Search Results for: The New Yorker

A Close Reading of Ryan Lizza’s Phone Call from Anthony Scaramucci

(Jared Siskin/Patrick McMullan via Getty Images)

The New Yorker‘s Ryan Lizza got a rare triple-stack headline on his bombshell of a post Thursday chronicling a phone call from new White House Communications Director Anthony Scaramucci that would be unbelievable if anything was unbelievable anymore.

Anthony Scaramucci Called Me to Unload About White House Leakers, Reince Priebus, and Steve Bannon

Interesting. Okay. I guess these are topics relevant to your professional life, Anthony. Continue.

Lizza had tweeted about Scaramucci’s dinner plans and Scaramucci really wanted to know who told Lizza about Scaramucci’s dinner plans, a subject which, if revealed, posed “a major catastrophe for the American country.”

Wait, what?

“What I’m going to do is, I will eliminate everyone in the comms team and we’ll start over,” he said. I laughed, not sure if he really believed that such a threat would convince a journalist to reveal a source. He continued to press me and complain about the staff he’s inherited in his new job. “I ask these guys not to leak anything and they can’t help themselves,” he said. “You’re an American citizen, this is a major catastrophe for the American country. So I’m asking you as an American patriot to give me a sense of who leaked it.”

Again, this is about the dinner plans of a man referred to as “The Mooch.”

I asked him why it was so important for the dinner to be kept a secret. Surely, I said, it would become public at some point. “I’ve asked people not to leak things for a period of time and give me a honeymoon period,” he said. “They won’t do it.”

A honeymoon period.

Mooch then becomes convinced Reince Priebus, the Republican Party’s delegate in the Trump White House, is leaking things about him.

He channelled Priebus as he spoke: “ ‘Oh, Bill Shine is coming in. Let me leak the fucking thing and see if I can cock-block these people the way I cock-blocked Scaramucci for six months.’ ”

Here is where we say a little prayer of thanks that this phone call was not wasted on the tongue-biting puritans at the New York Times. Cock-block!

Scaramucci was particularly incensed by a Politico report about his financial-disclosure form, which he viewed as an illegal act of retaliation by Priebus. The reporter said Thursday morning that the document was publicly available and she had obtained it from the Export-Import Bank. Scaramucci didn’t know this at the time, and he insisted to me that Priebus had leaked the document, and that the act was “a felony.”

“I’ve called the F.B.I. and the Department of Justice,” he told me.

“Are you serious?” I asked.

That last line could have been the headline of this piece.

“The swamp will not defeat him,” he said, breaking into the third person.

Oh, my god.

“I’m not Steve Bannon, I’m not trying to suck my own cock,” he said, speaking of Trump’s chief strategist.

OH, MY GOD.

Scaramucci said he had to get going. “Yeah, let me go, though, because I’ve gotta start tweeting some shit to make this guy crazy.”

The sheer magnificence of this story appears to have crashed The New Yorker’s website, but once that’s remedied, you should definitely…

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

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

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

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

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

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

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The Top 5 Longreads of the Week

A Texas delegate on the first day of the Republican National Convention, 2016. (John Moore / Getty Images)

This week, we’re sharing stories from Lawrence Wright, April Wolfe, Mayukh Sen, Dan Jackson, and Ben Kuchera.

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Unsportsmanlike Conduct! The Cathartic (and Expensive) Act of Racket Abuse

Novak Djokovic holds up his racket after smashing it during the 2015 Miami Open. (Photo by Clive Brunskill/Getty Images)

With Wimbledon well under way, it’s the perfect time to talk about one of the more shameful aspects of the sport of tennis: unsportsmanlike conduct in the form of racket abuse. Earlier this year at the tournament in Indian Wells, American Ryan Harrison, ranked 41 in the world on the men’s tour, destroyed a total of five tennis rackets after losing to a competitor.

In the New Yorker, Louisa Thomas has a profile of 22-year-old Australian Nick Kyrgios, ranked 20th in the world, and a reluctant rising star who has beat the likes of Roger Federer, Rafael Nadal, and Novak Djokovic. Kyrgios has been known to sour when matches don’t go well, and joins a long list of players who take out their frustrations on their rackets.

Racquet smashing is the most common means of catharsis. Goran Ivanisevic had to default a 2000 match because he had broken all his racquets. In 2008, Mikhail Youzhny hit himself in the forehead with his racquet so hard that it left a bloody gash. Marat Safin, a two-time slam winner, who was as tormented as he was gifted, has estimated that he smashed seven hundred racquets in his career. He’s said to have played with shards of graphite embedded in his arm.

Almost every player smashes racquets, and all of them rant and mutter. “Tennis is the sport in which you talk to yourself. No athletes talk to themselves like tennis players,” Agassi wrote in his autobiography, “Open.” “Why? Because tennis is so damned lonely. Only boxers can understand the loneliness of tennis players—and yet boxers have their corner men and managers.” And, during a match, unlike boxers, tennis players can’t talk to or touch even their opponents, let alone a coach.

The cathartic act comes with consequences: Players are often fined several thousand dollars for racket abuse. At last year’s Wimbledon tournament, Serena Williams was fined $10,000 for repeatedly smashing her racket out of frustration.

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The Top 5 Longreads of the Week

This week, we’re sharing stories from Katherina Grace Thomas, James Lasdun, Kyle Chayka, Tay Wiles, and Buzz Bissinger.

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Prog Rock: The Musical Genre That Won’t Die

Scientists say cockroaches are one of the few things that will survive a nuclear holocaust. Add prog rock to that list. Defined loosely by its intentional complexity, over-instrumentation, jazz elements, and classically-trained, ambitious musicians who rejected simpler, visceral forms of rock, the “progressive” form known as prog rock has been dissed and dismissed since it paraded its feathered hair onto the scene in the early 1970s. Even though its progressive ethos progressed itself out of existence, the prog oeuvre still has legions of fans and just as many enemies.

Why? In The New Yorker, Kelefa Sanneh examines the genre to search for answers. Did prog ever achieve its lofty goals of pushing rock into “a higher form of art”? I mean, where do you go when you’ve already reached the stars? Down into hell? For some, hell is an Emerson, Lake & Palmer synthesizer solo without end, or even one with an end.

The genre’s primary appeal, though, was not spiritual but technical. The musicians presented themselves as virtuosos, which made it easy for fans to feel like connoisseurs; this was avant-garde music that anyone could appreciate. (Pink Floyd might be the most popular prog-rock band of all time, but Martin argued that, because the members lacked sufficient “technical proficiency,” Pink Floyd was not really prog at all.) In some ways, E.L.P. was the quintessential prog band, dominated by Emerson’s ostentatious technique—he played as fast as he could, and sometimes, it seemed, faster—and given to grand, goofy gestures, like “Tarkus,” a twenty-minute suite that recounted the saga of a giant, weaponized armadillo. The members of E.L.P. betrayed no particular interest in songwriting; the group’s big hit, “Lucky Man,” was a fluke, based on something that Greg Lake wrote when he was twelve. It concluded with a wild electronic solo, played on a state-of-the-art Moog synthesizer, that Emerson considered embarrassingly primitive. An engineer had recorded Emerson warming up, and the rest of the band had to convince him not to replace his squiggles with something more precise—more impressive. In the effortful world of prog, there was not much room for charming naïveté or happy accidents; improvised solos were generally less important than composed instrumental passages.

The audience for this stuff was largely male—Bruford writes ruefully that, throughout his career, women “generally and rather stubbornly stayed away” from his performances. The singer-songwriter John Wesley Harding, an obsessive prog-rock fan, suggests that these musicians were “afraid of women,” and that they expressed this fear by shunning love songs. What they provided, instead, was spectacle. As the American crowds got bigger, the stages did, too, which meant more elaborate shows, which in turn drew more fans. Weigel notes that, in one tour program, the members of Genesis promised to “continually feed profits back into the stage show.” (At one point, the show included a stage-wide array of screens displaying a sequence of hundreds of images, and, for the lead singer, a rubbery, tumorous costume with inflatable testicles.) Yes toured with sets designed by Roger Dean, the artist who painted its extraterrestrial album covers. Dean’s innovations included enormous, sac-like pods from which the musicians could dramatically emerge. Inevitably, one of the pods eventually malfunctioned, trapping a musician inside and prefiguring a famous scene from “This Is Spinal Tap.” The competition among bands to create bigger and brighter spectacles was absurd but also irresistible, and quite possibly rational. American arena stages, like LPs, needed to be filled, and so these bands set out to fill them.

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Desperately Seeking Daniel Day-Lewis

(John Shenton / Mirrorpix / Getty Images)

In 1989, during a performance of Hamlet at the National Theater, Daniel Day-Lewis walked off the stage. Like Hamlet, he claimed, he’d seen his father’s ghost. He never took to the stage again. With this week’s announcement that Day-Lewis is retiring from acting, it looks like his film days are over, too. And when Daniel Day-Lewis commits to something, he really commits.

Cue the public mourning for one of our most dedicated actors, a man as famous for avoiding the cameras as he is for standing in front of them. Day-Lewis embodied Acting with a capital A, embracing all of its finicky pretense. The end of his career may also be the end of an era for the great method actor — and the brilliant, if reluctant, male movie star.

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The Top 5 Longreads of the Week

Image courtesy of Mattel

This week, we’re sharing stories from Caity Weaver, Marisa Meltzer, Jiayang Fan, Taffy Brodesser-Akner, and Jeff Maysh.

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Five Questions for an Actor in the Ensemble of ‘Julius Caesar’

Elizabeth Marvel as Marc Anthony delivers a speech to the crowd in 'Julius Caesar' at Shakespeare in the Park (Joan Marcus / The Public Theater)

The crowd is its own character in Julius Caesar; they are there to be angered, to forgive, to protest, and most importantly, to be persuaded. In Oskar Eustis’s controversial production, the ensemble sat among the audience for most of the play, standing up to protest only midway through the show. This became confusing during one of the final performances, when a 24-year-old, right-wing activist named Laura Loomer rushed the stage after the assassination scene in the Senate, shouting “Stop the normalization of political violence against the right!” (“We’re not promoting it,” an actress onstage said to Loomer in the moment. “This is Julius Caesar.”)

Cassandra Cushman was an actor in the ensemble, and we asked her about her experience performing in a 400-year-old play that made national headlines in its final week.

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The Top 5 Longreads of the Week

Chelsea Manning's Instagram feed (@xychelsea87)

This week, we’re sharing stories from Matthew Shaer, John Woodrow Cox, Bethany McLean, Robin Wright, and David Sedaris.

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