Search Results for: Texas Observer

Monopoly vs. the Magic Cape

George Benjamin Luks, "The Menace of the Hour," 1899. Wikimedia Commons.

Will Meyer | Longreads | December 2018 | 19 minutes (4,998 words)

As Amazon attempts to wrap its strangling octopus tentacles around Long Island City and the nondescript “National Landing” — a newly renamed portion of Crystal City — in Northern Virginia, one of the words floating in the punch bowl of our popular vernacular to describe the firm’s unchecked power is “monopoly.” The “HQ2 scam,” as David Dayen dubbed it, was never an act of good-faith competition, but rather a cunning scheme to collect data about cities all over the country: What infrastructure did they have? How many tax-breaks was the local (or state) government prepared to hand over to the richest man in the history of the world? What would they do to accommodate a massive influx of professional-class tech workers? The spectacle of the publicity stunt was gratuitous, to put it mildly, but it was also beside the point. In Dayen’s formulation, as Amazon expands from two-day to one-day or same-day delivery, the company will need more infrastructure everywhere. From Fresno, California, to Danbury, Connecticut, at least 236 cities stumbled into Amazon’s HQ2 flytrap: submitting bids — bargaining chips — for the company to use in its quest for monopoly.

The story of HQ2 isn’t about Amazon’s superior products, or even benefit to consumers, but instead how the company is the current poster boy (poster behemoth?) for the unchecked political and economic power of tech giants. Amazon has the ability to drive out rivals, to engage in dirty tricks — like the HQ2 scam — due to its size and inertia. One need look no further than the Forbes billionaire list to see evidence of the damage caused by forgoing antitrust action against tech companies. Zuckerberg, Gates, Bezos are all high on that list. The white collar cops in Washington haven’t bothered them for the most part (they did go after Microsoft enough to scare them in the late nineties, but that was the last serious case), basically allowing these firms to scoop up competitors and amass as much power as they please. Read more…

Alternative Reality: An Alt-Weekly Reading List

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There have been a lot of eulogies for the alt-weekly lately, and understandably so. Over the past few years, we’ve lost a lot of them: the Village Voice, the Philadelphia City Paper, the Baltimore City Paper, Knoxville’s Metro Pulse, the Boston Phoenix, the San Francisco Bay Guardian, the Missoula Independent. The list goes on.

But the story of alt-weeklies isn’t all about attrition. It’s also about resilience in the face of local media contraction. Around the country, alt-weeklies continue to publish deep investigations, irreverent features, and weird columns that you just don’t find in other publications, often by promising young writers who are discovering their voices. The work usually goes unnoticed because alt-weeklies have always operated under the radar. But in this regular reading list, I hope to rectify that.

Whenever I travel to a new town, the first thing I look for is its free alt-weekly, which can most often be found stacked inside a street corner box. Alt-weeklies help me get a read on my new locale, and at their best, they offer a kind of X-ray — social, cultural, political — on a city that you might not find in the daily paper.

Here are some stories which, I think, do just that — and more.

1.Miller Cane: A True and Exact History, Chapter 2, Part 4 (Samuel Ligon, November 8, 2018, Inlander)

Since mid-September, the fiction writer Samuel Ligon has been serializing a novel in Spokane’s Inlander, one of the country’s more robust, and adventurous, alt-weeklies. It’s a hard-boiled work with terse dialogue and staccato sentences. It tells the story of a guy named Miller Cane, who “has been making his living conning and comforting the survivors of mass shootings,” as an expository summary at the top of one part explains it. The installments, which are also broadcast on Spokane Public Radio, will debut every week for the next year or so. The first part jumps right into the action.

Miller Cane was six days into the Rosedale massacre when Heffner slid into the Legion Hall during an afternoon animal session. Miller didn’t recognize him at first, was focused on calming a howling beagle he’d just settled into a survivor’s lap. But the rage vibe was unmistakable, a disruption in the air over all the animal distraction, even as Heffner slouched and slunk and tried to keep himself small as he looked for a seat, finally taking a broken office chair by the coffee urns in back. It never would have occurred to Miller that a survivor from Cumberland would show up in Texas — a thousand miles away — at a completely different massacre. Maybe the man was just disturbed. Weren’t they all? Maybe his hurt came off as hatred. Miller had seen that before. But he couldn’t help wondering, just for a second, if the man might be another shooter, fresh on the scene to finish them all. He didn’t want to think that. Connie Lopez seemed to know something was off with the dude too, keeping an eye on him from her table in the center of the barroom as she chopped cilantro for chili.

The fourth part of the second chapter is the most recent installment to have been published. This is the sort of thing newspapers don’t really do anymore, and it’s a thrill to watch Ligon perform the high-wire act of writing a novel in public.

2. “Syed Irbaz Shah Wants to Be Deported, So Why Is He Still Here?” (Chris Walker, October 23, 2018, Westword)

Bureaucracy, like inertia, is a difficult subject to make compelling. But the rule doesn’t apply when it comes to the bureaucratic nightmare that is the story of Syed Irbaz Shah, a Pakistani national who was deported from the United States earlier this year but remains locked up in a U.S. Immigration and Customs Enforcement facility in Colorado because, to simplify a complex situation, he can’t get his passport.

The tension at the core of this tale is so ridiculous — and the chain of events that led to Shah’s imprisonment so serpentine — that you can’t help but continue reading to find out how and why Shah got into this predicament. Chris Walker, a staff writer for Denver’s Westword who covers local news and music, does a good job ironing out all the wrinkles in a story that amounts to a kind of low-key procedural thriller.

Today the Pakistani national remains in the Aurora immigrant detention center where he’s been held since February. While the circumstances surrounding Shah’s case are unusually complicated and technical, he, his family members and multiple lawyers believed that they could overcome any hurdles to get him out of the United States. Instead, they’ve become bit players in a Kafkaesque tale for our time, in which someone who desperately wants to be deported during the most deportation-loving U.S. administration in recent memory can’t seem to get himself booted across the border.

3. “Despite demolition efforts, blight spreads undetected throughout Detroit’s neighborhoods” (Violet Ikonomova, November 14, 2018, Metro Times)

In this deeply reported, 7,000-word investigation for Detroit’s Metro Times, Violet Ikonomova looked into the state of Detroit’s vacant houses and found that many more of them were blighted — and, therefore, abandoned — than the city’s Land Bank Authority had accounted for.

The apparently inaccurate blight calculation raises questions about the reliability of the data being used to guide the day-to-day demolition operations of the city and Land Bank.

In Detroit’s Grandale neighborhood, near West Chicago and Greenfield, Luther Johnson has been monitoring changes in the landscape for 50 years. From the well-manicured yard of the red brick Tudor where he grew up, Johnson looks directly onto a vacant lot where the city recently wrapped up a demolition. On one side stands a vacant house whose door appears to at one point have been pried open. On the other stands a worse-off vacant house, its backside crumbling and wooden bones exposed.

“They should have torn it down,” Johnson said of the ramshackle house. “And I don’t know why they didn’t — they tore this one next to it down. They should have torn that one down before they tore this one down because this one was looking better.”

The Metro Times, it’s worth pointing out, has been doing yeoman’s work of late. The paper recently broke the story on Marc Peeples, a 32-year-old man who was repeatedly harassed by three white women for the unseemly act of building a community garden on a vacant playground in a Detroit neighborhood — or, to put it another way, “gardening while black.”

4. “Dartmouth Coach Callie Brownson Is a Pioneer for Women in Football” (Dan Bolles, October 24, 2018, Seven Days)

Callie Brownson, the offensive quality control coach for Dartmouth College’s football team, is also “something else,” Dan Bolles writes in his cover story for Seven Days: “the first full-time female coach in the history of NCAA Division 1 football.” Bolles, an assistant arts editor and features writer for Seven Days, Burlington’s alt-weekly and one of the best newspapers in Vermont, spent some time with Brownson on the field, and he came back with some memorable scenes, as his lede demonstrates.

Dartmouth College quarterback Derek Kyler drops back in the pocket and surveys the chaos unfolding before him. The receivers to his right are locked down in coverage. Ditto the tight end crossing the middle of the field. But to the sophomore QB’s left, Drew Hunnicutt has shaken free of his defender and is streaking toward the end zone. In a flash, Kyler winds up and throws, hitting his wide receiver in stride. The pass is perfect, but it didn’t have to be. Hunnicutt didn’t have a defender within six yards of him.

“Hooooooly shit!” a woman’s voice erupts after the touchdown. “He was wide open! Wide open!”

Callie Brownson springs from her position under the goalposts, waving a laminated playsheet as she strides toward a group of defensive backs. “How do you let him get that wide open?” she asks in disbelief, practically teasing the dejected DBs, who mill around the field, heads hung low and hands on their hips.

Brownson, 29, has been written about by a number of outlets, but Bolles’s profile is an intimate, in-depth portrait, one that readers have come to expect from Seven Days.

5. “Who is the real ‘Lady in Blue’ of Seelbach Hotel?” (Lisa Pisterman, October 24, 2018, Louisville Eccentric Observer)

In Louisville’s charmingly named Eccentric Observer — otherwise known as LEO Weekly — the author and historian Lisa Pisterman took a look at the mysterious case of Patricia Wilson, who, in July of 1936, fell to her death down an elevator shaft at the Seelbach Hotel in downtown Louisville and is now believed to haunt the building. She is known as the “lady in blue.”

She didn’t receive word that said estranged husband died in a car accident on the way to meet her.

She didn’t throw herself down the elevator shaft in response.

She wasn’t found half-naked in a negligee and stockings.

No one heard her fall, and no one ran out in the hallway to catch Lt. Gov. Henry Denhardt stealing away.

She did fall at least six stories, and she died instantly, not hours later at the hospital. She was not penniless. She had a nice funeral, and she was buried in a quiet plot of her own. She was described as beautiful, sweet and well-liked. She was grieved by those who knew her.

She was a real person, and her name was Patricia Wilson.

Using a number of primary sources, such as city directories and coroner’s inquest records, Pisterman give us as detailed a look as possible at Wilson’s life, putting to rest many of the myths and rumors that have accumulated through the years.

6. “Twin Cities construction is booming, and human traffickers are coming to feed” (Susan Du, November 7, 2018, City Pages)

For City Pages, the alt-weekly serving Minneapolis and St. Paul, Susan Du reports that a construction boom in the Twin Cities has helped created a kind of underground economy of labor trafficking. Du hinges her story on a Honduran immigrant named Yimer Iriarte, who came to the United States and found work in the construction industry after much hardship.

Eventually he found himself building a house in Apple Valley, where his luck changed.

One day Ricardo Batres, a pint-sized, sweet-talking El Salvadoran man, walked onto the site and introduced himself as owner of American Contractors and Associates. He dazzled Iriarte with offers of a lucrative partnership, a room in a house free of charge, and—to celebrate the completion of their first project—a pleasure cruise down the Mississippi River.

They were treasures Iriarte, now 21, will never forget.

Yet time would quell his hopes. The house Batres rented for 10 workers came without heat and hot water, nor were they allowed to use the stove. The landlord eventually threatened eviction, claiming Batres hadn’t paid the rent.

It only gets worse from there.

7. “Marty Wolfson Was Broke and Homeless Until a Horse Saved His Life” (Mike Clary, November 13, 2018, Miami New Times)

Marty Wolfson doesn’t exactly fit the profile of a “Florida Man,” but his story is perhaps one that could only have come from the Sunshine State. In this sympathetic New Times profile, Mike Clary gives readers a textured look at Wolfson, the son of America’s first corporate raider who went on to become one of the most successful horse trainers in South Florida, only to lose it all when his lucky streak petered out. Clary sums up Wolfson’s weird life story in a tidy paragraph.

Ironies abound in the story of Wolfson’s fall from grace. He was a rich kid who ended up broke. He was a painfully shy young man who later posed nude for a national magazine. And for years he succeeded as a horse trainer before finding himself at a rural recovery farm where he was paired with a thoroughbred that raced but rarely won. In the end, the 11-year-old gelding would save Wolfson’s life by demanding nothing at all from him.

8. “Death of a Kinkster” (Daniel Villarreal, November 5, 2018, The Stranger)

In this disturbing piece, Daniel Villarreal investigates a death in Seattle’s gay kink community, in which a young man, Jack Chapman — otherwise known as “Pup Tank”– died after having liquid silicone injected into his genitals. Chapman was romantically connected with a man named Dylan Ray Hafertepen, “a well-known member of the Dom/sub pup play communities in San Francisco and, later, Seattle,” Villarreal writes. “To his pups, including Pup Tank and Pup Alpha, he’s called Master Dylan, but on Instagram and Tumblr, he’s widely known as Noodles and Beef.”

It may sound weird, but such injections are a fetishized form of erotic body modification. Some men fetishize enlarged scrotums as a sign of potency, much like the bronzed huevos dangling from the Wall Street bull. Some guys like to nuzzle gigantic silicone-enhanced ball sacks while giving head, or they enjoy feeling them slap pendulously against their asses while bottoming.

Since World War II, cosmetic surgeons and back-alley “pumpers” have offered liquid silicone injections as a quick and dirty form of plastic surgery. When injected, the body surrounds liquid silicone with collagen, permanently providing a rounder and fuller appearance, smoothing wrinkles and reshaping sagging butts and breasts.

Was Hafertepen responsible for Chapman’s death? Villarreal story digs into that question.

***

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

Lyrical Ladies, Writing Women, and the Legend of Lauryn Hill

Paul Warner / AP

 Michael Gonzales | Longreads | August 2018 | 21 minutes (5,551 words)

Back in the early 1980s, rap was primarily a boys club, but a few girls still managed to sneak in and do their thing. Although uptown girls Sha-Rock from the Funky Four + 1 and the Mercedes Ladies were pioneers of the genre, it was a teenager from Queens named Roxanne Shante who gets credit for laying down a verbal foundation for other fem rhyme slayers to follow for decades. As seen in the gritty Netflix biopic Roxanne Roxanne, which details the rapper’s humble beginnings and hard knock life, Shante was just another around-the-way girl with an attitude living in Queensbridge Projects when she was discovered by record producer Marley Marl, who lived and worked in the same public housing sprawl. Marley’s rap posse the Juice Crew featuring Big Daddy Kane, Biz Markie and MC Shan were some of the best rappers in the city and being down with them meant something special.

Going by her government name Lolita Shanté Gooden, she began rapping at ten years old and was known within those brick buildings to be the best at freestyling and battling alongside the boys. Unlike a decade later when the scantily clad Foxy Brown and Lil’ Kim became the most popular female rappers, in the ‘80s it wasn’t about sex appeal (often “lady rappers,” with the exception of The Sequence, dressed like the boys), but simply skills. “Shante was a gem,” Marley told me in 2008. “All her songs were made up on the the spot. All you had to do was give her a subject and she would run with it.”

Recruited to bring her dis-heavy rhymes to a record designed to answer back to U.T.F.O.’s popular 1984 jam “Roxanne Roxanne,” a somewhat sexist song featuring Brooklyn rappers Kangol Kid, Educated Rapper and Doctor Ice (Mix Master Ice was their DJ) that steadily insults a “stuck up” young woman who was new to their block, Shante adopted a new first name and brought the pain. “Roxanne Roxanne” might’ve been a sensation and a best-seller for U.T.F.O., but when Shante’s squeaky yet powerful response “Roxanne’s Revenge” was released a few months later, U.T.F.O., as well as the rest of the world, were caught off-guard. Rox called them out individually, verbally taking down the entire crew as she delivered the goods and changed hip-hop history.

The rap sisterhood soon included Sparky D, MC Lyte, Queen Latifah, LA Star, Monie Love, Lauryn Hill, Lil Kim, Foxy Brown, Nicki Minaj and countless others. For many of the women rappers who’ve succeeded throughout the years, as former Def Jam artist Nikki D says in the 2010 documentary My Mic Sounds Nice: The Truth About Women And Hip Hop directed by Ava DuVernay, “They were doing double of what a dude could do.”

While Roxanne was an obvious inspiration to her fellow female MCs for decades to come, her voice and lyrics also inspired many young women who never touched a mic to pursue their path regardless of any barriers the boys might put in their way.

‘She Begat This’ is a celebration of the Bad Boy boom bap Wu Tang neo-soul Missy Elliott roaring 1990s, an end-of-the-century era that was an important period in black popular culture.

Like hip-hop itself, writing about rap music was mostly the beat of male (the main quartet being Nelson George, Greg Tate, Barry Michael Cooper and Harry Allen) music journalists in the the early years, but by the mid-’80s, that too would change. There were the Village Voice scribes Carol Cooper and Lisa Jones, though neither wrote that much about the genre. Additionally, there were also the often overlooked women from the glossy teen zines: Cynthia Horner (Right On!), Gerrie Summers (Word Up), Kate Ferguson, Yvette Noel-Schure (who today is Beyonce’s publicist), Marcia Cole and Belinda Trotter. However, progressing into the ‘90s, the textual landscape began to change as women who came of age within the culture — whether hanging at park jams, clubbing with the b-boys or simply enthralled by the booming beat underground sounds that were slowly becoming mainstream — decided that they too had something to say about the scene. The shortlist of then young scribes includes future powerhouse writers/editors Kierna Mayo, dream hampton, Mimi Valdes, who produced the movie Roxanne Roxanne, and Danyel Smith, but it was the writings of Joan Morgan, author of the recently released She Begat This: 20 Years of The Miseducation of Lauryn Hill, that I remember reading first.

For me, Joan was the hip-hop writer version of Roxanne Shante. Certainly, she wasn’t the first woman hip-hop writer on the scene, but from jump she was one of the best. While She Begat This, which includes a forward by Mayo, is a tribute to Hill’s masterful album that was released 20 years ago this past weekend, on August 25th, 1998, it’s also a celebration of the Bad Boy boom bap Wu Tang neo-soul Missy Elliott roaring 1990s, an end-of-the-century era that was an important period in black popular culture as well as in the professional and personal lives of those who were there as participants and witnesses, writing from the frontlines with Afro abandon. Back then, besides our personal stereos and radios, The Miseducation could be heard blaring from house parties, spoken word readings, cool clothing stores, restaurants, cars parked on the street and bubbling brown sugar bars everywhere.

These days Joan Morgan, between raising her son as a single mother, teaching at various universities and working on her Ph.D. dissertation, hardly ever writes about hip-hop culture, but when the publisher 37 INK offered her the project to riff on Hill’s landmark disc she felt it was her responsibility to do the right thing. Still, anyone anticipating a 33 1/3-type book filled with nerdy details describing recording sessions, Hill’s writing process, a close reading analysis of the lyrics or an interview with the featured artist, or at least with some of the musicians and collaborators, will be sorely disappointed. Morgan, whose book When Chickenheads Come Home to Roost: A Hip-Hop Feminist Breaks It Down (1999) is as influential a text amongst a certain sector of the literary hip-hop audience as Hill’s music, chose instead to write “a cultural history of the album.”

In addition to her personal observations and opinions of Lauryn as seen (heard) through a womanist lens, Morgan also interviews her girlfriends, fellow writers and thinkers who were also a part of the New York City (and Brooklyn) scene when Miseducation was first released. Serving as an intellectual Greek chorus throughout the book, they share their thoughts on Hill in relation to colorism, mental health, style, relationships and black genius.

However, considering all the interviews Hill did when the album was released, it’s striking that not one was quoted in She Begat This. Morgan talks about the beauty of the Harper’s Bazaar cover Lauryn appeared on, as well as the “lily-whiteness” of that magazine, which usually kept black faces regulated to the interior pages, but never once mentions what Hill said inside that issue . The only person Morgan spoke with who was actually connected to The Miseducation was Lauryn’s former personal manager Jayson Jackson, who gave the writer some juicy tidbits, including the fact that the record company was unhappy with the project when it was first presented to them.

“Truthfully, when I thought about it I knew that no one would be able to write the book the way I would,” says Morgan via cellphone from an Amtrak train leaving Martha’s Vineyard back to New York City. “But, I only had four months to complete the book and I didn’t have time to chase Lauryn down for an interview, so I interviewed other people (including dream hampton, Michaela Angela Davis, Dr. Yaba Blay, Karen Goode Marable, Akiba Solomon and former Honey magazine editor Joicelyn Dingle) to get their take on what made the project iconic.”

*

Twenty years later The Miseducation is still relevant and winning honors; most recently it was voted #2 on NPR’s list of The 150 Greatest Albums Made By Women, sandwiched between #1 Joni Mitchell (Blue) and Lauryn’s spiritual godmother Nina Simone (I Put a Spell On You) at #3. As writer Paula Mejia stated in her essay on The Miseducation, “The album, rife with Hill’s biting rhymes and sharp turns of phrase, is a wonder from start to finish.” With lyrics that were as piercing and probing as an Alice Walker novel (“…blessed with a broad literary arsenal that… reflected her dexterity as a wordsmith,” Morgan writes) and as musically lush as a seventies Ann Peebles song produced by Willie Mitchell, the album was obviously brilliant, but for Lauryn Hill it would be both a gift and a curse.

The curse came later that year when the production team New-Ark, who helped Hill with producing and songwriting but never signed any contracts, sued for more money (they were originally paid $100,000) and for writing credits. Hill eventually settled with the musicians, and it’s hard for observers not to speculate that the suit embarrassed Lauryn or even scarred her emotionally — a narrative passively reinforced not least by her inability to create a follow-up studio album.

Morgan’s writings helped many rap-loving women navigate through the gray areas of the music that they might’ve loved dearly, but didn’t always love them back.

Hill’s strange behavior both onstage and off has been documented heavily, including in a recent interview with respected jazz pianist Robert Glasper detailing his bad experiences working with her in 2008. Appearing on Houston, Texas, radio station 97.9 The Box, Glasper told tales: from being instructed to address her as Ms. Hill (something that everyone is supposed to do) to never looking her in the eye to her habit of firing her touring bands no matter how good they might be. Addressing Hill directly on the show, Glasper said, “You haven’t done enough to be the way you are…the one thing you did that was great, you didn’t do…” In a recent Medium essay, “Addressing Robert Glasper and other common misconceptions about me (in no particular order)” Ms. Hill responded to the criticism.

Film producer/director Lisa Cortes (Precious), who is currently directing the documentary The Remix: Hip Hop x. Fashion, says, “I don’t think that [sharing credits with New-Ark] should’ve made people look at her negatively.” As a former record executive, Cortes worked closely with R&B and hip-hop producers in the late ’80s/early ’90s. “Plenty of music men have used ghostwriters or other producers to help them finish tracks, but they’ve never been dragged the way Lauryn was. The writing and producing she has done with others (Aretha Franklin, Carlos Santana, Whitney Houston) speaks for her talents and The Miseducation remains a remarkable achievement.”

The controversy of creation never deterred me from listening to The Miseducation and continually embracing its brilliance, but I’ve always been upset that Hill never released another full-length project. With the exception of the much maligned MTV Unplugged project (Village Voice critic Miles Marshall Lewis was the only writer I know who liked that album, calling the 2002 project “the most powerful artistic document to emerge from hip-hop America post-9/11”) and a single with the Fugees (“Take It Easy”), there has been nothing. “From what I understand, Lauryn never stopped recording,” says Morgan, “she just hasn’t put anything out. Who knows, maybe she’ll put out some new music in time for the anniversary.”

Though Lauryn still tours, often showing up hours late and performing her songs in a variety of different arrangements that sometimes angers the audience, The Miseducation remains Hill’s only solo album. After announcing an anniversary tour in April, by July most of the dates were postponed or canceled. “This album chronicled an intimate piece of my young existence,” Hill said in a statement released when the tour was announced. “It was the summation of most, if not all, of my most hopeful and positive emotions experienced to that date.”

*

Interviewing Morgan on her book’s publication date, we reminisce about those early days when she was a young writer at the Village Voice, hanging out in the lounge where she befriended writers and editors including Joe Levy, who suggested she cover the Mike Tyson rap trial in 1992. “I was completely untrained,” she says. “People were telling me that they liked my voice (in print), but I really didn’t know what I was doing. I wasn’t breaking the rules, I just didn’t know what they were.” My introduction to Morgan’s work was her 1990 review of former N.W.A. member Ice Cube’s solo debut AmeriKKKa’s Most Wanted (Priority), which was also published in the Village Voice.

Living in the Flatbush section of Brooklyn with my buddy Havelock Nelson while we worked on our book Bring the Noise: A Guide to Rap Music and Hip-Hop Culture, I sat in the CD-cluttered kitchen and read the piece twice, loving every word of it. Morgan’s writing was powerful, poetic and bold, with the review itself written in the style of a short story involving her girlfriends in Martha’s Vineyard and the Cube cassette. Balancing Cube’s angry Black man stance (his post-Panther arguments with the government and the police) and his sexism, Morgan was split between loving the album and throwing the record into a bonfire. “I think of that review as the first in hip-hop feminism,” she says.

Filmmaker Syreeta Gates, who is currently working on Write On! The Legend of Hip-Hop’s Ink Slingers, a documentary about hip-hop writers from the ‘90s, says, “Straight out the gate her Ice Cube piece had us reimagine our relationships not only with the culture but with the artists in relation to their lyrics…For me, she gave space to play in the grays that I never thought was possible in the realm of hip-hop culture. Her ideology around hip-hop feminism gave a generation of young women a [language for] something that I think for the most part we made a distinct choice to participate in.”

A self-proclaimed “cultural chameleon,” Morgan was a Bronx-bred homegirl who was part prep school (she’d attended the prestigious Fieldston School), part Phillies blunt; an Ivy League graduate who was reared by strict Jamaican parents, but still managed to get her party on. “I can still remember lying to my mother about what block I was on, so I could go with my friends to the park jams,” Morgan laughs. “I listened to what my peers listened to with curiosity and fascination, but I never thought of it as a career.” Still, just because she could recite the raunchiest rap stanzas didn’t mean she wasn’t going to challenge sexism, classism and stereotypes. Her writings helped many rap-loving women navigate through the gray areas of the music that they might’ve loved dearly, but didn’t always love them back.

Regina R. Robertson, west coast editor of Essence and editor of the essay collection He Never Come Home says, “I recently pulled When Chickenheads Come Home to Roost from my bookshelf and started flipping through it again. That book had such an impact on me. I was struck by Joan’s honesty. That book also made me take a step back and reexamine the roles that we all play. Although it’s almost twenty years since it came out, it has stood the test of time.”

Joan Morgan never planned on becoming a music critic, let alone a “hip-hop writer.” In 2006 she explained to interviewer Faedra Chatard Carpenter, “When I started writing, there was no such thing as ‘hip-hop journalism.’ I am part of that generation of writers that, for better or worse, created that as a genre and it really was a term that other people applied to our writings.” Within months of the Cube review, I began seeing her name regularly in the Voice and Spin, and began looking forward to her take on a culture that she obviously cherished.

This was another golden era of black writing, and Morgan’s work at ‘Vibe’ was at the forefront of a literary movement that would inspire a generation.

During that early ‘90s period, Joan was a teacher at the Fieldston School, but that was simply a stopover until the universe expanded and so-called “urban” magazines (most noticeably The Source, Vibe and RapPages) exploded on the scene. “Funny enough, I had very little respect for music journalism,” Morgan tells me, “because I didn’t really understand it. My thinking was, ‘Who needs a review to figure out what they wanted to hear.’ My real dream was to become an actor.”

In 1993, although The Source was already a heavy newsstand presence in the hip-hop mag department, the Time Inc./Quincy Jones-owned Vibe was promoted as bigger and deffer, as though it was the Esquire of urban magazines. With its larger size, better graphics, more experienced editorial direction and a writing staff that included Kevin Powell, Scott Poulson-Bryant and Joan Morgan, the magazine was an instant success. Coming at a time when most mainstream music/lifestyle publications, namely Rolling Stone, had no “writers of color” composing funky fresh features or reviews, The Source and Vibe was where more than a few African-American writers honed their craft, sharpened their skills and were allowed to have their words read by thousands of readers across the world.

This was, as writer Dean Van Nguyen recently documented in the Pitchfork piece “How a Group of Journalists Turned Hip-Hop Into a Literary Movement,” another golden era of black (Harlem Renaissance, Black Arts Movement) writing, and Morgan’s work at Vibe was at the forefront of a literary movement that would inspire a generation. Teenagers read the rap mags on the subway and buses, college students studied them in their dorms, with some hanging favorite articles pin-up style on the wall, and the mostly white world of New York City magazine journalism was forced to pay attention to the new kids in town. Morgan would go on to write several wonderful stories for Vibe including a controversial one on alleged homophobic Jamaican singer Buju Banton and, in 1994, a memorable cover story on TLC (The Fire This Time) that centered on the group’s rebellious rapper Lisa “Left Eye” Lopes, who had, several months before, accidentally burned down her professional football player boyfriend’s Atlanta mansion after setting his sneakers on fire.

West coast entertainment journalist Ronke Reeves was an editorial assistant at Vibe during those formative years, and remembers well Morgan’s contributions. “In that male dominated world, Joan had a bold, prominent voice that broke new ground and inspired a generation of young writers. Even after she left Vibe and went to work at Essence and ultimately finish her book, I still followed her work, because, from a female perspective, there was nobody writing like that.”


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A few months before the house burning in Atlanta, writers from the hip-hop magazines were introduced to a new rap trio calling themselves the Fugees. The music on their debut Blunted on Reality was a fusion of streetwise rap and soul mixed with swaggering dancehall riddims. Assigned by RapPages editor-in-chief Sheena Lester, the first woman editor of a national hip-hop publication, I went to the midtown Manhattan offices of their label Sony Music and was introduced to the group, which consisted of Wyclef Jean, a rapper and multi-instrumentalist, his cousin and group founder Pras Michel, and Lauryn Hill, a singer and rapper who was as beautiful as she was talented.

With the exception of a rapper/singer named Smooth, whose album You’ve Been Played was released the year before, no other artists were displaying those dual talents on disc. Lauryn, then all of 19 years old, was an English major at Columbia University who, the year before, had appeared alongside Whoopi Goldberg in Sister Act 2. It wasn’t uncommon for Hill to be seen doing homework in the conference room between interviews or in the dressing room when the group did shows. Tonya Pendleton, a former editor at the BET-owned YSB magazine, remembers being impressed. “Lauryn was so incredibly talented as an equally dope singer and rapper,” she says. “Although she had an incredible singing voice, Lauryn is, in my view, the greatest female rap artist of our time, if only because she’s a beast lyrically. The only thing making that arguable is that there are less albums to debate with.”

Hailing from Northern New Jersey, the guys lived in the Newark area while Hill came from South Orange. In author Brian Coleman’s essential text Check the Technique: Liner Notes for Hip-Hop Junkies (2007), Pras explained, “Our strength was in being three individuals who blended together perfectly. Clef brought the musicality, Lauryn brought the soulfulness and I brought the roughness and flash.” From the first time I’d listened to an advance cassette, hearing Hill’s dope lyrics on “Some Seek Stardom,” a track she recorded alone, I remember I could tell there was something special about her. Lauryn was a teenager who could hold her own as a rapper, but she also threw in a little jazzy soul singing to keep us on our toes. In a New York Times piece penned by Amy Linden, Hill described the Fugees’ sound as “a little rice and peas mixed with a little collard greens, a little mango with watermelon.”

While Blunted on Reality had followers, the sales were low and The Fugees were almost dropped from the label because of it. According to Jayson Jackson, a former Sony Music Group product manager who later became Hill’s manager, it would have happened if it wasn’t for him conning the publicity department for a few grand to get Caribbean-American producer Salaam Remi to do a remix of their singles “Nappy Heads” and “Vocabs.” In She Begat This, the producer tells Morgan, “They sent me the Fugees because they were Haitian, and they needed that bridge to get them to the mainstream. They had talent. They just haven’t figured out how to channel it.”

The Fugees’ careers were up in the air for awhile until they were given another chance by Sony that led to their critically acclaimed sophomore album The Score in 1996. “It (Blunted on Reality) wasn’t successful,” Pras told writer Brian Coleman, “but it was part of us feeling our way, figuring ourselves out as artists. It had to be what it was in order for us to evolve into The Score.” With their advance money, the group bought equipment and instruments, and constructed their own studio which they dubbed the Booga Basement. Alongside bassist Jerry “Wonda” Duplessis, another of Clef’s cousins, the Fugees recorded their follow-up in a mere six months.

With Clef and Lauryn also contributing to the production, the trio tightened up their style and raised the bar for themselves and rap records in general. The Score’s first single “Fu-Gee-La” was cool, but it was their second joint, a hip-hop remake of Roberta Flack’s classic “Killing Me Softly” sung by Lauryn, that became an unexpected hit and helped them cross over. The third single “Ready or Not” became known as the first time Hill revealed her love for singer Nina Simone and, by merely mentioning the legend’s name, introduced a generation of rap listeners to the activist blues singer. “As far as I know, no one in hip-hop had ever tossed out a Nina Simone reference before, so that was a big deal,” poet LaTasha N. Nevada Diggs says. “Nina represented so much to Lauryn, but later she seemed to also adapt Simone’s radicalness, rage and unpredictability.”

Years later, in light of the shift that Lauryn’s life took, I’d think back to that afternoon we spent together and Lauryn’s pre-release giddiness. Truthfully, after the release of ‘The Miseducation’ and shame of the lawsuit, her public persona would never be so joyful again.

At the 2018 Rock & Roll Hall of Fame induction ceremony, when Simone was posthumously inducted, Hill performed “Ne Me Quitte Pas,” “Black Is The Color Of My True Love’s Hair,” and “Feeling Good” as part of a tribute to the late artist. In her lifetime, Nina with her smooth dark skin represented blackness, as in Black is beautiful, which was also a message that Lauryn was communicating. Indeed, in She Begat This there is much conversation (with Yaba Blay and Tarana Burke) about Lauryn’s “deep chocolate brown skin” inspiring other dark girls who felt rejected by both hip-hop culture and their own communities.

“Witnessing Lauryn and her dark skin and natural hair shine brightly on magazine covers was affirming for Black girls to see,” says Newark-based arts writer fayemi shakur. “But, there was something deeper underneath her beauty to celebrate. She embodied a unique blend of style, Black cultural and political consciousness, with serious divine feminine energy. Any Black girl beginning to loc their hair back then could smile with pride in the mirror because Lauryn’s beauty reflected our own. It wasn’t always a popular thing to have natural hair.”

By the end of ‘96, The Score had sold six million units and won two Grammys including one (Best R&B Performance) for “Killing Him Softly.” Writer/filmmaker (Fresh Dressed) Sacha Jenkins, who in 1996 wrote a cover story on the group for Vibe, says, “As someone with Haitian blood dancing through his veins, that Fugees record meant a lot. They made Haitians cool — or rather, they helped a broad range of folks to better appreciate our talents, and recognize the uniqueness of our identity… That record also helped to expand what was acceptable in hip hop, as in, you don’t always have to spit the bars that you ripped out of your Rikers Island prison cell. You can sing, play guitar — scat even. Hip-hop had a lot of rules and the Fugees pissed on all of them. Hip-hop finally had a leading lady. Lauryn isn’t Haitian but, on that album, she’s honorary for sure.”

Of course, Hill too was a cultural chameleon, adopting a bit of Haitian music, jazzy vibes, southern soul and Jamaican yardie in her music. In 1996, the new and improved Lauryn was full of confidence and moxy, but, unknown to the general public, she and Wyclef had become lovers although he was already married. Their relationship became quite messy a year later when Lauryn had a baby, her pop-song-celebrated son Zion, with Rohan Marley, himself the son of reggae legend Bob Marley. Wyclef, whose own solo album The Carnival was a critical and sales success , kept telling the press that he would be producing and writing Lauryn’s album. “You would think after co-producing an album that sold millions that I’d be able to produce and write my own project, but it was a battle,” Lauryn told me the day I spent with her in June of 1998, two months before the albums release. And then she laughed.

On that afternoon I had set out to South Orange, New Jersey to interview Hill for a Source magazine cover story. Forty-five minutes away from Manhattan, the Lincoln Town Car pulled in front of the house where Hill was raised. Having moved a few years before to a different dwelling a few miles away, the old home had since been transformed into a recording studio, one of the many where The Miseducation was made. Earlier in the day, I’d met her mom and young son Zion and learned that she was also pregnant with her second child Selah Louise Marley, who would be born in November. Even at her then young age, motherhood was important to Lauryn.

“What bugs me is the fact that men never have to defend having children,” she’d tell me later. “Women are the ones who are asked, ‘How is this going to affect your career?’ If anything, having a growing family will make me even more motivated to create good music. My grandmother had 13 children and 32 grandchildren. Looking at her life has made me realize what a blessing it is to have family around.” Today Lauryn has six children.

We’d hung out together most of the day and I had gone with her into New York to meet with director Joel Schumacher about starring in the film version of Dreamgirls that he was supposed to make. After lunch at the Tribeca Grill, we returned to Jersey so Lauryn could play the complete album for me. An hour later, I made no secret to her that I was blown away, but also surprised by how much soul music, including wondrous collaborations with D’Angelo (“Nothing Even Matters”) and Mary J. Blige (“I Used to Love Him”), was the bedrock of the project. “What does it say about hip-hop when one of the better hip-hop records of the year contains little actual rapping?” Amy Linden wrote in a review.

Of course there were brilliant rap tracks including the opening song “Lost Ones” and the awesome “Doo Wop (That Thing),” whose split screen/time travel video was one of the most innovative of 1998, but the majority of the album had more in common with the then new neo-soul (D’Angelo, Erykah Badu, Maxwell) than it did with hardrock hip-hop. “When I was six-years-old, I found boxes of old school 45s in the basement,” Lauryn told me, explaining the origins of her soul music love. “The first record I discovered was ‘If I Should Lose You’ by the Dream Ups. Next, I found a bunch of boxes and there were about 500 to 600 records from ‘I Wish It Would Rain’ to Curtis Mayfield’s ‘Super Fly.’ The boxes were overflowing with Motown, Stax, Philadelphia International and a bunch of others. While other kids in the neighborhood were rapping about New Edition, I was trying to school them on Roberta Flack and Marvin Gaye. Those old records had become a significant part of my life.”

In She Begat This writer/filmmaker dream hampton argues that The Miseducation, which she hated, sounded under-produced, but for me the music took me back to coming of age in the days of Soul Train on television, slow grindin’ at basement parties and live bands with real instruments jamming in smoke-filled venues. As Lester Bangs once said of Patti Smith, “her sound is (was) new-old.” Songs like “Ex-Factor” and “When It Hurts So Bad” were reminiscent of Willie Mitchell’s golden touch on Ann Pebble’s tracks, especially “Trouble Heartaches & Sadness,” or channeling Etta James at her most heartbroken. “I feel like the blueprint of this record has been in my head for years,” Hill said. “Although I rarely discussed my ideas with anyone before I started working, it was all in my mind.”

At the time I didn’t know that the label had originally rejected her masterwork, but perhaps I should’ve picked up on that when she said, “When Marvin Gaye created What’s Going On, even Berry Gordy thought he was crazy and trying to ruin his own career. It’s that kind of risk-taking that is sorely missing in music, be it rap or rhythm & blues.” Of course, the label turned out to be wrong; The Miseducation of Lauryn Hill sold millions, topped year-end best-of charts and propelled the then 23-year-old to superstar status. No one could’ve predicted that the album would’ve been as successful as it was.

Years later, in light of the shift that Lauryn’s life took, I’d think back to that afternoon we spent together and Lauryn’s pre-release giddiness. Truthfully, after the release of The Miseducation and shame of the lawsuit, her public persona would never be so joyful again.

“That album is a tour de force from a Black woman’s specific view with lyrics that speak to personal heartbreak as well as public, cultural issues,” Tonya Pendleton explains. “Whether she’s wondering why a lover can’t give more or why an artist can’t say more, she’s using her distinct voice and point of view to serve the music. There is so much richness to this album that’s it’s hard to believe it’s as old as it is. It seems as though she presciently covered all of the hot-button issues to come, from fuckbois to cold corporate rap to both the fear and anticipatory joy of becoming a working mother captured so beautifully on ‘Zion.’ It would difficult for me to chose a favorite song, but the opening track ‘Lost Ones’ may be one of the most lyrically potent fuck-you songs ever created.”

Within months of its release, Lauryn had become an even bigger star than she was during the Fugees reign, appearing on numerous magazine covers, including the beautiful Jonty Davis pic that graced the September, 1998 issue of The Source where my interview appeared. “That same year, a few months after The Miseducation came out, I saw her perform at my school at the University of Virginia,” journalist Tomika Anderson remembers. “Afterward, a few of us met her and shook her hand. She was so accessible and classy and beautiful, we were just blown away by her. She was just such a wonderful role model.”

Twenty years later, we’re still talking and writing about The Miseducation, but, as Hill would discover, with great genius often comes great consequences. Her post-millennium breakdown (or crack-up, in the Fitzgeraldian sense of the word) hasn’t always been easy to watch, especially for those who believed that she was a goddess hovering over us mere mortals. “[Hill] became a figurehead and touchstone and it was easy to forget how young she was,” Amy Linden says. “Being the Voice of a Generation has to be difficult, especially when you are dealing with personal drama that her fans and label might not have been privy to.”

Although She Begat This isn’t the music geek examination of that classic album that I was expecting, Joan Morgan succeeds at revealing other layers of our Lauryn love, while also humanizing a woman who many tried to transform into a deity two decades ago. As Roxanne Shante, never one to dish out compliments, said in 2010, “Lauryn Hill is in a category of her own.”

* * *

Harlem native Michael A. Gonzales writes The Blacklist book column for Catapult. He has written for The Paris Review, The Village Voice, Pitchfork, New York magazine and the upcoming Contact High: A Visual History of Hip-Hop edited by Vikki Tobak. A former hip-hop journalist, his articles, essays and reviews have appeared in The Source, RapPages, Vibe, Ego Trip, XXL, Complex and Mass Appeal. In addition, he is the co-author of Bring The Noise: A Guide to Rap Music and Hip-Hop Culture (1991). Currently he is working on a hip-hop novel.

Editor: Dana Snitzky

Taming the Great American Desert

A cowboy wearing chaps stands on Grandeur Point, East Rim Drive, overlooking the Grand Canyon, c. 1935. (Hulton Archive/Getty Images)

John F. Ross | The Promise of the Grand Canyon | Viking | July 2018 | 24 minutes (6,540 words)

In April 1877, the normally staid proceedings of the National Academy of Sciences’ annual meeting in Washington took a dramatic turn. For two weeks, members had listened to the nation’s most distinguished scientists speak on topics ranging from lunar theory to the structures of organic acids. Members enjoyed “Results of Deep Sea Dredging,” by the son of the recently deceased scientist Louis Agassiz. The Academy had invited G. K. Gilbert to deliver a paper, “On the Structure of the Henry Mountains,” so named in honor of the Academy’s president by Powell’s survey. On the final day, the geologists took the floor, whereupon erupted a furious discussion of the American West. The rub lay between those who studied the fossils and those who examined the rock strata, each drawing wildly different conclusions about the age of their subjects.

Such was the fervor of the discussion that the geologists soon jumped to their feet in animation and anger. “[W]hat they might do if they once went fairly on the rampage, it is impossible to say,” wrote one correspondent. Hayden rose to argue that no great degree of difference existed between the two sides, but others immediately shouted him down.

Yet while the rather scholarly debates over dating and provenance might animate the geologists, that day would be remembered not for these petty theatrics, but for an address Powell delivered. In it, the Major stepped away from the fields of geology and out of academic realms to address a topic that pressed right to the heart of American democracy. During the Townsend Hearings three years earlier, he had raised the issue of the West’s extreme aridity and the difficulty of irrigating much of it — but he had thought a lot more about it since then, and the map he now unrolled in front of America’s top scientists carried startling implications. He had bisected the map of the nation from Mexico to Canada with a vertical line rising from central Texas up through Kansas, east of Nebraska, and through Minnesota, roughly approximating the 100th meridian. At this line the arid West begins with startling consistency, the tall prairie grass cedes to short grass and less fertile soils. Trees appear rarely west of the line, except at high altitudes and in the Pacific Northwest, while forests dominate the east: The 100th meridian elegantly divides two separate lands, one composed of wide horizontal vistas, so much of the other defined by its vertical prospects.

The land west of the 100th meridian, Powell announced, could not support conventional agriculture. Surprise met this bold statement, for the line clearly indicated that much of the great plains — including all of Colorado, Montana, Wyoming, and Idaho, plus Arizona and New Mexico — was essentially unfarmable. Here was the professor at his best: clear, authoritative, dramatic. He had everyone’s attention.

Powell had drawn an isohyet, a line connecting areas that experience equal volumes of annual rainfall. The relatively humid lands to the east of this line experience twenty or more inches of annual rainfall, the unquestionably arid lands to the west receiving less than that, except some narrow strips on the Pacific coast. The twenty-inch isohyet offered a valuable generalization — conventional agriculture simply could not work without twenty or more inches a year, unless supplemented by irrigation. Except for some lands offering timber or pasturage, the far greater part of the land west of the line was by itself essentially not farmable. Access to the transformative powers of water, not the availability of plots of land, proved a far more valuable commodity. By now, any land through which streams passed had all been acquired, some of these owners charging those less fortunate for irrigation water. “All the good public lands fit for settlement are sold,” Powell warned. “There is not left unsold in the whole United States land which a poor man could turn into a farm enough to make one average county in Wisconsin.”

Much of what Powell reported was not exactly new, but no one had presented the data so comprehensively and convincingly — and not anyone so famous as the Major. Few, of course, doubted the region’s aridity. But in one powerful moment, Powell had claimed that the nation’s traditional system of land use and development — and thus America’s present push west — simply would not work. The debate that Powell provoked that late April day drew immediate and blistering response. The land agent for the Northern Pacific Railway, itself the beneficiary of a government grant of nearly four million acres, hammered back at Powell’s “grave errors.” “[P]ractical farmers, by actual occupancy and cultivation, have demonstrated that a very considerable part of this ‘arid’ region, declared by Major Powell as ‘entirely unfit for use as farming lands,’ is, in fact, unexcelled for agricultural purposes.” Others responded similarly. Powell clearly had touched a raw nerve. Over the next several years, he would have much more to say on the matter, igniting a veritable firestorm. While the other surveyors limited themselves to covering as much ground as possible, Powell now wrestled with the startling implications for the ongoing development of the West — and what that meant for the American democracy he had fought so hard to save.

***

For most of the first half of the 19th century, eastern America’s conception of the western portion of North America could be spelled out in three words: Great American Desert. That originated during the Long Expedition of 1819, when President James Monroe directed his secretary of war to send Stephen H. Long of the U.S. Army Corps of Topographical Engineers with a small complement of soldiers and civilian scientists on a western reconnaissance. Secretary of State John Quincy Adams had just negotiated a treaty with Spain that ceded Florida to the United States and drew a border between the two countries running across the Sabine River in Texas, west along the Red and Arkansas rivers, and all the way to the Pacific. Eager to know more about the border and the new western territory, Monroe had the secretary of war direct Long to follow the Platte River up to the Rocky Mountains, then trace south and back east along the new border.

The energetic New Hampshire–born West Pointer envisioned himself the successor to Meriwether Lewis and William Clark — indeed, over the course of five expeditions, he would cover 26,000 miles, and mount the first steamboat exploration up the Missouri into Louisiana Purchase territory. His name would grace the peak that Powell was first to climb. On this expedition, Long split his group into two, sending one party along the Arkansas while he with the rest headed south to chart the Red River. Long’s men, often parched and starving, battled a violent hailstorm, sometimes resorted to eating their horses, and negotiated their way past a band of Kiowa-Apaches. But the maps they carried were so atrociously inaccurate that the river they followed for weeks was not the Red at all.

***

Three years after Long’s party returned home, expedition member Edwin James published the three-volume Account of an Expedition from Pittsburgh to the Rocky Mountains. Long’s ordeal imbued him with little affection for the “dreary plains” they had traversed. The Great Plains from Nebraska to Oklahoma he found were “wholly unfit for cultivation and of course uninhabitable by a people depending on agriculture.” He added: “The traveler who shall at any time have traversed its desolate sands, will, we think, join us in the wish that this region may forever remain the unmolested haunt of the native hunter, the bison, the jackall.” The accompanying map labeled the area a “Great Desert,” terminology that soon fully flowered into the “Great American Desert,” a colorful appellation that would stick to the indefinable sections of the West for the next generation. Long believed that this desert wilderness served as a natural limitation on American western settlement, acting as an important buffer against the Mexican, British, and Russians, who claimed the western lands beyond. That compelling assertion seemed to resonate in the public imagination, locking into place the notion of a vast desert dominating the nation’s western midsection. “When I was a schoolboy,” wrote Colonel Richard Irving Dodge in 1877, “my map of the United States showed between the Missouri River and the Rocky Mountains a long and broad white blotch, upon which was printed in small capitals THE GREAT AMERICAN DESERT — UNEXPLORED.

Even though some early trappers and mountain men had brought back word of a land often far from desertlike, the idea persisted. In 1844, when U.S. naval officer Charles Wilkes published his five-volume Narrative of the United States Exploring Expedition, it included a map of upper California. Inland from the well-detailed Pacific coast lay the Sierra Nevada, while the front range of the Rockies marked the map’s eastward extension. In between the ranges lay a vast, wedge-shaped blank space, without a single physical feature delineated. Unable to leave such a realm blank without remark, Wilkes had inserted a simple paragraph reading “This Plain is a waste of Sand. . . .” Like the sea monsters inhabiting the unknown sections of medieval maps, he — like Long — had condemned the entire region, the dead space not even worthy of a second look. Eleven years later, a Corps of Topographical Engineers map had sought to add additional detail, but could only insert a tenuous dotted line that indicated some cartographer’s wild guess about the Colorado River’s course.

Cracks started appearing in the notion of a Great American Desert during the early 1840s expeditions of Charles Frémont, son-in-law of that powerful advocate of Manifest Destiny, Senator Thomas Benton. With his backing, Frémont led both a four-month survey of the newly blazed Oregon Trail in 1841 and an audacious fourteen-month, 6,475-mile circuit of the West, beginning in 1843. Frémont’s subsequent reports combined a deft mix of hair-raising adventure with scientific discovery, thrilling its readers with images of guide Kit Carson and the so-called Pathfinder himself running up a flag atop a vertiginous Rocky Mountain peak. The maps accompanying the reports furnished emigrants with an accurate road map for the journeys that thousands would take west in the 1840s and 1850s. Frémont’s reports indicated that the intercontinental west certainly contained stretches of truly arid land, but that it was no unbroken Sahara. Yet even so, the pioneers and gold seekers understood that great opportunities lay not in this parched region, but beyond, at the end of the trails, in Oregon and California. Most of the West still remained no more than a place to get across.

In the late 1850s, a rather startling shift had turned the idea of the Great American Desert on its head. “These great Plains are not deserts,” wrote William Gilpin in a late 1857 edition of the National Intelligencer, “but the opposite, and are the cardinal basis of the future empire of commerce and industry now erecting itself upon the North American Continent.” Gilpin, the electric-tongued son of a wealthy Philadelphia Quaker paper merchant, would do more than any other single individual to persuade his fellow citizens that America’s great midsection was a garden only waiting to be plowed. Whereas the term Manifest Destiny had been coined as a justification for conquering great swaths of the continent at gunpoint, Gilpin transformed it into a more wholesome interpretation that pulled peoples across the nation. It also had the weight of the Enlightenment’s commandment, articulated by philosopher John Locke that God and reason commanded humans to subdue the earth and improve it. As Civil War soldiers returned home, all America could climb on board with Gilpin’s fantastical promises, any threatening idea of a great desert now disregarded. He had given America what it most wanted to hear: the promise that its growth was unlimited, its western lands a never-ending buffet of opportunity and growth, limited only by a lack of imagination and courage.

Gilpin had impressive credentials: Not only had he joined Frémont and Kit Carson on their expedition to Oregon in 1843, but as an army officer he had fought the Seminoles in Florida, served as a major in the First Missouri Volunteers during the Mexican War, and marched against the Comanche to keep the Santa Fe Trail open. A columnist for the Kansas City Star observed that “his enthusiasm over the future of the West was almost without limitation.” He became a disciple of Alexander von Humboldt, the great German geographer, who published the early volumes of his Cosmos in the late 1840s, elaborating the thesis that geography, climate, and biota incontrovertibly shaped the growth of human society. Gilpin pressed the Humboldtian idea that much of North America lay within an Isothermal Zodiac, a belt some thirty degrees wide running across the Northern Hemisphere, which contained climatic conditions ideal for human civilization to blossom. Herein lay the justification for Gilpin’s remarkable, if fanciful, theory that rationalized American exceptionalism. In three letters to the National Intelligencer in the late 1850s, later developed into an influential book, Gilpin outlined how North America’s convex shape had determined its grand destiny. The Mississippi Valley drained the bowl that was defined by the Appalachians to the east and the Sierra Nevada and Rockies to the west. By contrast, the Alps of Europe and the Himalayas of Asia rose in the center of their continents, forming insurmountable barriers to any continental unity. The geographical realities of Europe and Asia broke them up into small states and away from common centers, forcing upon them a history of unending warfare. North America, Gilpin grandly declaimed, had a national, unified personality. Thus endowed with a centripetal, unifying geography that encouraged a single language, the easy exchange of ideas, and favored the emergence of a continental power, North America stood ready to achieve world primacy.

Gilpin claimed that America would fulfill its destiny in the so-called Plateau of North America, the region between the main Rockies and the Sierra Nevada, “the most attractive, the most wonderful, and the most powerful department of their continent, of their country, and of the whole area of the globe.” Here Gilpin shone at his most incandescent, piling sheer fantasy built on pseudo-science and hope ever higher. As the war ended, most Americans had embraced the West as an untapped Eden, not as the barren edge bounding the American nation, but as the very place in which it would fulfill its national destiny.

Certainly, other forces supported such a change of heart about the West. The railroads — America’s most visible instrument of Manifest Destiny — adopted such sentiments with enthusiasm. To encourage the largely authentic, nation-building efforts of the railroad companies, the federal government bestowed vast swaths of public land abutting their tracks onto these rising great powers, many now laying track furiously across the continent. Their long-term interests hinged on the high value of the land they penetrated. The West as garden, rather than desert, suited their ambitions far better, and railroad publicists rolled out a relentless tide of promotional material. Utah was a promised land, proclaimed the Rio Grande and Western Railroad. “You can lay track through the Garden of Eden,” said Great Northern Railroad’s founder J. J. Hill, “[b]ut why bother if the only inhabitants are Adam and Eve?”

A new, supposedly scientific, idea arose to support the vision of productive dryland farming. The “rain follows the plow” theory became chaplain of the western movement. Simply cultivating the arid soil, this theory postulated, will bring about permanent changes in the local climate, turning it more humid and thus favorable to crops. The climatologist Cyrus Thomas, who had founded the Illinois Natural History Society that had given Powell his chance, became one of the theory’s strongest advocates. “Since the territory [of Colorado] has begun to be settled, towns and cities built up, farms cultivated, mines opened, and road made and travelled, there has been a gradual increase in moisture . . . ,” he wrote. “I therefore give it as my firm conviction that this increase is of a permanent nature.” Hayden, along with many other national personalities, endorsed this intoxicating, but deeply flawed theory.

In 1846, Gilpin addressed the U.S. Senate, asserting that “progress is God” and that the “destiny of the American people is to subdue the continent — to rush over this vast field to the Pacific Ocean . . . to change darkness into light and confirm the destiny of the human race. . . . Divine task! Immortal mission!” Even at a time lit up by fiery eloquence, Gilpin stood out, his giddy pronouncements seismic in their appeal, emotionally resonate, wrapped in morality, and nationalistic in self-praise. Few could resist so powerful an appeal. And few did.

Gilpin and Powell had met at least once, in Denver City, on the Major’s first trip west in 1867. The ex-governor had probably waxed about the great promise of the West, perhaps even suggested that the Colorado River lay open to exploration. No record exists of their conversation, but Powell did not seek out his help or opinions after that. The Major found himself more comfortable with William Byers’s gritty practicality.

Indeed, Powell had no truck with the “rain follows the plow” theory. He believed that the Southwest was indeed a desert, one that could be cultivated, but only with the careful marshaling of the limited resource of water. Powell’s urging for caution solicited widespread groans and charges that he was backward-looking. That summer, he quietly ordered his senior investigators west to establish data on irrigation practices. Ostensibly traveling to northern Utah to classify land, Gilbert would examine Mormon water-delivery technology in the Great Salt Lake drainage area. Dutton would continue his geologic studies on the Colorado Plateau, but take some time off to survey irrigable lands in the Sevier River Valley and measure the river’s flow.

***

On March 8, 1878, Representative John Atkins of Tennessee, chair of the House Appropriations Committee, introduced a resolution that called for the secretary of the interior to submit a report summarizing the operations, expenses, and overlaps of the work conducted by geological and geographical surveys over the past ten years. During the consequent hearings, Wheeler, Hayden, and Powell testified about their surveys.

Powell’s young secretary would recall how Wheeler appeared dignified but aloof in his testimony. Hayden came on like a freight train, bitter and at length. He immodestly championed his work above the others and claimed that no duplication among the surveys had occurred. Once Hayden had finally finished his statement, the exhausted committee turned to Powell. In silence, the room of congressmen and a large assembled audience waited as Powell paced back and forth in the chamber, his stump clasped behind his back. All expected an impassioned speech denouncing Hayden’s claims one by one. But Powell ignored the earlier testimony. He gave a calm, even-keeled appraisal of his own work, applauded the achievements of the others, and then contended that much overlap between the surveys had occurred. Soon the entire committee was following his every word. “It was plain to see,” noted his assistant, “that the day was won.”

But even the ascendency he gained at the congressional hearings did not satisfy Powell. Never one to sit back, he prepared to make the riskiest, most brazen gamble of his career — even eclipsing the decision to run the Colorado. One of his greatest intrinsic strengths lay in realizing that opportunity so often arises out of good timing. The timing now — with the survey consolidation in full press and congressional discussion bubbling away— offered an optimal chance to take hold of the narrative and change its course. The report he would release was nothing less than explosive. He would reach far beyond his own survey work, indeed push so far beyond the bounds of a federal bureaucrat as to astound observers, seeming to shoulder the whole American experiment and bear it westward.

While Hayden and Wheeler conducted their fieldwork during the summer of 1877, Powell had stayed home, working assiduously on a document that built on the ideas he had presented to the National Academy of Sciences the year before. His Report on the Lands of the Arid Region of the United States, delivered to Interior Secretary Schurz on April 1, 1878, would be monumental and astonishing, and, in the words of a respected mid-twentieth-century historian, “[o]ne of the most remarkable books ever written by an American.” Starting with Charles A. Schott’s meteorological observations, buttressed by Gilbert’s and Dutton’s ground measurements of water requirements necessary for irrigation, Powell presented a formal, prescriptive plan for developing the West. In this report he integrated a lifetime of thought and observation, ranging from his childhood experiences in the Wisconsin grain fields to his close study of Mormon irrigation techniques, and informed by the network of ancient Pueblo canals and customs of Mexican water sharing. The thousands of miles he had walked, ridden, and climbed in the West keenly but invisibly shaped the document. At its core lay the realization battered into him on his first journey down the Colorado about humanity’s impermanence in the face of geologic time and how the Earth remained in a continual state of flux. It was more manifesto than scientific report, many of its conclusions based on incomplete evidence, much of the data hardly better than educated guesses.

Yet the conclusions have since proved ecologically sound and indeed remarkably spot-on. The report opened with a lengthy appraisal of the topography of the American West, including estimates of the amount of potentially irrigable land, timberland, and pasturage, before launching into a full-frontal assault on the current land-grant system, still rooted in the 1862 Homestead Act’s stipulation that any American adult could receive 160 acres, contingent upon demonstrating an ability to live on the land and improve it. While that system might work well in Wisconsin or Illinois, Powell argued, the arid West could not successfully support 160-acre homesteading. Those westgoers flocking into the arid lands beyond the 100th meridian would see their dreams dashed by spindly crops. Powell had directly contradicted Gilpin’s soaring promises. America could not have everything it wanted.

Powell’s recommendations focused first on classifying lands, then directing their use accordingly: Low-lying lands near water that were west of the 100th meridian should be available in 80-acre lots, while water-limited areas should be parceled into 2,560-acre units for pasturage. High mountain tracts under an abundance of timber should be made available to lumbermen.

He did not deny that drylands could be redeemed, but the limiting factor, as he noted before, was water. Irrigation could “perennially yield bountiful crops,” but the West contained few small streams that could be diverted by canal to fields, and those available were already being exploited to the limit in Utah and Arizona. Such large rivers as the Colorado ran through deep chasms and hostile ground, mostly far from any potential cropland. Only “extensive and comprehensive” actions — dams and distribution systems — could deliver the water, and only those with the means to undertake the task — not individual farmers, being poor men — could pursue it. If not carefully planned, wrote Powell, the control of agriculture would fall into the hands of water companies owned by rich men, who would eventually use their considerable power to oppress the people. He painted a truth that still rankles many today who believe in the myth of the rugged, independent westerner. He asserted that the development of the western lands depended not so much on the individual landowner as on the interdiction of the federal government, the only entity that could survey and map the land, build dams and other reclamation projects, administer vast swaths of public lands, oversee federal land grants, and tackle the displacement of the indigenous peoples. The lone cowboy taming the land with lasso and fortitude may fit the myth of the West, but the reality was quite different. Put simply, the West’s aridity required that overall public interest trump that of the individual.

The man who had previously limited himself to describing the topographic and geologic formations of the western lands had now waded directly into populist politics, driven by isohyets and tables of rainfall-per-acre statistics. Powell believed that the very republican dream of the small farmer was at risk under the crushing power of monopolistic interest. Such resistance aligned with his core childhood beliefs. He had seen the local grain operator in Wisconsin abuse powerless farmers with impunity. The stakes, as he saw them, were of the highest order, threatening the country’s very fulfillment. With the Arid Lands report, Powell had taken on not only Hayden and his congressional supporters, Wheeler and the army but also the General Land Office, the railroads, and the likes of William Gilpin — an overwhelming front of entrenched beliefs, myths, and nation-building passion, the very patrimony of Manifest Destiny. He had taken a hard shot directly at virtually unchallengeable assumptions about the unlimited wealth of American resources and the bright future of the great West — and also at who would have access to whatever wealth the West had to offer.

Powell saw that arid cultures stood or fell — and mostly fell — not on their absolute amounts of water, but on how equitably political and economic systems divided limited resources — and could evolve in the face of climatic and societal changes. To Powell, the Homestead Act, which imposed an arbitrarily eastern 160-acre parcel regardless of topography, rainfall, nearness to water, altitude, and other critical factors, appeared the height of folly, the blind, reflexive policy of a nation with outsized optimism drunk on the seemingly infinite resources available to it. Above all, he argued that the nation’s trustees needed to listen to the land itself — and respond accordingly.

Two days after Powell submitted his Arid Lands report to Schurz, the interior secretary forwarded it along to the House, which ordered 1,800 copies printed. After exhausting that print run quickly, another 5,000 copies printed afterward disappeared equally fast.

***

The Academy committee incorporated much of Powell’s report into their own, nevertheless watering it down considerably by passing over ethnology and his ideas about engineering the landscape. They recommended that the General Land Office’s surveyor generals, along with the three current federal surveys of Hayden, Wheeler, and Powell, be subsumed under two civilian-run agencies in the Interior Department. All land-measurement operation would fall under the Coast and Interior Survey, while all investigations of geology and natural resources, together with land classification, should fall under a new consolidated geological survey. It also recommended that the president appoint a blue-ribbon commission to investigate public-land laws in order to create a new land-parceling system in the arid West, where traditional homesteading was both impractical and undesirable.

On November 6, 1878, the entire Academy approved the report with only one dissenting vote, that of Marsh’s bitter rival Cope. Powell focused next on the congressional backlash that the Academy’s report would surely elicit. After all, it cut out the War Department—and diminished the power of the General Land Office’s sixteen surveyors general and their contractors. And then, of course, Hayden remained capable of hijacking all Powell’s work.

Powell launched a major lobbying effort, calling upon Newberry and Clarence King in late November to sway congressional opinion away from army management of the surveys. Ten days before the Academy presented its report to Congress on December 2, Powell decided not to seek the directorship of the new consolidated survey that Congress would most likely authorize. His deputy Clarence Dutton had written a friend ten days earlier with news that his boss “renounces all claim or desire or effort to be the head of a united survey.” A close observer much later wrote that “no one episode illustrates more strongly the character of the man—to pass voluntarily to another the cup of his own filling when it was  at his very lips.”

Noble sentiments may have in fact prompted Powell to step aside, but sheer fatigue with the political infighting could also have played a factor. But Powell had also grown shrewd in politics, anticipating full well that as architect of the survey and land-office reform approach, he would feel the wrath of the vested interests. A general awareness that he was seeking to take the directorship might put the whole endeavor at risk. He now carried great ambitions for two mighty unfolding powers—the nation and science—but not comparable ambitions for his own wealth, power, or glory. When fame came, as it had with the descent of the Colorado, he would harness it to help overcome his next challenge, not to leverage into higher speaking fees, a larger house, or political office. His distaste for self-aggrandizement embodied the Wesleyan requirement of modesty. Work done was for God’s glory, not the individual’s. While Powell worshipped at a different altar, his work, not himself, remained the center of his life. But that did not mean he had stopped fighting to get someone installed to carry on the mission of science in good form.

In his eyes, Hayden had come to stand for the culture of Grant-era corruption after the war. Hayden’s often shoddy science, Powell believed, sent the interests of the United States squarely in a damaging direction. Hayden’s ascent to the position of senior federal scientist would doom land-grant reform. With his willingness to play up to senators and his suspect optimism about the unlimited possibilities of the West, Hayden stood flatly in the way of Powell’s struggle to open minds as to what the West actually offered. In this contest, Powell felt that nothing less than democracy lay on the line.

When Congressman James Garfield asked Powell’s opinion of Hayden’s integrity as a scientist, the Major responded blisteringly that Hayden was “a charlatan who has bought his way to fame.” He was a “wretched geologist” who “rambled aimlessly over a region big enough for an empire,” shamelessly attempting to catch the attention of “the wonder-loving populace.”

Nor had Hayden stood idly by when Congress called upon the National Academy for an opinion: “I presume some great plan will be proposed that will obliterate the present order of things,” Hayden wrote a friend, “unless all our friends take hold and help.” In another letter Hayden told Joseph Hooker that “Hon. Abram Hewitt is an enemy of mine. . . . We had a hard time this last session and came near being decapitated. . . . We had to cultivate the good will of over 300 members to counteract the vicious influence of the [Appropriations] Committee.” Hayden had lobbied members of the Academy to keep John Strong Newberry off the committee. Clarence King topped Powell’s list to run a consolidated survey.

King lived in New York, comfortable with seeking his own fortune and happily above the fray as Hayden, Wheeler, and Powell battled it out. He would do little to seek the directorship, but would be only too happy to accept it if offered. On the other side, Hayden launched a forceful letter-lobbying campaign. Unbeknownst to others, he had begun to suffer the effects of syphilis, very likely contracted from his frequenting of prostitutes. The disease, which would kill him nine years later, had already begun to cloud his judgment. His letter writing, however, appeared to be working. Again Powell countered with more lobbying of his own. In early January, Marsh received a letter from Clarence King, letting him know that King felt it was time to submit his credentials for the job.

Hayden still saw Powell as his major competitor, until when—in the middle of January—a friend notified him of Powell’s withdrawal; ten days later, Hayden wrote a friend that “all looks well now.” Of all the national surveyors, Hayden had published the most, had received more appropriations, and had more friends in Congress—and indeed had the bright feather of Yellowstone in his hat. The directorship was his to lose.

In late December, Powell had finished drafting the legislation that Schurz had requested to turn the Academy’s proposals into law. Powell cleverly tied three of the four proposals to appropriations bills, clearly intending to skirt the Public Lands Committee, crowded with western congressmen who would never allow such issues a hearing. Schurz forwarded them to John Atkins, the chair of the House Appropriations Committee, as well as to Abram Hewitt, the committee’s most influential member. Both strongly supported the measures. Atkins waited until February 10 to open congressional discussion, whereupon several weeks of vigorous debate ensued. Powell kept at work behind the scenes as a very public debate churned over the role of the federal government in the still largely undefined areas of science. He detailed his staff to bring Garfield books from the Library of Congress so he could cogently draft his position against proposed changes by General Humphreys and the Topographical Engineers.

The former Kansas shoe merchant, Representative Dudley C. Haskell, scoffed at federal dollars going to scientists collecting “bugs and fossils” and creating “bright and beautiful topographical maps that are to be used in the libraries of the rich.” Why would Congress reach into public coffers to pay these dubious scientists exorbitant sums to study the public lands? Other opponents of the Academy’s plan argued that the western public domain embraced much fine agricultural land. The West, the Montana newspaperman Martin Maginnis joyfully expounded, “contains in its rich valleys, in its endless rolling pastures, in its rugged mineral-seamed mountains, traversed by thousands of streams clear as crystal and cold as melting snow, all the elements of comfort, happiness, and prosperity to millions of men.” One congressman after another fumed at anyone so fainthearted as to criticize the extraordinary promise of the West. The “genius of our people,” wrote Representative John H. Baker of Indiana, was that they were “bold, independent, self-reliant, full of energy and intelligence,” who “do not need to rely on the arm of a paternal government to carve out their won fortunes or to develop the undiscovered wealth of the mountains.” Then he came to his real point: “I do not want them in their anxiety to perpetuate those or any other scientific surveys to interfere with our settlers upon the frontier.”

With Powell’s finger marks all over the Academy recommendations—much clearly pulled from his Arid Lands report—he now came under direct fire. Thomas Patterson, a former trial lawyer from Colorado, rose to decry Powell as a dangerous revolutionary, “this charlatan in science and intermeddler in affairs of which he has no proper conception.” Atkins’s proposal, he continued, was the work of one man, and threatened the West and its landed interests with disaster. Should Congress enlarge the land grants for grazing, then baronial estates would soon crowd the plains, an aristocratic few owning lands sufficient for a European principality and crowding out the small farmer upon which the nation depended. Powell must have been galled when the floor debate took this particular twist, especially when he had so consciously dedicated his efforts toward supporting the interests of the small farmer and preventing the aggregation of land and power that Patterson railed against. Patterson himself would go on to buy the Rocky Mountain News, making it a bullhorn for labor rights and the taming of corporate overreach. Indeed both men did not diverge much in their views. But at the heart of the matter lay a considerable foundational debate about who should be shaping the development of agricultural America and how much the government and scientific elite should be involved.

On February 18, 1879, Representative Horace Page of California offered a compromise that agreed to the consolidation of the scientific surveys but made no mention of reforming the land-survey system. Representative Haskell read a letter from a National Academy scientist, which submitted that the Academy debate was actually far more divisive than the one dissenting vote might indicate. The congressman would not reveal the letter’s author, most probably E. D. Cope, the missive a ploy by Hayden’s people to sow doubt about the Academy’s recommendations.

Atkins amended Page’s compromise to include the creation of a commission to investigate the land-grant system. The measure passed 98 to 79. The approved Sundry Bill went to the Senate, where no discussion took place. In the Appropriations Committee, Hayden’s supporters weighed in strongly, the committee amending the bill so that the scientific surveys were consolidated under Hayden, even taking $20,000 from Powell to finish up his work and giving it to Hayden. The bill then passed to conference committee. When it emerged on March 3, the last day of the session, the Senate’s emendations placing Hayden in charge had been cut out, but so had the House reformers’ bid to place all the competing agencies under the Interior Department. The last-minute collection of appropriation bills to keep the government functioning passed and the 45th Congress closed.

Hayden may well have considered this outcome a victory, the Senate indicating its interest in his running the consolidated survey. All he needed now was to take the directorship. But he had  not counted on Powell. The Major did not delay, writing at length to Atkins on March 4, pinning blame on Hayden for negatively influencing the tenor of the congressional discussion by raising false issues solely to advance himself personally. Powell then revealed his deepest concern: The appointment of Hayden would effectively end efforts to reform the system of land surveys. He asked Atkins to approach Schurz and President Hayes to obstruct Hayden’s bid and to sing the praises of King.

Two days later, Powell spoke with the president, Hayes questioning him in particular on Hayden’s methods of securing appropriations. Powell also wrote a lengthy letter to Garfield, furnishing him with a withering analysis of Hayden’s published work. He did not hold back, claiming that Hayden’s mind was utterly untrained and incoherent, leading him to fritter away federal money on work “intended purely for noise and show.” Powell also worked closely with O. C. Marsh, helping to coordinate the flow of letters in support of King. Marsh traveled to Washington and also met with the president.

Cope wrote Schurz in support of Hayden, claiming that “simply shameful” personal grudges had aroused the voices against his friend. As for King, Cope insinuated that his tenure in government service had been sullied by his taking fees from mining enterprises. But Cope’s letter could not stem the tide of questions raised against Hayden. King’s nomination was officially announced on March 20. “My blood was stirred,” wrote Hayden supporter and Brown University president Ezekiel G. Robinson, upon hearing the news. “There must have been some dexterous maneuvering to have brought about a change in the President’s mind.”

The Senate approved King’s nomination with the slightest opposition on April 3. Three days later Marsh wrote Powell, “Now that the battle is won we can go back to pure Science again,” then invited him and Gilbert to present papers to the upcoming National Academy annual meeting. When Powell told King he would be pleased to work for the new United States Geological Survey, King responded exuberantly. “I am more delighted than I can express. Hamlet with Hamlet left [out] is not to my taste. I am sure you will never regret your decision and for my part, it will be one of the greatest pleasures to forward your scientific work and to advance your personal interest.”

King did not last two years on the job.

Waiting in the wings would be John Wesley Powell, who would take over the directorship of the USGS, run it for 13 years, and fundamentally shape the role of science in the federal government.

***

From The Promise of the Grand Canyon by John F. Ross, published by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Copyright © 2018 by John F. Ross.

Sex Workers vs. The Internet

Illustration by Erin McCluskey

Rick Paulas | Longreads | June 2018 | 24 minutes (6,543 words)

 

Lauren couldn’t afford any more canceled dates.

A “combination of beauty and brains, exclusively available for adventures,” according to her website, she’d spent untold time and energy building her brand on the back of a modeling résumé that included portraiture in Penthouse. She’d spent thousands on website maintenance and professional photos, and another $250 to $800 a month on ads on the Eros Guide. And she’d worked damn hard for those glowing reviews — over 70 in all — posted by clients online at the Erotic Review (TER).

It allowed Lauren to charge “discerning and professional gentlemen” $500 for an hour of her time, $750 for 90 minutes of it, or $5,000 for an overnight. But like roughly half of the United States, Lauren was still living paycheck to paycheck.

There was the high cost of living in New York City, a necessary expenditure that came with the gig; unlike cam girls, she had to physically be with clients. The more pressing hit to her pocketbook, however, was the result of a serious autoimmune illness that necessitated eight surgeries over a six-year period, an out-of-pocket cost of $240,000. It was this enormous bill that had shifted her career from modeling into sex work in the first place.

“All the money I ever made [modeling] is gone,” Lauren says. “All I want to do is buy a home in the country where I don’t fucking see people. Just me and my dog.”

A stream of last-minute cancellations and no-shows, then, was extremely troubling. Not only did they leave her without the income she was expecting, but also hours she could’ve used to earn money were stolen from her. “I didn’t know why people were booking and not showing up,” she says. But a quick Google search of her name revealed the reason: a negative review posted on Ripoff Report.

“When you look up [my name], it’s the first thing that comes up,” she says.

A privately owned, for-profit website, Ripoff Report publishes anonymous complaints about products, businesses, and individuals, from multinational corporations like Walmart to self-employed freelancers like Lauren. “The evening was unpleasent [sic] to say the least,” the pseudonymous reviewer wrote. “She tried upselling me the entire evening offering a wide range of unsafe activities. I ended up cutting the date short and let her keep the 2k.” (Companies and individuals can rebut accusations — Lauren did — but the original complaint remains. “We DO NOT remove any reports,” a spokesperson for the site wrote me in an email.)

“I couldn’t tell you how much business I’ve lost due to this,” Lauren says.

Lauren deduced the reviewer’s identity almost immediately; the former client gave himself away with the same dialectical misspellings that littered previous negative reviews on other review websites. He was an hour-long date she’d had the previous year in Houston. “These hour motherfuckers can go one of two ways,” she says. “And when it goes bad, it goes really bad.”


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According to Lauren, the man paid for an hour of her time, but stayed for an hour-and-a-half, during which he “had his dinner and had it twice.” He left without giving her a tip. Three months later, he contacted Lauren to get her to “verify” him on Preferred411 (P411), a website used by sex workers and clients to “connect with others in a safe and secure way.” (On P411, clients pay $99 for a “basic” six-month membership, which can be upgraded to “basic plus” with an OK from a worker; essentially a way for workers to know the client is legit.) She said yes, and since everything in the industry is an exchange of money for time, she asked for something in return: a 10/10 review on the Erotic Review. He agreed.

She saw that while he gave her the agreed-upon 10 in the “performance” category, he’d only given her a seven in “looks.” She contacted him about the betrayal.

“I said, ‘Why would you do that?’” she says. “And he lost his fucking mind.”

The man told her she was lucky he gave her a score that high, then threatened to write another TER review about “how fucking ugly” she was. He soon made good on that threat, falsely claiming that he’d gone on another date with Lauren, giving her a 3 for “looks” and a 4 for “performance.” Lauren contacted TER with screenshots of their electronic exchanges, and they took down the new review. But the time it took for TER to process her complaint was costly; she’d lost $1,000 that night from someone who read the review and canceled. (The client’s 7/10 review, meanwhile, remained up.)

Still, it didn’t sink her business. That 7 for “looks” dragged down her average, but she’d banked enough 10/10 scores over the years that this outlier didn’t tank her score. For the next year, everything went smoothly until the “hour motherfucker” resurfaced with the aforementioned negative review on Ripoff Report and the great cancellation of dates began anew.

“Your reputation can be ruined in a heartbeat,” says Lauren, who’s since added a range of cancellation fees to her listing. “These reviews could ruin your entire business.”

* * *

Maxine Doogan remembers getting the call that revealed the future.

It was in ’98, or maybe ’99, and it came in on her landline, or maybe her cell. It was from her friend Melanie, a fellow sex worker with 25 years of experience in the field.

Melanie told Maxine to go to her computer and visit SFRedBook.com. She warned Maxine, “This is what’s coming.”

“I got on there and said, ‘Oh my fucking god, this is going to be a disaster,’” says Doogan, a Bay Area–based sex worker, activist, and founder of the Erotic Service Providers Union. “And I was right.”

RedBook was launched in 1999 by Mountain View programmer Eric “Red” Omuro. Similar to Craigslist, it was a bare-bones website composed of classified ads, but RedBook focused primarily on rating sex work. These posts, written by customers, were intended to mitigate some of the risks associated with the lack of legal protections in these business transactions. “There are women that make ads, make appointments, walk in, take the money, and walk out,” says Doogan. “And clients have no recourse.”

These rip-offs frustrated workers like Doogan, because their negative effects cultivated a general atmosphere of distrust, which then rippled into her own workplace. “Clients were treating us with suspicion, asking a lot of questions, and wanting [illegal] verbal commitments,” she says. “It made for a very difficult customer base.”

But beyond the growing concern of client rip-offs in this uncharted virtual world, Doogan saw that sex workers faced a new vulnerability. Previously, in the the street or massage parlor, workers could get a visceral sense of a potential client before choosing how to proceed. In fact, before industry norms shifted to faceless online greets before private meets, workers had ways to sleuth whether the client was on the level, a cop, or just plain bad news.

“Remember the old Thomas Guide maps?” asks Doogan. “You could use those to see if the house was their real address. And when AT&T came out with Caller ID, that helped a whole lot.”

The rise of the free online classifieds — where “everybody and her mother, aunt, brother, and grandma could put up an ad,” says Doogan, “and with no experience!” — also changed how workers spent money. Initially, this meant withdrawing the cash spent on ads in local newspapers and alt-weeklies, a shift exacerbated by some publishers’ own newfound ethical codes which led them to refuse accepting ads from sex workers. “That’s what happens when you start being the tool of moral enforcement in advertising,” says Doogan. “You lose your ass.”

That’s what happens when you start being the tool of moral enforcement in advertising,” says Doogan. “You lose your ass.

New laws targeting sex workers also aided the pull away from print as an advertising expenditure. “We all used to have ads in the Yellow Pages. They were making thousands of dollars off us,” says Doogan. “But police threatened [Yellow Pages publishers] PacBell or U.S. West with felonies, and that prompted the change.”

One way around these laws was the “personal escort” loophole, where workers sold “time” and avoided terms like “sex” in ads. It allowed Yellow Pages to continue listing escort agencies, a move that prompted independent workers to license themselves as official agencies, sometimes more than one when they could afford it. “We’d have multiple mobile phones with multiple names, so we could get listings through the alphabet,” says Doogan. “Something that began with an A, something in the middle like an M, something at the bottom.”

As print avenues dried up through stricter laws and as publishers went bankrupt, digital options filled the empty space. Eliminating physical distances and national boundaries, they offered a perceived freedom and a potential reach that print never could. But there was a catch with this new frontier. Rather than a competitive marketplace, the sites that invested in offshore servers to avoid the law’s arm and, more importantly, hired the right programmers to win the search engine optimization game, developed a near-monopoly in short order.

“Fucking Google,” says Doogan. “They’ve cut the ability to search by our name, phone number, or geographical location. It’s given Eros a lot of power.”

The Eros Guide is a classic “ad mall,” that is, simply a place to post ads. The site was founded in Oakland, California, in 2000 by Byron Mayo as a relatively obvious way to capture profits in an as-yet-unregulated market. “[The internet now] makes it possible to economically present far more information in a much more accessible fashion than ever existed before,” Mayo told the Jamaica Observer in 2001.

Doogan had one of the early ads on the site, first for free, then for “30 to 40 dollars a month.” Now, due to its paramount nature in the market, Eros makes millions of dollars a year; in 2010, Washington, D.C.–based dominatrix Jenny DeMilo estimated that the website brings in somewhere between 8 and 10 million a year. “They’re number one, so they can command what they can command,” says one sex worker, who wished to remain anonymous for fear of reprisal from Eros. “[To them], one thousand a month [for a single ad] isn’t unreasonable.”

From a worker’s perspective, it’s hard to say that money used on Eros isn’t spent well. Google “escort” plus wherever you live, and odds are good you’ll see an Eros listing. (Anecdotally, every worker I interviewed for this piece said that most of the traffic to their personal websites came from Eros.) This dominance over a worker’s ability to find clients has given Eros unchecked power over the industry; they decide who can use them and who can be banned without warning or explanation.

“They can’t give us an explanation, because it would implicate them,” says the anonymous worker. “Imagine you’re trying to work at a company, and there’s a bunch of rules in a book that you’re not allowed to see.”

Imagine you’re trying to work at a company, and there’s a bunch of rules in a book that you’re not allowed to see.

With that power comes editorial control. Unlike during the print era, when workers chose what to put in their ads, the information that workers can present is restricted by Eros’s’ legal team, limiting how they can distinguish themselves from one another. “You can’t use certain words. You have to put in your height, your weight, your hair color,” says Doogan. “They’re like, ‘The customers want to see that.’ The customers aren’t paying you! I’m paying you! I’m your customer, dumb bitch!”

In November 2017, the Department of Homeland Security raided Eros’s North Carolina call center. The raid sent a shock wave through the community after DHS obtained access to their personal information, but Eros remains active.

This creeping power of a lone, dominant ad mall wasn’t what was on Maxine Doogan’s mind when she received that phone call about RedBook back in the late ’90s. And the harrowing “disaster” on the horizon wasn’t necessarily the free-for-all ads or the rip-off-exposing message boards either. It was RedBook’s most innovative feature: the reviews section.

As described in a 2015 Wired feature about the site:

You could pay $13 a month for access to the section, where VIP customers shared detailed write-ups of their experiences with escorts, BDSM providers, and erotic masseuses. As part of their reviews, users listed the services they received, as well as details about the provider’s physical attributes.

On RedBook, clients rated workers on a scale of 1 to 10 in services, body, and face categories. Reviews was the most popular section of RedBook, and to Doogan, it represented an epochal industry shift that tilted power from workers to customers.

“Men had custody of the internet by the time Prostitution Nation got there. We were already on the internet, but we didn’t know we were on the internet,” says Doogan. “The domination of the customer over the business started on the internet.”

* * *

“I was getting ripped off,” David Elms, a frequent sex work “hobbyist” told MSNBC in 2006. “There was no way to hold people accountable.”

Elms’s solution to the claim that he was being ripped off — which could mean that a worker took his money and left without providing any services, or that they didn’t look exactly like their photographs, or that they weren’t willing to consent to every type of sexual request — was, in 1999, to develop The Erotic Review, a website where clients review their dates with sex workers. “Our reviews serve as powerful barometers that keep an otherwise illegal business honest,” reads its general FAQ section. It was RedBook’s review section hopped up on a cocktail of amphetamines and Viagra.

“Outside of America, people don’t really use it,” says Scarlett St. Clair, a sex worker based in New York and London. “But in America, they are the biggest, and they wield unfortunately a huge amount of influence.”

That “unfortunately” from the worker’s mindset makes sense. Elms’s own personal experiences, whatever they were, steered the site into a “customer is always right” ideology that persists. It’s a questionable viewpoint in an industry where, according to Sex Workers Outreach Project, its workers are 400 times more likely to be murdered on their job than workers in any other career. (To further illustrate the point, note Elms’s own record following TER’s creation: After a slew of accusations about him using his position of power to extort sex from workers, he was arrested in 2009 on several charges, including an attempt to hire a hitman to kill a sex worker; Elms and TER reportedly cut ties after the arrest.)

And yet sex workers, particularly new ones, feel compelled to use TER’s system.

“It gave me a kind of legitimacy,” says St. Clair, who joined in mid-2016. “It signaled to others that I am who I say I am and good at what I do.”

The signals of integrity, credibility, and trustworthiness are broadcast because the reviews aren’t contained in a closed, private network that only an exclusive few can examine. The low cost of entry and accessibility make TER similar to Yelp, but one where the worker-customer interaction takes place behind closed doors. “The guys who post on TER and the guys who lurk on TER are not the same set of people,” says Missy Mariposa, a worker at a legal brothel in Nevada.

TER users have two choices on the site. Basic Membership is free and allows users access to the worker’s contact information, appearance characteristics, and broad details of their reviews. A VIP Account, available for $30 a month — or free for clients who write the equivalent of one review every 15 days — gives users access to every review, a list of services offered, and more. There are forums too, where one can “hang with your favorite Hobbyists and catch up on the latest news,” but like RedBook, the reviews are the draw.

Also like RedBook, reviews use 10-point rating scales, but only for two categories. There’s “Looks,” ranging from “she was one in a million” to “I was really scared,” and there’s “Performance,” which can be rated from “it was one in a million” to “a total rip-off.” Reviews must describe encounters within the past three months and must offer “juicy” details.

As described on the site:

The Juicy Details section should be used to describe the provider, the experience, and whether or not you enjoyed the session in graphic emotional and sexual terms. Don’t make this space a recap of the General section. Instead, go for a blow-by-blow tell-all of your session with the provider from your own unique point of view.

These “Juicy Details” are a key aspect of the site used to justify the cost of a VIP membership, and thus, the site’s revenue stream. In fact, according to multiple interviews with sex workers who have used TER, reviews are often rejected by editors for not being salacious or detailed enough. As you’d expect, this focus on “blow-by-blow tell-all” leads to heavily embellished tales.

Mariposa recalls a date with a client who’d recently hurt his back. Despite being barely able to move, he wanted to keep his appointment, and so after Mariposa slowly brought him over to the bed, they had a very gentle session. “You can’t be bouncing up and down with your back broken,” she says. But when she read the date review, she couldn’t stop laughing.

“He didn’t write about how we had a lovely, intimate time,” she says. “It had to be, ‘I had her bent over. My balls were slapping everything.’ What do they call it, locker-room talk?”

TER’s FAQ section maintains that reviews are verified for authenticity, where the reviewer bears “the burden of proof.” Based on interviews with nearly a dozen workers, system checks are lax enough that a sub-industry of fake reviews has sprouted. For a fee, workers can purchase 10/10 ratings for themselves, or more insidiously, pay to take down their competitors. “You can go to a review-writing service and say, ‘I want to buy three negative reviews for so-and-so,’” says Mariposa. “You think they’re going to turn down your $175? What do they care?”

More commonly, according to workers, clients are too busy or uninterested to write reviews, so they let workers write their own. This is positive for workers; they can control how they’re perceived, but there’s an opportunity cost to spending unpaid hours writing copy hoping it will attract future clients.

There are other, more dangerous ramifications for workers reviewed on websites like TER. Whereas negative Yelp reviews may get a restaurant worker a stern talking-to from their boss, a sex worker has no real advocate other than themselves. Workers can contact TER about reviews and theoretically have them removed, but according to workers, such complaints are rarely heard or acted upon. “This company does not care about what happens to [workers],” says St. Clair. This has given TER’s reviewers — that is, the customer class — overwhelming power over the industry.

“TER’s purpose was always to push the standards of what the industry should be,” says Mariposa.

One shift in standards has reviewers dictating rates for services. This can work through a kind of rumor-based osmosis (St. Clair offers the example of a reviewer falsely claiming to have paid $150 for a service that a worker actually charges $200 for, then another worker, lurking on TER, reacting to that falsified price by adjusting their own), or it can be through a concerted effort by organized reviewers to fix prices. “There’s talk on the forums about trying to enforce lower prices by refusing to see certain women,” says St. Clair, “or by trying to make women feel guilty or bad by charging as much as they do.”

This pressure can get workers, particularly those new to the industry, to lower their prices enough that the income no longer sustains them. “The new workforce doesn’t know what to charge, so they’re chronically undercharging, and they can’t support themselves with these low rates,” says Doogan. “The turnover is higher than in the past.” But as workers accrue experience, they often learn that pricing is truly their decision.

“There was a point where I wanted to stop offering anal, so I marked it up, and people still absolutely paid,” says Mariposa, who then marked the service up again. “Guess what? They paid.”

The logical question to Mariposa’s price change is, well, if you really wanted to stop offering a service like anal intercourse, why mark it up? Why not simply refuse to offer the service? The answer? Dual pressure from customers.

First is pressure from “hobbyist” reviewers. “There were gangs of customers on RedBook who’d review a girl and falsely say she provided these services for low rates,” says Doogan. “So, the girl’s getting customers expecting these services and putting her in a bad position. That’s customers using technology over a divorced workforce to get them to provide services they don’t provide.” The second level of pressure comes from the system itself.

In December 2016, TER made a seemingly subtle change to its review system. Previously, a reviewer could score a worker anywhere between 1 and 10 in the “Looks” and “Performance” categories. But after the change, workers could only earn up to a 7 out of 10, unless they were “willing to perform one or some of the following during a session.” (With each new offering, the worker’s max score increases by one point.)

“There was no announcement, no one’s opinion was taken into account,” says St. Clair. “It just happened, and we all had to adapt.”

The four situations that allow for additional points: A “bareback blowjob” (that is, oral sex without a condom), kissing with tongue, anal intercourse, and “really bi,” which means having sex with “more than one guy.” Keep in mind, it’s irrelevant if the client wants, requests, or participates in any of these acts. If the worker doesn’t offer these services, during the review approval process, TER can lower the points of, or outright reject, the review.

The implications of the new system are obviously biased against workers. A worker who doesn’t want to participate in anal sex is now compelled to in order to score a better review. Same for a worker who doesn’t feel safe with having sex with two men at once. The change in the system also exacerbates one of the ever-present dangers of the industry: the spread of sexually transmitted diseases.

“After the AIDS scare, most people use condoms for everything,” says Mariposa. “But now TER comes around and says, ‘Girls do bareback blowjobs.’ Well, now bareback blowjobs are the new standard.”

But this time, some workers fought back.

* * *

The first time Vanessa read a review of her date with a client, she felt embarrassed and ashamed.

“Not because of what I do, but because of how it’s so public and so graphic,” she says. “It was really an invasion of my privacy.”

But Vanessa, like many other workers, felt it was just part of the business. She played the review game. It was a way to feel legitimate, despite how it eroded her own power in the workplace. “Your typical TER member is like, ‘If you do this for this amount I’ll give you a really good review,’ which is really saying, ‘If you don’t, I’m giving you a shitty review,’” says Vanessa. “Everyone knows how to read between those lines.”

The first time Vanessa read a review of her date with a client, she felt embarrassed and ashamed. “Not because of what I do, but because of how it’s so public and so graphic,” she says. “It was really an invasion of my privacy.

Now and then she’d have bad experiences with TER. Like the U.K. client who gave her a 5-6 review (“5” for Looks, “6” for Performance) and said she was 90 pounds overweight. She fought that one, proving her looks to some faceless TER rep by jumping through their hoops, including taking photos in the same clothes that she donned on her personal site, while holding up hostage-like notes with the date, time, and “TER” scrawled on them. After all that, they took down the review.

Ironically, it was a relatively innocent review — her 36th, she recalls, where she received a 10/9 — that led to her leadership role in a burgeoning movement of sex workers choosing to leave TER for good.

“This guy said we did anal and he came on my face, all this bullshit that didn’t happen,” Vanessa says. “It was a great review, but none of the services I provide.” But the bigger headache was how this fake review caused friction with a longtime regular. He had wanted to book time with her, and she told him, truthfully, that she was out of town and unavailable. However, this false review suggested she was actually in town with another client at the requested time, so her longtime client felt that she was lying to him.

“It sounds immature and silly, but I have special relationships with [clients],” she says. “They want to think I’m not seeing anyone else, and that’s how I communicate with them. It’s part of the fantasy.”

To stem this, Vanessa contacted TER to tell them it was a false review. They contacted the reviewer, who doubled down on his claim that they’d met at a hotel. Vanessa asked TER to have the reviewer send a copy of their email correspondence, or anything else to prove that they’d met. The reviewer refused, citing privacy reasons. TER ultimately decided to keep the review up.

This did not please Vanessa.

“You’re not holding me hostage,” she says she told them. “You’re not my pimp, you’re not my manager!”

Vanessa went to her TER profile, copied the reviews, and pasted them on her own website. She began posting about the incident on her personal Twitter account, along with a call for other workers to copy and paste their own reviews as well. Shortly thereafter, she received a letter from TER’s attorney threatening to sue for copyright infringement. But it was something else in the letter that irked Vanessa.

“That letter was cc’d to my legal name and to an old address I was living at previous,” says Vanessa, who read these actions as threats. “They threatened to expose my legal name on the internet if I didn’t stop talking about them on social media.”

Vanessa questioned the legalities of TER’s business, musing about whether this attorney knew the amount of taxes TER paid, openly suggesting that if he didn’t maybe the IRS might. She followed these inquiries with a request for TER to remove all of her information from their website.

“Everything was gone within 24 hours,” she says.

This was Vanessa’s opening salvo against the web giant. In March 2016, she started the Twitter account @FCK_TER_, which, according to its bio, is “exposing exploitation, cyberpimping, bullying, harassment, & profiteering of sexworkers by the establishment racket known as TER.” The feed is a mix of commentary about the industry, warnings about dangerous clients, mocking quips about disgusting reviewers (known in industry parlance as “slobbyists”), and retweets from workers who are interested in or have removed their listing from TER.

There’s even a hashtag: #delisted.

While the @FCK_TER_ account currently has a relatively modest follower count around 3,600, Vanessa says that, based on her active direct messages, that number is nothing compared to those who read her feed. Often, workers will contact her privately with questions about delisting, mostly asking how to do it. Workers say TER won’t simply remove accounts upon request, using the excuse that published reviews exist for the public good. To counter that argument, Vanessa suggests legally worded threats or posting private client information, actions that seem to get TER to expedite the deletion process.

Vanessa’s DMs aren’t just about logistical concerns, but also jammed by emotional workers worried that delisting will kill their business. “Will this hurt my business? Where else should I advertise? How did you do it without TER?” she says. “It’s a whole slew of things.”

Scarlett St. Clair shared these reservations. “This is my full-time income,” she says. She spent months asking other women for tips on how to leave, trying to estimate how her business would be negatively affected if she decided to go. “There’s a lot of men who want to keep [TER] alive,” says St. Clair. “They say things like, ‘If she doesn’t have reviews she’s not legit, she’s gonna steal your money.’” Ultimately, it was an experience with a prospective client who boasted about being a “Top 50 TER reviewer” that shifted the fuzzy stressors into focus. “I don’t know them, they don’t know me, and they want to control my reputation in this industry?” she says. “I really enjoy my job and look forward to seeing clients, and this was preventing me from doing that.”

She says that she “essentially threatened legal action,” and her TER listing was removed in October 2017. “Provider information is no longer available on TER,” reads the page for her locked account.

“My dream is for TER to disappear and not have them control the careers of young women who are vulnerable,” says St. Clair. “There’s that saying, and I know I’m going to get it wrong: ‘If I see far, it’s because I stand on the shoulders of giants.’ That’s how I feel about the women of Twitter and providers online who have been a huge support.”

In fact, Twitter has become an important resource for workers educating themselves on their industry. @FCK_TER_ is merely one account devoted to recovering worker power. @FCK_ECCIE takes on a similar review forum, while @FCKP411 exposes the “exorbitant ad prices” of Preferred411.com. Laura Cohen (@ProviderSafety), a “retired escort” and “deep background screening specialist,” runs one of dozens of accounts that share tips on how workers can stay safe in this profession. Combined, their retweets, responses, and private back-and-forths compose an expanding network where workers can organize and reclaim power from client-driven websites.

“It’s snowballed,” says Vanessa. “Twitter is becoming a huge platform for sex workers.”

Twitter also doubles as a return to the era when workers wrote their own ad copy. The social media platform’s lax content restrictions allow workers the same self-determined censorship they have on their personal websites, while giving potential clients a glimpse at another selling point: their unique personalities. “It’s a wonderful resource to watch conversations, to be kind of a voyeur,” says St. Clair. “To watch these interactions and see if this is someone you want to spend time with.”

But not everyone’s buying Twitter as the savior. For some, it’s another symptom of the tech-driven work-hour creep that’s infected nearly all of employment. “It’s a waste of our unpaid labor,” says Doogan. “There’s the expectation that you have to spend unpaid time talking on Twitter to turn a prospective customer into a paying one.” Similarly the act of delisting from TER isn’t a reality for many workers who are active on the platform. “There’s a level of privilege to talk about [in delisting],” says Mariposa. “A person who gets 100 percent of their business from TER? They can’t afford that.”

Perhaps more blatantly problematic is that relying on Twitter as panacea ignores the lessons from the long history of American law enforcement’s continual and relentless clampdown on sex worker advertising, as proven by recent events.

In April 2018, President Trump signed into law FOSTA/SESTA, a bill that seeks to “clarify” the Communications Act of 1934 in a way that many sex workers believe will have a chilling effect on their ability to communicate with one another about dangerous clients. These worries have proven accurate mere weeks after the law’s passage, with many of the largest tech platforms preemptively shutting down certain elements of their sites, if not their entire operations. Most recently, those signing into Backpage.com, the popular ad-listings website, were met with a notice that the domain “has been seized” by an alphabet soup of government enforcement agencies.

No one knows how far this attempt to blockade sex workers from tech will go. But if workers are ultimately forced off even places like Facebook, Snapchat, Instagram, and yes, Twitter, well, what’s left besides simply going back out onto the streets?

* * *

“This is a very simple concept that requires very little start-up capital, relatively little in the way of operating expenses, and will turn a profit because the concept will be embraced,” reads a boldly worded 2012 blog post by Amanda Brooks, author of The Internet Escort’s Handbook.

The post detailed a simple website that eschews the popular review-based model for one that embraces the basics. “Verification without incrimination,” writes Brooks in the post, before describing simple ways to develop a system that would allow workers to prove who they are without publicly outing themselves, while incentivizing clients to prove they’re not law enforcement, to show up for appointments clean, and to be safe on dates. Meanwhile, the problems that have previously plagued websites would be inoculated its bare-bones construction: no forums, no private messages, no reviews, no membership fees, and no explicit photos or details of the services provided.

Rather than retelling “juicy” details, a date would complete a questionnaire of simple yes-or-no questions, for example, “Did they arrive on time?” and “Would you recommend them to another person?”. A “yes” to all questions by both parties, and they’re both verified. The website would then keep a public running tally of positive and negative verifications, to be viewed by clients and workers before deciding to see someone.

“Can’t wait for someone to run with this idea,” Brooks closed her post.

“I was in my pj’s lounging when I read Amanda’s blog post,” writes Ella, owner of The Verification Guide, to me in a chat message. “I went, ‘Well, that’s fucking brilliant’ and got to work.”

Ella had spent the previous decade as a sex worker based in the United States, Canada, and the United Kingdom. During that time, she listed her services in the usual client-driven alphabet soup that workers are forced onto. “P411, ECCIE, TER, TOB, BestGFE, Slixa, you name it,” she writes. “Oh, TRB before it was raided.”

She remembers the 2009 murder of Julissa Brisman, a 26-year-old model and internet masseuse who answered an ad on Craigslist and was shot dead in a Boston hotel room. Even with all of those systems out there, “we had nothing reliable,” she writes.

But with Brooks’s brainstorm, Ella found a blueprint that she felt could deliver. “I can’t call TVG my idea,” she writes. “We used that framework as a core foundation for our site and branched out from there.”

Despite the site’s simplistic design, Ella quickly hit a major roadblock. After months of design work, her first developer, a close friend, was struck and seriously injured by a car. “I had to start all over again with someone new, which set me back pretty significantly,” she writes. But finally, after the plodding process of redoing much of the work, the Verification Guide launched in February 2017.

“We are coming up on 1,000 users, and I’m beaming with pride,” she writes.

One worker who bought into the new possibility is Missy Mariposa, whose ads now blanket the site. “I wanted to pay their server bills,” she says. “I love the site. I would love nothing else than for it to get traffic.” For Mariposa, it’s a chance for a website that stabilizes the power dynamic between client and worker.

She walked me through a beta test that Ella conducted to counter one of the most common problems with online verification: the client falsely claiming a date had occurred. After Mariposa and a friend input their information in the system, Ella contacted the “client.” In her review, Ella asked them for a parking receipt, or a receipt for anything purchased on the same block, or an ATM receipt with the private information blurred out — anything at all to verify the story. “Guys who got ripped off wouldn’t have a problem with that,” Mariposa says. “They’d say, ‘Fuck yeah, here’s my receipt.’”

While this level of worker protection seems simple — even obvious — it’s an important ideological shift from the pure market-based approach of Eros and the customer-is-always-right ethos of TER and other review sites. Yet despite that focus, TVG has an uphill battle to relevancy; it will only be as useful as the number of clients and workers that buy into it. Like any industry shift, that necessitates disrupting strongholds that currently control the trade.

All of the above, of course, doesn’t even consider how the passage of FOSTA/SESTA has disrupted how workers communicate with one another and with their clientele.

Since I began reporting this piece, TER has blocked access from U.S. addresses until “such time as the courts have enjoined enforcement of the law, the law has been repealed or amended, or TER has found a way to sufficiently address any legal concerns created by the new law.” The response to this news has been predictably mixed, with the anti-TER contingent full of gloating glee, while those relying on it for business have promoted work-arounds and struggled with what to do next. As Christina Parriera, a sex worker in Nevada, summed up: “No ability to screen = coming into contact with dangerous clients. Predators. = Rape. Assault. Murder.”

Meanwhile, TVG’s site has also been taken down, although Ella assures me they’re “making big changes to protect ourselves as well as our members, but we will not being going anywhere.” She tells me that they’ll be moving to a new site called Have We Met?, which will function in much the same way as the original TVG, but now, because of FOSTA/SESTA, only accessible to those who register. It’s a big change.

“In reality, having aspects of the site public will still put our members at risk of being easily found and having their ads misconstrued by overzealous law enforcement,” Ella writes. “The goal in this situation is to not be the low-hanging fruit.”

Sex workers, as always, move forward into the murky ether of constantly shifting laws, hoping that this time they’ll claim more control than they had before. One new development has been the creation of Switter by a collective of sex workers, which anticipates a crackdown on Twitter by developing a “sex work–friendly alternative to mainstream social media.” To remain active in the United States, they’ve set servers up in Australia, where sex work is legal, and developed their system using “a decentralized, open-source network.” It attracted 20,000 members in less than two weeks of operation.

But even that seems like fighting for scraps against the forever game of U.S. taxpayer–funded whack-a-mole.

With each site’s closure in this latest generation of communication crackdown, sex workers, already unprotected as a workforce, will be left further vulnerable to dangerous clients as they wait for the next online portal to fill the current power vacuum. And if the internet’s long relationship with sex workers is any indication of the future, there’s no reason to expect that the next dominant website, whatever it may be, will have that class’ best interests in mind.

“There would be no market for such a shoddy online platform as Backpage was if sex work wasn’t a crime. No one need defend that,” the journalist, Melissa Gira Grant, wrote in response to Backpage.com’s seizure. “There are no martyrs here, just increasingly poorer sex workers.”

* * *

Rick Paulas has written plenty of things, some of them serious, many of them not. He lives in Berkeley, is a White Sox fan, and is working on his second novel. He can be found at rickpaulas.com.

* * *

Editor: Krista Stevens
Fact checker: Ethan Chiel
Illustrator: Erin McCluskey
Copy editor: Jacob Gross

Publishing the Best of the Desert: An Interview With Ken Layne

AP Photo/Chris Carlson, File

Ken Layne is the writer, editor, and publisher of the Desert Oracle, a bright-yellow “field guide to the desert that covers the “strange tales, singing sand dunes, sagebrush trails, artists and aliens, authors and oddballs, ghost towns and modern legends, musicians and mystics, scorpions and saguaros” of the Joshua Tree region in California. We spoke with him after the publication of a recent profile in Pacific Standard, in which he explained how he designs and delivers each issue himself to desert outposts with as little as 30 people. 

Aaron Gilbreath: You grew up in the desert. Where exactly did you grow up in Phoenix?

Ken Layne: I was born and mostly raised in New Orleans, far from any desert, but I lived in Phoenix during the formative middle-school years. First on the poor side around Buckeye and Seventh Avenue ─ old Phoenix, a shack behind my uncle’s house. Vacant lots, railroad yards. We had motorcycles and Chihuahuas. My classmates were mostly Latino and Native American. I made one friend, this very poetic character, and he lectured me all the time on Aztlán, the Chicano cause. It was all new to me. He kept the tougher kids off my back, which was nice. My grandpa had been a coal miner, along with his father, and they all moved out to the south side of Phoenix on the Black Lung train. At least that was the story I heard now and then.

The other place was a nice little stucco house with a swimming pool,  a suburban elementary school a few blocks away. Most everybody was a white kid from Illinois or Michigan. My dad and his twin brother started an air-conditioning service business, so eventually, we could afford our own house. There was this big urban cowboy sort of honky-tonk nearby, huge place on a nearby big intersection on the northwest edge of town. My parents used to go there now and then. Just north of Greenway Road was wild desert, dirt roads through foothills, crazy saguaros with owl nests hanging out.

AG: I grew up in Phoenix, too. The city itself felt like any other, but one unique thing was how you could drive in any direction and be in the middle of undeveloped Sonoran Desert in thirty minutes. When did Arizona desert start to work its magic on you as a kid?

KL: I never much saw the natural world before we moved to Arizona. I never saw mountains all around, or mountains at all. But it was purgatory for my dad, something he had to endure again to finally earn enough money to move to San Diego. That’s the usual dream of kids who grew up in Phoenix of the 1940s and ’50s, especially the poor ones: Take the highway out to the beach and never come back. There are three generations of Laynes buried in Phoenix.

I liked it up in the foothills, in that mostly wild desert that began just across Greenway. I got to go to a science camp at this since-submerged place up at Lake Pleasant. We held gopher snakes and tarantulas, walked out under the stars, listening for owls and coyotes. It was fantastic.

AG: After your family moved to California, you started exploring the desert on your own. What did you do on those trips? Why were these experiences formative?

KL: Had a group of friends, oddballs mostly, from different parts of town. Four of us went out to Death Valley one freezing winter, Christmas break from high school. Everybody had part-time jobs so we had this narrow window, maybe 48 hours. We drove up in the middle of the night — after one of the guys finished work at a pizza parlor — in this other guy’s grey-primer VW bug with holes in the floor and springs coming out of the seats. A very cold night. Didn’t do much more than drive around, watch the sun come up over the wild desert, hiked a little, explored old buildings. I took a bunch of black-and-white pictures. Drove back in the middle of the night, listening to weird AM radio stations. It was romantic. Still is. That is my favorite thing in the world, just driving a desert two-lane at night, could be West Texas or the Four Corners, but especially Nevada and East California. A weekday night, alone with the radio, a motel and more driving ahead. A vague destination or purpose, with time to take sketchy dirt roads, to walk around outside, stop in used bookshops and little roadside taverns with E Clampus Vitus neon signs.

AG: Those desert drives are deeply romantic. They’re a good place to make a life. It’s interesting because many residents of big desert cities loath the desert. They like the sun, the pools, the mild winters. Are you trying to reach those people with Desert Oracle and convert them to the landscape’s wonders? Or are you trying to reach the converted?

That is my favorite thing in the world, just driving a desert two-lane at night, could be West Texas or the Four Corners, but especially Nevada and East California.

KL: The only propaganda angle is desert conservation, encouraging people to love these places for their wildness, for their desolation and spooky beauty. I try to make something that looks good in a desert home, that you’ll leave out when you’ve got people coming over. And maybe you learn about the animals, learn about the plants and the seasons, the folklore and history, both recent and ancient. And maybe you already have a backyard full of native plants and ground squirrels and roadrunners, and you want to encourage more of that, defend the wild desert where that’s still the norm.

People who love a place will fight for it, whether or not they live around there full-time, whether they’re in Palm Desert or Scottsdale, surrounded by strip malls and golf courses. You can still see the mountains! The best of the desert isn’t where most people live, anyway, all crowded together. The best of the desert is walking alone on a sandy trail, or being lost in a wilderness area and figuring out how to get back, or sitting alone in the rocks while creatures go about their business, or driving some mysterious road in the middle of the night, watching for cattle on the road and military drones and UFOs.

AG: The desert West is many things: its poisonous critters, prickly plants, spaciousness and deadly heat. It carries the burden of a distinctive mythology and politically charged climate. But it also evokes a feeling, a kind of mystic awe and reverie. Desert Oracle somehow manages to capture that elusive experience in its pages. Can you talk about trying to bottle that desert feeling?

KL: I like having minimal information when I’m exploring: rumors, oddly-worded signs, a sense of menace around a truck stop or a rest area, weird motels, out-of-date interpretive displays, Civilian Conservation Corps’ bunkhouses and trail stairways, the cheery and somewhat suspicious oddballs you meet in a campground outside Trona or Tonopah. With the Oracle, I try to keep it sparse. Easy on the eyes. I don’t want to give anybody eye strain. In telling stories of UFOs and Yucca Man and past civilizations and failed real-estate schemes, I want to dryly transcribe the weird stuff. I don’t want to oversell it. Like somebody calling you in the middle of the night and reading the police reports out of the paper in Barstow or Pahrump, like a radio announcer in a long war. I trust that the people who enjoy the Oracle are the people who read this kind of thing at night and get a sense of dread and romance that makes them feel alive to all kinds of possibilities. Alive and alert.

Like any old southwestern newspaper or quarterly, Desert Oracle is presented without fanfare. I don’t explain things too much. You can look up the rest if you get obsessed. And you will probably get obsessed with some of this material, and then you’re diving down internet rabbit holes and raiding used bookstores in the High Desert, seeking evidence. I despise those “Explainer” things that are so popular in the online media. “Here’s a complex subject that could provide years of intellectual pleasure should you pursue it, but we’re going to post some glib, error-ridden thing that nobody even bothered to proofread, and then you’ll be all set!”

AG: Preserve the mystery while sharing bits of it. Desert writer Edward Abbey was a big influence on you. How’d you first discover him? What did his writing and life teach you?

KL: After that first Death Valley trip, I was raiding the high-school library for regional books, anything about the wild desert. Desert Solitaire was there, with all the nature books. And like everybody who falls in love with the desert and that book at the same time, the deal was done. Abbey wrote beautifully, of course, but he also had that swaggering thing that appealed to me at that age. The brave poetic writer, etcetera, a lifetime of screw-ups, moments of beauty and transcendence.

You’ll find when you start hiking and learning about the wildflowers and the animals, some scold will often appear and start lecturing you, telling you all the things you’ve got wrong, everything you don’t yet know — the people who suck the joy right out of a place in their constant campaign to be validated as some sort of self-appointed expert. Abbey never did that, and that’s one reason why it’s so easy for people to fall for him. He’d often explain that he wasn’t a naturalist, wasn’t a biologist or geologist. He was a philosopher. In one of his books, Abbey claims his favorite desert birds are the turkey vulture and the “rosy-bottomed skinny dipper.” It’s very welcoming. A good teacher makes it enjoyable, makes it a pleasure to accumulate those little bits of knowledge we have about the desert, about the natural world in general.

AG: Abbey influenced me, too. I spent my undergrad years bushwhacking southern Arizona’s deserts and mountains alone. When I found Abbey’s books, I realized I wasn’t some crazy loner, just an enchanted youth fascinated by this place’s magic, and that I could try to write about it, too. He was my first role model desert rat. Do you identify as a “desert rat”?

KL: I like any dramatic, moody landscape. But I guess I’m most at home in the American desert, and mostly the parts of the Great Basin and Mojave with a minimum of other people. Harry Oliver mastered the “desert rat” thing with his Desert Rat Scrap Book that he self-published for 20 years starting in 1946. (Oliver was a self-taught architect and set designer who worked with director Cecil B. DeMille and built the Tam O’Shanter and Brown Derby in Los Angeles, before retiring to Thousand Palms to become a full-time desert rat.)

That’s a particular thing, that sort of cornball comedy, relocating the ornery hillbilly or farmer to another environment that is baffling to the city people. It’s a very American archetype, and I guess I picked up a little of that for the radio show, for my campfire stories. For myself, I seem to be moving toward something more like the early desert hermits of early Christian Egypt. Probably a one-room stone cabin that’s a daylong walk from the nearest person. I don’t want to farm or collect junker cars or have domestic animals or shipping containers everywhere, and I don’t want to see any human works: no power lines, no satellite dishes, no other houses, no visible homes. Come into the little town every week or three for a dinner out and a martini, check the PO box, then “See you next month.” Boy, that would be nice.

The people who enjoy the Desert Oracle are the people who read this kind of thing at night and get a sense of dread and romance that makes them feel alive to all kinds of possibilities.

AG: In his posthumous Abbey biography, The Red Caddy, desert rat Charles Bowden wrote: “Desert worship is a suspicious matter to desert rats. It is as if talking about what is out there will diminish what is out there. Also, as a group, we feel damn foolish admitting what we feel out there.” What do you make of that?

KL: Well I don’t feel foolish about it. And I don’t mind talking about it, now and then. But when you’re visiting with other desert people, you don’t need to convince each other of anything. It’s usually the new convert who needs to wax poetic and all that, and that’s a normal part of infatuation.

It’s a good feeling, building this link to a place, a bioregion, the part of the Earth where you’re going to settle in. People can go overboard at this stage but that is all right. Enthusiasm is necessary and generally in short supply. Most of us who choose to live in low-population desert places are looking for a minimum of human interaction anyway. A little goes a long way.

AG: In the recent Pacific Standard article about Desert Oracle, you describe how a black triangular object hovered beside your car before shooting off through the clouds ─ a UFO. What about that experience influenced your magazine’s vision or aesthetic?

KL: It is entirely possible that my preference for black geometric icons and dingbats influenced how I saw that particular UFO — and by “UFO” I mean an unidentified thing you could loosely describe as “aircraft” but more as “pulsating 100-foot-wide manta ray hovering silently next to your car, before it vanished in a point of light over the distant clouds.” It’s also a very popular UFO shape, seen for hundreds of years: the black arrow or triangle. They are still seen, often on country roads or desert highways. It’s a really particular kind of experience, from the many eyewitness reports I’ve read over the years. Usually goes from a brilliant light on the horizon to this enormous thing hovering nearby to a light streaking away in the opposite direction, at the speed of a shooting star. Robert Bigelow, the Las Vegas billionaire who had the Pentagon’s UFO study contract that the New York Times recently revealed, ran a black-triangle study for many years. After my own sighting in late 2001, I contacted them and was interviewed by one of their people. They eventually put out a report that said people see these things fairly often, and whatever they are remains unknown.

Desert Oracle #4, the UFO cover from 2015, has a UFO typographic symbol as the only cover art. It’s an “Adamski disk,” something George Adamski saw (or faked) around Desert Center, near the southeastern corner of Joshua Tree National Park. Just this black symbol on yellow cover stock. I love everything about that. It’s my favorite cover so far, and it’s echoed by the radio show’s art, the podcast logo you see on your phone when you listen to the show. My signs at the office in Joshua Tree look like that, too. It puts you in the right frame of mind.

But it initially felt kind of cheap to make a cover out of what is basically a printer’s dingbat, a wingding. I had been commissioning artists to do illustrations for the covers before that one, and the first couple issues have good covers. But the really stark covers are my favorite.

Since the 1990s, I was designing websites that mimicked tabloid newspapers, black and white with some primary spot color. And whenever a “real designer” came in, everything got crowded, too much of everything. Too much color, too many elements. The ultimate nightmare is the modern Internet page, with fifty different things blinking and yelling at you, a sewage mix of every color, every bad style of graphic, crowded and miserable. So I do it all myself now. I just learn as I go.

I’ve always liked one-color printing. Cheap offset printing, no two pieces exactly alike, blocky type, colored stock. I love that kind of poster art, like Eastern European political posters, or Southern California punk-rock flyers. The desert component was the regional press, these small shops in the Southwest that printed up their own field guides, rockhound books, trail & wildlife guides. You could buy them at gemstone shops in the desert, or gift shops at the state park. They had single-color printing for the usual reason—it’s cheap—but generally with desert-colored cover stock, so you’d have the utilitarian and modern 1950s and ’60s typesetting and graphics in black on a yellow or orange or sand-colored cover. Keep it sparse. All of that goes into the design for Desert Oracle. I used to run the photo-typesetting machine at this little backcountry weekly, at night when the regular typesetter was gone and the editor had his column ready after going through a few coffee mugs full of Bushmill’s, and I loved the limited choices for headlines, captions, and body text. The sans serif choices were News Gothic and maybe the Avenir or Futura families, and you could do so much with variations of shape and font size. Then you had easy-to-read serif fonts for text columns, Times New Roman, Schoolbook and such things. Add a little black-and-white illustration from the “Old West Clip Art” books. That combination is nice to read, just nice to look at.

Anyway, I suspect the really dramatic close-up UFOs are at least partly filled in by the brain of the observer, the witness. There’s a whole episode of my radio show, #25, on this subject. Jacques Vallee and John Keel often wrote about it. And it’s entirely possible that my own convincing UFO encounter on a desert highway triggered the part of the brain that produces or processes spiritual experiences — Saul on the road to Damascus and all that, the children at Fatima, people who “see” a spaceship from Star Trek or elves from a fairy tale — and that our aesthetics and culture fill in the details, the “message” if you get a message in the process. Or maybe not. UFO theories aren’t terribly interesting to me, all these 20th-century science-fiction tropes. In the return of Twin Peaks last year, there’s something like a mass UFO sighting in a small-town New Mexico. A girl and a boy are walking at night and she picks up a Lincoln penny. And then this Abe Lincoln robot-hobo is terrorizing the town, staggering through traffic, etc. That made a lot of sense to me.

AG: “Crowded and miserable” — that describes both the modern Internet pages and certain popular urban desert trails I’ve hiked. Part of each Desert Oracle issue contains reprints of naturalists and explorers writings, alongside original pieces. How do you find older material?

KL: Mostly it’s chosen as intentional propaganda. Mary Hunter Austin was really the first Edward Abbey. She wrote The Land of Little Rain, about the California desert, and she was this bohemian character, a socialist, an artist, an important early feminist in the literary and theater scenes. And she wrote beautifully about the desert, in a way that reads very well today. People should read Mary Austin. And it’s public domain, so I can afford it. Same with John Wesley Powell, who most desert people know as this great explorer, the guy who recommended that the United States leave the desert Southwest alone, as it could not support huge populations with its scant water. But he also wrote with style and wit, and you feel like you’re there with him, around the campfire after a day of adventure. I feel a kinship with Powell. His family, like my paternal family, originates in the West Midlands and wound up around the Ohio River, and we both had many early Methodist preachers in our line. His life was a series of adventures, his morals were good and progressive for his time, and he looked at the Southwest with the right eyes. We should’ve listened to him more, but much of the federal desert land we have today is the result of the land-conservation philosophy he helped create, and the recommendations to the U.S. government after his great explorations of the Colorado River and the interior West in general. It was in the last years of his life that the General Land Office ─ what became the Bureau of Land Management in 1949 ─ finally transformed from a land-giveaway agency controlled by the railroad monopolies to a bit more of a conservation mission. He’d be heartbroken to see “Lake Powell,” which is a monument to everything he was against. And of course we’re all still fighting about public lands and water rights, and there are a handful of welfare ranchers and deadbeats like those Bundy people who are paid instigators of an anti-American effort to strip us of everything that’s in the public domain, everything that is part of the Commons. One day we’ll stuff all those nutbags in a rocket and drop ’em on an asteroid somewhere. “It’s all yers, Clive!”

Then there’s Zane Grey, who is always kind of dismissed as this cowboy-book hack. When I finally got around to reading his stuff, I found it interesting and sort of poetic. He was living in a desert cabin and crossing the Southwest on horseback at a time when it was really a commitment to be out on the desert. I like reading something and realizing what I assumed about it was wrong, that there’s real value to the stuff, and then I like to spread it around if I have the opportunity. The old pieces also give you a sense of time as part of the space of the desert. All these times layered over the desert: the U.S. Calvary camels crossing the Mojave, Charles Manson hiding out in the Panamints, Minerva Hoyt sleeping under the stars in a desert canyon, Shoshone and Paiute stories of great ships in the sky, red-eyed monsters in the night.

AG: You must have a large home library.

KL: It’s spread out between home and the Oracle office and a storage unit. I’ve got most of the desert-related books close at hand, but one day soon, I hope, it will all be assembled together, at my secret ranch house that is many happy hours away from busy little Joshua Tree.

AG: What is your ideal Desert Oracle piece? What elements do you gravitate to in material?

KL: It’s not completely clear. It is mood more than subject. I’ll start off with a bunch of ideas for each book and sort of see which ones I still like when it’s time to fill the text columns.

AG: Lots of people who love magazines think it’s nuts to try to start a magazine. Charles Bowden often worked eighty hours a week running his magazine from a cluttered Tucson office. In his words, “The magazine is an obsession and I am at my happiest when I am obsessed.” You’re a one-person operation: You have to fill it, design it, distribute it, sell and promote it. You go store-to-store. How much time does Desert Oracle take? What sacrifices does independent publishing require of you?

KL: It’s one of those times right now when I haven’t had a day off in three months. It’s not always like that. Summer is slower. I can bum around a little more. Each book takes a good 60 days to put together, I’ve slowly figured out — two months full-time. And then I do all these other jobs that are part of Desert Oracle: a weekly radio show that needs to be written and produced and edited, these live performances at museums, hotels and campfires, talking to the reporters, running the goddamned social media accounts, invoicing and delivery, shipping out orders, tax returns, bookkeeping, postal permits. Somewhere in there you try to write and edit and design and proofread this little magazine. It’s every day all the time, and it’s depressing to always be so far behind on everything, but it’s ultimately a satisfying thing to invent and halfway manage to pull off. I had a whole thing in mind: Not just a print book with this certain look, but a radio show, live events and the sparse office with books and maps and yellow file cabinets — this specific desert thing layered over the existing reality, to make the existing reality better, cleaner and more romantic.

But it’s not a sacrifice at all. A sacrifice is working for some media corporation where everybody’s always in fear for their jobs, for their lives. It would be nice to have more money,  to be able to afford to hire a couple of people who see the vision, who would enjoy contributing to the thing. One day. Or not. I’m aware that it’s a singular pursuit and might always be that way.

AG: People either imagine magazines being these lucrative enterprises with fancy editorial parties and celebrity photo shoots, like Vanity Fair, or they imagine them as money pits that devour all your savings before leading to nicotine addiction and divorce. What are the financial aspects of running an independent magazine?

You cannot run your own business and be a good parent to your intellectual property unless you understand how the business works, at least how it works for you.

KL: Desert Oracle has been barely profitable since the first issue. It doesn’t make much, I rarely pay myself, and I run a tight ship. But I’m deeply against going into debt for things. You have to play whatever angles you’ve got, whatever strengths you’ve got, and see if that works, try something else if one thing falls flat. Stick to the vision but always be ready to go with it, wherever it goes. Having a small-but-loyal readership, a cult following, etcetera, can work out if you run a tight ship. You have to do pretty much everything, and you have to get some satisfaction from it.

There’s this idea that artists — designers and writers and musicians, that whole crowd — are supposed to be dupes when it comes to money, when it comes to contracts. You cannot run your own business and be a good parent to your intellectual property unless you understand how the business works, at least how it works for you. As a one-person publication, you can rarely afford consultants or “professional services.” I will not skimp on attorneys but I do my own accounting, I do my taxes. I am my own subscriptions-and-circulation consultant, I figure out the postal permits and the databases and the wholesale and retail mix. I design the envelopes and postcards, the invoices and the business cards, my work uniform, all that. I clean the bathroom and change the printer ink, and take packages and issues to the post office, proofread the issues and process the photos. There is always something to do.

You’re going to have do most everything, so you might as well make it the way you want. You have to create the whole world you will operate within, from your physical office to your daily schedule.

AG: Every generation includes ambitious people with literary aspirations who have something to say, and they start magazines and independent presses. Many universities have graduate publishing programs. What insights can you share with these folks about running your own magazine?

KL: If you’re doing something small, something that’s mostly your labor and vision, then stick to what makes you satisfied. Don’t let people bully you into putting a lot of stuff in the book that doesn’t please you. Don’t feel obligated to run anything. Don’t give out excess free copies if you depend on selling those books. Treat your readers and your retailers well. Answer their emails, at least the nice ones. Listen to them, because your loyal readers can point you to a lot of potential material, and because they’re people with interests very close to your own. You will meet good people and new friends through such work. They will generally forgive your mistakes and tardiness if they believe your work is done in good faith.

If the publication begins to get some attention, and you can make a living from it, then you are part of a proud American tradition of the small-town publisher, the country newspaper, the regional quarterly: Poor Richard’s Almanack, Leaves of Grass, the Territorial Enterprise, the Los Angeles Free Press. It’s a great life, especially if you pick a cheap area to live.

AG: One of Abbey’s problems, particularly with Desert Solitaire, is that his books’ popularity drew more people into his beloved quiet spaces than he was comfortable with? As his friend Charles Bowden put it in The Red Caddy, Abbey “launched thousands of maniacs into the empty ground and pulverized one of his favorite backwards of the Colorado Plateau.” As a publisher, does that concern you?

KL: Of all the human uses of the desert, people visiting national parks and monuments to sight-see and hike and camp is the best. And you want to convert these people from “Oh this looks great on Instagram” to “I will donate time and money for the rest of my life to non-profits that defend and protect wild desert.” We’re fighting this mafia federal government right now, these Russian mobsters trying to upend our beloved new desert national monuments, trying to upend California’s Desert Renewable Energy Plan, which was put together over a decade of hard negotiation between the Bureau of Land Management, the state government, the environmental groups and the renewable energy companies, years of public meetings and reports and science. These attacks on the environment and our parklands are completely out of step with California, with the modern West, where people place tremendous value on these weird wild landscapes that are near enough to all the big cities for people to escape for a weekend. The California parks and monuments are a steam valve for the densely packed California cities. It’s important.

I’ll complain like any local crank about the tourist traffic and how you can’t eat out most of the time, because we have very few restaurants and they’ve got lines out the doors in tourist season, which is now a solid nine months a year. But these are people here to appreciate the desert landscape, the flora and fauna, the run-down cabins, the wind and the sand. That’s good. We need these people on our side. Too many of these people is a good problem to have.

I’ve spent half my life out here chasing illegal hunters, trash dumpers and off-road motorcyclists tearing up the desert. It’s a lot easier to run off some illegal campers from Oakland or wherever. I always tell them where they can legally camp or point it out on their map.

AG: Endurance and armor are important survival strategies for desert creatures: come out at night, hunker down by day, grow slowly and develop a thick skin. Where do you see the magazine in five years?

KL: Hopefully it’s still here — hopefully we’re all still here! — hopefully publishing on a tighter schedule, maybe with a couple of employees, an editorial person and a production or layout person, maybe another several thousand subscriptions, some income from the radio show, some other things in the works, and mostly I hope I can do more driving around and walking around the desert. I had planned on a “couple days a week” made-up job as publisher and editor of the Oracle and that part of the scheme has not yet worked out. But it’s all right. Better than the usual alternative: Go bust and go back to working for somebody.

Chasing the Man Who Caught the Storm: An Interview With Brantley Hargrove

AP

 

Jonny Auping | Longreads | April 2018| 15 minutes (4,096 words)

 

In his recently released book, The Man Who Caught the Storm, Brantley Hargrove tells the story of an unlikely legend named Tim Samaras, who lived his life grappling with and addicted to one of nature’s most dangerous marvels.

Samaras was a tornado chaser with a simple but absurdly treacherous goal: to get close enough to a twister to glean data from within its core. Hargrove, who spent months on the road chasing tornadoes for the reporting of the book, retraces and recreates Samaras’ most dramatic missions, culminating on May 31, 2014 in El Reno, Oklahoma, where he would face off with the largest tornado ever recorded. That same tornado would take Samaras’ life along with those of his son, Paul, and fellow chaser Carl Young.

“We now live in an era when the Mars Pathfinder rover has touched down on the Red Planet,” Hargrove writes. “The human genome has been mapped. But twisters still have the power to confound even the most advanced civilization the planet has ever known.”

Samaras legacy and life’s work represented a crucial foundation for how to better understand and predict historically unpredictable tornadoes.

But The Man the Who Caught the Storm is hardly a meteorological textbook. Rather Hargrove weaves a uniquely American tale of adventure — “nowhere else on the planet do tornadoes happen like they do in this country,” as he explained to me — diving into the circumstances and makeup that leads a man to chase what he should be running from.

Lacking even a college degree, Samaras was an outsider in the meteorological community, who not only developed one of the most sophisticated information-gathering probes the field had ever seen, but also had the courage (or perhaps unrelenting urge) to personally drop that probe in front of a twister.

Hargrove sat down with Longreads to discuss tornadoes, his own storm chasing, and the addicting thrill of being in the presence of something that can cause unfathomable chaos and destruction.
Read more…

How ‘Cops’ Became the Most Polarizing Reality TV Show in America

"Cops" screenshot
Another night, another arrest, on "Cops." (Cops.com/Langley Productions)

Tim Stelloh | The Marshall Project & Longreads | January 2018 | 25 minutes (6,325 words)

This story was published in partnership with The Marshall Project.

***

Morgan Langley leans toward a large computer screen. He isn’t sure if the video clip is still there, posted to a random YouTube channel named after a ’90s punk-ska act, but after a few moments, he finds it. Out of a black screen flashes a white Ford Mustang with blacked-out windows and chrome rims. Langley, who is an executive producer of one of America’s longest-running reality shows, “Cops,” narrates. “This kid here is actually selling a thousand pills of ecstasy to an undercover cop,” he says excitedly.

On the screen, a skinny white kid with a straight-brim baseball cap and a collection of painful-looking face piercings has plunked down on the Mustang’s passenger seat. Next to him is a woman whose blurred face is framed by sandy blonde hair. They briefly discuss logistics, and a second guy with dark skin and wrap-around sunglasses hops in. He asks if she has the cash; she asks if he has the goods. He asks if she’s a cop; she laughs.

“Okay, we’re just gonna do it like this,” he says, grabbing a pistol from his waistband. “Just give me your money.” Seconds later, officers in green tactical gear swarm the car, and he’s nose-down on the pavement, handcuffed and delivering a tear-streaked explanation: “Sir, they gave me a gun and told me they were gonna kill me.” Read more…

A History of American Protest Music: This Is the Hammer That Killed John Henry

John Henry
Illustration by Aimee Flom

 Tom Maxwell | Longreads | October 2017 | 10 minutes (2,465 words)

 

They point with pride to the roads you built for them,

They ride in comfort over the rails you laid for them.

They put hammers in your hands

And said – Drive so much before sundown.

—Sterling Brown, “Strong Men” (1931)

 

In the folktale, a powerful black steel-driving man named John Henry challenges the steam drill to a race, beats it, and dies. In some versions, John Henry is almost seven feet tall. In others, he wears fine clothes and commands any price for his work. In our national consciousness, he stands for the common man, beaten by industrialization, but unbowed.

Songs about John Henry became popular in the early 20th century. He is a folk hero in all—by resisting either the dehumanizing effects of technology or a racist power structure. His story helped give rise to an iconic American “blues ballad” as well as the “hammer song:” a rhythmic style which helped synchronize the work of manual laborers on railroads, prison work farms, and logging camps. Each axe or hammer blow rang out in rhythm to the tune, and as the tempo of that industrialized century increased, this would ultimately become the backbeat of rock and roll. Read more…

Longreads Best of 2016: Under-Recognized Stories

We asked a few writers and editors to choose some of their favorite stories of the year in various categories. Here, the best in under-recognized stories.

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Michael J. Mooney
Dallas-based freelance writer, co-director of the Mayborn Literary Nonfiction Conference.

You Are Not Going to Die Out Here: A Woman’s Terrifying Night in the Chesapeake (John Woodrow Cox, The Washington Post)

I saw this story posted and shared a few times when it first ran, but in the middle of an insane election cycle, it didn’t get nearly the attention it deserves. This is the tale of Lauren Connor, a woman who fell off a boat and disappeared amid the crashing waves of the Chesapeake Bay. It’s about the search to find her, by both authorities and her boyfriend, and about a woman whose life had prepared her perfectly for the kinds of challenges that would overwhelm most of us. This is a deadline narrative, but it’s crafted so well—weaving in background and character development at just the right moments, giving readers so many reasons to care—that you couldn’t stop reading if you wanted to.


Kara Platoni
A science reporter from Oakland, California, who teaches at the UC Berkeley Graduate School of Journalism and is the author of We Have the Technology, a book about biohacking.

Michelle’s Case (Annie Brown, California Sunday)

A clear-eyed, thought-provoking retelling of Michelle-Lael Norsworthy’s long legal battle in hope of becoming the first American to receive sex-reassignment surgery while in prison. Her lawyers argued that the surgery was medically necessary and withholding it violated the prohibition against cruel and unusual punishment. But, they argued, rather than grant the surgery and set a legal precedent, the Department of Corrections instead ordered her parole. The piece is a nuanced take on what it’s like to transition in prison—at least 400 California inmates were taking hormone replacement therapy when the article was published in May—where trans women are vulnerable to sexual assault and survivors are placed in a kind of solitary confinement, stuck in limbo in a prison system where it’s unsafe for them to live with men, but they are generally not allowed to live with women. And it asks a bigger question: What kind of medical care must the state cover?


Azmat Khan
Investigative Reporter, New America Future of War Fellow.

Nameplate Necklaces: This Shit Is For Us (Collier Meyerson, Fusion)

At first, it may seem like a simple essay about cultural appropriation, but this opus on the nameplate necklace is so much more than that. It is a beautiful ode to black and brown fashion. It is a moving history of how unique names became a form of political resistance to white supremacy. And it is the biting reality check Carrie Bradshaw so desperately needed. Read more…