Search Results for: animals

As Bulls Are Bred Meaner, the Riders Start Younger

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It wasn’t long before breeders found that they didn’t really need riders to make money… The top bull could earn a quarter of a million dollars at a single event, and as the purses grew so did the sport’s attention to genetics. Ranchers once content to breed any bull that leaped around now turned to outcrossing and in vitro fertilization to select specific behaviors: the dropkick, the side spin, the twisting belly roll. The result was a succession of ever more powerful, more athletic, more murderous bulls. The only question was who could ride them.

The change has been especially hard on young riders. Their learning curve gets steeper every year, and there are fewer and fewer ordinary animals for them to practice on. “These kids that are eleven, twelve, thirteen years old—they’re getting on bulls that we never saw until we were pros.”

Is there a limit to how dangerous a bull can or should be? “I hope not,” he said. “Because I intend on making one that’s a whole lot ranker than we’ve had before.” He smirked. “You know the bad thing? We can’t breed cowboys. If you could figure out how to get a set of women and three or four sires that had all that heart and the other ingredients that it takes, then you could match the sires and the dams up like we do the bulls. Then maybe we’d have a great bull rider.” In the meantime, there’s only one alternative: start them young.

-Bull riding has never been a safe sport, but today, getting hurt is a matter of when, not if. Burkhard Bilger delves into what keeps kids getting back on the bull at The New Yorker.

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Longreads Best of 2014: Essay Writing

We asked a few writers and editors to choose some of their favorite stories of the year in specific categories. Here, the best in essay writing.

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Meaghan O’Connell
Freelance writer, “Birth Story” author, motherhood columnist at The Cut, who believes her best work is at The Billfold.

The Empathy Exams (Leslie Jamison, The Believer)

I did not know who Leslie Jamison was before I read her essay “Empathy Exams” late one night at the pie shop that I use as an office when the library is closed. I was hungry, and it was dark out, and I was very pregnant and needed to get home. But I stayed in that uncomfortable chair and read it the whole way through, bursting with excitement. I G-chatted friends in all caps asking them if they’d read it. I Googled her, saw she had a book coming out, and floated home feeling like, “Yes, let’s do this. Let’s write some fucking personal essays, people!” I think Jamison, especially here, convinced or re-convinced a lot of people of the possibilities and the value of writing in the first person. Of course I think it’s horse shit that it takes a white lady with a veneer of intellectualism to make it okay, but I’ll take it where I can get it. Jamison, for her part, rises to the occasion. She certainly reminded me to hang onto the art of the thing, all the while going deeper, letting the problem of whatever you’re trying to do take up its own space. Read more…

Longreads Best of 2014: Sports Writing

We asked a few writers and editors to choose some of their favorite stories of the year in specific categories. Here, the best in sports writing.

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Eva Holland
Freelance writer based in Canada’s Yukon Territory.

Together We Make Football (Louisa Thomas, Grantland)

It’s been a bad year for football: Ray Rice, Adrian Peterson, the lingering Jameis Winston saga. And a bad year for football means a big year for think pieces about violence and football—I couldn’t tell you how many of those I read this year. But one of them stood out. In “Together We Make Football,” Louisa Thomas reflects on the uncomfortable relationship between the NFL, masculinity, violence, and women. She takes her time, building a case slowly and methodically, before driving home her point: that violence is inherent to, and integral to, the NFL. That although the vast majority of football players don’t beat their wives, there may be no way to separate the bad violence—the off-field violence—from the on-field violence that we love. Here’s Thomas: Read more…

Meet the Kids Who Don’t Want Toys For Christmas

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It had been only two days since Ruth Soukup had re-organized her daughters’ room, and there were still a few toys on the floor that her kids, then three and six years old, refused to pick up. “I would say to the girls, ‘If you can’t take care of your stuff, I’m going to have to take it all away,’” Soukup recalls. It was an empty threat, until that afternoon when Soukup realized she genuinely “wanted it all gone.”

Very calmly, Soukup started taking everything except for furniture out of their room and amassing their toys into a gigantic pile.

She took away all their dress-up clothes, baby dolls, Polly Pockets and stuffed animals, all of their Barbies, building blocks and toy trains, right down to the furniture from their dollhouse and play food from their kitchen. She even took the pink Pottery Barn Kids comforter from their bed.

Her kids stared at her. Soukup was surprised, too. She couldn’t believe how much stuff had amassed in her home, especially in lieu of her recent efforts to donate, de-clutter and organize.

“It was a shock, kind of,” Soukup says. “I thought, ‘What are we doing with all this stuff? How could I let that much stuff come into my house?’”

She was also stunned at what happened next.

Soukup had expected crying and wailing and protesting from her kids, but they were unfazed by the ordeal. They resolved to play without toys, saying, according to Soukup, “That’s okay, Mommy, we can just use our imaginations.”

– Are toys integral to child development or do they hinder creativity? Gina Ciliberto talks to parents who adopted a minimalist approach to gift-giving and child-rearing at Narratively.

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When Mary Martin Was the Boy Who Wouldn’t Grow Up

Ben Yagoda | Longreads | December 2014 | 12 minutes (3,094 words)

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One day early in 1954, Mary Martin and her husband, Richard Halliday, were driving on the Merritt Parkway, near their home in Norwalk, Connecticut. On the car radio came Frank Sinatra’s new hit, “Young at Heart.” It was perfect! That is, the song had the exact sentiment and feel they wanted for the pet project they’d long been planning, a musical version of J.M. Barrie’s 1904 play Peter Pan (original subtitle: “The Boy Who Wouldn’t Grow Up”). Right on the spot, they decided they’d hire whoever had written the song to compose the score for their production.

It turned out that the words were by a young New Yorker, Carolyn Leigh, and the music by the veteran West Coast jazzman Johnny Richards. The next morning the phone rang in Leigh’s apartment, and a man who identified himself as Richard Halliday said that he and Martin wanted her to write the lyrics for Peter Pan. “Naturally, I thought somebody was kidding,” Leigh told a reporter. “That sort of thing just doesn’t happen. So I arranged to call him back at his office, and I did and it was him all right.”

Leigh told Halliday she had a new partner, a young composer named Morris “Moose” Charlap, and in short order the two had a meeting with Martin, Halliday, and Jerome Robbins, who was to direct and choreograph the show. Leigh, who at that point had only seen one musical in her life, recounted years later, “I remember singing a line to Jerry, ‘If I can live a life of crime, and still be home by dinnertime,’ and we got a nod of approval from him.”

She and Charlap went on to write the score (with a little help from some songwriting veterans), and on October 20, 1954, Peter Pan—with Martin as Peter—opened on Broadway to enraptured audiences and rave reviews. Several months later, NBC broadcast the production live on television. It was an even bigger sensation, attracting 65 million viewers—still the fourth biggest audience of all time for a scripted TV show. Read more…

Escape from Jonestown

Julia Scheeres | A Thousand Lives | 26 minutes (6,304 words)

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For our latest Longreads Exclusive, we’re proud to share Julia Scheeres’ adaptation of her book, A Thousand Lives: The Untold Story of Jonestown, which tells the story of five people who lived in Jonestown at the time of the infamous massacre, which occurred 36 years ago, on Nov. 18, 1978.

This story also includes home movies—never before released publicly—from inside Jonestown. The footage, discovered after the massacre, includes tours of the compound by Jim Jones and interviews with many of those who lived and died there. You can view the entire series of clips at YouTube.com/Longreads. Read more…

Untangling the Knot: My Search for Democracy in the Modern Family

Sabine Heinlein | Longreads | October 28, 2014 | 16 minutes (3,966 words)

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The Art of Arrival: Rebecca Solnit on Travel and Friendship

Rebecca Solnit | Orion | Summer 2014 | 20 minutes (4,780 words)

OrionOur latest Longreads Exclusive comes from Rebecca Solnit and Orion magazinesubscribe to the magazine or donate for more great stories like this.
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The word “journey” used to mean a single day’s travels, and the French word for day, jour, is packed neatly inside it, like a single pair of shoes in a very small case. Maybe all journeys should be imagined as a single day, short as a trip to the corner or long as a life in its ninth decade. This way of thinking about it is a;rmed by the t-shirts made for African-American funerals in New Orleans and other places that describe the birth date and death date of the person being commemorated as sunrise and sunset. One day. Read more…

Interview: Simon Rich on Guilt, Humor Writing, and Being the Worst Person Ever

Jessica Gross | Longreads | Oct. 2014 | 17 minutes (4,290 words)

By the time Simon Rich graduated from Harvard, where he served as president of the Harvard Lampoon, he had a two-book deal from Random House. Less than a decade later, the humorist has written four short story collections and two comic novels. He also spent four years writing for Saturday Night Live (he was the youngest writer SNL ever hired) and about two years at Pixar, and is now at work on a film and a television series.

Rich’s level of productivity, impressive as it is, takes a backseat to the quality of his humor writing. His stories are crystalline, eccentric, and universally hilarious. Many of the stories in his new collection, Spoiled Brats are built on an unusual premise, or told from a surprising angle. In “Animals,” a hamster narrates his wretched existence as a class pet at an elementary school. In “Gifted,” a mother insists that her son—born as a monster, with horns and a tail—is exceptional. And in “Distractions,” a writer believes the whole world is out to get him, and they really are.

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How old were you when you started actively, seriously writing?

Well, I always loved to write. As early as kindergarten, I plagiarized Roald Dahl stories that I would try to pass off as my own. But I think it sort of shifted around when I was 17. That’s when I started writing every single day, whether or not I had an idea. Until then, I would only sit down and write a story if one occurred to me, and then I started to wake up every single day and write for a few hours whether or not I had anything worthwhile to say.

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Sam Simon on Life After ‘The Simpsons’

“In the pressure cooker of a TV show, it’s a little bit of a witches’ brew. I completely think I’m capable of being crazy. I probably was crazy when I was doing The Simpsons. But my pulse used to be really low, my blood pressure used to be really low, and I could be screaming at someone on the phone, yelling at the network, I might even be throwing some stuff, but my blood pressure wouldn’t go up. My heartbeat wouldn’t go up. Because I was doing a bit. Shtick. Pretending to be that mad to get my way. Which is not a good way to do it. I don’t suggest it.”

And so, in the fullness of time, it came to pass that almost 100 episodes of The Simpsons were completed, most with Sam at the helm, thus ushering the show into the lucrative world of international syndication. Then, in 1993, he left. “I can’t honestly say we were getting along as well at that point as when the project started,” he says. (The terms of his departure included a non-disclosure agreement.) “But it worked out for everyone. Everyone should be happy.” His settlement gave him a percentage of everything relating to the show—including the licensing and merchandising—worth hundreds of millions of dollars over the years. “I make tens of millions of dollars a year, which may not sound like a lot, but over 25 years it adds up.” Sam laughs.

“I’m an atheist, but there’s a thing called tithing that a lot of religions do. Ten percent was the minimum you were supposed to give to charity every year. And I always outdid that,” Sam explains. In 2002 he started the multi-platform Sam Simon Foundation, one arm of which rescues animals from Los Angeles kill shelters and trains some of them to be service dogs for the hearing-impaired and veterans who suffer from post-traumatic stress disorder. Then there’s the mobile veterinary clinic, also in Los Angeles, which offers free surgery and free spay and neuter services. But it’s not just animals; another arm of the foundation funds the Feeding Families program, a vegan food bank that offers free meals to some 400 Los Angeles families a week. “We’re on track to distribute over a half-million pounds of food to more than 65,000 people this year,” its spokesman tells me. Sam is also the largest individual donor to Save the Children, which just announced a new global philanthropic community called the Simon Society.

— In Vanity Fair, Merrill Markoe profiled her friend Sam Simon, a co-creator of the Simpsons who was diagnosed with terminal cancer two years ago. He lived the only way he knew how: with good humor and by dedicating his life to philanthropic causes.

Sam Simon died today at the age of 59.

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Photo: Mercy for Anim