Search Results for: basketball

Carrying Histories of Protest

Joe Raedle / Getty, Algonquin Books

Jaquira Díaz | Longreads | excerpt from Ordinary Girls: A Memoir | October 2019 | 11 minutes (3,065 words)

 

Puerto Rico, 1985

Papi and I waited in the town square of Ciales, across from Nuestra Señora del Rosario, the Catholic church. He was quiet, stern-faced, his picked-out Afro shining in the sun, his white polo shirt drenched in sweat. Papi was tall and lean-muscled, with a broad back. He’d grown up boxing and playing basketball, had a thick mustache he groomed every morning in front of the bathroom mirror. Squinting in the sun, one hand tightened around his ring finger, I pulled off Papi’s ring, slipped it onto my thumb. I was six years old and restless: I’d never seen a dead body.

My father’s hero, Puerto Rican poet and activist Juan Antonio Corretjer, had just died. People had come from all over the island and gathered outside the parish to hear his poetry while his remains were transported from San Juan. Mami and Anthony, my older brother, were lost somewhere in the crowd.

During the drive from Humacao to Ciales, I’d listened from the backseat while Papi told the story: how Corretjer had been raised in a family of independentistas, how he’d spent his entire life fighting for el pueblo, for the working class, for Puerto Rico’s freedom. How he’d been a friend of Pedro Albizu Campos, “El Maestro,” who my father adored, the Puerto Rican Nationalist Party leader who’d spent more than twenty-six years in prison for attempting to overthrow the US government. How he had spent a year in “La Princesa,” the prison where Albizu Campos was tortured with radiation. After his release, Corretjer became one of Puerto Rico’s most prominent activist writers.
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Location, Location, Location: Six Stories on Moving House

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 In “Goodbye to All That,” Joan Didion muses on how her perception of New York City –– and who she is as a result of living there –– has evolved over the span of eight years. When she first arrives in New York City she describes herself as “twenty, and it was summertime, and I got off a DC-7 at the old Idlewild temporary terminal in a new dress which had seemed very smart in Sacramento but seemed less smart already, even in the old Idlewild temporary terminal, and the warm air smelled of mildew and some instinct, programmed by all the movies I had ever seen and all the songs I had ever heard sung and all the stories I had ever read about New York, informed me that it would never be quite the same again.”

Didion’s exquisite sentence brims with a preemptive nostalgia, one that I have experienced often but struggle to put into words. When I was a child, I used to look forward to moving because it meant for a brief period of time –– during the miles that unfurled between the sticky heat of Louisiana and the crisp blue summer sky of Alaska, for example –– I could suspend myself in the allure of who I might become in any new place. I would often dream that I might shed my tendencies toward introversion or that I would find my true self reflected back to me in ways I didn’t know existed, not realizing that I had to do the work of growth on my own. Before I learned language for any geography and before I sullied the dream of myself with who I was in reality, I could exist as a figment of imagination passing through an unfamiliar world. 

Like the shine of any silver exposed to too much air, the idealized version of myself –– and any new place I came to –– was inevitably tarnished the longer I lived anywhere. But then my family would move again, and I would be free to once again imagine that a place would be enough to change me. My childhood was one of moving boxes and beige walls; divide my age by the number of places I’ve lived, and the answer comes to 2.25. And I have not stopped moving: I attended college in North Carolina, graduate schools in Oregon and Oklahoma, and now live in Pennsylvania, where I hope to put down roots. But even here, I live in an apartment with unpainted walls. A hallway downstairs is stacked with plastic bins and boxes I keep telling myself I’ll unpack soon, though it’s been months since I moved in. And I still use a GPS to get to the grocery store, some sign I’m scared of committing to knowing this geography, the many circuitous routes that point toward home.

What does it mean to always be leaving a place –– and the sense of self created there? What does it mean to have the privilege to move? How do we idealize locations –– both where we are and where we hope to be? What effect does perpetual transition –– both desired and undesired –– have on a person? A family? A community of people? 

1.  This Hell Not Mine: On Moving From Nigeria to America (Kenechi Uzor, July 7, 2017, Catapult)

After Kenechi Uzor leaves his home in Lagos, he wonders if the opportunities advertised about the U.S. –– opportunities, literary magazines, freedom, safety –– are really what they’re made out to be. Uzor bears witness to injustices against “brown souls and unknown bodies, and trans and cis and more. All suffering from the other” and weighs the cost of a life lived in the U.S.

So we sought escape, convinced that to leave was to live. We fled for dry eyes, for a sigh, for firm handshakes and raised heads, for two closed eyelids, we fled. For our babies and grannies. For light.

2.  Two Moms Share Stories of Migration and Breastfeeding (Sarah Mirk, August 5, 2019, Bitch Magazine)

Realizing that stories about migrating across borders during parenthood are underrepresented, a group of Portland-based Latina and Indigenous immigrant parents created a bilingual exhibit, Amamantar y Migrar, to share their stories through audio narratives, videos, and photographs. Sarah Mirk curated two narratives –– one from Minerva, whose mother made the difficult decision to leave her in Mexico for a time, and Maria Elena, who was taken to an immigration center even though she was breastfeeding –– for this multimodal piece. 

I tried to breastfeed, but since I didn’t get enough to eat, I didn’t have breast milk to feed my baby. We arrived here, I gave birth to my third daughter, and nine months after she was born, immigration agents showed up at my work. I was still breastfeeding my daughter.

3.  Location, Location, Location (Jeannie Vanasco, October 15, 2017, The Believer)

Part personal memory of her upbringing in an uneven saltbox house, part reflection on the significance of a moveable dollhouse her late father built for her, and part history of the house moving industry in Chicago –– and the violences that accompanied such an industry –– Jeannie Vanasco explores what it means when the stable walls of a home become transportable, and what types of grief exist in both the construction and loss of a place. 

Pressured to accept food, whiskey, and cash, they signed the 1833 Treaty of Chicago, agreeing to move west of the Mississippi River within the next two years. The wigwams and wooden lodges would be replaced with thousands of new homes for white people. White men would become rich moving them.

4. The Barriers Stopping Poor People From Moving to Better Jobs (Alana Semuels, October 12, 2017, The Atlantic)

The percentage of people who move within the U.S. has been cut nearly in half since the 1950’s. Why? As Alana Semuels reports, factors like zoning in certain states, lack of incentives for low-income workers, and proximity to family affect people’s decisions on whether or not to move, and have led to shifts in the populations of cities across the country.

The supply of workers isn’t increasing fast enough in the rich areas to bring wages down, and isn’t falling fast enough in the poor areas to bring wages up. Why is this? Why have people stopped moving? The reason, economists believe, is that while there are good wages in economically vibrant cities like New York and San Francisco, housing prices are so high that they outweigh any gains people stand to make in earnings.

5. They’re Fed Up With America’s Racism. So They’re Moving to Africa. (Mark Beckford, May 20, 2019, Narratively)

When Lakeshia Ford decided she was going to pack up her life and her budding career and move from New Jersey to Ghana, her family could not understand why she wanted to make the trek to a country thousands of miles from home. Even more surprising, to some, was Ford’s reason: the shooting death of Michael Brown by a police officer in Ferguson, Missouri.

Ghana’s fast-growing economy and “Year of Return” initiative in 2019, under which the Ghanaian government hopes to encourage people of African descent to move to Ghana, have attracted many African-Americans to the country. As Mark Beckford reports, Lakeshia Ford is one of a growing number of African-Americans relocating to Ghana in search of community, job opportunities, and freedom from the violence prevalent in the United States. 

6. Keep Moving: The Nomadic Life of an Assistant Basketball Coach (Michael Croley, November 12, 2014, Sports Illustrated)

What does it take to be a Division I head coach? What sacrifices is a person willing to make –– in regard to uprooting family, turning down other lucrative career options, etc., –– to vie for an elusive spot? Michael Croley, in this profile of assistant coach Gus Hauser, who has moved six times in 11 years, seeks to answer these questions and more.

Like their colleagues in academia, they give up nearly all control of their life in order to move where the jobs are and more often than not, like Gus, uproot their families every two or three years. The sight of Brown, the success he’s had and the stir his presence caused, leads me to believe every single coach, except for a handful, is always working for his next job, and that next job will be dependent upon who he can sign, how many of those signees he steals from the other men in the gym that day, and then if they can turn those guys into players within their system.

***

Jacqueline Alnes is working on a memoir about running and neurological illness. Her essays have been published in The New York Times, Guernica, Tin House, and elsewhere. You can find her on Instagram and Twitter @jacquelinealnes.

Breaking the Family Silence on Alcoholism

Photo by Ozgur Donmaz / Getty, Illustration by Homestead Studio

Alicia Lutes | Longreads | October 2019 | 18 minutes (4,426 words)

I remember turning around, but I don’t remember why. It was sometime in 1996 or 1997; maybe 1995? I was small, sitting on the couch in our living room, probably watching a cartoon on the comically large television my father had insisted upon, when something moved me to turn around. When I did, I saw my mother, her rapidly shrinking frame surrounded by the rays of a setting sun, her wafer-thinness outlined in fiery gold, a woman on fire. I watched her through the back porch as she cried on the phone, studying the slight way she swayed, how her emotions physically moved her, and how despite her lessening weight, her body moved so forcefully, the white wine in her glass twinkling in the near-twilight — but never spilling — as she moved. She slugged gulps between sobs and unremembered utterances to who-even-knows. It was tragic and beautiful, the way wine made her anorexic form seem to languish in the misery around her.

It also made her mean.
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Old Dudes On Skateboards

Photos courtesy of the author

Aaron Gilbreath | Longreads | October 2019 | 36 minutes (8,980 words)

 

“It’s a very fine line between presenting yourself as a true skater and hardcore and being destructive.” ─ Lance Mountain

JR, one of my oldest, dearest friends, died in December. He was 43. We grew up skating together, during that golden age when Tony Hawk, Lance Mountain, and Steve Caballero rode for Powell Peralta’s famed Bones Brigade skate team. Back in the mid-1980s, the Bones Brigade were not only discovering what these wheeled slabs of wood could do, they were releasing weird movies on VHS like The Search for Animal Chin and Future Primitive, where they skated ramps, pools, and steep roads, and clowned around. For kids like me, who didn’t relate to baseball or basketball, those movies taught us how to dress, taught us how to talk, taught us the many tricks we could do if we were willing to constantly injure ourselves practicing. My friends and I wanted to be the Bones Brigade, but most of us turned out differently.

Even though one old-school motto was “skate and destroy,” the Bones Brigade seemed kinder and gentler than most. They didn’t smoke, drink, or do drugs. Other pros did. Duane Peters, Christian Hosoi, and Jeff Grosso got lost partying. But no drug could give Lance Mountain and Tony Hawk what skating could. Vegan Mike Vallely put an elephant on his board to remind people of animals’ suffering. Rodney Mullen, essentially the inventor of street skating, spent lots of time reading in the library. Constructive rather than destructive was their identity and their art form. In hindsight, I wish we’d followed their lead sooner.

My middle-aged friends and I decided to honor our shared origins by sprinkling some of JR’s ashes at the Wedge, our old Phoenix skate spot, at the end of this summer. All my life, summer has been my favorite season. I’ve never wanted summers to end, especially this one, this way.
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Dispatch from Puerto Nowhere

Merve Karahan / Getty, Photo Collage by Homestead Studio

Robert Lopez | Longreads | October 2019 | 25 minutes (6,239 words)

For years I’ve been misquoting the late Polish poet Czeslaw Milosz without knowing that Milosz is the one I’ve been misquoting. I’ve done this, I’m sure, because I heard someone else misquote Milosz. I’m pretty sure this person did so without attribution, as well.

How far back it goes is unknowable, of course, but it’s akin to a literary game of telephone that is entirely without consequence or the least bit interesting.

What I’ve been saying is this: When a writer is born into a family, it’s the end of the family.

I preface this statement with the safe and inarguable, “A writer once said …”

I used to think Flannery O’Connor said this about writers and families, as it sounds like something she would’ve said.

It isn’t very scholarly or academic to say, “A writer once said,” but it gets the point across to students. I trot this misquote out whenever I’m trying to get my students to risk more on the page, whenever I see them pussyfoot around potentially interesting and dangerous material. I use the Milosz quote to give them license to let it fly, to destroy themselves and their families.

I employ any number of quotes and misquotes when I teach fiction and nonfiction writing to students. Babel, Hemingway, Faulkner, Chekhov, Didion, Pritchett, Hannah, Shakespeare, O’Connor, Borges, Stengel, Berra, Ray Charles, A writer, etc.

The actual quote from Milosz is: “When a writer is born into a family, the family is finished.”

I like the misquote better.

There’s a finality to the misquote that feels apocalyptic, whereas the actual quote sounds softer. One can finish a coffee table or a deck. One lover can ask another, “Did you finish?” and it would be considerate, thoughtful. A diamond is finished as are countless other precious gemstones and earthly items.

A family finished can mean they’ve attained the pinnacle of human achievement. No reason to go any further, to go forth and continue with this mindless multiplying, for we have birthed a writer.

Of course, it could be an issue with translation, too, and there’s no accounting for that. And I don’t know where the quote comes from, if it was in a poem or essay or lecture or what. A google search doesn’t provide this information, and I will have to dig deeper.
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McDreamy, McSteamy, and McConnell

Illustration by Jason Raish

Samuel Ashworth| Longreads | September 2019 | 13 minutes (3,389 words)

 

Senators Ted Cruz (R-TX) and Marco Rubio (R-FL) are nestled in one another’s arms, sweat glistening on their muscled chests. They kiss softly and tenderly. It’s the middle of the night in a hotel somewhere on the campaign trail, and they are in love.

“So, if you were an animal, which would you be?” asks Ted.

“Let me think,” says Marco. “A manatee.”

Welcome, friends, to the glorious world of congressional fan fiction. If you’ve always associated fan fiction with the kind of people who hand-sew their own Star Trek jumpsuits, think again. Since going online in the late ’90s, fan fiction — a fan-created spinoff (sometimes way, way off) of an already-existing pop culture presence — has exploded. Its protagonists range from fictional, like Han Solo, to real, like Ariana Grande or members of the British Parliament. Published stories, which can range from a few hundred words to a few hundred thousand, number in the tens of millions, and boast an immense readership. The genre also remains one of the few resolutely not-for-profit corners of the internet: Since the work often involves trademarked intellectual property, fair use rules forbid fanfic authors from making money off their writing, unless they change all recognizable details, as E.L. James did with her BDSM Twilight fanfic story, Fifty Shades of Grey. Stories about congress fall under the penumbra of “Real-person fiction,” which isn’t bound by copyright laws in the same way.
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New York City Shredder

Tyshawn Jones, far right, at the Adidas Skateloftnyc at Webster Hall, 2017. Johnny Nunez/WireImage

Skateboarding has been around long enough, and skate parks are numerous enough, that tons of amateurs can rip like only pros once did. It’s a whole other thing to skate with style. For The New York Times Magazine, Willy Staley profiles Tyshawn Jones. The first New Yorker to win Thrasher magazine’s Skater of the Year award, Jones represents a shift away from skateboarding’s West Coast origins, and its contentious merging with the fashion industry, which is where the money is. Besides his absolute devotion and his incredible abilities, what separates him from so many of us skaters is that he grew up in the Bronx and has used flat, crowded Manhattan as his skate park. Instead of doing the same tricks on big ramps designed for those exact tricks, he gives us something new: olleying over store signs and trash cans, sliding across handrails and flower boxes, and even doing a boardslide on the front of an earth mover on Park Avenue. Finding the spots requires talent. Imagining how to skate them, and pulling off the tricks, are whole separate talents.

As Strobeck sees it, that journey from the Bronx to Manhattan is captured symbolically in the trick that put Jones on the cover of Thrasher: an ollie over an entrance to the 6 train at the 33rd Street station. This subway entrance is a mind-boggling thing to leap over: The gap starts in an office building’s elevated plaza, and from there, you have to clear a thigh-high guardrail, then a six-foot-wide staircase plunging down into the street, with a spike-tipped fence on the other end. But the ollie itself was just a fraction of the challenge. Midtown was swarming with people whenever they went to film.

One thing Jones has that a lot of pro skaters don’t is a bunch of hardheaded friends who are willing to bring city life to a halt for him. The day he finally landed it, on his third visit, he went to the spot with 10 of his buddies, most of whom didn’t skate. They positioned themselves all around the subway entrance to help, in Strobeck’s words, ‘‘facilitate’’ — or the exact opposite, depending on your perspective. One stood in the stairwell to keep unwitting straphangers from taking a board to the skull, one stood up top to keep people from going down the stairs, some dealt with people in the plaza above, another worked as a spotter to tell Jones when the coast was clear. Even passers-by stopped to help.

To ollie over something this massive is like doing a parabolic calculus problem with your body while also attempting suicide, but it involves a set of motions Jones knows like second nature: Snap the tail and leap, dragging the board as high as you can with your front foot, tucking your knees into your body — on the Thrasher cover, Jones’s are practically touching his shoulders — then hope for the best. When Jones finally landed it, he did so with his front wheels in the street and his rear wheels up on the sidewalk, one last screw-you from New York, but he rode away. He got a message on Instagram from someone who worked in a building high above the plaza. She told him that people in the office had lined up at the windows to watch. When he landed it, the whole place erupted in cheers.

Jones makes a solid living from his sponsors and the restaurant his skate money bought him, but like most pro skaters, he would make a lot more if he was in a different sport. The skateboard industry is lucrative but has always had limitations, so Jones is wisely targeting clothing and fashion brands instead of just skateboard companies. Besides talking a lot about money, Staley’s piece is also a celebration of a sport whose athletes gets far less respect, and money, than mainstream basketball and baseball players. Hanging out with Jones, Staley makes an observation you don’t see much in skate journalism: the way skaters view other athletes.

It was the week of the N.B.A. Finals, and the two began to discuss the truly galling amount of money basketball players make. ‘‘Throwing a ball in a hoop!’’ Jones said, dismissively. ‘‘Curry got $237 million for five years.’’ It hadn’t occurred to me just how rote the work of an athlete might look to a pro skater, who must do so much more than just perform. He has to find spots, think of tricks, overcome not just his fears but also the police, Good Samaritans, cracks in the pavement, rain. And only once that chaos has been mitigated can he try to perform, to write one little line in the canon of an insular subculture. Henry joked that her son had gotten into the wrong sport entirely.

‘‘Throwing a ball in a hoop,’’ he said again. ‘‘That [expletive] is crazy!’’

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Flagrant Foul: Benching Teen Moms Before Title IX

Illustration by J.O. Applegate

Britni de la Cretaz | Longreads | August 2019 | 27 minutes (6,922 words)

Before the pregnancy, before the ineligibility, and before the lawsuit, Jane Christoffer was one of the best basketball players in the basketball-loving state of Iowa. As a freshman in 1968–69 at Ruthven Consolidated High School, a school of just 106 students located in northwest Iowa, the 5-foot-11 Christoffer averaged 35 points per game, leading Ruthven to the state tournament for the first time in more than a decade. She upped her scoring average the next season to 47 points, and was named third team all-state, which prompted Richard Barber, her coach at Ruthven, to say, “Jane’s as good a player as we’ve had in the 20 years I’ve been here.” Read more…

In the Country of Women

Catapult

Susan Straight | In the Country of Women | Catapult | August 2019 | 38 minutes (7,573 words)

 

To my daughters:

They never tell us about the odysseys of women. They never say about a woman: “Her passage was worthy of Homer . . . her voyage a mythic quest for new lands.” Women don’t get the Heroine’s Journey.

Men are accorded the road and the sea and the asphalt. The monsters and battles and the murders. Men get The Iliad and The Odyssey. They get Joseph Campbell. They get The Thousand Faces of the Hero. They get “the epic novel,” “the great American story,” and Ken Burns documentaries.

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Bundyville: The Remnant, Chapter Three: The Widow’s Tale

Illustration by Zoë van Dijk

Leah Sottile | Longreads | July 2019 | 25 minutes (7,518 words)

Part 3 of 5 of Bundyville: The Remnant, season two of Bundyville, a series and podcast from Longreads and OPB

I.

I have seen LaVoy Finicum die and die and die. 

Log onto YouTube and watch Finicum’s end, spliced, paused, and dissected by people who never knew him but who, too, have again and again watched it happen.

When Finicum was killed, law enforcement officers were acting on an opportunity to arrest the leaders of the weeks-long Malheur National Wildlife Refuge occupation in Oregon. Finicum was one of just a few actual ranchers who joined the Bundys’ occupation. Ranching was Finicum’s dream — something he’d only started doing once he turned 50. He didn’t grow up a rancher, but he intended to die one.

In the final seconds of his life — on the very last day of his 54th year — Finicum proved to be even more of a true believer in the purpose of the occupation than the Bundys themselves. 

 

Keep the characters of Bundyville: The Remnant straight with this character list.

That frigid late January day, an informant tipped the feds off that cars carrying the Bundys and other leaders would be traveling to Grant County, Oregon for a meeting with citizens and the area’s sheriff, who was allegedly sympathetic to the cause.

But the group never got to the meeting. Before they could arrive, members of the FBI’s Hostage Rescue Team and Oregon State Police SWAT team stopped the cars on a remote bend. Ammon Bundy followed law enforcement orders to get out of the car with his hands up, kneel on the ground, and crawl towards the officers. But Finicum refused to surrender.

Suddenly Finicum, who some viewed as a grandfatherly voice of reason back at the refuge, was yelling at the officers from his driver’s seat. He told them: “Back down or you kill me now.”

“Boys, you better realize we got people on the way,” Finicum yelled. “You want a bloodbath? It’s gonna be on your hands.”

In his back seat, the other occupants of the car — Ryan Bundy, a grandmother named Shawna Cox, and 18-year-old gospel singer Victoria Sharp — frantically tried to call people back at the refuge, but realized they’d been pulled over in an area with no cell service.

“I’m going to be laying down here on the ground with my blood on the street, or I’m going to see the sheriff,” Finicum yelled out the window. Finicum told the occupants of the car he would leave, try to get help. “You ready?” he asked. 

“Well, where’s those guns?” Ryan Bundy responded, telling the other passengers to duck down. 

“Gun it!” Cox said. “Gun it!” 

Finicum slammed the accelerator. Driving at over 70 miles per hour, careening around a bend, the sound of bullets pecked at his truck. Up ahead, the FBI and Oregon State Police had blocked the road. 

Finicum jerked the wheel — either to avoid hitting the road block, or to speed around it altogether. “Hang on!” he said. The truck crashed into deep banks of snow, sending up a white wave that made it look as if he’d plowed over an FBI agent. Finicum leaped from the truck, hands raised. All around him, officers yelled, “Get on the ground!”

This is all on the internet: Cox’s cell phone captured the conversation and fear in the truck, drone footage shot from above shows the lone white Dodge Ram pickup. 

You can see the crash, see the driver’s door fly open. You can see Finicum hop out as he taunts at the police that they’re “gonna have to shoot me.” You can hear the three bullets — bang, bang, bang. Dead. 

Every time I watch the video I think I’ll hear some new intonation, some missed revelation, and yet Finicum always dies the same. Three pops. He doesn’t jump or yelp. He simply crumples: a body tense and alive one second, a heavy sack of bones dropped to the ground for eternity the next. A puppet without a hand. Gravity stronger than spirit.

As Finicum stumbled in the snow, he yelled to the officers to shoot him before reaching multiple times toward his jacket. The overhead video captures that. Later, official reports said Finicum had a loaded 9 mm handgun in his inside jacket pocket. The shooting was ruled justified.

And yet now, three years later, a movement of people across America see his death another way entirely: As an assassination. An execution. A carefully-calculated hit on a lifelong member of the LDS church and short-time associate of the notorious Bundy family. Finicum is seen as a friend to men whose favorite part of the U.S. Constitution is the line about well-armed militias. The snowy road where he died is Finicum’s own Golgotha. The FBI roadblock is referred to, in some corners of the internet, as “the killstop.” Read more…