Search Results for: interview

Meet the Honey Badgers: The Women For Men’s Rights

“Truth is stranger than fiction,” wrote Mark Twain, and he’s not wrong. Case in point: the coterie of outspoken women who believe men’s rights are being trampled. They call themselves the Honey Badger Brigade, and they have podcasts, conventions and vlogs. At Marie Claire, Jen Ortiz interviews these rabid defenders of men and subtly refutes their every point in her investigation:

Just over a year ago, some of these women assembled in a hall at the Veterans of Foreign Wars outpost in St. Clair Shores, Michigan, a suburb of Detroit, as part of an inaugural international conference on human rights. (They were supposed to meet at the DoubleTree by Hilton hotel in Downtown Detroit, but plans changed last-minute because of reported threats by critics.) It was the first-annual International Conference on Men’s Issues. “It was really fantastic for all of us to be in the same room together,” says Janet Bloomfield, 36, one of the most prominent female faces of the men’s rights movement. “The idea that the movement is comprised of a lot of angry white men who can’t get laid is just simply not true—there were so many women!”

Bloomfield, a former bank productivity analyst, juggles being a stay-at-home mom of three “deep in the woods in Northern Ontario” with her work as a writer and unofficial MRA spokesperson. She grew up on a farm, in a family organized by traditional gender roles, where she “could never buy that this was oppression or bad.” A difficult relationship with her mother showed her that women are human—in other words, a woman has the capability to be just as terrible (or presumably, as not-terrible) as a man. Three years ago, she began her blog as a sort of inside joke with a close friend, but it quickly landed her in the manosphere with her take-no-prisoners style of writing about gender and culture. See: “The moment I knew feminism was a crock of shit.”

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Who Is Justin Trudeau? Four Stories About Canada’s Next Prime Minister

While we Americans were busy debating the latest in Joe Biden’s will-he-or-won’t-he status and trying to keep track of just how many Republicans are still in the race, Canada went ahead and elected* their next Prime Minister. So who is the soon-to-be resident of 24 Sussex?

Justin Trudeau, the leader of Canada’s Liberal Party, is a boxer, a self-described feminist, and a former high school teacher. He’s also “young, handsome, [and] charismatic,” according to The New York Times. He’ll be the second-youngest Prime Minister in Canadian history and the very first to follow a parent into office (his father was former Prime Minister Pierre Elliott Trudeau, making him the scion of Canada’s only political dynasty). But those are just the headlines; together, these four stories help paint a richer picture of the man who will soon lead our northern neighbors. Read more…

Get to Know the National Book Award Finalists for Nonfiction

The National Book Awards, presented by the National Book Foundation, “celebrate the best of American literature, to expand its audience, and to enhance the cultural value of great writing in America.” There are four categories: fiction, nonfiction, “young people’s literature,” and poetry. Several of this year’s nominees have been featured on Longreads before (see: Ta-Nehisi Coates, Adam Johnson, Noelle Stevenson), and this reading list features the five nonfiction nominees. The winner will be announced on November 18, 2015.

1. The Radical: Ta-Nehisi Coates, Between the World and Me

“The Hard Truths of Ta-Nehisi Coates.” (Benjamin Wallace-Wells, New York Magazine, July 2015)

“Letter to My Son,” in The Atlantic, adapted from Between the World and Me

You must struggle to truly remember this past. You must resist the common urge toward the comforting narrative of divine law, toward fairy tales that imply some irrepressible justice. The enslaved were not bricks in your road, and their lives were not chapters in your redemptive history. They were people turned to fuel for the American machine. Enslavement was not destined to end, and it is wrong to claim our present circumstance—no matter how improved—as the redemption for the lives of people who never asked for the posthumous, untouchable glory of dying for their children.

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Berkeley Breathed on the Return of ‘Bloom County’ After 25 Years

Longreads Pick

An NPR Fresh Air interview with the Pulitzer Prize-winning cartoonist on reviving his comic strip on Facebook, and how social media has changed his relationship with fans.

Author: Sam Briger
Source: NPR
Published: Oct 14, 2015
Length: 13 minutes (3,386 words)

How Harper Lee Helped Bring Back ‘Bloom County’

Berkeley Breathed is responsible for one of the more delightful things to happen to my Facebook feed in some time: The Pulitzer Prize-winning cartoonist, who created “Bloom County” and characters like Opus the penguin, has revived his beloved comic strip after a 25-year hiatus, posting new installments on his Facebook page.

In a new interview with NPR’s “Fresh Air”, Breathed says he has author Harper Lee to thank for the decision. He was stunned when Lee’s supposed second novel was published earlier this year as Go Set a Watchman:

BERKELEY BREATHED: I watched slack-jawed in horror as they threw one of the 20th century’s most iconic fictional heroes, Atticus Finch, under the bus. At the time — and this was a couple of months ago — it made me think that there would have been no “Bloom County” without “Mockingbird” because I was 12 I read it, and the book’s fictional Southern small town of Maycomb had settled deep into my graphic imagination and informed it forever. If you look at any of my art for the past 30 years, there’s always a small-town flavor to it.

So this summer, just a couple months ago when “Go Set A Watchman” was causing an uproar, I went back to my files and I pulled an old fan letter from years ago. It says (reading), “Dear Mr. Breathed, this is a plea from a dotty old lady and from others not dotty at all. Please don’t shut down Opus. Can’t you at least give him a reprieve? Opus is simply the best comic strip there is and depriving him of life is murder – a hard word to describe an obliteration of your creation. But Opus is real. He lives. -Harper Lee, Monroeville, Ala.”

And now Opus lives again.

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Coining Catchphrases on ‘Seinfeld’

“Humor can be dissected as a frog can,” E.B. White famously wrote, “but the thing dies in the process and the innards are discouraging to any but the purely scientific mind.” It’s from this quotation that Poking a Dead Frog: Conversations With Today’s Top Comedy Writers, Mike Sacks’ 2014 collection of interviews with humorists, takes its title, and contrary to White’s claim, the discussions are enlivening, revealing, and likely of interest to an audience beyond just die-hard comedy nerds. From Sacks’ interview with journalist and television writer Peter Mehlman, a look at how some of Seinfeld‘s catchphrases were unintentionally coined:

You wrote twenty-two episodes of Seinfeld. Quite a few lines from these episodes became well-known and found their way into the popular vernacular, including “yada yada yada” and “double-dip.” Did you have any idea while you were writing these scripts that a particular line would later hit with the public?

No, I never had an idea. I never knew, really, what would become popular. It always surprised me, actually.

So none of the lines were written to be a catchphrase?

No. Every line was written just to be funny and to further the plot. But, actually, there was one time that I did think that a certain phrase would become popular. And I was completely wrong. In the “Yada Yada” episode [April 24, 1997], I really thought that it was going to be the “antidentite” line that was going to be the big phrase, and it was not. That line went: “If this wasn’t my son’s wedding day, I’d knock your teeth out, you antidentite bastard.” The man who said it was a dentist. And no one remembers that phrase; it’s the “yada yada yada” line that everyone remembers.

But it’s interesting. When a phrase or word becomes popular on a show, it’s like a pop song. Everybody remembers the hook. Nobody really listens to the verses.

In 1993, you wrote a Seinfeld script called “The Implant” that included the “double-dipping” line. Did the story come from a real-life experience?

It did, yes. I was at a party and somebody flipped out because someone else double-dipped a chip. They didn’t say “double-dipped.” I had to make up the phrase, but that wasn’t exactly a tough phrase to make up. To me, “double-dipping” sounded funny and it fit, but I never intended it to stand out. I never consciously thought, Oh, my god, I can actually add to the lexicon.

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Relearning How to Talk in the Age of Smartphone Addiction

Photo: Peter Urban

Jessica Gross | Longreads | October 2015 | 17 minutes (4,263 words)

 

Sherry Turkle, a professor of the social studies of science and technology at MIT, has studied our relationship with technology for decades. While some of her earlier works highlighted the ways in which technology could help us construct self-identities, her more recent writing warns that we are overinvesting in our devices and underinvesting in ourselves and each other.

In Alone Together: Why We Expect More from Technology and Less from Each Other, published in 2011, Turkle explored the implications of replacing real intimacy with digital connection. Her new book, Reclaiming Conversation: The Power of Talk in a Digital Age, continues that thread. Turkle uses Thoreau’s three chairs—one for solitude, two for friendship, and three for society—as a framework, describing how our devices disrupt conversation and healthy development at every stage. When we turn to our phones constantly, we deny ourselves the capacity for solitude and identity development. This, in turn, blunts our ability to form healthy relationships. And vice versa: when we text instead of talk, or look at our devices instead of each other, we diminish our abilities to relate to other people as well as ourselves. Turkle ends the book with a discussion of what it means that we have begun to relate to machines as sentient beings when, in fact, they have no feelings, no experiences, no empathy, no idea what it means to be human.

Turkle—a psychoanalytically trained psychologist who founded and directs the MIT Initiative on Technology and Self—is no Luddite. But she argues for moderation, and for a deep look at how over-invested we’ve become in new technology. She is also optimistic that we are at just the right moment for this rceexamination, and for a return to conversation, reflection, and real intimacy. Turkle and I began our phone conversation by hailing that old thing, the landline.

Hi, this is Jessica Gross, calling from Longreads. Is this Sherry Turkle?

Yes, it is. I’ve been looking forward to hearing from you. But let me have you call back on a landline. I think the fidelity would be better and it’d just be easier. [Ring, ring.] Here I am. I love this old technology. I’m at a seaside cabin with this 1950 phone that works perfectly. [Laughter]

I got my own landline recently and it’s been really delightful.

I mean, there’s this thing where calls never get dropped, where you can hear in perfect fidelity! [Laughter] And it goes on even if the Wi-Fi is down! Read more…

On ‘Remaining in the Shadows’: Elena Ferrante on Anonymity and Writing

After so many years, are you still sure about your decision to remain in the shadows?

“Remain in the shadows” is not an expression I like. It savors of plots, assassins. Let’s say that, fifteen years ago, I chose to publish books without having to feel obliged to make a career of being a writer. So far, I haven’t been sorry about it. I write and I publish only when the text seems of some value to me and to my publishers. Then the book makes its way, and I go on to occupy myself with something else. That’s it, and I don’t see why I should change my behavior.

How do you feel about the questions that are raised about your identity—are you amused, irritated, or something else?

They are legitimate, but reductive. For those who love reading, the author is purely a name. We know nothing about Shakespeare. We continue to love the Homeric poems even though we know nothing about Homer. And Flaubert, Tolstoy, and Joyce matter only if a talented person changes them into the subject of an opera, a biography, a brilliant essay, a film, a musical. Otherwise they are names, that is to say labels. Why would anyone be interested in my little personal story if we can do without Homer’s or Shakespeare’s? Someone who truly loves literature is like a person of faith. The believer knows very well that there is nothing at all at the bureau of vital statistics about the Jesus that truly counts for him.

At Guernica, an early excerpt from Fragments: On Writing, Reading, and Absence, a collection of Elena Ferrante’s letters, and interviews with her, due out in January.

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Appropriate for a Seven-Year-Old Child

Photo: Marlo Mack

Marlo Mack’s podcast How To Be a Girl is a sensitive and honest exploration of the joys, fears, and struggles of raising of a transgender child. Earlier this year, Marlo and her seven-year-old daughter M (both pseudonyms) met transgender actress Laverne Cox (“Orange Is the New Black”). The story and photos of that meeting had a brief flare of online virality. In a recent episode of the podcast, Marlo (who also blogs at gendermom) talked about what happened after that meeting, as M began to understand that the world can be a difficult, even dangerous, place for transgender people like her. Below is a transcribed excerpt of that podcast. Read more…

The Hard Life and High Times of Independent Musicians

The band Dead Moon is a rock and roll institution and legend around their native Pacific Northwest. Formed in 1987 by husband and wife team Fred (guitarist) Cole and Toody (bassist) Cole, their do-it-yourself approach to making music and managing their affairs has influenced musicians around the world. This September, Fred collapsed on stage during their set at Seattle’s annual Bumbershoot festival and was taken to the hospital. He’s 67 years old. In February, 2014, Callie Danger spoke with bassist Toody in She Shreds magazine about making music for a living, keeping control of their art, and keeping motivated.

She Shreds: And what are the advantages of running everything independently?

Toody Cole: It’s that you’ve got free range to do what you want with it. That’s always been a big thing. That’s why we got into having our own business. Fred used to have to work for temp labor, putting his hair up in a hat just to get hired. You guys forget how difficult it used to be, just to be weird! You have the freedom as a musician to not have to go, “Gee, would it be okay if I take off next Friday?” Because you’d just get fired. At some point, we said, “We should just create our own thing.” We’re both control freaks, so just to have the control is number one. It’s also a cost-saving thing as well, to have your own label. To just be able to go direct to the source for the mastering and the pressing. To not have to go through somebody else who would charge you for the time and labor to do it for you. We’ve always been hands-on.

She Shreds: How long do you think it took to conjure up the commanding stage presence that you have today?

Toody Cole: There used to be a big thing on the West Coast called Garage Shock that Dave Crider from Estrus Records used to have every year in Bellingham, Washington. People used to come from all over the United States, all over the world. When we went up there, it might have been one of the first times Dead Moon played. There were a bunch of these other bands—naturally, all guy bands—sitting around. We were one of the headliners. And, of course, they hadn’t heard of us. At that point, nobody really had. When I walked by, one of these guys goes, “Oh, we’re so gonna blow these guys. They’ve got a girl in the band!” I don’t get mad that easily, but man, I was so fucking pissed. “Yeah, we’ll see, dudes. We’ll see who blows who off the stage, asshole.” It wound up being one of the best gigs we ever did! [laughs] It’s a great motivator, when people underestimate you.

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