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The Arsonist Was Like a Ghost

An abandoned house in Accomack County, Virginia. Beginning in 2012, dozens of fires were set in the area, where the poverty rate is around 20 percent. (Bonnie Jo Mount/The Washington Post via Getty Images)

Monica Hesse | American Fire: Love, Arson, and Life in a Vanishing Land | LiverightAugust 2017 | 17 minutes (4,100 words) 

In the middle of the night on December 15, 2012, Lois Gomez sat up in bed. She thought she heard something. She listened. Nothing. Maybe she was wrong, maybe she hadn’t heard anything. She went to the kitchen for a drink of water. It was two or three in the morning, only a few hours before her shift at Perdue and her husband’s shift at Tyson. Now she definitely heard something. A banging on her front door — which in itself was odd; friends and family knew they always used the side entrance — and someone yelling: “Your garage is on fire! I’ve already called 911!”

She stood frozen in the kitchen trying to process the information. Christmas lights, she thought. Her outdoor Christmas lights were halfway up, but she and her husband had recently decided to visit his family in Texas for the holiday and she’d been trying to figure out whether to bother with the rest of the decorations, which were meanwhile stored in the family’s detached garage, which was now on fire. Christmas lights, along with the expensive music equipment for her son’s rock band.

It had been a rough couple of months. For one thing, she wasn’t getting along with her next-door neighbors. She’d been close with the woman who’d owned that house before, Susan Bundick. They brought each other dinner sometimes, or stood and chatted in their backyards. But one Sunday afternoon, Lois was outside emptying the aboveground backyard pool to close out the summer season, and she saw the police were at Susan’s house. They told Lois her neighbor had died. Now, Susan’s daughter lived in her mother’s old house and things weren’t as pleasant. Tonya was fine, kept to herself, but Lois had a few run-ins with Tonya’s new boyfriend, a squirrelly redheaded guy whose name she didn’t know. He’d done a few little things, like dumping a bunch of branches on their lawn instead of disposing of them like he was supposed to. Once he’d accused her of making racial slurs against Tonya’s kids. The accusation was ridiculous. Lois’s husband was from Mexico, and her four grandchildren were partly black.

She’d also been having nightmares about the arsonist. In one dream, she went into her kitchen late at night and saw someone racing through the yard, an intruder wearing dark-colored sweat pants and a hoodie. “What are you doing?” she called. The figure turned and looked at her but she still couldn’t see his face, and he eventually disappeared behind her detached garage. She woke up and realized it wasn’t real.

This night wasn’t a dream, though.

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‘A Boy with No Backstory’: One Teenager’s Transition

In 2014, Oregonian reporter Casey Parks contacted local hospitals to find transgender patients who were interested in telling their stories. One doctor, Karin Selva, had a 15-year-old patient named Jay who was willing to share his own. Parks met Jay and his mother Nancy the following year, soon after his first testosterone shot, and has spent hundreds of hours with him since — at home with family and friends, on school visits, and during medical appointments. In the first piece of a three-part series, Parks chronicles the realization that would prompt Jay’s medical transition.

One afternoon while his mom worked, Jay called his younger sisters to the living room. They were 8 and 10 — old enough, he hoped, to understand.

“I need to show you a video,” he told them. He streamed one of the YouTube videos on the TV. A trans guy appeared on the screen and explained how he came out to his family.

Jay stood while his sisters watched from the couch.

“This is how I feel,” Jay said when it ended.

“So you’re becoming a boy?” asked his youngest sister, Angie.

Jay paused. He couldn’t bring himself to say it out loud.

“Kind of.”

“Do you want me to tell mom?” Maria asked.

“No,” he said. Jay hadn’t talked to his mother much the past year, but he knew he had to tell her.

The next day, he crept to the other side of their trailer, his heart knocking. He pushed open his mom’s bedroom door, stood in the doorway and watched her play Candy Crush. She was zoned out after a 12-hour workday. Maybe she’d be too tired to talk about it. She already had on her favorite pajamas, gray sweatpants and a tan tank top.

“I think I figured it out,” he said.

He took a deep breath.

“I’m a boy.”

His mom looked up from the phone.

“So you want to be a butch lesbian?”

“No,” he said. He walked toward her.

“A boy.”

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My Mongolian Spot

Photo-Illustration by David Herbick

Jennifer Hope Choi | The American Scholar | August 2017 | 17 minutes (4,250 words)

 

First you should know: I was born with a blue butt.

So was my mother.

Thirty-two years and many thousands of miles of land, sky, and sea separated her creation from mine, yet we emerged the same: wailing, mad for first breaths, 10-fingered, 10-toed, chick-like tufts of black hair nested atop our soft skulls, and, incredibly, a wavy-bordered blue spot not unlike that of Rorschach’s inkblots, blooming across our tiny bums—blue like ice-cold lips, blue like the ocean at midnight, Picasso’s most melancholic bluest of blues.

By the time I learned about my blue butt, it was gone. Like a spy’s secret message written in vanishing ink, the spot disappeared sometime after my fourth birthday. The timing seems strange—to think that as soon as I could form my earliest memories, my blueness had already left me. In one such memory, I recall taking a shower with my mother. The water beat down on my shoulders thunderously. I’d misbehaved (perhaps, refused to wash my hair), and as I slid open the mottled glass door to escape, my mother smacked my bottom. Because this is my earliest butt-related memory, I mined it recently, hoping to uncover any clues of my former blue self. I remember wailing in the showy way children do when they’re old enough to know better, then peering behind me for proof: the fierce, fiery outline of my mother’s hand. But I can recall nothing but plain tush. I was neither red nor blue. We stood as nude as newborns, un-shy in our nakedness, water cascading across my mother’s towering body as she fumed and I wept in her shadow. Read more…

Scaramucci’s Removal Evokes White House Turmoil During the Reagan Years

(AP Photo)

The first nine days of Anthony Scaramucci’s tenure as the White House’s director of communications was a combination of bluster, bullying, and charm mixed with a bit of crazy. But, then again, that’s the sort of recipe favored by Donald Trump, a president who acts with impetuosity and has little time for strategy.

In the end, Scaramucci was too much even for Trump, and on the tenth day, the former hedge fund executive found himself amongst a long list of White House staffers suddenly on the outs with the president: Citing a wish to give new chief of staff John Kelly a clean slate, Scaramucci stepped down (or was removed, depending on your interpretation of reports) from his position. It’s a week Scaramucci will likely ponder over and over again in the coming months:

Scaramucci’s brief White House stay also set an (unofficial) record for shortest tenure for a communications director, besting the previous mark of eleven days set by John Koehler in 1987. Though Ronald Reagan won the 1984 election in a landslide, thoroughly thrashing Walter Mondale, the end of his second administration was beset by staff upheaval and intense intra-cabinet bickering and back stabbing. Sound familiar?

Reagan had appointed Treasury Secretary Don Regan as his chief of staff in 1985, setting off two years of feuding between Regan and First Lady Nancy Reagan; in his 1988 memoir, Regan portrayed Mrs. Reagan as a puppet master who heavily relied on an astrologer to help guide and influence decision and American policy. Coupled with the Iran-Contra scandal, the executive branch of government seemed paralyzed. Perhaps the most illuminating example of the administration’s disarray during the last 24 months of the 40th president’s time in office was the appointment of Koehler as the new comm director, replacing Pat Buchanan, who resigned in January 1987 (and had his own issues with Regan and was mulling a run for president in 1988).

Mrs. Reagan was Koehler’s advocate within the administration. Largely on the advice of  Charles Wick, head of the US Information Agency, Mrs. Reagan felt Koehler, a German immigrant who served as interpreter for the U.S. Army in World War II and former managing director of the AP’s world services, could best shape the president’s message, and rushed through his appointment. “It was done quickly and without running the usual traps,” a White House official told the Washington Post at the time, which is why no one discovered that Koehler, as a 10-year-old, had served for six mouths in a Nazi youth group in Germany known as Jungvolk.

Regan wasn’t consulted before Koehler was brought aboard, and since Koehler didn’t list his participation in the youth group “on his resume,” the chief of staff said the West Wing had no way of knowing his past activities. Sensing a much-needed opening to possibly decrease the First Lady’s influence, Regan immediately shifted blame to the East Wing—aka Mrs. Reagan—for the hiring. Meanwhile, Koehler reportedly couldn’t understand the uproar: growing up in Dresden, Koehler said his participation was “almost mandatory” and that he left Jungvolk because “[he] was bored.” And, in a bizarre deflection, he told the Los Angeles Times that both his first and second wives were Jewish, adding, “What does that make me? A Zionist or a member of the Stern gang?”

Asked whether his appointment was in jeopardy, he said it would be a “black day in journalism” if he was ousted. And yet, in early March 1987, 11 days after being named the new communications director (and five days after he officially began the job), he was asked to effectively resign, following Regan out the door, who the president had ousted the previous week before (the coincidences are quite eerie). Unsurprisingly, Dutch sided with his wife, telling Regan, “[Nancy is] being blamed for Koehler and she’s seen unfairly.”

Trump consistently refers to the Reagan years as a golden period in American history, that he wants to make America great again like it was in the 1980s. Certainly, the events of this past week show how the 45th president is following in Reagan’s footsteps, though it may not be the path Trump thought he would encounter just seven months into his administration.

Yearning for My Emo Days in Nostalgia-Inducing Asbury Park

Mabel Rosenheck | Longreads | July 2017 | 20 minutes (4,918 words)

 

On April 27, 2003, I sat with two friends in arena seats in Convention Hall in Asbury Park, New Jersey. Inside, the building looks like a generic mid-size concert venue, but its lobby is a fantastic, mammoth arcade and exhibition space with polished floors, square arches trimmed by Corinthian columns, and wrought-iron windows that sunlight pours through in spades. It is industrial, yet elegant. It is American, yet with unmistakable allusions to European modernity, to beaux arts style. Overwhelming the boardwalk and the beach, it is urban architecture that rises dramatically from the ocean, jutting out into the breakers, bearing the brunt of Atlantic hurricanes. It is a hard place to describe, but it is also a hard place to forget and an easy place to romanticize.

I’d met my friends the year before on an internet message board for a shitty pop punk band from Chicago named Mest. The internet was still figuring out what it was; we were still figuring out who we were. We were lonely and isolated in the suburbs of Connecticut, Long Island, and New Jersey. We found something we needed in this music. We found something we needed in each other.

It was a Sunday, and some of our friends had to leave to catch buses and trains to finish term papers and make classes on Monday morning. I was there with Dena and Deirdre, but we felt deeply the absence of Jillian, the last of our essential quartet. Jillian’s leaving that morning made the moment more melancholy than a Sunday hangover or an emo song alone, because something was missing.

Inside, we were about halfway up the stands on the left side of the stage, or at least that’s how I remember it. The seats were blue. The room was kind of a hazy gray with sunshine struggling to find its way through windows nestled into the top row, or maybe that was just the hangover, or maybe that is just the nostalgia.

I’d met my friends the year before on an internet message board for a pop punk band. The internet was still figuring out what it was; we were still figuring out who we were.

The band on stage was Brand New. Before they were playing Madison Square Garden and headlining Coachella, before Deja Entendu came out, when it was only Your Favorite Weapon’s particular brand of angsty emo with songs about breaking up with girlfriends and best friends, Brand New was on stage on day three of Skate and Surf 2003, a music festival in Asbury Park. They promised us there that tonight would go on forever while we walked around this town like we owned the streets.

We’d been down the shore since Friday afternoon. Jillian came down from Boston and met me in New Haven, and though she wasn’t there for that Sunday moment, Asbury Park was nothing without her, and the trip down was nothing without her. I had left college in Massachusetts and moved back in with my parents in Connecticut a month before. Jillian was in college in Boston, but not happy. Dena was in Philadelphia, finding her way well enough, but not quite enough. Deirdre was always the most well-adjusted of all of us, but I guess even she was looking for something. We bonded over 18-year-old existential loneliness on an internet message board, and that weekend we, along with a few thousand other existential teenagers like us, drove down I-95 and the Garden State Parkway to the parking lot of the Berkeley Carteret Hotel.

The Used performing in Asbury Park in 2003 (Photo by David Pomponio/FilmMagic)

With Jillian and Dena and Deirdre and everyone else, I had sugary teenage drinks with the back of my car open before the hotel room was ready. I had more drinks in our hotel room that day and that night and the next day. We watched a parade of punk rock lineage including post-hardcore bands like Thrice, screamo bands like The Used, and indie performers like Onelinedrawing. We shared a bottle of tequila with a guy with a straight edge tattoo. Then I made out with him. It was a frenetic good time, but as much as I remember the red angel wings I paired with a wifebeater and black vinyl pants, as much as I remember the Home Grown drum head that I used as a cocktail tray, as much as I remember the Kiwis that crashed on our floor, I remember Sunday afternoon sitting about halfway up on the left side of those blue seats in that hazy gray room that the sunshine didn’t quite reach. Listening to that song, at that time, and in that place, I felt closer to the people who were there and the one who wasn’t than I maybe ever have to anyone. We were a few girls in a sea of teenagers, in a beachside town where we didn’t live, but as much as it was a moment shared with the thousands of people who were there, I remember this as a small moment between us; I remember this as a place that belonged to us.

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Mourning the Low-Rent, Weirdo-Filled East Village of Old

Jeremiah Moss | Vanishing New York: How a Great City Lost its Soul | Dey Street Books | July 2017 | 28 minutes (6,876 words)

As someone who was evicted from her East Village apartment in 2005 — and who now finds herself worried about losing her place in gentrifying Kingston, New York — I was excited to see that Vanishing New York blogger “Jeremiah Moss” (the pseudonym for psychoanalyst Griffin Hansbury) had a book coming out.

Since 2007, Moss’s blog has catalogued the shuttering of one New York City institution after another, and staged demonstrations (which he himself didn’t attend, for fear of outing himself) to try and save them. Where his blog has tended to focus mainly on the East Village and lower Manhattan, his book, Vanishing New York: How a Great City Lost its Soul, is more comprehensive, looking at the city as a whole, one borough and neighborhood at a time. It traces what he’s labeled today’s “hyper-gentrification” to the Koch era, and explores the problem in historical, economic, sociological, psychological, and personal terms.

Although Moss has been making his living for years as a shrink, he came to the city more than twenty years ago with the hope of becoming a writer. Having garnered glowing endorsements from veteran New York chroniclers like Luc Sante — not to mention the rare earnest blurb from Gary Shteyngart — it seems he’s now truly arrived.

Below, the first chapter, “The East Village.” — Sari Botton, Longreads Essays Editor

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Meet ‘The Mooch,’ Your New White House Communications Director

(Jared Siskin/Patrick McMullan via Getty Images)

Anthony Scaramucci is the new White House Communications Director, and like many Trump hires before him, he arrives with a televised history of trashing his new boss. From ThinkProgress:

“I don’t like the way he talks about women, I don’t like the way he talks about our friend Megyn Kelly, and you know what, the politicians don’t want to go at Trump because he’s got a big mouth and because [they’re] afraid he’s going to light them up on Fox News and all these other places,” he said. “But I’m not a politician. Bring it. You’re an inherited money dude from Queens County. Bring it, Donald.”

This was in 2015, a year before the money manager began supporting Trump’s bid for president. But like all Trump hires, there’s almost nothing Scaramucci has said in the past his new boss will hold against him. As White House Communications Director, this is a helpful indicator of how reliable their future statements will be, too.

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It’s A Very Muppets Controversy!

President-elect Bill Clinton and Hillary Clinton with Kermit the Frog at the Kennedy Center in 1993. Steve Whitmire, the actor who played Kermit for nearly 30 years, was fired by Disney in October 2016. (J. David Ake/AFP/Getty Images)

A kerfuffle over Kermit is causing a Muppets media maelstrom.

In October, parent company Disney fired Steve Whitmire, the man who has voiced and handled Kermit the Frog since creator Jim Henson’s death in 19990. While Henson was alive, he was the sole voice of the famous frog. When he died in 1990, his son Brian took over his company and tapped Whitmire, who had been part of the Muppet family since 1978, to keep Kermit alive.

Last week, Whitmre wrote about his sudden firing in a blogpost.

For me the Muppets are not just a job, or a career, or even a passion. They are a calling, an urgent, undeniable, impossible to resist way of life. This is my life’s work since I was 19 years old. I feel that I am at the top of my game, and I want all of you who love the Muppets to know that I would never consider abandoning Kermit or any of the others because to do so would be to forsake the assignment entrusted to me by Jim Henson, my friend and mentor, but even more, my hero.

Whitmire’s complaints are typical of someone pushed out of a career after decades. Why didn’t you give me a warning? Why are you taking away everything I’ve ever cared about?

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Percy Ross Wants to Give You Money!

Illustration by Matt Lubchansky

Jacqui Shine | Longreads | July 201723 minutes (5,700 words) 

Percy Ross was a trash-bag tycoon, a serial entrepreneur who had made millions in plastics in the 1960s and relished spending it. But in 1977 he staged an astonishing reinvention. Ross would become a philanthropist — and not just any philanthropist, but one for people like him: a “blue-collar millionaire,” as he put it. He’d give money away the way he’d gotten it, in bills small and large, and always when it was needed the most. He’d portion out his millions in cash, in checks, accompanied by the satisfying clink of a silver dollar. Percy Ross would become, as the newspapers called him, “America’s Rich Uncle.”

Ross always said — boasted, really — that he’d made and lost two fortunes. It was his third business that stuck, the one in plastics. Ross had been a fur auctioneer in the 1930s — he met the woman who eventually became his wife at a craps table in Las Vegas while in the company of Clark Gable — and an organizer of farm-equipment auctions. In 1958, the story went, Ross borrowed $30,000 to invest in a failing plastics company. He knew nothing about the industry, and within five years he’d filed for bankruptcy — but with hard work, the help of his family, and a little innovation, he eventually turned the company around. Poly-Tech, as he renamed it, made plastic garbage bags. He liked to tell people he sold Poly-Tech for $8 million on the same day Neil Armstrong walked on the moon: July 20, 1969.

The story of the trash-bag turnaround was part of Percy Ross’s pitch-perfect rags-to-riches tale. Born in 1916 in Laurium, Michigan, a small town on the state’s copper-rich Upper Peninsula, Ross was the son of immigrants, desperately poor Jews from Russia and present-day Latvia. His father was a junk dealer who worked constantly, and so did his three sons. By the age of 6, Percy had begun making weekly rounds through the neighborhood with a wagon of farm eggs his father had bought for 12 cents a dozen, which he then sold to neighbors at a 3-cent markup. He sold magazines. He started his own business rebuilding car batteries. He would have shined shoes at the country club if they hadn’t rejected him for being too poor and too Jewish.

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Our Zombies, Ourselves: An Undead Reading List

A still from the 1968 film 'Night of the Living Dead.' (Pictorial Parade/Getty Images)

When you think of zombies, it’s likely you envision something like the flesh-eating, immortal creatures created by George Romero, who defined a new genre of horror with Night of the Living Dead and Dawn of the Dead. Thanks to Romero, who died this week at the age of 77, the zombie movie has become more than a chance to feel scared. It’s also an essential lens through which we can view pop culture, politics, and society. In honor of the great director, here is some our favorite writing about the terror of the living dead.

1.“Why Black Heroes Make Zombie Stories More Interesting,” by Matt Thompson (NPR Code Switch, October 2013)

One of Romero’s most famous narrative coups was casting a black actor as the hero of his 1968 film, Night of the Living Dead. It was a decision that turned a run-of-the-mill horror movie into a complex commentary on the civil rights movement, and imbued other zombie films with the ability to criticize society.

The thing about good zombie fiction (and I say this as someone who enjoys an awful lot of zombie fiction) is that the zombies are never the most horrific thing. Zombies don‘t typically have the capacity for complex thought — they don‘t execute stratagems, play politics, torture people. All they do is feed. The true horror in any zombie story worth its salt is what other people do when faced with the zombie threat. Zombies are merely relentless; humans can be sadistic.

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