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Deconstructing Disney: Motherhood and the Taming of Maleficent

Wiki Commons/ Carolyn Wells

Jeanna Kadlec| Longreads | October 2020 | 3,234 words (12 minutes)

How do you tame a witch? Historically, you don’t: You kill her. Burn her. Hang her. In tales, the witch is often a her. A she-devil, if you will, a woman who sleeps with Lucifer, who is Satan’s mistress, who bears a demonic mark. Read the 15th-century witch-hunters’ Malleus Maleficarum, it’ll tell you. Her very existence, her body itself, is a portal from this world to others, and she must be put down, lest she tears a rip in reality itself.

Wicked witches, the stuff of historical legend and nightmarish fairy tales, inspire a terror that verges on the sublime, that feeling Edmund Burke articulated so long ago — of standing on the edge of a cliff where you feel the simultaneity of danger and spectacular awe. Mountains are sublime. Milton’s Satan is sublime. Sublimity only exists in things that could kill you, which bring you to the edge of yourself. The untamed feminine, then, surely falls into this category: Witches exist on the margins, in the shadows, ever threatening to invade and disrupt the sanctity of the social order.

These days, Disney doesn’t kill witches — at least, not as often as they used to. These days, Disney is interested in the ultimate rehabilitation project: How do you make these archetypal wonders, this sublime femininity, less frightening? Less powerful — particularly to people invested in women and queers behaving in normatively gendered ways?

You make the witch a mother.

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Find Yourself

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

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

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

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“The Final Five Percent” Wins 2020 Science in Society Journalism Award

Tim Requarth, author of "The Final Five Percent."

We’re delighted to announce that Tim Requarth‘s piece, “The Final Five Percent,” won the 2020 Science in Society Journalism Award in the Longform Narratives category. For Tim, who holds a PhD in neuroscience, “The Final Five Percent” is both personal and professional. It recounts how his brother has coped in the decade since a traumatic brain injury permanently altered his personality. Here’s what the National Science Writers Association and the judges had to say about Tim’s piece:

“In ‘The Final Five Percent,’ published by Longreads in October 2019, Tim Requarth chronicles the catastrophic motorcycle accident that befalls his brother and the debilitating changes to his brother’s personality that emerge as he recovers most of his brain function in the weeks after the accident. The essay interweaves an intimate portrayal of the complexities of his brother’s life both before and after the accident, and of their sibling relationship, with what’s known about neuroscience of recklessness. ‘The Final Five Percent gripped us from its first paragraphs,’ write the judges. ‘This piece tackles the serious health mysteries around brain injury and explores the human consequences of that science in a way that is clear, nuanced, and emotionally devastating.'”

Be sure to check out Tim’s work elsewhere:

This piece was edited by Michelle Weber, fact checked by Sam Schuyler and Jason Stavers, and copy edited by Jacob Gross.

Inside the Chaos of Immigration Court

Photo collage: Wikimedia Commons (CC BY-SA 3.0) / Cheri Lucas Rowlands

Gabriel Thompson | Longreads | September 2020 | 6,849 words (24 minutes)

 

The Equitable Life Building, at 100 Montgomery Street, sits in the heart of San Francisco’s Financial District. Named after an insurance company, it was the first skyscraper built in the city after the Depression, a symbol of optimism rising 25 stories high with marble walls that sparkled in the sun. Today, it is home to all sorts of buzzy Bay Area companies, from Spruce Capital Partners (“investors and thought leaders in the Life Sciences industry”) to the OutCast Agency (“strategists and creatives” with “a hyper-growth mindset”). To get away from the hectic pace of investing, strategizing, and creating, tenants can burn off calories inside the building’s private gym or take their lunch break atop a luxurious rooftop deck. 

The Equitable Life Building is also home to the San Francisco Immigration Court, though it’s easy to miss. On my first visit last winter, the only hint that a court lay within was the scores of families in the lobby, clutching summonses and looking confused. The court is above, occupying the fourth, eighth, and ninth floors. Up here, the elevators opened into a slightly off-kilter dimension: A security line snaked into a cramped waiting room, which led to a winding and windowless hallway, from which one entered identical windowless courtrooms. It was deeply disorienting. I often encountered people fumbling around in the hallway, not sure how the hell to get out.    Read more…

Selling Fame

Pexels

A celebrity autograph scribbled on a scrap of paper with a sharpie used to be a treasured possession — but, as K.J Yossman notes in his piece for Wired UK, it’s now a selfie or a video to post on social media that makes a brush with fame worthwhile. With few fans getting to actually encounter their idols in real life, a group of entrepreneurs is using an app called Cameo as a way to cash in on this trend.

The site boasts more than 30,000 “celebrities” across a plethora of industries from entertainment to sports to social media to business, all available to deliver individually-tailored missives at the touch of a button. All you need to do is select a name, type in what you want her or him to say and fill in your payment details. The person you’ve booked then has seven days to record your message and upload it to Cameo.com, where anyone can view it (unless you’ve opted to make the video private).

At the time of writing, fees range anywhere from £8.30, for New Zealand cricketer Peter Younghusband, to £41,500, for American comedian Chris D’Elia, who, unsurprisingly, has never been booked at that price. Talent set their own price tags, although Cameo, which takes a 25 per cent cut of each transaction, does offer guidance. “It’s about how much your fans can afford, not how much you’re worth,” says Abbie Sheppard, who heads Cameo’s UK and European office. (Galanis puts D’Elia’s eye-watering fee down to his wacky sense of humour.) For those with a more restricted budget, there are still plenty of household names available for under £1,000, including Snoop Dogg (£622.50), Lindsay Lohan (£249), John Cleese (£352.75) and even 94-year-old Dick van Dyke (£830), whose video greetings are recorded at a piano and almost always include a few lines from some of his best-known hits.

For many celebrities, the idea of charging fans to wish them congratulations or say hello does not sit well, but from February to March of this year there was still a 77 percent increase in talent joining the site — suggesting that the pandemic shutting down other avenues for exposure enhanced Cameo’s appeal. For the fans, this has been a delight, with the site offering new ways to deliver messages that could not always be given in person during COVID-19.

a woman booking NFL player Tyler Lockett to tell her husband that she’s pregnant, a fan requesting that actor Dolph Lundgren wish his doctor friend luck fighting Covid-19, and one customer asking influencer and voice actor IRLRosie to tell someone to stop talking during films – in the manner of Amazon’s Alexa device. From mid-March to mid-April Cameo reported a 176 per cent increase in bookings; Galanis says many were requests for reassurance or advice.

However, there is a darker side to Cameo, with some people finding their fame being inadvertently used to support causes they do not believe in.

…in 2018 a handful of celebrities including NFL player Brett Favre, comedian Andy Dick and rapper Soulja Boy were tricked into recording shout-outs for a white supremacist group, some of which included coded antisemitic messages. “You guys are patriots in my eyes,” Favre, who charges £249 per video, said in the video, mistakenly believing he was talking to a veterans’ organisation. In the same year, Flava Flav was duped into sending a “happy retirement” message to an Australian cardinal who had recently been convicted of sexually abusing children (the conviction was later overturned).

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Shelved: Pink Floyd’s Household Objects

Michael Ochs Archives / Getty

Tom Maxwell | Longreads | September 2020 | 13 minutes (3,433 words)

 

Pink Floyd’s The Dark Side Of The Moon is one of the best-selling records of all time. Released in March 1973, the album didn’t leave the Billboard 200 chart for over 14 years. By 2006, EMI/Harvest claimed the album sold in excess of 40 million copies “and still,” according to a Billboard article from that year, “routinely moves 8,000-9,000 copies on a slow week.”

Listening to a renowned album as cohesive as The Dark Side of the Moon, you would never guess that the follow-up to that historic release was going to be made using everyday items. Household Objects, recorded during several desultory sessions over a two-year time frame, was constructed with rubber bands, wine glasses, spray cans, newspapers, brooms, and other such utilitarian gear. It was shelved.

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‘It’s An iPad, Not An usPad’: Douglas Rushkoff on Digital Isolation

At OneZero, author and media theorist Douglas Rushkoff asks: how much are the privileged allowed to use their wealth, fancy devices, and fully wired houses to insulate themselves from the troubles of today’s world?

The pool for my daughter wouldn’t have gotten here were it not for legions of Amazon workers behind the scenes, getting infected in warehouses or risking their health driving delivery trucks all summer. As with FreshDirect or Instacart, the externalized harm to people and places is kept out of sight. These apps are designed to be addictively fast and self-contained — push-button access to stuff that can be left at the front door without any human contact. The delivery people don’t even ring the bell; a photo of the package on the stoop automagically arrives in the inbox. Like with Thomas Jefferson’s ingenious dumbwaiter, there are no signs of the human labor that brought it.

Many of us once swore off Amazon after learning of the way it evades taxes, engages in anti-competitive practices, or abuses labor. But here we are, reluctantly re-upping our Prime delivery memberships to get the cables, webcams, and Bluetooth headsets we need to attend the Zoom meetings that now constitute our own work. Others are reactivating their long-forgotten Facebook accounts to connect with friends, all sharing highly curated depictions of their newfound appreciation for nature, sunsets, and family. And as we do, many of us are lulled further into digital isolation — being rewarded the more we accept the logic of the fully wired home, cut off from the rest of the world.

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Death as a Work of Art

A creek in the Ozark Mountains of Arkansas in the Fall. (Getty Images)

Alice Driver grew up in Arkansas in a house her father built in pieces over decades. She was raised by her father, a potter, and her mother, a weaver, as part of a community of back-to-the-landers who wanted a life of self-sufficiency apart from mainstream American commercialism. At Oxford American, she shares the story of her dad’s wish to build his own tomb on his own land. “He wanted his death, like his life, to be a work of art—a tomb he designed and filled with ceramics—and one that would allow him to define death on his own terms.”

…my sense of life and death was informed by nature. As a result, I felt only curious, at home with natural life cycles and possessed by the idea that I needed to find my place among the land and its creatures, to test my mettle…Under piles of hay, I found nests of baby copperheads, their bodies well-fed, hourglass stripes glistening. I swam across the Little Mulberry River when it was brown, swollen, angry from flooding, fighting against the strength of the current. I was raised in equal parts by my parents and by the land.

For them, buying the land was my dad’s way of committing to a different way of life than the one he had witnessed growing up. His father had a corporate job and hated it; he smoked and drank and was rarely around to be a father to his five boys. He died of a heart attack when my dad was fourteen, and at the funeral home, my dad remembers burning up with anger because, he said, “They were torturing my mother and trying to get her to spend more money on a casket because my father deserved it.” Much of his life, as I’ve witnessed it over the past thirty-eight years, has been a reaction to his dad’s life and death.

As dusk set in, he looked out over the field toward the Little Mulberry River. “This is one of the few places on the planet where I feel connected,” he said. “I didn’t want to join the system. I wanted to create my own reality, and I’m going to create my own reality on the way out too.”

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The Seattle Police Shooting of Native Woodcarver John T. Williams, 10 Years Later

Photo by Chait Goli

A decade ago, Seattle police officer Ian Birk shot and killed John T. Williams, a well-known Ditidaht woodcarver in the community — because he carried a pocketknife. For Seattle Met, James Ross Gardner shares the story of John through the eyes of his older brother turned family spokesperson, Rick Williams.

WALK ACROSS IT NOW. Follow John T. Williams’s steps. Go west on Howell, until you reach Boren. Where 10 years ago on that August day everything was bright, the colors and contours practically bleached out by the sun, now a canyon of shiny new skyscrapers casts long shadows—testaments to the speed at which this city erases its past.

On one side, before you reach the crosswalk, towers an apartment complex. Next to it, an Amazon office. On the other side of Boren, the side upon which the woodcarver took his last breath, stands a Hilton. Below your feet the old crosswalk is gone. In its place are painted three white deer. A small plaque affixed to the new hotel, feet away from where he died, reads “This crosswalk dedicated as: The White Deer Crossing…to honor John T. Williams, Native Carver.”

His life and death reverberate in other, less visible ways. The shooting triggered a Department of Justice investigation, resulting in the consent decree that placed SPD under federal monitoring. And in June 2020, when a police standoff with protestors for Black lives resulted in a 23-day occupation known as the Capitol Hill Organized Protest, or CHOP, leaders invited Rick Williams to participate. He carved there with one of his sons—and told protestors he was proud of them and that they should remain peaceful.

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The Top 5 Longreads of the Week

(Photo by Chris McGrath/Getty Images)

This week, we’re sharing stories from Seema Jilani, Katy Kelleher, Carina del Valle Schorske, Martin Padgett, and Ben Lindbergh.

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1. Broken Glass, Blood, and Anguish: Beirut After the Blast

Seema Jilani | New York Review of Books | August 18, 2020 | 11 minutes (2,757 words)

Pediatrician Seema Jilani recounts the immediate aftermath of the Beirut explosion: “As I emerged from the car, the air was still whirring with debris. Everything was eerily silent. But it wasn’t. I just couldn’t hear anything. My ears were ringing. The street scene in front of me, almost two blocks from my apartment and walking distance from the epicenter of the blast, was a silent horror film.”

2. Periwinkle, the Color of Poison, Modernism, and Dusk

Katy Kelleher | The Paris Review | August 19, 2020 | 8 minutes (2,115 words)

Katy Kelleher meditates on mauve, purple, and periwinkle in history, art, and in the beauty of quarantine sunsets.

3. It’s Not Too Late

Carina del Valle Schorske | The Believer | August 14, 2020 | 12 minutes (3,185 words)

“I don’t want my part to get skipped over, but I still don’t know how to write directly about what went down between me and M. All I can do is worry a detail like an R&B singer worries a line…For years I’ve cherished a clip of Smokey Robinson and Aretha Franklin singing on Soul Train.”

4. Underneath The Sweet Gum Tree

Martin Padgett | Oxford American | August 10, 2020 | 15 minutes (3,766 words)

“Today, I venture proudly and safely into the straight world outside the confines of bars and clubs once designated specifically as ‘gay’ spaces. I can be free. This wouldn’t have been the case a generation ago.”

5. One Twitter Account’s Quest to Proofread The New York Times

Ben Lindbergh | The Ringer | August 18, 2020 | 21 minutes (5,283 words)

“In 2017, the Times dissolved its copy desk, possibly permitting more typos to slip through. Meet the anonymous lawyer who’s correcting the paper of record one untactful tweet at a time.”