’s album Extraordinary Machine is that it’s actually two albums. Each has its own fans and critics; each was reviewed in the mainstream press; each is available to the casual listener.

Upon closer inspection, the story of Extraordinary Machine becomes a room made of mirrors: The album was shelved, perhaps by Apple’s label, or, according to her own admission, by Apple herself. That version of the album, produced by longtime collaborator Jon Brion, was leaked to the internet. It’s called the “Jon Brion version,” but in actuality is a pastiche of original sessions and new material. The official release was mixed without the presence of either of its two producers. The first version was shelved in part because Apple didn’t feel the songs were fully her own, and partly because her label didn’t believe it had commercial potential; the released version proved them right, at least by yielding no hit singles.

Read more…

The Top 5 Longreads of the Week

Bryan Singer. (Photo by J. Vespa/WireImage)

This week, we’re sharing stories from Alex French and Maximillian Potter, Wesley Morris, Ruxandra Guidi, Robert Caro, and Mark Abley.

Sign up to receive this list free every Friday in your inbox. Read more…

A Reading List to Celebrate World Breast Pumping Day

The Willow wearable breast pump on display at CES International 2018. (AP Photo/Jae C. Hong)

As my daughter Emilia turns 7 months old on January 27, which happens to be World Breast Pumping Day, I can say I’ve finally gotten the hang of pumping breast milk. On my maternity leave, I was lucky to be able to exclusively breastfeed her for the first six months. As I prepared for the transition back to work full time, I pumped periodically to get familiar with the bulky, noisy machine I’d soon spend a lot of time with, as well as to build a modest freezer stash of milk for all the future occasions I’d be away from the baby. (Spoiler: there haven’t been many.)

I wouldn’t say I enjoy pumping in the same way I enjoy nursing (well, when Emilia wants to nurse, which — in her recently distractible state — has been less frequent). But it can be very satisfying to collect ounces of milk, the only substance my baby really needs in her first year to live and thrive, from my own body. Serena Williams, after all, called breastfeeding a superpower; I too feel invincible, even if just for those moments, being able to provide nourishment for this tiny human I’ve made.

But, like so many women before me have said, pumping is also awkward and onerous. I look at this image of ultra-runner Sophie Power from last fall, who stopped halfway through the 105-mile Ultra-Trail du Mont Blanc race to pump and breastfeed her son, and think, wow, here is someone partaking in an incredibly demanding activity, pushing the limits of the human body, but — just like any other mother — she can’t get around the physical need to pump.

Because no matter who you are, the logistics of pumping can be challenging, if not impossible. Even if you can afford the newest wearable models that promise more freedom, like the $500 Willow and Elvie pumps, pumping is still a commitment and huge part of your day-to-day life.

It was interesting, then, to follow the larger conversation around Rachel McAdams’ high-fashion breast pump photo. Last month, while doing a Girls Girls Girls magazine cover shoot, the actress was photographed wearing a Versace jacket and Bulgari diamond necklace — while pumping from both breasts. While the photo was praised by some for its attempt to #NormalizeBreastfeeding and show that even celebrities need to take pumping breaks, some say it missed the mark and wasn’t truly subversive, while many mothers expressed that the image did not represent them — and what a pumping session really looks like.

As I settle into new motherhood, and as each day brings new challenges — why won’t she nurse? where can I pump? why has my milk supply dipped? — I continue to read as much as I can: to learn how mothers juggle the task with everything else in their lives, and to remind myself that I’m not alone. Here’s a reading list of stories, new and old, that explore the complicated act of breast pumping.

1. Baby Food (Jill Lepore, January 2009, The New Yorker)

In this piece from 10 years ago, Lepore discusses the history of breastfeeding versus bottle feeding, and the rise of the breast pump.

In 1904, one Chicago pediatrician argued that “the nursing function is destined gradually to disappear.” Gilded Age American women were so refined, so civilized, so delicate. How could they suckle like a barnyard animal? (By the turn of the century, the cow’s udder, or, more often, its head, had replaced the female human breast as the icon of milk.) Behind this question lay another: how could a white woman nurse a baby the way a black woman did? (Generations of black women, slave and free alike, not only nursed their own infants but also served as wet nurses to white babies.) Racial theorists ran microscopic tests of human milk: the whiter the mother, chemists claimed, the less nutritious her milk. On downy white breasts, rosy-red nipples had become all but vestigial. It was hardly surprising, then, that well-heeled women told their doctors that they had insufficient milk. By the nineteen-tens, a study of a thousand Boston women reported that ninety per cent of the poor mothers breast-fed, while only seventeen per cent of the wealthy mothers did. (Just about the opposite of the situation today.) Doctors, pointing out that evolution doesn’t happen so fast, tried to persuade these Brahmins to breast-feed, but by then it was too late.

2. Why Women Really Quit Breastfeeding (Jenna Sauers, July 2018, Harper’s Bazaar)

For many women, the circumstances in which they pump are unacceptable or worse, nonexistent.

Under the Affordable Care Act, U.S. companies are required to provide break time and a clean, private place to pump milk. Sauers offers an overview of pumping legislation in the U.S. and the challenges of pumping in a variety of work places, from co-working spaces with open floor plans to hospitals and college campuses.

But even as doctors and nurses promote breastfeeding to patients, their own working conditions sometimes make pumping difficult.

Sarah, a registered nurse at Northside Hospital in Atlanta who spoke on condition of anonymity, said she is currently struggling to pump at work. She and her colleagues, several of whom are also pumping, work 12-hour shifts. Sarah gets to work early so that the last thing she does before clocking in is pump; that way she can go as long as possible before taking a break. When her shift begins at 7 a.m., that means rising at 3:45 a.m.

“Typically, the way our patient flow goes, I probably won’t get another opportunity to pump until about 9 or 10 a.m.,” she says. “From there, it varies. A lot of days, we don’t even have the staffing to relieve people for lunch. I have to tread lightly asking for a pump break when most people aren’t even getting lunch breaks.”

3. ‘A Pumping Conspiracy’: Why Workers Smuggled Breast Pumps Into Prison (Natalie Kitroeff, December 2018, The New York Times)

Kitroeff reports on the staff nurses at Deerfield state prison in Capron, Virginia, who weren’t allowed to bring breast pumps into the facility. Some tried to pump in an unpleasant men’s restroom; others resorted to expressing milk in the backseat of their car in the parking lot. But one nurse, Susan Van Son, had had enough — and she smuggled her breast pump in, piece by piece.

In July 2016, another Deerfield nurse, LaQuita Dundlow, 32, returned to work after giving birth to her second daughter. Like Ms. Olds, Ms. Dundlow said managers told her to pump in the men’s restroom. She couldn’t produce milk in the fetid space. “The smell, it messed with me,” she said.

So Ms. Dundlow hung baby blankets from the windows of her Ford Expedition. Three times a day, she came out to express. Occasionally, she said, she had to explain the situation to a security guard who tapped on her window, wanting to know what was going on inside.

Sometimes, she didn’t have time to take the quarter-mile walk from one end of the prison to her S.U.V. On those occasions, painfully engorged, she would take a sterile cup normally used to collect urine samples, go to the bathroom and express milk by squeezing her breasts. Then she would hand the cup to her husband, who was also employed at the prison, as a correctional officer. He would take it to a cooler in their car.

4. Stop Shaming Working Moms Into Pumping (Jessica Machado, December 2015, Elle)

As Jen Gann writes in The Cut, figuring out how and when to pump is a privileged problem to have.

After returning to work after a 12-week maternity leave, Machado quickly realized that pumping was an activity around which she would structure her entire life. “I had become not a breastfeeder, but a pair of breasts owned by a machine,” she writes, describing her shame over not being able to keep up with her son’s demand. She explores why working mothers in America are pressured to pump.

I live in Brooklyn, just south of Park Slope, where the mommy wars have been won by upper-middle-class leftists in comfortable fair-trade sandals. Though I am neither in the right income bracket nor organic threads to think of myself as a Park Slope mom, there is a bar of motherhood that is set by those around me that can’t help but seep into my subconscious. Women wear their babies in slings as a badge of attachment parenting; they buy vegetables from the co-op to puree in top-of-the-line food processors; many have nannies to assist them in the juggling of domestic priorities. When working mothers have problems breastfeeding in my area, they reach out to lactation consultants, who charge $125 to $400 a visit to show them tips like adjusting the pump’s speeds and making sure the pump’s parts fit properly. These moms can also combat dwindling supply by renting a hospital-grade pump, which is not covered by insurance but costs upwards of $70 a month––a pretty high price tag for people like me who are already struggling with the added expenses of daycare and baby necessities.

And my breastfeeding peer pressures and pumping obstacles are minimal compared to most. I’m not a cashier or a server or a police officer or a professional driver or basically anyone whose job is to serve people when they need to be tended to, who can’t just drop everything to keep up with a pumping schedule. I am not an employee who has to share my pumping space with a conference room or a break room or a broom closet. I’ve never had to pump in the car or a public restroom. I’ve never had a coworker or stranger walk in on me, half-naked, while cones were on my breasts sucking like vacuums. I am not a mom on WIC assistance who is punished for formula-feeding by getting benefits for half as long as those who breastfeed.

5. The Unseen Consequences of Pumping Breast Milk (Olivia Campbell, November 2014, Pacific Standard

“There’s an assumption that bottle-feeding breast milk to a child is equivalent to breastfeeding, but that may not be the case.” Campbell looks at studies that suggest exclusive pumping may not be as beneficial for mothers and babies, citing issues like milk contamination, an increase in coughing and wheezing in infants, and potential health impacts for mothers (including the risk of postpartum depression, reproductive cancers, and more).

Thorley has written extensively on the potential perils of “normalizing” the separation of breast milk from breasts. She says that bottle-feeding of breast milk has a place in specific circumstances, such as when a baby is unable to adequately stimulate the mother’s milk supply, or in cases like Boss’, where a baby is unable to nurse directly. And while she agrees bottled breast milk is better than infant formula, “breastfeeding is about more than the milk.” Babies don’t just breastfeed for nutrition; they nurse for comfort, closeness, soothing, and security.

6. The More I Learn About Breast Milk, the More Amazed I Am (Angela Garbes, August 2015, The Stranger)

Breast milk contains all the vitamins and nutrients that a baby needs in its first six months of life. It’s also dynamic: adapting to the baby’s needs. And like a fine red wine, writes Garbes, the flavors in a mother’s breast milk are subtle, reflecting its terroir: her body. Garbes takes a closer look at the complex makeup — and value — of this precious liquid.

I love the idea that even before her first encounter with solid food, her taste buds had already begun telling her that she is part of a city filled with the cuisines of many nations, a household that supports local farmers, and a Filipino family with an abiding love of pork and fermented shrimp paste.

We can’t expect the value of breast-feeding to just trickle down to mothers in the trenches, pumping away in cramped offices and broom closets, working multiple jobs, forking over significant portions of income to day care, and, yes, tired and close to the breaking point, cursing their own desire to continue feeding their children their milk. We have to make an effort to reach all mothers, not just those actively seeking support and information.

7. A Certain Kind of Mammal (Meaghan O’Connell, April 2018, Longreads)

In this excerpt from her book And Now We Have Everything, Meaghan O’Connell describes the all-consuming activity of nursing her son.

I had tried the breast pump a few times, recreationally, but not yet so as to explicitly buy time away with my own milk. The pump looked just like I’d imagined, like something you’d use to masturbate a farm animal. The bulk of the machine was a little yellow box the size of a toaster oven that gasped and sighed with a rhythmic, mechanical sucking noise that was initially disturbing, like it was trying to tell me something but couldn’t quite find the language. There were two snaking rubber tubes that ran from the box to the air-horn-looking boob funnels and from there into baby bottles that collected the milk. The horns were where the magic happened, where your tits went. Sucked into the machine, my nipples looked like long, pink taffy, stretched and then milked.

The first time I saw milk stream out of my body and into this contraption, I felt woozy and then oddly turned on. It’s not often in life we gain a brand-new secretion.

The Weather and the Wall

iStock / Getty Images Plus, Unsplash, Photo illustration by Katie Kosma

Will Meyer | Longreads | January 2019 | 15 minutes (4,073 words)

“At the museum steps
Didn’t we establish
That all this blood is not a dream
This is progress
And we are not that high
We could almost be redeemed”

 — unreleased song by The Lentils

*

For years, changes in butterfly populations and migrations have been considered an “early warning indicator” of global warming. In 2006, a British butterfly specialist told The New Yorker’s Elizabeth Kolbert that of 10 species living in Southern England at the time, “Every single one has moved northward since 1982.”

Now, several years and many missed early warning indicators later, the National Butterfly Center in Mission, Texas, has received a letter from Customs and Border Protection announcing the government’s intent to build a border wall through critical habitat for 240 species of butterflies and 300 types of birds. The letter explains that the wall will be 36-feet tall and 20-feet wide, and that an additional 150 feet south of the border will be cleared of all vegetation to create an “enforcement zone.” Comparing the wall’s construction with a calamitous weather event, the National American Butterfly Association president told the San-Antonio Express News that: “For us to financially survive and weather this storm, we’re trying to create a fund that will be kind of like an endowment.” As of this writing, a GoFundMe created to protect the Center has raised just over $24,000.

Meanwhile, given that Mexico hasn’t “paid for it” and won’t, a GoFundMe to finance the wall’s construction raised $20.5 million dollars before GoFundMe decided to offer refunds. That’s nowhere near enough money to actually build the thing, but enough to make you pretty sure the butterflies don’t stand a chance. Indeed, the president and the Republican-controlled Senate have shut down large swaths of the government for over a month, demanding that the Democrats in the House vote to pay for the wall before the government can be reopened. Still, it’s hard to believe the wall is really going up.
Read more…

Benoit Paire, Tennis Solitaire

Thessaly La Force | Racquet and Longreads | January 2019 | 9 minutes (2,353 words)

This story is produced in partnership with Racquet magazine and appears in issue no. 8.

“Hey guys,” reads the email that has just popped up in my inbox, “Benoit is a little hungry so can we meet at Samurai Mama around the corner from Eclectic Collectibles first?” I’m in Williamsburg; it’s a Sunday afternoon in August, the weekend before the start of the US Open. I am supposed to be shopping with the professional French tennis player Benoit Paire, age 29, currently ranked 52 in the world by the ATP. He is interested in showing me who he really is—off the court, no tennis talk—and we have agreed to meet at a vintage taxidermy boutique because Paire, when not traveling around the world for work 10 months out of the year, has an apartment in Geneva he still needs to decorate. Read more…

True Crime and the Trash Balance

Netflix, Noam Galai / Getty

Soraya Roberts | Longreads | January 2019 | 9 minutes (2,514 words)

In his satirical 1827 essay, “On Murder Considered as One of the Fine Arts,” Thomas de Quincey called himself a connoisseur of murder before assuring us he hadn’t actually committed one himself. In her new book I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer, late author Michelle McNamara also ensures that we know her interest is personal, not prurient (it originated with an unsolved crime in her childhood neighborhood). Most of us have excuses for our interest in true crime, as though enjoying it offered real insight into our own predilections. The quasi-religious impulse to consider this a perversion of society’s innate morality has led to a flurry of theories about the source of our fascination, with four main hypotheses recurring: true crime can be a cathartic conduit for our primal urges, a source of schadenfreude, a controlled environment to experience the thrill of fear, and way to arm us (women particularly) with the knowledge to keep ourselves safe. A psychologist, speaking to NPR in 2009, provided the perfect précis: “our fascination with crime is equaled by our fear of crime. It’s two sides of the same story.”

True crime is less embarrassing, like so many things, when it’s scrubbed clean. On my shelf, Truman Capote’s In Cold Blood, Gabriel Garcia Marquez’s News of a Kidnapping and Dave Cullen’s Columbine stick out for how unobtrusive they are amidst the loudly stylized spines of Ann Rule’s The Stranger Beside Me and Vincent Bugliosi’s Helter Skelter, among others. With their unadorned print (no drips) and minimalist art (no claret), these tasteful soft covers pass for literature. They are comparable to “prestige” podcasts like Serial and S-Town and series like Making a Murderer and The Keepers, Netflix shows in which the classic hallmarks of true crime programs — overly explicit, overly emotive — are massaged into character-driven narratives for the graduate set. In the midst of this influx of classy crime content, watching throwbacks like Lifetime’s Surviving R. Kelly, in which survivors are tasked with reliving their abuse and tear-stained grief is the closeup du jour, starts to feel like an ignominious act.

In 2016, at the beginning of the true crime renaissance, The New Yorker asked Popular Crime author Bill James whether, regardless of the highbrow livery, it was fundamentally “distasteful” (New Yorker for “trashy”) to transform tragedy into entertainment. “Well, certainly there is something distasteful about it,” James said, but, “When there is a car wreck, we ask what happened to cause the car wreck.” That is to say: The crime itself is distasteful (or trashy), therefore it’s necessarily distasteful (or trashy) when we address it. So, either we can refuse to interrogate crime, full stop, or we can ensure that the grief we cause is for a greater good. It is a sort of trash balance — less exploitation, more justice — with only one bad ending instead of two.

* * *

True crime was lurid straight out of the birth canal. Born in the mid-sixteenth century, it was the offspring of

Elizabeth Brownrigg, seen here in action, was hanged in 1767 after one of her abused servants, Mary Clifford, died from her injuries. (Hulton Archive / Getty)

two relatively new developments: criminal justice and the printing press. Historic crime reports’ graphic nature is typically associated with a depravity believed to appeal to the unrefined, uneducated, and unmoneyed, but that was not the case with these early publications. Though they were often branded with explicit woodcuts that would have been understandable to even the illiterate, they also boasted rhyming text and only went to those who could afford them, predominantly the upper echelons. In “True Crime: The Origins of Modern Sensationalism,” published in The American Historical Review, Joy Wiltenburg writes that “emotive language, direct dialogue, building of suspense through circumstantial detail, and graphic description of bloody violence were common in the genre.”

Favored cases were in-family and usually involved multiple deaths. The focus was on the victims, while the moral of the story was that sin begat punishment. “The combination of truth with appeals to the heart underlined the religious focus of these works,” writes Wiltenburg. “Virtually all crime accounts published during the sixteenth and seventeenth centuries connected their stories with an edifying Christian message.” This message associated brutality with the devil and positioned public order as the path to virtue. “[Sensationalism] has had religious, political, and cultural impact,” Wilternburg sums up, “promoting the ready acceptance of punitive government actions, the advancement of religious agendas, the internalization of mainstream emotional expectations, the habit of vicarious emotional experience, and the focus on distinctive individual identity.”

With a reputation for being insensitive to and financially exploiting both criminals and their victims, true crime is often accused of sensationalism, but that term wasn’t coined until the 19th century, a time that favored rational thought over the emotive prose of journalists. “While sexual scandals and other shocking events have become staples of modern sensationalism,” writes Wiltenburg, “its chief focus has always been crime, especially the most bloody and horrifying of murders.” The 1800s also gave us our first detectives, who inspired Edgar Allan Poe’s C. Auguste Dupin stories and Sir Arthur Conan Doyle’s Sherlock Holmes series, the latter not only centering crime fiction as a genre, but granting it a modicum of respectability. The gutter was still within spitting distance, though. Penny dreadfuls arrived — demon barber Sweeney Todd in tow — as early versions of popular culture in the form cheap mass-produced serials for young, increasingly literate working-class men, featuring salacious gore; like the true crime paperbacks of today, they supplied affordable, digestible scandal to entertain tired people with no time. The last gasp of the penny dreadful coincided with the precursor to O.J. Simpson’s so-called trial of the century: The Lizzie Borden case. The 32-year-old Massachusetts woman’s trial for the axe murder of her parents spawned a media phenomenon and firmly established the mass appeal of true crime. The next century saw the trash-fired genre shooting off in various directions, from tabloids like The National Enquirer to paperbacks like Lacey Fosburgh’s Closing Time to shows like America’s Most Wanted.

Then there was In Cold Blood.

“Until one morning in mid-November 1959, few Americans — in fact, few Kansans — had ever heard of Holcomb. Like the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama in the shape of exceptional happenings, had never stopped there.” Before In Cold Blood, this is not how real crime stories read. What Arthur Conan Doyle did for crime fiction, Truman Capote did for true crime. His 1965 experiment was released as a four-part serial in The New Yorker and became the reference point for every other high-brow true crime work in every other medium. “The motivating factor in my choice of material — that is, choosing to write a true account of an actual murder case — was altogether literary,” Capote told The New York Times. “It seemed to me that journalism, reportage, could be forced to yield a serious new art form: the ‘nonfiction novel,’ as I thought of it.” He believed only those with the “fictional technical equipment” — novelists, not journalists — like him could do it. The factual inaccuracies that have since emerged suggest that Capote’s belief in his own skills — he neither taped nor took notes during interviews — were as sensational as the genre he was hoping to reinvent. His book is still, however, considered the pinnacle of crime lit.

It was Capote’s book that the Times referred to when designating Errol Morris’s The Thin Blue Line a “nonfiction feature film,” per its distributors, in 1988. This exercise in lyrical fact was groundbreaking in its own right: an elegant piece of true crime as an advocacy tool. The subject of a false conviction, Randall Dale Adams had his case thrown out with the help of evidence Morris uncovered. It’s a straight shot from The Thin Blue Line to Serial, which blew up true crime podcasting in 2014. But while an appeal followed this program’s highly subjective long-form reexamination of Adnan Syed’s conviction for killing Baltimore teen Hae Min Lee in 1999, it was Capote — “a leap in narrative innovation on the scale of In Cold Blood” — who was once again cited, this time in The New Yorker. Serial’s executive producer has said they were trying to avoid an exploitative “Nancy Grace type of a titillating thing,” but the program was serialized with its own version of a cliffhanger each week, and provided its own hero, the avatar in our ears, reporter Sarah Koenig. Yet Koenig bristled at the suggestion by the Times’ Magazine that this was entertainment. “I don’t think that’s fair,” she said. “I’m still reporting.”

As though the two were mutually exclusive. As though true crime could only be trash if it were

MP Christopher Atkinson in a pillory (with his hat) in London in 1783 after being convicted of perjury. (Hulton Archive / Getty)

entertainment, and could only be entertainment if it weren’t journalism. Of course, this negates the nature of media. To entertain — to entertain a thought, for instance — is merely to take it into consideration, to allow it to hold one’s attention. Journalism is made to entertain; if it weren’t, reports would not be called “stories” and there would be no need for inverted triangles or kickers or pull quotes or anything else to catch our attention. Because to deliver the news there has to be someone to deliver it to, and that necessitates their entertainment. Otherwise the news is nothing but fact; there is no story.

* * *

“Many of the differences between trash culture and high culture show only that storytelling adapts to changing economic, social and political conditions,” Richard Keller Simon writes in Trash Culture: Popular Culture and the Great Tradition. It’s something to consider when watching Lifetime’s Surviving R. Kelly. The series was produced by a network for women branded by its schlocky aesthetic and penchant for frothy romance. An exec at Lifetime has admitted it has “erred on the tabloid side” and Surviving R. Kelly, which has a number of black women recounting the decades of abuse they say the singer has inflicted on them, exhibits the familiar tropes: the inflated score, the voyeuristic set pieces, the abused women on display. In an interview with Complex earlier this month, showrunner dream hampton revealed that she received a number of notes from Lifetime and that she was pushed to find more victims. “I didn’t like the salaciousness of stacking up all of these people who survived him,” she said, “but I got the corroboration part.” The result is a series that orchestrates rescue attempts and highlights the explicitness of Kelly’s brutality, while only gesturing vaguely at the cottage industry he has fostered over the past three decades in order to victimize black women and at our collective failure to see these women as victims at all.

When I watched it, I couldn’t shake a feeling of ickiness, particularly when one of the victims was asked to describe her abuse and dissolved into tears. We didn’t need to see that scene from the pee tape so many times, we didn’t need a tour by one victim of the room where she was allegedly tortured, we didn’t need to watch as one mother reunited with her daughter. (I’m not even including the questionable stylistic choices). The whole endeavor read trashy, old-school Lifetime. “I saw someone kind of try to drag me about why isn’t this on something more premium like Netflix. But this to me is the perfect place for it,” hampton told Complex. “I know that women watch Lifetime, and that black women make up the majority of those viewers.” Reading this made me doubly uncomfortable. It suggested that to get black women’s attention you had to feed them trash. And, okay, maybe black women weren’t trying to mute R. Kelly over The Chicago Sun-Times’ original reporting, but none of us were! The world has changed since 2002, and all of us — including black women — have become more sophisticated about predation.

“The average American today has greater familiarity with the legal process, thanks in part to procedural dramas and the round-the-clock media coverage of splashy crimes that began with the O.J. Simpson trial in the 1990s,” writes Lenika Cruz in The Atlantic. “And people are more aware than ever of flaws in the criminal-justice system, including police brutality and wrongful convictions.” This means that true crime has had to hustle to keep up with its audience, reframing from the crime itself to seeking its closure. NPR noticed the new true crime formula in 2015, with programs like Serial and HBO’s The Jinx (and later Netflix’s Making a Murderer and APM’s In the Dark) concentrating on ongoing cases that could be affected by new reporting. Andrew Jarecki, director of The Jinx, called this subject matter “live ball,” and so here we are in the live-ball era of true crime in which Robert Durst literally burps up a confession on camera before he is charged with murder. “Can the genre sustain this? Can they really sustain true crime as an advocacy medium?” Michael Arntfield, founder of the Cold Case Society, asked The Pacific Standard. “The success and the legitimacy of the medium hinges on being able to stay within this framework of advocacy ahead of strictly sensationalism or profitability.”

But even advocacy has its limits. Netflix’s runaway success Making a Murder eschewed Serial-like narration and Jinx-like reenactments, but contorted almost 700 hours of footage into supporting a theory that the filmmakers had already formulated, that convicted murderer Steven Avery was innocent despite everything pointing to the contrary. Laura Ricciardi and Moira Demos told the Times they secured interviews where others didn’t because of their “tempered approach.” Like those books on my shelf, this refined series passed for high culture.

The most balanced true crime isn’t actually true crime. Last year, American Public Media launched the second season of their hit podcast In the Dark, hosted by Madeleine Baran. Over 11 episodes, it examined the six trials of Curtis Flowers for the same murders. Even though the precipitating incident was the crime, the attention was on everything else; the reporting team embedded itself in Flowers’ Mississippi hometown for a year, ultimately producing not only a strong — dare I say entertaining? — sense of place, but a rigorous analysis of the systemic failures of the investigation. “For us as reporters, we’re here to look at the people in power and look at the systems in place that raise questions about whether or not the criminal justice system is fair, whether it is just using facts,” Baran told NPR. “So what that results in is not our place to say. But certainly, in this case, what we’ve shown is that the evidence against Curtis Flowers is weak. So this becomes a question now for the courts.” While other podcasts rely on their relatability, this one doesn’t have to — the story is enough. In the aftermath of Baran’s team’s exhaustive reporting, the Supreme Court has agreed to reconsider Flowers’ conviction. It is a rare case in which the balance seems to be moot. It’s all justice.

* * *

Soraya Roberts is a culture columnist at Longreads.