Search Results for: fuck

Dance Me to the End of Love

Photo by Ahmad Odeh

Abigail Rasminsky | Longreads | January 2018 | 20 minutes (4,983 words)

We converged on New York City from every corner of the globe: from college dance departments in Ohio and Michigan and Minnesota, and conservatories in Florida and California and North Carolina; from Athens and Stockholm and Tel Aviv, and tiny towns in Brazil and Ecuador and Italy, all of us sweeping into Manhattan, that sliver of an island, from the outer boroughs for morning class. In our bags: cut-off sweatpants and bottles of water, tape to bandage split and bleeding toes, matches to soften the tape, apples and bags of tamari almonds from the Park Slope Food Coop, sports bras and tubes of mascara, gum, cigarettes, wallets full of cash from late nights working in bars and restaurants, paperbacks and copies of New York Magazine, and iPods for long subway rides. The bags weighed 10, 15 pounds.

Our lives were organized around class. We needed jobs that wouldn’t interfere with our real reason for being here. We heard rumors of people who had gotten Real Jobs — as temps, as school teachers, jobs with insurance and benefits and holidays off — who swore they’d keep dancing. There are plenty of classes after work! they’d say. This was technically true, but we knew that they’d get talked into going out for that one post-work drink, or be lulled by the security and predictability of it all, the paycheck and the summer Fridays, the day-in, day-out schedule; a full-time modern dancer’s life too eccentric, too chancy, too ridiculous. We knew that once that happened, it was hard to let go and dive back in. This was the time: you had to do it early; this career couldn’t wait until 28 or 30, couldn’t wait for you to get properly settled in the city, to hook up your safety net. There would always be a stronger, younger dancer on your heels. The time was now, only now.

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‘The Paper’ is the Most Essential and Overlooked Film About Journalism

There’s a lot to like about The Post, a film that has drawn rave reviews even before its pre-holidays debut. The combination of Meryl Streep as Washington Post publisher Katharine Graham, and Tom Hanks as the paper’s editor-in-chief Ben Bradlee is the rare pairing of GOAT actors operating at their all-time peak.

The film covers the publication of the Pentagon Papers in the New York Times, the Washington Post’s attempt to obtain its own copy, and the ensuing battle against the Nixon administration which led to the Supreme Court case about the Daniel Ellsberg-leaked documents. As Manohla Dargis of the New York Times described in her review of the film, “The pleasure of The Post is how it sweeps you up in how it all went down…Like many movies that turn the past into entertainment, The Post gently traces the arc of history, while also bending it for dramatic punch and narrative expediency.”

The Post is the ultimate click-bait film for our current moment: An all-star cast telling the story of righteous journalism while press freedoms are being threatened on a daily basis. There is a time-honored tradition of films that have functioned in a similar way, including NetworkAll the President’s Men, and most recently, Spotlight. Last month The Post published a compendium of the greatest journalism movies ever made, selected by the likes of Katy Tur, Jill Abramson, and Marty Baron (who, of course, chose Spotlight, where he’s played by Liev Schreiber). And on the heels of The Post’s rundown was a feature by Haley Mlotek on the 30th anniversary of Broadcast News, the 1987 drama that “predicted journalism as we know it.”

What’s most interesting isn’t the selection of films that have largely defined what our conceived notions of how journalism functions, including what reporters look like — bodies clad in beige clothing drinking copious amounts of coffee. What I find fascinating is that most of these films deal with large-scale or long-form investigative reporting, the type of work that takes months and involves countless interview montages. What about a film that covers a day in the life of an average newspaper?

I’m talking about The Paper, in my opinion, the best journalism film ever made and one that almost never gets any credit. Starring Michael Keaton as the metro editor of the fictional Sun — a loose portrayal of The New York Post —  the movie details the killing of two out-of-state businessmen in a pre-gentrified Williamsburg and the arrest of two black teenagers for the crime. The problem is the charges are bogus, a mob hit made to look like murders with racial undertones at a time when New York, on the screen and in real life, had reached a tipping point. The Sun and its staff, including Glenn Close as the managing editor, Robert Duvall as the EIC, and Randy Quaid as a quasi-Mike McAlary-Pete Hamill-type columnist, have a day to both confirm and break the exclusive. Asked at one point why the story can’t wait until the next day, as Close tells Keaton during a staff meeting, “We taint them today, we make them look good on Saturday, everybody’s happy.” Keaton exclaims, “Not tomorrow, right fucking now, today!”

Co-written by Stephen Koepp, former executive editor of Time magazine, The Paper beautifully illustrates the lunacy and creativity of working under a deadline. The feeling one gets upon getting the perfect quote — “Don’t take the bat out of my hands, it’s the ninth inning, I got to get the quote, the guy’s not going to be there all night,” says Keaton — or confirming a previously deep background detail on the record. It’s a rush native to only journalists, the endorphins multiplying as you have only minutes to finish the article. Every reporter has experienced at least one editor snapping at them as Duvall does to Keaton, “You want to run the story? You have five hours until 8 o’clock — go get the story. Do your job!” And then it’s over, and you have to do it again the next day. That’s the inherent genius of The Paper. No other film conveys the madness of deadline journalism — or the fun.

Midway through the film, Quaid, who shines as the paper’s embattled columnist who believes people are plotting against him, fires a gun through a stack of newspapers to end an argument, which allows Keaton to finish a conversation with his wife (played by the brilliant Marisa Tomei).

At which point, Tomei, whose character works at the Sun and is at the beginning of her maternity leave, gushes, “God, I miss this place!”

The journalism practiced in All the President’s MenThe Post, and Spotlight is never going to cease — it’s the journalism that will always endure. The deep-rooted injustices that are so outrageous, it is as if the abuses themselves are practically begging for someone to shine a light on. Liev Schreiber, as The Boston Globe‘s editor-in-chief, makes this point in Spotlight: “Sometimes it is easy to forget that we spend most of our time stumbling around in the dark. Suddenly, a light gets turned on.” But what is being threatened is the journalism of The Paper: the daily local grind.

Following the dissolution of uber-local sites DNAInfo and Gothamist, Danielle Tcholakian wrote about what happens when newspapers stop covering what immediately impacts its citizens:

That was a big part of what we were there to do: show people exactly how every action, big or small, impacted their daily lives in the neighborhoods they lived in and loved.

And that is what makes The Paper so special, and why Tomei’s quote is such a genius line. She underscores the heart of the film: forget the money, the fame, and the accolades, all that matters is getting the story right — for a moment, because as the 1010 Wins tagline blares throughout the film at various points, “Your whole world can change in 24 hours.”

What to Do With a Man Who Has a Story, and a Gun

Mint Images - Paul Edmondson / Getty

Lisa Romeo | Longreads | January 2018 | 11 minutes (2,767 words)

My boyfriend said it with such confidence, such nonchalance. “Don’t worry. You’re safe in here, and I’ll be back in an hour.”

He shut the bedroom door behind him as he left, and I heard his key in the padlock on the other side — the one he’d installed to keep out his drunk or stoned apartment-mates who kept “borrowing” his cigars, raiding his mini-fridge, and hitting on me.

I was a freshman at an expensive upstate New York college, majoring in journalism, and I’d fallen hard for this guy the first week of September. Though I was young for college — I wouldn’t turn 18 until later that fall — people had always said about me, “She’s so mature, so level-headed,” compliments I shirked away from, instead longing to be a little less sensible, a little more wild. In high school, I had mostly dated self-assured, brainy guys, predictable guys, often Italian and Catholic guys, guys who, if they were girls, would have been me.

I was done with all that, I thought. I wanted something different, someone different.

This guy was short, wiry, pale, certainly older — returning to college at 24 — and also German, Protestant, and had definitely not finished at the top of his high school class. Different, but not a bad guy, not a mean guy, not a guy I couldn’t bring home.

And he wasn’t a guy. He was a man.

A man with a past. A story.

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The More We Disrupt, The More Things Are Exactly The Same

Photo by Daniel Benavides (CC BY 2.0), viaWikimedia Commons

Vanity Fair published an excerpt from Emily Chang‘s forthcoming book, Brotopia: Breaking Up the Boys’ Club of Silicon Valley. TL;DR: they have a lot of sex and drug parties at which they disrupt conventional morality by… replicating conventional sexist, heteronormative behaviors.

They don’t necessarily see themselves as predatory. When they look in the mirror, they see individuals setting a new paradigm of behavior by pushing the boundaries of social mores and values. “What’s making this possible is the same progressiveness and open-mindedness that allows us to be creative and disruptive about ideas,” Founder X told me. When I asked him about Jane Doe’s experience, he said, “This is a private party where powerful people want to get together and there are a lot of women and a lot of people who are fucked up. At any party, there can be a situation where people cross the line. Somebody fucked up, somebody crossed the line, but that’s not an indictment on the cuddle puddle; that’s an indictment on crossing the line. Doesn’t that happen everywhere?” It’s worth asking, however, if these sexual adventurers are so progressive, why do these parties seem to lean so heavily toward male-heterosexual fantasies? Women are often expected to be involved in threesomes that include other women; male gay and bisexual behavior is conspicuously absent. “Oddly, it’s completely unthinkable that guys would be bisexual or curious,” says one V.C. who attends and is married (I’ll call him Married V.C.). “It’s a total double standard.” In other words, at these parties men don’t make out with other men. And, outside of the new types of drugs, these stories might have come out of the Playboy Mansion circa 1972.

Be forewarned, these grown adult people liberally use the phrases “cuddle puddle” and “founder hounder,” and you’ll want to budget some time to scream into a pillow and then take a shower after you finish reading.

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This is How You Say Goodbye

Photo by Kelly Sikkema

Lillian Slugocki | Longreads | December 2017 | 8 minutes (1,863 words)

 

December 2016.

There is a stain in the shape of a human body on the hardwood floor. This is where he died; this is where the tree — his body — fell and lay for a week. I laid down on top of it, my head where his head lay, my torso and legs with his torso and legs. His blood-stained glasses, upright, in the bathroom sink. A constellation of blood droplets on the walls. A small lock of his hair, blonde and gray, congealed in the shape of a quarter moon. When I lay down on top of this shadow, it was like I was a socket, and the lights were turned back on, briefly. I could feel him, smell him, hear his laugh, his manic charm, his singing voice. It was hard work cleaning the bathroom. I bought bleach and steel wool from the corner bodega. I wore a paper mask and gloves. I reconstructed his final moments in the bathroom; in front of the mirror, getting ready to go out, glasses on, and then the arrhythmia. And like a tree, he fell backwards into the earth.

***

The body is composed of carbon molecules. The heart pumps blood to the brain and keeps us breathing. And we are alive. We are at home. Until the body says, I’m done. Until the body says, Get out, goodbye, it’s over. And we are cast out; the heart stops, the blood pools. Before we are born, inside the womb, the body gathers itself together and moves from a state of chaos to a state of atomic perfection. The exact opposite is true when we die. The body disintegrates, feeds upon itself. But where do we go? This is the central mystery of life. The body, without us, is inanimate. Silent, still. It collapses, like trees that have fallen in the forest. They are just as quiet. They, too, have nothing to say. Their root beds are exposed, vulnerable to the elements. They are also composed of carbon molecules. Nearby a small patch of lilacs is just beginning to bloom, and so it goes.

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‘Cat Person’ and the Young Person

(Remains/Getty)

The year of our Lord 2017 was an overfull one, in which many things, both wretched and good and sometimes wretched-but-ultimately-good, happened. It was also the year a short story went viral.

“Cat Person,” a short story by Kristen Roupenian published in The New Yorker, was an unlikely viral sensation. Countless outlets produced think pieces and reactions. There were hordes of women for whom the story resonated, juxtaposed against the men who had such an aversion to the story, many could not even recognize it for what it was, frequently referring to it as an “essay” or an “article” when it was clearly short fiction. A Twitter account popped up to chronicle some of the male takes. The Cut put together a delightful video of cats responding to the story and the Awl published a version of the story from the cat’s perspective. The photo accompanying the story was, to some, off-putting: An extreme close-up of two mouths about to kiss. After reading the story, I agreed that it is perfectly suited to the story, but every time it showed up in my Twitter feed, I shuddered, said a mental “HARD PASS” and scrolled hurriedly.

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In Praise of Cowardice

Emily Weinstein's ancestors

Emily Meg Weinstein | Longreads | December 2017 | 22 minutes (5,522 words)

For Ruth Weisenfeld Diamond (1921-2014) and Samuel Meyer Diamond (1919-2008)

I.

First, it came for my grandfather, then for my grandmother. Death comes for us all, but still Jews toast, l’chaim! To life!

When my mother and her brother cleaned out their dead parents’ apartment, they found their father’s Bronze Star from the war.

“Do you know what was in the box with the Bronze Star?” my mother asked me.

“A Nazi Iron Cross.”

“How did you know that?”

“Grandpa showed it to me a bunch of times.”

“Where did he get it?”

“Off a dead Nazi.”

That makes it sound like my grandfather killed the Nazi, but he didn’t. He never fired his gun, not once in the whole Allied advance.

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We’re All Alabama Now

Jim Watson /AFP/Getty Images

Until the tide started to turn toward Doug Jones on Tuesday night, it looked as though the quintessential Alabama Moment of its bizarro special election would come courtesy of Jim Ziegler, the Republican state auditor. After candidate Roy Moore was revealed to be a serial mall-stalker of teenage girls, Ziegler was among the many fine Christian citizens to rally to the Republican nominee’s defense. The news, he said, had put him in mind of the inspiring story of Our Lord and Savior. “Take Joseph and Mary,” he said. “Mary was a teenager and Joseph was an adult carpenter. They became the parents of Jesus. There’s nothing immoral or illegal here.”

Nothing to see here, folks! has not only been the rallying cry of conservative Southerners since the build-up to the Civil War, but of the region’s put-upon liberals as well. As soon as Moore secured the Republican nomination, the familiar sense of dread began to creep in. “Good lord, here we go again,” one of my former neighbors in Montgomery, a longtime civil-rights activist, sighed over the phone. “You know exactly what it’ll be. Magnolias and guns and grits and moonlight and poverty and NASCAR and Selma and Bible-thumping imbeciles and poverty statistics, and oh yeah, don’t forget the cousin-fucking jokes on late night TV. ” (She had no idea how right she’d be about the latter.)

The last time the rest of America had found a reason to tune into news from the state of Alabama, the footage had been black-and-white: The Alabama State Police showed off their baton-wielding and hose-shooting skills, big dogs snarled, and George Wallace demagogued about “segregation now, segregation to-morrah, segregation forever.” The images didn’t just stick in Americans’ heads — they became Alabama.

“This is an election to tell the world who we are,” Doug Jones said on the campaign trail. It’s exactly what so many Alabamians were dreading like the plague.

While Northeastern liberals were getting the first look at Alabama in Technicolor, Roy Moore’s backers did their damnedest to make it appear that time had actually stood still. State Representative Ed Henry told the Cullman Times that the women who accused Moore of molesting them should be locked up. “You can’t be a victim 40 years later, in my opinion,” he said. Besides, said Geneva County GOP chairman Riley Seibenhener, you couldn’t blame a man in his thirties for things that happen: “I know that 14-year-olds don’t make good decisions,” he said. John Archibald, a columnist for Al.com, put it pretty aptly: “Thinking of the world watching Alabama now is like hearing an unexpected knock on the door when you haven’t done the dishes.”

They knew perfectly well that most white Christian folk in Alabama did not really believe that Roy Moore was another holy spirit come down to Earth to impregnate holy virgins. They also knew that Alabama’s ornery streak was about to kick in as soon as the national newspapers started to dig into Moore. “If the Washington Post ran a banner headline tomorrow saying ‘Antifreeze is poison, don’t drink it,’ a sizeable number of Alabamians would be dead tomorrow,” cracked Kyle Whitmire, a local political columnist.

But lo and behold, decency prevailed over orneriness and bigotry on Election Day — by a narrow margin, maybe, but still. All of a sudden, the generations of sneering and stereotypes gave way to gratitude and surprise from celebrity liberals. “I love you Alabama!” tweeted Cyndi Lauper; “Alabama gives us all hope tonight,” said Maria Shriver. “Never give up on this gorgeous mystery called Life,” commented Ava DuVernay. “A Democrat from Alabama? Hope lives.” Alyssa Milano found her inspiration in a whole new place: “Thank you for restoring my faith in humanity, Alabama,” she tweeted.

Granted, it might seem like a pyrrhic kind of victory when 48 percent of the state, and 68 percent its white people, voted to send a probable pedophile and certified theocrat to Washington. At Vox, Dylan Matthews noted that “a glib commentator might conclude that all the election shows it that a Democrat can win a special election in Alabama if his opponent has been fired from the state Supreme Court twice for misconduct and faces multiple credible accusations of preying on teenage girls.”

True enough. But un-crazy Alabamians and long-slandered Southerners will take what credit we can get. While the Roy Moore episode dredged up and reinforced a million hoary old clichés about the Deep South, the ultimate takeaway was something else altogether: Alabama, it turns out, isn’t an American outlier after all. “Looking back at George Wallace, we thought he was a fading and terrible relic,” says Diane McWhorter, the great civil-rights historian from Birmingham. “After Trump, we’re all Alabamians now.”

During the civil rights era, populist historian Howard Zinn wrote the truest thing ever said about the South — and the rest of America. The South, he said, “is racist, violent, hypocritically pious, xenophobic, false in its elevation of women, nationalistic, conservative, and it harbors extreme poverty in the midst of ostentatious wealth. The only point I have to add is that the United States, as a civilization, embodies all of these same qualities.”

After Tuesday, perhaps, Alabama can become a state rather than a symbol. Put to the test by Roy Moore, its voters showed they aren’t really the American exemplars of intractable ignorance and intolerance. At the same time, they’re hardly what Jones wanted to claim in his victory speech — sudden proof that the universe’s moral arc keeps bending toward justice. Charles Barkley, one of the great Alabamians of our time, nailed the real truth as he celebrated Jones’s victory with the homefolk on Tuesday: “Yeah, we got a bunch of rednecks and a bunch of ignorant people. But we got some amazing people and they rose up today.”

On Tuesday, precisely because of that wild mixture of ignorance and amazingness, of smallness and big-heartedness, of bigotry and brotherhood, Alabama finally became a widely recognized part of the United States of America. Whether that’s a compliment or not, of course, depends on your perspective.

***

Bob Moser is a contributing editor at The New Republic, former editor of the Texas Observer, and author of Blue Dixie: Awakening the South’s Democratic Majority.

How We Got There from Here

Michael Stipe and Peter Buck of R.E.M., 1985. (Paul Natkin/Getty Images)

Anna Armstrong | Longreads | December 2017 | 12 minutes (2,903 words)

 

“Jefferson, I think we’re lost.” — Little America, R.E.M.

The distance between Rodeo and Santa Cruz is just over 90 miles. For the most part the drive is unremarkable — urban, industrial cities and rural, unincorporated towns along the Eastshore Freeway, shaping the wasteland east of San Francisco Bay. But then the interstate gives way to Highway 17 and you begin the ascent to another world. The road is a thin, curlicue curved by the green Santa Cruz Mountains.

As a child I made this trip many times with my parents in our wood-paneled station wagon packed tightly with my five siblings and me — my gaze resting out the window, tracking the miles by the three-minute pop songs on the radio while an endless imaginary flat-panel saw tethered to my slight wrist sliced through the redwoods. Our destination? The historic Santa Cruz Beach Boardwalk.

The winding highway was a signal that we were close to the magical unworldliness of rickety wooden roller coasters, salty ocean breezes, barefoot children, bikinied girls, sun-kissed boys, a symphony of voices, crashing waves, tinny arcade bells, the smells and tastes of corn dogs and candied apples — and far, far away from the broke-down, shuttered place of stillness, silence, and late-to-bloom fondness in the rearview mirror. What separated Santa Cruz from Rodeo was not just miles but a tangible joy you could hold in your hands. Coming home sunburned, exhausted, happy — sleeping through the curves of the highway, waking abruptly in time to see the straight line to home.

June 1985. I was 17 years old and newly licensed. I was preparing to make the trek from home to Santa Cruz in my very first car, a 1972 Chevy Malibu that braved a Black Flag bumper sticker in a town that just didn’t get it. The destination? A very different type of spectacle: A rock ‘n’ roll show. The Athens, GA band R.E.M were scheduled to play the Santa Cruz Civic Auditorium.

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Maybe Your House Can Be “Most Congenial”

An English Heritage plaque at Hampton Court Palace Gardens. Photo by Elliott Brown via Flickr (CC BY-ND-SA 2.0)

In an essay at White Noise, Richard Wallace considers his chances at being memorialized with one of the blue English Heritage plaques that dot historic homes in London’s (mostly well-heeled) boroughs:

I mostly think money, power and status are chimeras, eliding the serious parts of the human project… Then I periodically remember those English Heritage blue plaques that go on the walls of noteworthy dwellings, and I think: no. Fuck goodness and principle. I want to get so famous they give my house a medal.

Lack of marketable skills aside, an informal of analysis of plaque recipients reveals the real predictor of plaques: class.

There’s a distinct sense that a certain type of people are predisposed to plaque-worthiness, and the reason is probably what class-progressives already know: that it’s so much easier to get recognised for your achievements if you get a good start in life. This shouldn’t diminish the accomplishment of the great; nor should it mollify less affluent mediocrities. But when we look at these plaques, we are forced remember that English history is uniquely bound to inequality, to people ascending the apex of the world on a staircase of hunched shoulders. Repeat, repeat: David Cameron and his Bullingdon brothers, Theresa May and her fields of wheat. Blue Plaque England is not a place where we can all live. Kensington’s too small for everyone. But as unfair as it is, English Heritage plaques merely record history; nobody can argue that class division is not British. The writing is on the wall.

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