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‘The City Just Lied’: Remembering the 1921 Tulsa Massacre

Greenwood Cultural Center

This Memorial Day marks the centennial of one of the worst instances of racist violence in U.S. history. On May 31, 1921, white mobs in Tulsa, Oklahoma, launched a campaign of terror in Greenwood, a prosperous African-American neighborhood nicknamed “Black Wall Street.” The spark of the violence was ugly, and all too familiar: the lie that a white woman had been assaulted by a Black man. It was perpetuated by a local paper, the Tulsa Tribune, which published a story with the headline — or, really, the instruction — “Nab Negro for Attacking Girl in an Elevator.”

When the dust settled, hundreds of Black residents had been killed. White rioters had looted Black businesses and destroyed Black homes. More than 30 blocks of Tulsa had been reduced to smoldering ruins. As is so often the case in a country where white power structures determine official history, the event soon slid into obscurity. For many decades, when it was recalled at all, it was referred to as a “race riot.” In truth, what happened was a massacre.

The centennial has occasioned widespread coverage of the massacre, much of it excellent. In The New Yorker, writer Victor Luckerson profiles two women who were committed to telling the full story of the violence when it seemed like no one else was:

As the centennial of the race massacre approaches, a raft of documentaries, along with a new thirty-million-dollar museum, are poised to make the story of Greenwood more widely known—and financially lucrative—than it has ever been. But the Black Tulsans who preserved the community’s history risk being forgotten, particularly the women who did the foundational heavy lifting. It’s not just Parrish—Eddie Faye Gates, an Oklahoma native and longtime Tulsa educator, continued Parrish’s work by interviewing massacre survivors more than seventy years later, recording their perspectives in books and video testimonials.

History lessons draw power from their perceived objective authority, but if you drill to the core of almost any narrative you will find a conversation between an interviewer and a subject. In Greenwood, Black women such as Parrish and Gates were the ones having those conversations. Now descendants of both women are working to insure that their legacies are recognized. “She was a Black woman in a patriarchal, racist society, and I think bringing all those elements together tells you exactly how she’s been erased,” Anneliese Bruner, a great-granddaughter of Parrish, said. “It’s convenient to use her work, but not to magnify and amplify her person.”

Luckerson himself is a dedicated chronicler of overlooked Black history: He is working on a book about Greenwood, and he publishes a newsletter, “Run It Back,” that documents his research findings.

In The New York Times Magazine, author Caleb Gayle, a Black Tulsa native, connects past to present, describing how the struggle for racial justice in his city continues. Recently, the last survivors of the 1921 massacre testified before a House subcommittee alongside Tiffany Crutcher, whose twin brother, Terence, was shot and killed in 2016 by Tulsa police:

She had started with hopes that justice would follow her brother’s killing. But it was in the dashing of those hopes that, Crutcher says, her “journey to justice” began. “We in Tulsa, Okla., aren’t going to sit by and say, ‘It is what it is,’” she said at one of the news conferences. The very narrative Crutcher has committed herself to undoing — one that says Black people are inherently bad people — is one that goes back a hundred years in her hometown, when one part of the community destroyed another part of the community, a place whose prosperity and potential belonged to, but was taken from, her ancestors.

Gayle’s article is part of a larger package about the Tulsa massacre, produced by The New York Times. Other components include an infographic revealing the extent of physical damage done during the event, and a visual feature about the excavation of victims’ gravesites.

For more on the centennial, here’s complete coverage from Tulsa World, a local newspaper.

The Lies Told to Speak to a Princess

Photo by Mathieu Polak/Sygma/ Sygma via Getty Images

It was 26 years ago, but I vividly remember the night Princess Diana gave an interview to BBC journalist Martin Bashir. I was allowed to stay up late to watch it — after my parents deemed it a “historical moment.” So I, along with 23 million other Brits (probably not all in paw print pajamas), watched, aghast, as a wide-eyed Princess Diana gave her first-hand account of the soap opera that had been played out in the British tabloid press — the breakdown of her marriage. 

As a child, I never considered how Martin Bashir managed to obtain an interview with arguably the most famous woman in the world. Now the truth has come out, and it’s ugly. This article by John Ware candidly documents how Bashir gained access to Princess Diana through deception and false documents. It’s a disturbing story, and this particular account of it is written by a journalist with direct insight, with Ware also having worked at BBC Panorama — the program that aired the 1995 interview. Published by the BBC themselves, whether as an act of contrition or an attempt at redemption, the piece explores their failings —  ones that led to a “ticking time bomb about public trust” that has “now detonated.”

Asked by Gardam why he had compiled the graphics in the first place, Bashir said it was simply to record and file the information – an implausible reason for getting a graphic designer to work all night, paying him £250 of licence fee payers’ money and getting the documents couriered to Heathrow, when jotting down the details in his notebook would have sufficed.

Nonetheless, however improbable this may seem today, Diana’s letter appears to have reassured management. “All could now relax for Christmas,” said Suter at the time. “We had had a scare, but we had got through it.” But for Earl Spencer, the letter doesn’t exonerate the BBC. “Diana is dealing from a position of having been lied to. She didn’t know that the whole obtaining of the interview was based on a series of falsehoods that led to her being vulnerable to this,” he told me.

However, if management thought that was the end of it, they were mistaken. On 21 March, the Mail on Sunday told Spencer they were investigating how Martin Bashir had been introduced to his sister and secured his scoop interview. In order to convince Spencer of his credentials, the newspaper alleged that Bashir had shown him bogus security service documents about bugging phones at Kensington Palace. Clearly the Mail were on to something, but were wrong about the content of the documents.

Distrustful of the tabloid press, Spencer called the BBC to find out more. Spencer was put on to Hewlett and told him he had introduced Bashir to Diana “on 19 September on the back of extremely serious allegations he had made, against various newspapers, named journalists, named senior figures at St James’s Palace, and unnamed figures in the secret service.”

Read the story

The State of Waiting

Photos and artwork throughout courtesy of Wafa Almaktari. Background image of Sana'a by Santiago Urquijo/Getty Images. Illustration by Cheri Lucas Rowlands.

Caitlin Dwyer| Longreads | May 2021 | 22 minutes (6,168 words)

 

This story includes audio interludes. Listen to Wafa talk about her life, her relationship, and Yemeni culture through cherished objects.

Read an interview with Caitlin about her reporting and writing process for this story.

She is in a Toyota RAV4, somewhere in the mountains of south-central Yemen. It is hot, desert hot, and the AC doesn’t work. There is no road. The driver maneuvers the car through dry riverbeds, which show the cracks of prior floods. 

In the back seat, Wafa Almaktari tries not to throw up. She tries not to think about the men with guns who will stop them, demand money, and search their baggage over 50 times in the next 16 hours. If they don’t like her, or she cannot pay, she may disappear in these hills. She tries not to think about the fact that the driver, hired privately for $300, does not have a map.

How the hell does he know where he is, in the middle of the mountains? she wonders. But the alternative — a bus that blunders at even slower speeds, and attracts even more attention at armed checkpoints — was unthinkable. She has to get through the mountains as quickly as possible, because Moutaz is waiting for her.

It is June 2019. Moutaz Al-Qershi, her fiancé, lives in the northern Yemeni capital city of Sana’a. He was going to meet her when she landed in the port city of Aden. But she knows she can’t trust herself not to fling her arms around him and kiss him. In the U.S., where Wafa has lived for the last four years, public affection is normal for young couples, but in Yemen, unmarried couples can’t publicly embrace. She told him to wait at her family’s home.

Not that Wafa cares about what other people think. She’s waited too long. She has a lady in Sana’a baking her wedding cake (she found her on Facebook). There is a butter shortage, but she’s got connections. She’s even got a female DJ lined up.

“If Moutaz was not in Yemen, I would not go. I would not even visit,” she says. But he is here, and so she has returned — enduring the heat, the nausea, the armed checkpoints —  to a country in the midst of violent civil war. She does not know if she will be allowed to return to the U.S. after her wedding.

“Home is where Moutaz is,” she reminds herself. She twists the ring on her finger. She hopes — no, she knows — coming back was the right choice.

* * *

In 2021, the small Middle Eastern nation of Yemen ranks as the world’s largest humanitarian disaster. Civil strife has mired the country in famine, cholera outbreaks, and violence. Since 2015, a complex set of combatants has battled for control: armed rebels in the north, known as the Houthis, who rule the capital; Saudi Arabian forces, who are determined to stop the Houthis; Al-Qaeda in the Arabic Peninsula, who rose up briefly to fill a power vacuum; and southern separatists in the port city of Aden.

Wafa and Moutaz met before the war. Although a poor country, Yemen had been a democratic one. During the Arab Spring, protesters had demanded reforms, leading to a transitional government. In 2014, the transitional president was struggling to stabilize the country. Soon, international embassies would begin to close, and the militant group Ansar Allah, often referred to as the Houthis, would take the capital. Saudi Arabia would step in to oppose the Houthis, whom they saw as Iranian proxies. By 2015, ports would be blockaded, airports closed, and cities bombed.

But politics mattered very little to two young people who, despite societal restrictions and the potential scandal, were falling in love. 

Wafa and Moutaz exemplify the long-haul love story of many immigrants, whose children, parents, and spouses remain on the other side of geopolitical barriers.

At the time, she was in high school and he studied electrical engineering at Sana’a University. Wafa had a huge, trusting smile, expressive eyes, and a laugh that rose up out of her chest. Moutaz was a serious, slender introvert, prone to long conversations on mathematical concepts. He was detail-oriented; she was all big ideas. She recalls how taken aback he was during their first interaction: “All the ideas that I tell him, and my hijab is not very on point. … I don’t have makeup on my face. So he’s like, you’re not normal.”

Despite the differences in their education, Moutaz didn’t intimidate her.

“It was this very weird chemistry that was between us,” she says.

They kept their relationship secret. Young Yemenis couldn’t date without being engaged or married, but the two of them did “all the crazy things in a very conservative society,” Wafa says. On one of their dates, Moutaz thought it would be romantic to ride Arabian stallions. The huge horses terrified Wafa. They were out in a sunlit field, beyond the city limits, far from prying eyes. She remembers watching him feed the animals, showing gentle care. “Although I was scared, around him I was very safe,” she recalls.

At the time, she had been suffering from tonsillitis and had been told not to eat any ice cream to avoid a possible surgery. On the way home, Moutaz stopped for a treat.

“I was like, oh, this is love. You’re giving me ice cream that I’m not supposed to eat, so I know you love me,” Wafa recalls with a smile.

That subtle spirit of rebellion would permeate their relationship for the next seven years. Soon what divided them would not be family objections, but the policies and decisions of world nations: who allied with whom in the war, who offered visas for Yemeni citizens, who blocked the airports. Surrounded by immigration restrictions and bound by national policies they cannot control, Wafa and Moutaz have refused to give up on each other. For them, love has become a kind of defiance of boundaries, borders, and rules. Separated for years, they search for ways back to each other.

* * *

In the movies, love resolves itself quickly: Two chemicals combine, and either reject each other or dissolve into a single solution. It’s more difficult to convey the reality on screen. Love hits, and we wait, watching the colors creep up the pH strip, waiting for the hiss of reaction. Sometimes we know what the result will be, but still must wait for proof.

Most people wouldn’t watch a film of all those empty hours. We like the catharsis, the moment of triumph, the release of tension: a climactic kiss in the rain. But for many people whose loved ones live across borders, separated by visas, wars, or financial circumstances, there is no such easy resolution. Patience becomes the story.

Sometimes — as in Wafa’s case — waiting feels unendurable, and migrants buck against the helpless hours, months, and years. They might act to gain a sense of advocacy or autonomy, but rarely do the massive national circumstances that surround their situation shift.

Wafa and Moutaz exemplify the long-haul love story of many immigrants, whose children, parents, and spouses remain on the other side of geopolitical barriers. They want to be together. They long for the normalcy of family dinners, daily commutes, and coffee dates. And so they wait.


 

* * *

Wafa arrived in the U.S. in 2015, joining her mother, Susan Kassim, and leaving her secret boyfriend behind. The two had been separated for a year, first by visa processing and then by war.

Kassim hoped her spirited, outgoing daughter would acclimate well. Three weeks after arriving in Oregon, Wafa started college, taking ESOL and math classes at community college. She then transferred to Portland State University to study business. 

But Kassim soon noticed that Wafa locked herself in her room for hours a day, talking on the phone to a “friend” back in Yemen. Like many moms of teens, she became suspicious. It wasn’t that a romantic connection back home was bad; in fact, if the phone kept Wafa from staying out late and going on unsupervised dates, Kassim was all for it. But she didn’t want secrets. 

So she watched. She saw that Wafa didn’t clean her room or make her face up for video dates. She noticed that they laughed a lot. She liked that Moutaz had a calming influence. Afraid he would get frustrated with Wafa’s sass, Kassim urged her to be more demure.

Wafa didn’t agree: “This is me. If I change then I’m not going to be me. It’s like fooling somebody.”

Satisfied, Kassim gave her blessing — but required that Wafa finish college before any marriage could take place.

So they waited. Donald Trump became president. Anti-immigrant rhetoric in the U.S.  rose. And in January 2017, Trump signed Executive Order 13769, which banned U.S. entry for several Muslim-majority countries, including Yemen. Before the ban, the wait time for a family visa to the U.S. could range from months to several years — and Moutaz hadn’t even proposed yet. After the ban, they were faced with an indefinite wait.

Wafa knew she had only one choice: “I’m going to fight.”

Trump’s travel ban worked the way it was intended; it forced immigrants to choose between their families and their visas. It deterred. It broke hearts, if not spirits.

Her defiance shifted to her new country, which seemed to be rejecting her love and her future. She became more outspoken about immigrant rights. At her job, she began questioning a manager about microaggressions. She joined her school’s Muslim Student Association and developed her campus activism, starting her own student coalition in 2017.

A few years before, Saudi Arabia had begun an aerial bombing campaign called Operation Decisive Storm. Originally planned to last only a few weeks and drive the Houthis from the Yemeni capital, it instead became a prolonged aerial bombardment of the city. Sections of old Sana’a, built before the 11th century, were destroyed. Thousands of civilians died in those and subsequent airstrikes. The Houthis remained in control of the city.

Moutaz was working on an MBA when Operation Decisive Storm began. Bombs fell while he commuted to and from classes.

“At first it was intimidating and scary, but with time I got used to it so quick because the airstrikes would last for long hours and would occur daily,” he wrote in a WhatsApp message. “It took me two weeks to get used to the fear, the loud bombing, and accept the reality that I was living in.”

He adopted an attitude many Yemenis would come to embrace: If he was going to die from a bomb, so be it. If it wasn’t a bomb, it would be something else. Life had to go on.

“Although it was hard to be lonely during that time, when Wafaa left the country I felt much better. I worry about her more than myself,” he wrote.

They spoke every day on WhatsApp, sometimes trying seven or eight times before they could get a connection. When she heard about a new bombing, she would often call, panicked, to make sure he was all right. Video dates helped Moutaz get through the stress of school, separation, and airstrikes.

While Wafa grew more outspoken, Moutaz developed a stoic endurance. “I never saw our separation as a goodbye; rather I saw it as ‘see you soon in better circumstances,’” he explained.

In late 2017, Moutaz sent her a ring — ostensibly to ward off interested men from whom Wafa got a lot of attention. But along with the ring came 365 handwritten reasons why he loved her. A proposal came the following year.

“Hell yes, I want to marry you,” Wafa recalls thinking. They both knew what that meant: He was banned from coming to the U.S., so she would go to him, perhaps putting her green card in jeopardy. On the day that she submitted her last final exam to graduate, against the best advice of nearly everyone, she flew back to Yemen.


 

* * *

Americans often think of immigration policy as a grand national project. Politicians wax hopeful or fearmonger, drawing broad statements about the way we view ourselves as a nation, or the way we think of the Other. Such thematic strokes capture the immensity of the issue, but they fail in the details. 

Details like these: One day, Wafa walked into a grocery store in Beaverton, Oregon. There were tulips in pots, cheap sweatpants on racks, and sale bins of candy. Behind the standard smells of rotisserie chicken and plastic was another scent: Moutaz’s cologne. Someone in the store was wearing it. The smell overwhelmed her, and she collapsed on the floor in grief.

Starting in 2017, Donald Trump’s immigration policies explicitly used family separation as a means to discourage migration to the United States. This was a new twist: not just to separate families currently in violation of immigration law, but to use separation as a deterrent against future migration. 

Soon what divided them would not be family objections, but the policies and decisions of world nations: who allied with whom in the war, who offered visas for Yemeni citizens, who blocked the airports.

But for many years prior to Trump’s administration, U.S. immigration policies had been de facto separation policies. Undocumented parents could be deported, while their U.S.-born kids remained in the country. The parents often had little legal recourse. Long processing times, high fees, and complicated paperwork have meant that husbands and wives, mothers and daughters, kids and parents, are often separated for months or years while they wait. In Moutaz’s case, and the case of thousands of other applicants sidelined by the travel ban, the separation became indefinite.

“I talk to a lot of people every day [about] how hard it is,” Wafa says. “It’s just emotionally draining. It is expensive, it is risky.” 

Wafa has filed an I-130, Petition for Alien Relative, for Moutaz. It costs over $500. Add an international flight: When his case finally comes up for processing, he will need to fly to Malaysia, Algeria, or another transit country; the U.S. embassy in Yemen has been closed since 2015. Add $300 to hire a private driver for the 16-hour trip through mountains to Aden, which has the country’s only functioning airport.

“The Yemenis who have fled the country are very often from the middle and wealthy classes. For the most vulnerable, there are very few opportunities to leave the country,” write Solenn Al Majali via email. Based in Jordan, Al Majali studies Yemeni emigration at Aix-Marseille University and the French Institute of the Near East, and is a non-resident fellow at the Sana’a Center for Strategic Studies.

Wafa knows she is lucky. Her dad studied abroad in the 1980s, and her eldest brother was born in the U.S. He was able to sponsor some of his family members and help them escape the worst of the war. As a U.S. permanent resident, she has some leverage.

“If I didn’t have the resources or the money, I would not be able to apply for him. If he didn’t know how to speak English, he’s not going to come. If they see him at the embassy and he is not dressed well or he doesn’t speak well or he doesn’t have a career, you know, anything, they can just reject it,” Wafa says.

Since 1965, the U.S. has been relatively open to family immigration, mostly as a result of the Immigration and Naturalization Act. That legislation got rid of quota systems based on current U.S. census data. It opened the country up to immigrant families from more diverse countries. Thought about generously, the 1965 act was “driven by recognizing that family units are critically important for happiness, well-being, economic prosperity,” says Duncan Lawrence, the executive director of the Immigration Policy Lab at Stanford University. (Full disclosure: Lawrence is a friend of mine.)

Support for families — from permission to find work to early access to ESOL programs — are the backbone of healthy immigration policy, according to Lawrence. But there’s one overwhelming factor in the health and well-being of families: keeping them together.

“If you had this magic wand of tools that you could use to positively impact families, I think that is probably one of the most powerful things you could do,” Lawrence says. Kids are especially vulnerable to separation from their parents, but all families suffer from the threat and reality of being apart.

No matter where we live, we take refuge in those we love.

There is a kind of helplessness to this process that overwhelms Wafa. Despite her defiance of the travel ban, which was lifted by President Biden in January 2021, she remains at the mercy of international law. She cannot speed Moutaz’s visa interview or guarantee that he will not be rejected. Will U.S. Customs and Immigration Services see their relationship as one of convenience? How does she prove that she truly loves this man who she has seen only twice in five years?

There have been times when she felt like giving up and going back to Yemen. At least they could be together. In that sense, Trump’s travel ban worked the way it was intended; it forced immigrants to choose between their families and their visas. It deterred. It broke hearts, if not spirits.

That kind of heartbreak leads a young woman to collapse in a grocery store. It sends her, desperate, back to a war zone.


 

* * *

Wafa arrived at her family home in Sana’a at night, after a harrowing 16-hour drive through the mountains. She still had the taste of vomit in her mouth. The smell of sweat clung to her. She dropped her bags off inside, briefly greeting her father before running out the back door.

Moutaz was waiting. Completely forgetting where she was, she burst out into the street and hugged and kissed him, not caring they were in public.

“I kept telling him, ‘This is a dream. This is not real,’” she says. “I think that night was the best night of my life.”

Planning a wedding in a war zone posed challenges. In 2019, four years of fighting had cost many Yemenis their businesses. Moutaz told Wafa that Houthis demanded a cut of private sales; the extortion, combined with the high price of goods, forced many people to move their businesses online. A 2015 Saudi-led blockade of the port of Hodeidah, where most Yemeni food had been imported, created massive shortages. Women especially had become Facebook entrepreneurs, making sweets and doing makeup from home. 

If he was going to die from a bomb, so be it. If it wasn’t a bomb, it would be something else. Life had to go on.

Wafa recalls the mixed emotions of that moment: “You feel guilty because you’re celebrating and you’re doing all these plans, and people are dying. People are dying out of hunger. People are dying in the airstrikes. Even the availability of things like who’s going to do the wedding cake. … I was telling him, should we downsize it? And he was like, ‘I loved you for five years. I’m not going to downsize my wedding and the celebration of love that we have.’”

Wafa also struggled to adjust to her Yemeni relatives. Her naturally ebullient personality, combined with years of living in American society, made her relatively intolerant of strict traditions. She invited Moutaz to tea at their family home, only to have her father kick him out. When an aunt complained that Wafa shouldn’t see her fiancé before the wedding, Wafa bristled: “I don’t really care what you think.”

Despite the tensions, a week later an imam proclaimed them married.

After the religious ceremony, she hugged Moutaz freely in front of others for the first time. It no longer felt wrong. “It just felt like, here we are. We worked hard. We waited. It was beautiful. And then we just danced the night out.”

More celebrations followed: a spa day for the women, donations of food to the poor. Wafa and Moutaz were still required to keep their distance from each other, a tradition they mostly ignored. They weren’t trying to anger their relatives; this formal celebration period just felt like another barrier to being together.

Finally, they had a party with hundreds of guests. Wafa wore a white, sparkling off-shoulder dress with a sheer cape. Moutaz wore a black tuxedo, his beard shaved close, and a dapper chain clipped to the vest. Their initials hung on the wall in huge gold letters, the W and M intertwined. They went back to a hotel afterward, without secrecy or shame.

They had agreed to write their own vows, but to read them privately. In the hotel, Moutaz pulled out a sheet of paper. To her horror, Wafa realized she had forgotten to write hers.

“He was like, ‘babe, you crossed the ocean for me,’” she recalls, smiling. “‘That’s your vow.”’


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* * *

As Solenn Al Majali points out, Wafa and those like her, whose families have emigrated to escape violence, make up a small and privileged minority of Yemeni citizens. Most remain stuck in Yemen. 

Bordered by only two countries, neither of which is accepting refugees, Yemen remains geographically isolated. Saudi Arabia, Yemen’s neighbor, has been a main player in the conflict. The United States and other Western countries have supplied Saudi Arabia with weapons, tactical assistance, and training. The bombs that fall on Yemen are American-made. In turn, Iran has given some tactical and financial support to the Houthi rebels.

For those who remain, safety has shattered. The United Nations has found that all parties in Yemen share responsibility for war crimes, including “arbitrary deprivation of life, enforced disappearances, arbitrary detention, gender-based violence, including sexual violence, torture,” and more. Children are greatly at risk for death in airstrikes, but also from common childhood diseases and hunger, for which there is limited medical assistance. Saudi and United Arab Emirates blockades of the ports where Yemenis import food have created famine conditions. According to UN Secretary-General António Guterres, “More than 16 million people are expected to go hungry [in 2021]. Nearly 50,000 Yemenis are already starving to death in famine-like conditions.”

Back in Yemen, she faced physical risks unimaginable in Oregon — but she also had a sense of worth and belonging. She wondered if the two of them could make a life in Sana’a. Could survive, with just each other.

Before leaving office, the Trump administration designated the Houthis as terrorists, making international aid delivery trickier. While the Biden administration has reversed this decision and pledged to end support for the conflict, it remains to be seen how much they can disentangle themselves from Saudi allies.

For many Yemenis, the conflict no longer seems to have a foreseeable end. The civil society they knew is gone. There is only endurance and the slender hope of escape. For Moutaz, that hope is Wafa: “She always find[s] a way out,” he told me.


 

* * *

In the past, Yemen had coffee shops where people could gather and chat. There were seaside towns with beaches along the Indian Ocean. Men chewed qat at house parties, sharing the news. Ancient rammed-earth buildings were beautifully inlaid; brick minarets and winding stone streets were part of a long, proud history of Arab culture, from the Queen of Sheba to rare Islamic manuscripts.

“I keep that beautiful image for my country inside me,” Susan Kassim says.

When she flew back for her daughter’s wedding, the first time she’d been home in five years, her beloved Yemen had been transformed by war. The seaside towns where she had vacationed were destroyed. Community institutions struggled to operate. Buildings had been destroyed in aerial bombing campaigns, leaving swaths of ancient cities in ruins. The highway between Sana’a and Aden, formerly a brisk six-hour drive, was blockaded, forcing her to endure the same harrowing mountain journey her daughter had taken. More than anything, the guns scared her. Armed men patrolled the streets and stopped cars. There was no government, only martial law.

“But people there, they accept the reality. They are not afraid,” says Kassim. Her local relatives teased her that living in the U.S. had made her soft. “And I say no, it’s normal to be afraid. This is horrible.”

To her newlywed daughter and son-in-law, however, the summer of 2019 was bliss. They seemed so elated, Susan asked if they had been taking drugs.

“I’m like, ‘everything is perfect,’” Wafa says. Airstrikes hit a building nearby, and the couple slept through it. 

Being together had made them immune to fear — or perhaps it was a deliberate blindness. If they paid attention to the reality of their situation, they could see the precarity of it all. Wafa only had six months of travel allowance before she had to go back to the U.S. Despite court battles, Trump’s travel ban still stood in modified form, and visa processing for Yemeni citizens had ground to a near-halt.

For many Yemenis, the conflict no longer seems to have a foreseeable end. The civil society they knew is gone. There is only endurance and the slender hope of escape.

Ten days after the wedding, Moutaz got called back to work. Every six months to a year, he was given a new project-based contract by an NGO. He traveled outside the city to small villages, interviewed tribal communities about their needs, and attempted to provide infrastructure: bathrooms, running water, menstruation products, housing. The work fulfilled him, but it was dangerous. Soldiers often stopped his car, demanding to see travel authorization and receive bribes. He would make a few phone calls, and he could keep driving. But Wafa worried about a time when his answers didn’t satisfy them, when his bribe was insufficient, when he didn’t come home.

“It’s living without a government. It’s crazy I would say, because nobody is held accountable at all,” she says.

Moutaz didn’t have much choice. Humanitarian work, paid for by foreign NGOs, was basically the only viable income in Yemen in 2019. Government officials were paid sporadically; teachers had worked for years without pay; private businesses had suffered from ongoing power outages, infrastructure damage, and a shrinking economy.

He knew the risks. This is war, he figured; to survive, Yemenis have to support each other. Against those who threatened his safety, he bowed his head, then persisted. Mostly, he refused to be afraid — a form of defiance that Wafa tried to imitate, especially when her mother begged her to return to Oregon.

“It broke my heart to leave her in that situation that I saw with my own eyes,” says Kassim. Other than official wedding events, Kassim had refused to go out of the house for most of her visit, refused to acknowledge the changed city. She flew home, hopeful that she would reunite with Wafa at the end of the allotted six months.

Wafa wasn’t sure. She felt like she was living in an alternate reality: “We don’t have gas. So what? We walk. We don’t have electricity, so what? We have candles.” 

As the day of her U.S. flight approached, Moutaz refused to say whether he thought she should go. He wanted the decision to be hers. Once, when she woke in the middle of the night, he was sitting up in bed, tearing up. He would miss her, he said, but he felt relief knowing she would be somewhere safe. “So I’ll just trust you,” he told her.

She considered staying. Like so many emigrants, her heart was torn between her old home and her future in the U.S. In the end, she left Moutaz and was allowed back into the United States.

* * *

Love can blind us to reality, binding us only to our beloved — a person, a nation, a memory. We might refuse to see danger, or turn away from transformation, because to acknowledge the horrors of the world would be to betray a beloved relationship. We want to ignore everything except that sweetness.

No matter where we live, we take refuge in those we love. They shelter us, protect us, comfort us. When those people live far away, the best we can do is pretend. We wrap their late-night texts and dropped phone calls around us like a blanket, and rapt in a combination of memory and expectation, we close our eyes.

But love can also clarify. For many families separated by national borders, there are hopes of happy endings, but no illusions. Brokenheartedness can become a kind of resting state, which isn’t to say it hurts less — simply that it becomes a kind of ever-present harm. And as anyone who has ever hurt before knows, pain wakes us up. It focuses us, fixes us to the present moment. For some, the pain becomes a kind of a beloved, a stand-in for the real thing. For others, like Wafa, it becomes an itch you can’t stop scratching.

* * *

Wafa struggled to readjust to the U.S. A six-month newlywed, she felt more like a widow. Reckless, angry, she started graduate school and also a full-time job. She was trying, she thinks, to numb herself with endless work.

It wasn’t just missing Moutaz. Going home also meant resuming a role as an immigrant, rather than a citizen. It meant accepting a status shift that she hadn’t realized she resented so much.

“Back in my country, I live in a villa. I have a driver. I have people that do shit for me. Yet when we move here, people don’t know that. We start from zero,” she says. “It hurts … I’m this established person back home, yet here I’m irrelevant.”

That pain had started early. During her own emigration process in 2015, she had flown to Algeria for an interview at the U.S. Embassy. As the passengers disembarked, an officer in the airport asked who was a Yemeni citizen. Without further questions, he told them to get back on the plane and fly home.

“Just having the idea that an officer has the power to kind of humiliate me, target me, and say, ‘just go back to your country,’ I can’t go through that again,” she says. “If I ever have a child, I never want them to get the feeling that [they] are nothing.” 

Wafa wanted to give Moutaz the safety and freedom of the United States, but she increasingly wondered if the process was worth it. Back in Yemen, she faced physical risks unimaginable in Oregon — but she also had a sense of worth and belonging. She wondered if the two of them could make a life in Sana’a. Could survive, with just each other.


 

* * *

She had four brand-new iPhones in her bag, including two for the man with the ghost ticket. She dialed him when she landed in Cairo, but he didn’t respond. Airport security took her passport, and she had no ticket forward. 

It was July 2020. COVID-19 had transformed the world, including immigration routes. Countries tightened their borders, citing health and safety concerns. One of two routes to Yemen, through Amman, Jordan, closed down. Traveling through Egypt remained the only way back.

Wafa had a ticket to Cairo, and no farther. And now she was stuck in the Cairo airport with no passport.

After eight months of separation, she was trying to get back to Moutaz. She had quit graduate school, thrown herself into work at a bank, and saved her money. She applied for U.S. citizenship. Trump was still president, the travel ban was still in place, COVID had changed the rules, but she had to see her husband again.

If you could die from an airstrike, there was no time for distress about a virus. It raged, invisible, behind the more immediate dangers of war.

Following a nebulous web of diasporic Yemeni connections, she contacted a man named Khalid in Egypt. He strung her along for a week, promising a ticket in exchange for large amounts of money. Reckless and desperate, she agreed: “This is my last paycheck. I’ll just spend it all and go to zero balance.” She sent him $750 to buy her a Cairo-Aden ticket.

The limited flights from Cairo to Aden were coveted by Yemeni migrants living in Egypt. Over 500,000 Yemenis live in Egypt, according to the Yemeni Embassy in Cairo, more than a 700% increase from before the war. They often come to Egypt or Jordan on two-month visas for medical necessity and remain, applying for refugee status. Many see Egypt as a temporary refuge. They are often stranded in legal limbo, hoping for resettlement, but not recognized as refugees by the United Nations for geopolitical reasons, says Solenn Al Majali. As such, they have little access to resources like jobs, schools, or humanitarian assistance.

Wafa’s class and nationality privilege did not endear her to those she contacted: “I am a lady living in the U.S. trying to go to Yemen, when they [Yemeni refugees] are freaked out.” The people she spoke with had more pressing issues than leisure travel. They were worried about paying rent, buying food, and finding employment. Wafa understood their bitterness.

A few days later, Khalid created a ghost ticket: It looked like a real flight but did not guarantee her a seat on the plane. She would have to trust that someone would cancel so she could fly standby. In exchange for the ghost ticket, he asked her to bring two iPhones to his relatives in Sana’a.

If her first time going back to Yemen had been inadvisable, this time was worse. COVID-19 had killed several members of Wafa’s Yemeni family, including three relatives in a month. People had worn masks for perhaps the first month of the pandemic; after that, a mindset of numbness took over. If you could die from an airstrike, there was no time for distress about a virus. It raged, invisible, behind the more immediate dangers of war.

Wafa flew to Cairo in July, having spent the last of her money, clutching the ghost ticket like a talisman. After a few terrifying hours, airport security returned her passport, and Khalid texted her a link — for a real ticket to Aden.

* * *

Wafa had been in Sana’a for four months when it came time for Mawlid, the birthday of the Prophet. A traditional Islamic holiday, the 2020 Mawlid celebrations took a different turn. The city was bright with lights (Where did this money come from? Wafa wondered). The Houthis paraded tanks through the streets, and soldiers stood on every corner.

“I felt like they came out of a grave. They had guns and they had paint of green all over them,” she says. The soldiers frightened Wafa; to her, it wasn’t a celebration, but a show of military force. She was beginning to see how deeply the war had infiltrated everyday Yemeni life. Last summer’s newlywed blinders were finally off.

Airstrikes hit a building nearby, and the couple slept through it.

There were other signs of change, too. In 2019, Moutaz and Wafa had gone out to coffee shops and enjoyed their favorite snacks in the markets. Now, even married women and men could not associate on the street. Nonprofit work had become more difficult, as the Houthis refused NGO authorizations; Moutaz found himself unemployed for long periods. Due to a Saudi embargo, there was no fuel except at exorbitant black market rates, so they couldn’t drive anywhere. They stayed in their apartment and watched TV.

After the wedding, they had considered staying together in Yemen. A year later, that life seemed impossible. Wafa told Moutaz, “I can’t have a family here where education is corrupted. They teach kids what they want them to know, and it’s all about sacrifice, sacrificing themselves, and it’s just toxic. People don’t have dreams.”

Moutaz knew his wife would not survive long in Yemen. She had always been too big, too bold, too unwilling to follow the rules. Even if she ducked political trouble, her spirit would wither from the restrictions on daily life. He saw it happening already, in the shrinking of their ambitions: Find food. Find a good movie to watch, and an internet connection to watch it.

She told him, “I wanted to go into politics. I wanted to go into law school. I had dreams. But I don’t have dreams here because there’s not even space for dreams.”

* * *

As of winter 2021, Wafa is back in Oregon. Rain falls softly and constantly on the pavement outside. Home is no longer where Moutaz is, as she once thought. Home is the state of waiting, of not acting on her worst impulses to scream in frustration and cause a huge fuss and fly back to him.

The easy route would be to give up on the U.S. Move to Egypt together, or Jordan. Make a new life. The harder, lengthier, more painful route is continued separation. Despite her desire to be with Moutaz, she has chosen not to give up, because his future is more important than her own immediate happiness.

“I want him to have an opportunity to get out and see the world, or just have the power to choose,” she says. 

She wants to give one thing to him and their future children: a U.S. passport. She never wants them to be humiliated, or trapped, or in danger because of their papers. She wants to give them the space to dream.

For them, love has become a kind of defiance of boundaries, borders, and rules. Separated for years, they search for ways back to each other.

He, too, wants more. He doesn’t want to apply every three months for a new NGO job and then face another bout of unemployment. He doesn’t want to take another application test on his Excel skills, or endure invasive background checks, or bribe armed militants on his way to get villagers clean water. He wants to work in engineering, but more importantly, he wants to be his own boss, set his own hours, have power over his future. He wants to see Wafa smile.

“Your smile is the best thing [to] happen in the universe,” he wrote her in a message. 

Does love always resolve? Perhaps a cross-border relationship is less about cathartic reunion than the slow, patient intention to help someone else find joy. Like Wafa, Moutaz says migration is about the fight for his partner’s dreams. National policies may require a shift in how we imagine our futures, but they cannot negate the audacity of wanting a loved one to be safe and happy.

Perhaps love means deferment. Or the refusal to defer. Or the unshakable belief that someday, you’ll walk together to get coffee, as if it were the simplest thing in the world.

* * *

Caitlin Dwyer is a writer from Oregon. Her writing has appeared in Longreads, Narratively, Creative Nonfiction, The Los Angeles Review of Books, The Rumpus, Quartz, and Oregon Humanities, among others. She holds an MA in journalism from the University of Hong Kong and an MFA from the Rainier Writing Workshop. She also hosts the podcast Many Roads to Here and teaches at Portland Community College.

Editor: Cheri Lucas Rowlands
Fact-checker: Nora Belblidia

Judge a Book Not By its Gender

Illustration by Carolyn Wells

Lisa Whittington-Hill | Longreads | May, 2021 | 29 minutes (7,916 words)

I blame Drew Barrymore for two things: the amount of money I have spent on celebrity memoirs and an unfortunate attempt to dye my hair platinum blonde in 1993, inspired by Drew’s locks in a Seventeen magazine Guess Jeans ad.

Little Girl Lost, Barrymore’s 1990 account of growing up as a child star in Hollywood, was my first celebrity autobiography. It ignited my love of celebrity memoirs, especially those by women. My dog-eared copy has survived numerous book purges and cross-country moves. I am not alone in my appreciation for it. The coming-of-age tale was a New York Times bestseller and although the book is now out of print, it has achieved cult-like status. It was even the subject of a 2018 New York Times Magazine Letter of Recommendation.

Barrymore was just 11 months old when she got her start in a television commercial for Puppy Chow. At 7 she starred as Gertie in Steven Spielberg’s blockbuster 1982 film E.T. and that same year became the youngest person ever to host Saturday Night Live. Barrymore’s drug and alcohol use began shortly after E.T. phoned home. The first time she got drunk she was 9. Barrymore started smoking weed at 10 and by 12 had moved on to cocaine. The actress entered rehab at 13; during her second stint in rehab she completed Little Girl Lost, which was published when she was just 16.

Barrymore’s drug and alcohol use began shortly after E.T. phoned home.

Gossip and juicy stories about nightclubbing with Jack Nicholson definitely make for a good read, but what initially drew me to the book was that Barrymore wrote it to counter stories about herself in the National Enquirer. “[I]magining the godawful headlines — ‘Drew Barrymore Cocaine Addict at Twelve Years Old’ or ‘Barrymore Burns Out in Teens’ — and the impression people would get of me was all my worst possible fears come true. I would’ve been the last person on Earth to deny my problems, but I wanted to have the option of confessing them,” Barrymore writes in Little Girl Lost. She wanted to come clean on her own terms. Barrymore’s desire to control her own life story compelled me to read the book and has made me return to it over the years.

Barrymore wanted to redirect her life’s narrative and that’s a popular reason why celebrities embrace the genre, but it is not the only reason. Some stars write their book to revive a stalled career and return to the limelight. For others, memoirs extend their 15 minutes of fame. This is a popular motivation for reality show stars. (Will you accept this rose and this six-figure book deal?) Memoirs also settle old scores. In André Leon Talley’s The Chiffon Trenches: A Memoir, the fashion journalist and former Vogue creative director works through his issues with Vogue editor Anna Wintour. Memoirs can also promote the brand a star has built around their celebrity. Reese Witherspoon’s Whiskey in a Teacup, which markets the star’s Southern Lifestyle to y’all, or any book from one of Queer Eye’s Fab Five are great examples.

For readers, celebrity memoir appeal lies in the juicy gossip and name dropping, and the chance to peek inside and live, if only for 500 pages, the glamorous lifestyles of the rich and famous. Social media, reality television, celebrity gossip blogs, and the popularity of TMZ-style tabloid journalism have created an insatiable desire to know more about our favorite celebrities. Celebrity memoirs help fulfill this desire. Sometimes, unfortunately, we learn a little too much about our favorite stars. After reading Carrie Fisher’s The Princess Diarist, her third memoir, I am unable to watch Star Wars without thinking about all the coke Fisher said was consumed on set. I imagine the film’s stars hollowing out lightsabers to use like giant straws to blow rails with. (That’s not how the force works!)

While it’s easy to dismiss celebrity memoirs as guilty pleasure reads or unworthy of serious literary consideration, you cannot deny the genre’s popularity. One of the bestselling celebrity memoirs of all time, former first lady Michelle Obama’s 2018 release, Becoming, is still on the The New York Times bestsellers list and has sold more than 10 million copies. Recent months have seen new books from everyone from singer Mariah Carey to actor Matthew McConaughey to soccer star Megan Rapinoe. Celebrity memoirs are big business and we have Rolling Stones co-founder and guitarist Keith Richards to thank for that. His bestselling memoir Life was published in October 2010 and more celebrity autobiographies were published in the four years that followed than had been in the previous 15.

Life, for which Richards received a $7 million dollar advance, sold over one million copies in its first year. Following the success of Life, memoirs by male musicians from Duff McKagan to Steven Tyler were all bestsellers and it is not just men penning the hits. Remember when we all got together and decided women were funny after Bossypants came out? Tina Fey’s 2011 bestselling memoir preceded an onslaught of popular memoirs by funny ladies, including Mindy Kaling’s Is Everyone Hanging Out Without Me? (And Other Concerns) and Amy Poehler’s Yes Please.

***

Since first reading Little Girl Lost at 20, I have devoured memoirs by female celebrities from punk singer Alice Bag’s Violence Girl: East L.A. Rage to Hollywood Stage, A Chicana Punk Story to Jersey Shore star Snooki’s Confessions of a Guidette. I’m interested in how women write their stories, what they leave out, what they focus on, and how much of what they reveal is a reaction to the image of them we have from watching their movies or listening to their music or seeing them stumbling out of nightclubs in Us Weekly.

“How do we edit our life into a decent story? That’s the rub with an autobiography or memoir. What to reveal, what to keep hidden, what to embellish, what to downplay, and what to ignore? How much of the inner and how much of the outer?” says punk icon and Blondie lead singer Debbie Harry in her 2019 memoir, Face It, of a process that is scrutinized and critiqued much more if, like Harry, you’re a woman.

I’m interested in how women write their stories, what they leave out, what they focus on, and how much of what they reveal is a reaction to the image of them we have from watching their movies or listening to their music or seeing them stumbling out of nightclubs in “Us Weekly.”

And while there is no shortage of male celebrities spilling their guts all over my poorly constructed Ikea bookshelf, the fact that they share shelf space with celebrity memoirs written by women is about all they have in common. When it comes to celebrity memoirs there’s a distinct gender bias in everything from how the books are marketed to the type of topics female celebrities are expected to write about and the amount of themselves they are expected to expose to sell books.

The gender divide bias becomes even more problematic, and downright depressing, when you read the reviews and see how critics and the press receive female celebrity memoirs. Rather than celebrate women and their amazing stories, reviewers revert to stereotypes and tired clichés and, in the process, miss the actual story. Women can spend chapters talking about their accomplishments, their awards, and their accolades and reviewers will still only focus on the sex, the scandal, and the bombshell reveals that are expected from female-penned celebrity memoirs if they want to actually sell books. From memoir titles to book blurbs, when it comes to celebrity memoirs by women, sadly, we haven’t come a long way baby.

 

***

Debbie Harry’s Face It was one of the most anticipated celebrity memoirs of the recent past. In the book, Harry chronicles everything from her adoption at only 3 months old, to her days in the hippie band Wind in the Willows and all-girl group the Stillettos, to forming both Blondie the band and Blondie the persona. For Harry, Blondie was very much a character she played, one inspired by the “Hey, Blondie!” catcalls she received from construction workers after bleaching her hair, as well as the 1930s Blondie comic strip character who was a “dumb blonde who turns out to be smarter than the rest of them.” Marilyn Monroe was also an inspiration; Harry describes Monroe as “the proverbial dumb blonde with the little-girl voice and big-girl body,” who despite her appearance has “a lot of smarts behind the act.”

Face It also covers Harry’s acting in films like Videodrome and Hairspray, her time training as a professional wrestler for a role in the Broadway play Teaneck Tanzi: The Venus Flytrap, as well as her activism and philanthropy work. (Fun fact: She was almost Pris in Blade Runner, but her record company made her turn it down.) There is certainly no shortage of great material for reviewers to discuss. Unfortunately, they responded with the same tired sexist tropes that greet memoirs written by women.

“In her memoir, Debbie Harry proves she’s more than just a pretty blonde in tight pants,” read the headline on The Washington Post’s review of Face It. The headline was later changed to, “In her memoir, Debbie Harry gives an unvarnished look at her life in the punk scene” after social media responded less than kindly to the sexist headline choice. The Washington Post admitted they botched the headline and appreciated the feedback, but the headline was not the review’s only problem.

The review opens with: “Even if Debbie Harry, of the band Blondie, isn’t to your taste—her voice too smooth, her sexiness too blatant, her music too smooth—you can’t dismiss certain truths about her.” While this sentence is a great example of disdain, it is not a great review opening. I read Bruce Springsteen’s 2016 memoir Born to Run at the same time as Harry’s and tried to imagine the Post opening a review of Springsteen’s book in the same way. To be fair I do find his sexiness far, far too blatant.

So how does the Post open Springsteen’s memoir review? “Why, one might ask, would Bruce Springsteen need to write an autobiography? Haven’t we been listening to it for the past half century? Hasn’t he been telling us his story all along?” says Joe Heim in the review’s first paragraph. Springsteen, a talented songwriter, has already shared so much through his music, what more could he be required to give us? It is okay if you want to sit this one out Bruce, I have heard Atlantic City, and do not require any further emoting from you at this time.

The Post’s review of Face It just goes from bad to worse, with criticism that Harry “sometimes comes across as self-interested” to a focus on the more sensationalist aspects of her story like sex and drugs. (This is an autobiography, right? I didn’t see them complaining about the 79 chapters in Springsteen’s book.) “She had a hookup with an Andy Warhol protégé in a phone booth in Max’s Kansas City and began what she blithely calls ‘chipping and dipping’ in heroin,” reads the review. The Post points out that “Harry is quite explicit in her descriptions of her drug use and sex life,” which they seem to interpret as permission to exploit the more sensationalistic aspects of her life and use them as a focal point in their review.

The review also offers a great example of how media likes to promote and celebrate the idea of women as trailblazers, praising Harry for being candid about the realities of being a female musician (an “unvarnished look”), while also painfully reinforcing the realities of being a female musician by using a sexist, stereotypical headline that focuses only on Harry’s appearance and sex appeal.

Control is a central theme of Harry’s book, whether it be of her image, her band, or her art. Early in the book Harry recounts a record company promoting Blondie’s first album using posters with an image of her in a see-through blouse, despite early reassurances that the posters would only feature headshots and would include all band members. She was not happy with the marketing decision, saying, “Sex sells, that’s what they say, and I’m not stupid, I know that. But on my terms, not some executive’s.” And while doing things on her own terms is a source of pride for Harry, reviewers have a serious problem with it.

For Harry control empowers, for memoir reviewers it threatens. “You can’t control other people’s fantasies or the illusion they’re buying or selling,” says Harry early in Face It when talking about people having posters of her on their bedroom walls. While Harry resigns herself to her lack of control, reviews of her work never want to relinquish theirs. Harry’s insistence on doing things on her own terms is panned by reviewers who call her guarded and closed off.

Reviewers want to read a book by a female celebrity and have her completely figured out by the last page. “[W]hat’s a memoir for, if not to pull back the curtain and check out the lady who is pushing the buttons?” asks Harry in Face It. But when the curtain doesn’t pull back as much as reviewers want, they become resentful, sullen, and offended, reacting with “how dare you?” to any resistance on the part of the woman to give them everything they want, every piece of her. The Atlantic’s review reads almost like it’s giving Harry permission to tell her story on her own terms, saying “holding back is an understandable maneuver for someone who’s been stared at so much.”

One way or another, the reviewers keep the sexist treatment coming when discussing Face It. The Guardian was also annoyed that Harry did not give enough of herself in the book. “It’s a shame that Harry passes up the chance to dig deeper into her experiences of objectification and the nature of fame, but more disappointing is that we learn so little about her interior life, and how she really thinks and feels.” I guess talking about being raped at knifepoint by a stranger is not enough for the reviewer. What’s with the heart of glass Debbie? Give us more of your pain! And on page five, not 105!

I guess talking about being raped at knifepoint by a stranger is not enough for the reviewer. What’s with the heart of glass Debbie? Give us more of your pain! And on page five, not 105!

The headline of Rolling Stone’s piece on Face It highlights how Harry’s book “looks back on what she learned from Andy Warhol and David Bowie.” The media loves to position women in relation to the men in their lives as if the only way we can understand work by women is in the context of the men who orbit them. Despite writing 368 pages about herself, according to Rolling Stone, the only interesting thing about Harry is the famous male company she kept.

The New York Times continues the tired pop culture gender bias with a review that manages to make it all the way to the fourth paragraph before it mentions her age. It also talks about the number of memoirs by female rockers being released at the same time as Harry’s book. (“[T]here’s a bit of a pileup of female rockers getting reflective this season.”) I smell a trend. Ladies, they be writing! The review mentions the fact that Harry’s “face is unlined” and talks about her “crisp red collared blouse with white polka dots and red leggings.” I think Bruce was wearing the exact same thing when they wrote their piece about him and Born to Run. How embarrassing.

Two weeks after Face It came out another musical icon released a memoir. Me by Elton John covers the singer’s childhood in the London suburb of Pinner, his early musical days in Los Angeles, his songwriting partnership with Bernie Taupin, successful solo career, and marriage and family with husband David Furnish. Keen celebrity memoir readers might also be quick to point out that the title of John’s memoir is the same as that of actress Katharine Hepburn’s. Is there anything men will not just unapologetically lay claim to?

The review mentions the fact that Harry’s “face is unlined” and talks about her “crisp red collared blouse with white polka dots and red leggings.” I think Bruce was wearing the exact same thing when they wrote their piece about him and “Born to Run.” How embarrassing.

While Rolling Stone’s book review name-checked Harry’s famous male friends in the headline, not surprisingly, John’s does not. “Elton John’s Me Is A Uniquely Revealing Pop Star Autobiography. The long-awaited book covers his hard childhood, struggles with addiction and road to recovery.” It ends with “Elton has never been one to hold back difficult truths, and Me — while a little skimpy on revelations about his brilliant, ground breaking music — is essential reading for anyone who wants to know the difficult road that he walked while creating it.”

Entertainment Weekly’s description of Me is also glowing: “While Me is as colorful as you’d expect from an artist famous for his outlandish stage costumes and outsize temper tantrums, it is also so much more than simply a dishy sex, drugs and, rock ‘n roll tell-all.” The Entertainment Weekly review shows that when it comes to male celebrity memoirs there may be sex and drugs, but no review should reduce their work to just these scandalous and juicy elements.

Can you feel the love tonight? Not yet? Never fear, here comes The Guardian to continue the praise. Their review opens with, “Choosing one’s favourite Elton John story – like choosing one’s favourite Elton song – can feel like limiting oneself to a mere single grape from the horn of plenty.” Reading reviews of the book you have to wonder if John is still standing because he is unable to sit down from all the ass kissing. The Daily Mail calls it “the rock memoir of the decade” while for The Washington Post it is an “unsparing, extravagantly funny new memoir” and “bracingly honest.” It’s hard to find criticism and scrutiny in the reviews of John’s work because there is not much negativity. John’s book is not better than Harry’s; in fact, I think Harry’s is much stronger. She’s more self-aware and can deconstruct the misconceptions and preconceptions that fans, the media, and other musicians have of her.

Can you feel the love tonight? Not yet? Never fear, here comes “The Guardian” to continue the praise.

“You think you’re being difficult, my little sausage? Have I ever told you about the time I drank eight vodka martinis, took all my clothes off in front of a film crew, and then broke my manager’s nose?” he writes of being a father reacting to his son’s temper tantrums. There are plenty of stories about famous friends like Stevie Wonder, Yoko Ono, John Lennon, Andy Warhol, and Neil Young. The anecdotes leave readers feeling like they never get to peek behind the shiny veneer of the celebrity that is Elton John. At times it’s all surface and that’s fine, but reviewers do not criticize him for it in the same way they would if he were a woman.

John’s book reviews do talk of his well-documented addiction to cocaine (“If you fancy living in a despondent world of unending, delusional bullshit, I really can’t recommend cocaine highly enough,” he writes), but they are quick to follow it up with redemption stories, which is a standard formula in memoirs written both by and about men.

“Now that he’s sober, there’s the more conservatively dressed, happily married elder statesman of British pop, a proper establishment figure,” writes The Guardian. Not only do they give him a redemption arc and treat his addiction very much like a phase, but they also give his addiction issues a free pass, writing “while his extraordinary talent justified his personal excesses, it is his self-awareness that has counterbalanced the narcissism and made him such a likable figure.”

***

Redemption comes up often in male celebrity memoir coverage, but examine the media’s reaction to another celebrity memoir and it becomes painfully clear that this narrative is strictly for the boys.

Actress, producer, and director Demi Moore’s memoir Inside Out was released a few weeks before John’s. Moore and her book were soon all over the media and it was not for her redemption story. Like John, Moore struggled with addiction, but unlike John the media never lets her forget it, along with other parts of her story.

“Demi Moore drops shocking revelations about Ashton Kutcher, sexual assault and sobriety,” reads the headline of an L.A. Times piece about the memoir. The story proceeds to break down Moore’s childhood pain, her miscarriage, Ashton Kutcher cheating on her, and her struggles with alcohol and drugs.

Unlike In Touch Weekly, they skipped the “Ashton and Bruce Are in Good Places Too” sidebar because like with Debbie Harry, we cannot talk about Moore without mentioning the famous men in her life. More than one review talks about how Willis and Kutcher must feel about Demi airing their dirty laundry. Was Bruce mad? What does Ashton really think? Dude, where’s my sound bite?

Entertainment Weekly’s piece ran with the headline, “Celebrities react to Demi Moore’s revealing memoir Inside Out. From Jon Cryer’s affectionate follow-up to Ashton Kutcher’s cryptic non-response.” They forgot to add “male” in front of “celebrities” though as all the celebrities quoted in the piece were men. Also, if one more reviewer mentions how great Moore looks for her age, I will make them watch that awful scene in St. Elmo’s Fire where Rob Lowe’s character passionately details the origin story of St. Elmo’s Fire while performing pyrotechnics with a can of aerosol hairspray and a lighter on repeat until they beg me for mercy.

Also, if one more reviewer mentions how great Moore looks for her age, I will make them watch that awful scene in “St. Elmo’s Fire” where Rob Lowe’s character passionately details the origin story of St. Elmo’s Fire while performing pyrotechnics with a can of aerosol hairspray and a lighter on repeat until they beg me for mercy.

Most of Moore’s memoir coverage focused on the tabloid aspects of it. Read the headlines to see if you can spot a trend and how many you can read before you want to just set shit on fire (you can borrow Rob’s aerosol can).

“7 Biggest Bombshells From Demi Moore’s Explosive Memoir” (accessonline.com)

“Demi Moore: 8 Biggest Bombshells From Her Memoir Inside Out” (popculture.com, also, take that accessonline.com)

“Demi Moore’s raw Inside Out reveals rape, why marriage to Ashton Kutcher crumbled” (USA Today)

“Demi Moore Gets Real About Her Painful Childhood, Drugs, Ashton Kutcher and Other Exes in New Book ‘Inside Out‘” (Stay classy, Us Weekly)

“Why Demi Moore Fulfilled Ashton Kutcher’s Threesome Fantasies” (E! Online)

The unfortunate thing about these headlines, which would be vastly different if they were referencing a man’s memoir, is that, like Harry, they reduce Moore’s story to only its most scandalous and juicy elements. Moore got her acting start in 1981 as Jackie Templeton on General Hospital (Luke and Laura forever!), the number one show on daytime television at the time. She followed that up with roles in films like the Brat Pack bonanzas St. Elmo’s Fire and About Last Night.

Then she got what many, including Moore, consider to be a turning point in her career. “This could be either an absolute disaster, or it could be amazing,” she writes of reading the script for Ghost, which ended up being a big hit in 1990, grossing over $500 million. It was nominated for five Oscars and four Golden Globes, including a Golden Globes best actress nomination for Moore.

Moore followed the success of Ghost with A Few Good Men, Indecent Proposal, and Striptease, a film for which she was offered over $12 million, an amount no other woman in Hollywood had ever received. Moore became the highest paid actress in Hollywood. “But instead of people seeing my big payday as a step in the right direction for women or calling me an inspiration, they came up with something else to call me: Gimmie Moore.” It is worth noting that at the time her husband Bruce Willis had just been paid $20 million for the third Die Hard movie. (Yippee ki yay indeed!)

“She became a movie star in this time where women didn’t naturally fit into the system,” said Gwyneth Paltrow, a friend of Moore’s, in the The New York Times piece on Inside Out. “She was really the first person who fought for pay equality and got it, and really suffered a backlash from it. We all certainly benefited from her,” says Paltrow.

And while it pains me greatly to side with someone who talks a lot about vagina steaming, Paltrow’s right. Moore is an inspiration and fighting for equal pay in Hollywood should be one of the things the media focuses on when they talk about Inside Out, but, sadly, it is not. It is unfortunate that when Moore is discussed it is in the context of Ashton Kutcher and threesomes, at the expense of the many other empowering and interesting parts of her life.

And while it pains me greatly to side with someone who talks a lot about vagina steaming, Paltrow’s right. Moore is an inspiration and fighting for equal pay in Hollywood should be one of the things the media focuses on when they talk about “Inside Out,” but, sadly, it is not.

Remember her iconic Vanity Fair cover? Shot in 1991 by Annie Leibovitz when Moore was seven months pregnant with her second daughter Scout, it’s considered one of the most influential magazine covers of all time. Legendary Esquire art director George Lois describes it as, “A brave image on the cover of a great magazine — a stunning work of art that conveyed a potent message that challenged a repressed society.” Let’s talk about that!

Or her intense training for her role in G.I. Jane, a 1997 film Moore both starred in and produced. “I was emotionally invested in the story, the message and the provocative questions it raised,” she says of the film. The film was panned by critics and Moore talks at length in Inside Out about her disappointment at the reception to a project that meant so much to her.

The parts of the book where Moore talks about Hollywood’s double standard, whether it be the pay gap or reactions to the age difference between her and Kutcher, are some of the best parts of the book. Unfortunately, they are the parts covered least.

The last line of Inside Out is, “we all suffer, and we all triumph, and we all get to choose how we hold both.” It is a great line for a memoir to end on, but in Moore’s case, while she may get to choose how she holds both, the media will only ever focus on the suffer part.

There is the emphasis on opening up, on fighting, on bravery, on revealing — “Demi Moore Lets Her Guard Down,” reads The New York Times headline. This is the way memoirs by women are positioned and even if it isn’t explicitly spelled out, it has become the expectation so much so that when female celebrities don’t expose themselves completely they are resented for it. The reception to Harry’ book Face It offers proof.

***

Jessica Simpson released her memoir Open Book in February 2020. It reached number one on The New York Times bestseller list, but like Moore’s, Simpson’s book soon became tabloid fodder. “Jessica’s Shocking Confessions,” reads the headline on Star’s piece on the book, which focuses on Simpson’s struggles with drug and alcohol abuse and her famous exes from Nick Lachey to John Mayer. Like Moore, Simpson is now sober.

Simpson was signed to Columbia Records in 1997 at 17 as the label’s answer to Britney Spears and Christina Aguilera and went on to release six bestselling records. She also starred in the MTV reality show Newlyweds: Nick and Jessica, which featured Simpson and then husband and 98 Degrees singer Nick Lachey, who at the time was the more successful of the two. If you don’t remember Lachey from MTV you might know him from his recent gig hosting Netflix’s Love is Blind where he greets contestants with “Obviously, I’m Nick Lachey,” which seems to overestimate his place in both pop culture’s canon and our general consciousness.

Newlyweds, a ratings success, aired for two years and while it made the couple a household name, it was Simpson who stole the show with her ditzy, dumb blonde antics. Her confusion over whether Chicken of the Sea was chicken or tuna earned her a place in both reality television and pop culture history. The most interesting parts of Open Book are when Simpson talks about her reality television persona and the identity crisis it led to. “How was I supposed to live a real healthy life filtered through the lens of a reality show? If my personal life was my work, and my work required me to play a certain role, who even was I anymore?” she writes.

Open Book is Simpson’s attempt to distance herself from her Newlyweds role and change perceptions of her, a common reason people write memoirs. Some get it —“You Remember Jessica Simpson, Right? Wrong,” reads the headline on The New York Times piece about her memoir — but, unfortunately, most of the reviewers discussing her book don’t. Simpson has moved beyond her Newlyweds character. She’s built a billion-dollar fashion and licensing business and is a mom to three kids, but the media seem uncomfortable embracing Simpson in her new roles, preferring to keep her forever stuck in 2003, in her UGG boots and pink Juicy Couture tracksuit, confused about tuna.

Simpson has moved beyond her “Newlyweds” character. She’s built a billion-dollar fashion and licensing business and is a mom to three kids, but the media seem uncomfortable embracing Simpson in her new roles, preferring to keep her forever stuck in 2003, in her UGG Boots and pink Juicy Couture tracksuit, confused about tuna.

Simpson talks about the effect this identity crisis had on her and her struggles with her weight and body image, as well as her sexual abuse at age 6, and her addiction to alcohol and pills. She started to increasingly rely on alcohol during her relationship with Mayer in 2006, insecure that she wasn’t smart enough to date Mayer. My heart breaks when I think of Simpson wasting time worried about being the intellectual equal of the man who gave us the musical depth that is “Your Body is a Wonderland” and later referred to sex with Simpson as “sexual napalm.”

It is also troubling that after talking about how Mayer brought out her insecurities, the media thinks it is a good idea to focus on Mayer’s reaction to Open Book. I know you thought you were never good enough for this guy and that he was always judging you, so let’s get him to judge you some more by asking what he thought of your book!

***

Simpson’s attempts to challenge the dumb blonde perception of her are not the only example of a female celebrity going off script or off brand in their memoir and failing to give the media, and readers, what they want or expect. Singer and songwriter Liz Phair’s Horror Stories says “a memoir” on the front cover, but the book is more a collection of essays and stories by Phair than a straightforward linear memoir. Reviewers did not respond well to Phair’s artistic license with the storytelling form.

“It’s hard to tell the truth about ourselves. It opens us up to being judged and rejected,” Phair writes in Horror Stories and that may be one reason she chose to tell her story the way she did. Through stories about blizzards, blackouts (from lack of electricity, not drinking), marital infidelity, giving birth to her son, and getting dressed up to go to Trader Joe’s, Phair reveals a lot about herself and about identity, insecurity, fame, and regret. “In the stories that make up this book, I am trusting you with my deepest self,” she writes in the book’s prologue. Her deepest self just might be a bit harder to find for those fuck and run readers who are too busy complaining about the book’s nontraditional memoir style to actually read it.

Horror Stories does not talk a lot about her music, including Phair’s critically acclaimed, influential 1993 album Exile in Guyville. A song-by-song reply to the 1972 Rolling Stones album Exile on Main St., it was the number one album in year-end lists from Spin and The Village Voice and was rated the fifth best album of the 1990s by Pitchfork. “At the time, it was a landmark of foul-mouthed, comprised intimacy, a tortured confessional, a workout in female braggadocio, and a wellspring of penetrating self-analysis and audacity,” reads The New Yorker’s piece on the 20th anniversary of Exile in Guyville’s release.

“Frankness is Liz Phair’s brand. Her 1993 breakthrough album, the brilliant and profane Exile in Guyville, chronicled her post-college experiences in Chicago’s male-dominated music scene. Phair’s new memoir Horror Stories makes little mention of the album or her artistic life,” reads The Washington Post’s review. Remember how the Post thought that Bruce Springsteen did not need to write Born to Run because he had already revealed so much in his songs already? Why doesn’t Phair get the same consideration?

“Though there are anecdotes about flopping on live television and scrapping a record after learning of a collaborator’s abuse, the absence of concrete stories about Exile in Guyville is palpable,” writes Pitchfork. Just give us the hits, Liz! “Her relationship to music seems to have been the longest and maybe the most demanding love of her life, the one for which she has been willing to get lost, to fail, and to try again over and over for decades. Call me a selfish fan, but I have to say that is one story in all its horror and passion I would love to hear,” reads the review in The New York Times.

Reviewers spend so much time focused on what’s missing from Horror Stories that they miss what’s there. Well, maybe not all of what’s there. In chapter 14 of Horror Stories, called “Hashtag,” Phair writes about waking up one morning to headlines about the rock star who was supposed to produce her next album. Multiple women had come forward to accuse him of sexual harassment and emotional abuse. The FBI was also investigating him for exchanging sexually explicit communications with an underage fan.

Phair never specifically names Ryan Adams, but, in February 2019, seven months before Horror Stories was released, The New York Times broke the story about multiple women, including his ex-wife Mandy Moore, coming forward to accuse Adams of manipulative behavior, sexual misconduct, emotional and verbal abuse, and harassment.

In the chapter, Phair talks about her own experiences with sexual assault, sexual harassment, stalkers, and the sexism she experienced in the music industry. She writes about being instructed by a record label president to let radio programmers “feel her up a little” because it would help boost her career or about being told that she would never work again if she didn’t go along with sexy photo shoots. But her personal stories are not what the press focused on when she was promoting Horror Stories.

Phair was frequently asked about Adams and her experience working with him. “I don’t want every headline about this book that is so important to me to be about Ryan Adams,” she tells Entertainment Weekly. She becomes understandably annoyed with a male reporter from New York Magazine who asks her several questions about Adams, including one about his process as a producer. (I know when I hear about a man accused of sexual misconduct the first thing I wonder about is his artistic process.) “Out of everything in the book, why is the Ryan Adams thing such an interesting topic?” Phair asks him. “You’re not the only one singling out Ryan Adams as a hot talking point, and it’s sad. It does need to be talked about, but so do the larger issues.”

It’s unfortunate that Phair shares intimate details about herself, and her own experiences with sexual harassment and assault, and the media takeaway from that is that they don’t like the format of her book and would rather talk about the famous man in her life. Congrats on your book Liz, did Ryan ever send you inappropriate texts?

***

While Phair is criticized for not talking about what is expected of her in her memoir, men who follow the same course do not hear “how dare you?” The reaction to Acid for the Children, the 2019 memoir by Red Hot Chili Peppers bassist Flea (aka Michael Balzary), proves that.

Acid for the Children details Flea’s childhood growing up in Australia, his relationship with his older sister Karyn, his family’s move to the U.S. when he was 4, his first crush, how Kurt Vonnegut Jr. changed his life, and his love of basketball and the Sony Walkman. He talks about meeting Red Hot Chili Peppers lead singer Anthony Kiedis in 1976 at Fairfax High School, about learning to play bass, about his first band Anthym, about shooting coke and taking speed, his time in the California punk band FEAR, and about acting in the 1983 movie Suburbia. There are also lists of the concerts that changed his life, books that blew his mind, and movies that grew him. Lots of great material, right? You know what’s missing? Anything about the Red Hot Chili Peppers, the bestselling, Grammy-winning, Rock-and-Roll-Hall-of-Fame-inducted band he founded, plays bass in, and is most strongly associated with.

Flea’s book ends just as Tony Flow and the Miraculously Majestic Masters of Mayhem, what would later become the Red Hot Chili Peppers, play their first show at the Grandia Room in Los Angeles to 27 people in February 1983. This performance comes up on page 375 of the 385-page book. There’s no mention of the Red Hot Chili Peppers, his movie roles beyond Suburbia (My Own Private Idaho being one of his most famous), his role as a father of two girls, how he founded the Silverlake Conservatory of Music, or his work with other musicians from Thom Yorke’s Atoms for Peace to Alanis Morissette. (Flea played bass on “You Oughta Know,” her hit single from 1995’s Jagged Little Pill.)

The book is about Flea’s journey to the band, rather than with it. Surely, reviewers were as outraged by this omission, as they were when Phair failed to talk about Exile in Guyville in Horror Stories. It will not surprise you to know they were not bothered at all. Rather than focus on what was missing from Acid for the Children, the coverage focuses on what’s there and praise for it. Reviews focus on Flea’s gift and skill as a writer and fail to mention that if you want to dream of Californication, you will have to do that somewhere else. Reviewers can see, and appreciate, Flea as something other than just the bassist for the Red Hot Chili Peppers. There is a very distinct set of rules female celebrities writing their memoirs must follow. The more tell all, the more trauma and the more tabloid, the better. They are not free to write about what they want. They must bare it all, page after page. Men like Flea have the freedom to operate by a very different set of rules. He can leave his scar tissue out and reviewers have no problem with it. Book coverage focuses on Flea the writer, rather than Flea the bassist. This same courtesy, and basic level of respect, is never extended to women telling their stories. Female celebrities like Debbie and Demi are never just human beings writing about their lives. Reviewers are unable to abandon their preconceived notions, their ideas of who these women are, their celebrity personas and just see them as people who should be allowed to tell their stories their way.

“[H]e’s actually a lovely writer, with a particular gift for the free-floating and reverberant. He writes in Beat Generation bursts and epiphanies, lifting toward the kind of virtuosic vulnerability and self-exposure associated with the great jazz players,” reads the review in The Atlantic.

In an interview with Entertainment Weekly Flea said that his goal with Acid for the Children was that “it could be a book that could live beyond being a celebrity book or a rock star book and just stand on its own as a piece of literature.” I can only imagine the outrage if Debbie Harry wrote Face It and the book ended with, “And then I started this band Blondie. See you later!” Or if Demi Moore ended Inside Out with, “Then I got the part in this movie St. Elmo’s Fire. The end.” Or if Courtney Love wrote her memoir (please do this, Courtney) and the last page read, “And then I met this guy Kurt, but I have to go be the girl with the most cake now. Peace out.” The fact that Love and her accomplishments are forever tied to her husband is a whole other gender bias problem all together.

The book is about Flea’s journey to the band, rather than with it. Surely, reviewers were as outraged by this omission, as they were when Phair failed to talk about “Exile in Guyville” in “Horror Stories.” It will not surprise you to know they were not bothered at all.

Of course, Flea is not the first Red Hot Chili Pepper to give it away in a celebrity memoir. In 2004, lead singer Anthony Kiedis wrote Scar Tissue, a New York Times bestseller about his life, the Red Hot Chili Peppers, and his time in and out of rehab, as well as in and out of various women. If you have ever thought, “I bet Anthony Kiedis does well with the ladies but would really like to get a better sense of his success rate,” then this is the book for you. In his memoir Kiedis gets away with writing about debauchery, depravity, and drug abuse in a way that reads like a Behind the Music episode on steroids. (See any book by a current or past member of Mötley Crüe or Guns N’ Roses for a further look at this style.) A woman would never get away with writing about drugs like Kiedis does.

When women write about their addiction there’s an apologetic, self-aware tone male memoirs don’t have: “I know I am a drug addict, and I keep messing up, but I’m really sorry, and please stick with me cause I am gonna sort this out.” (See How To Murder Your Life by fashion and beauty journalist Cat Marnell and More, Now, Again: A Memoir of Addiction from Prozac Nation author Elizabeth Wurtzel, who passed away in 2020, for great examples of this.) Also, I would like to point out the blurbs on the backs of Scar Tissue by Kiedis and How To Murder Your Life by Marnell in case you still doubt there’s a gender bias when it comes to how celebrity memoirs are received.

“Hot Bukowski” —Rolling Stone on Marnell

“A frank, unsparing, meticulous account of a life lived entirely on impulse, for pleasure, and for kicks” —Time on Kiedis

Oh, and, if you’re reading this and in charge of greenlighting Red Hot Chili Pepper memoirs can you please get John Frusciante working on his? Frusciante is known for talking at length about both his connection to spirits (he might already have a ghostwriter!) and different dimensions and worlds. If there’s a book by a band member to be written this is the one.

It is also impossible to talk about Flea’s book without mentioning the title, which comes from the song by a band called Too Free Stooges. A man can get away with calling his memoir Acid for the Children, while a woman certainly cannot. I would like to see Demi Moore title her memoir Whippets for the Wee Ones and see how far she gets. If I look at memoir titles by women on my bookshelves there is Hunger Makes Me a Modern Girl, by Sleater-Kinney’s Carrie Brownstein, The Girl in the Back by 1970s drummer Laura Davis-Chanin, Girl in a Band by Sonic Youth’s Kim Gordon, and Not That Kind of Girl by actress and Girls creator Lena Dunham.

A man can get away with calling his memoir “Acid for the Children,” while a woman certainly cannot. I would like to see Demi Moore title her memoir “Whippets for the Wee Ones” and see how far she gets.

All the titles mention “girl” as if there is a need to announce that early on and get it out of the way, before the book has even been opened. Let us compare these with titles of the celebrity memoirs by dudes that I own. There’s Life by Keith Richards, Slash by Slash, The Heroin Diaries by Nikki Sixx, and In the Pleasure Groove by John Taylor. I do not know what the pleasure groove is, but I do hope it is also the name of the kick-ass yacht in Duran Duran’s “Rio” video.

***

Acid for the Children is not the only recent celebrity memoir by a man to resist the traditional memoir style and not receive criticism for it, although in the case of singer and songwriter Prince’s The Beautiful Ones, named for the song from Purple Rain, it’s understandable why it lacks the typical style of a life story given that its subject died just one month after the book’s publication was announced.

“He wanted to write the biggest music book in the world, one that would serve as a how-to-guide for creatives, a primer on African American entrepreneurship and a ‘handbook for the brilliant community,’” he told Dan Piepenbring, an editor at The Paris Review, who was writing the book with Prince. Notoriously private, to the point that reporters were not allowed to record their interviews, many were surprised Prince would want to write his life story at all. He wanted his book contract to state he could pull it from shelves if he felt the work no longer reflected him, which just seems like a very Prince thing to do.

Prince had completed just 30 handwritten pages before he died of an accidental fentanyl overdose on April 21, 2016. The pages detailed his childhood and his early days as a musician. Piepenbring returned to Prince’s Paisley Park compound months after the singer’s death to find additional material that could be used in the book. This material includes personal photos, drawings, song lyrics, and a handwritten synopsis of Purple Rain, Prince’s 1984 film that marked his acting debut. The addition of personal artifacts to round out the story means The Beautiful Ones is more scrapbook than memoir. “The Beautiful Ones does not offer a clear-eyed view of who Prince really was — he would have hated that, but it illuminates more than it conceals,” reads The Washington Post’s piece on the memoir.

Reading reviews of The Beautiful Ones, I wondered if the book would have even been finished and released if Prince were a woman or would it have been indefinitely shelved because of the death of its star. Maybe it would have focused on the singer’s drug use, final days, death, and the reaction to his death. The media has a way of making a female celebrity’s story about her death, not her life, which was noticeably lacking when the media talked about Prince and The Beautiful Ones.“It’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted,” said NPR in their piece on the memoir. Prince’s life ended with respect and a beautiful tribute in book form, and glowing reviews for it. This respect is definitely missing when we pay tribute to female celebrities who have died. Their deaths provide another opportunity for the media to pick them apart and let their scandals overshadow their contributions. Following Prince’s death there were no pieces like the gossip-heavy Vanity Fair piece from 2012 on the late singer and actress Whitney Houston, “The Devils in the Diva,” which “investigates Houston’s final days: the prayers and the parties, the Hollywood con artist on the scene, and the message she left behind.” Or the, at times, less-than-respectful movies made about female celebrities after their deaths that focus more on their personal lives and troubles than they do on their art. Even in death, women like Houston and Amy Winehouse are still expected to bare all even though they are no longer with us.

This year will give us new memoirs from actresses Sharon Stone, Priyanka Chopra Jonas, and Julianna Margulies, as well as singers Brandi Carlile and Billie Eilish. We are also getting a Stanley Tucci memoir and I think we can all agree he is the sexiest bald man (sorry, Prince William). Women are not just turning to books to tell their truths, with recent documentaries from the likes of Paris Hilton and Demi Lovato giving female celebrities the opportunity to tell their truths, clear up misconceptions, and control the narratives around their lives. We can only hope the way these stories are received starts to change, and that women can be free to tell their stories the way they want to (embrace your inner Flea, ladies!) without fear of negative reviews, sexist reviews, or questions about Ryan Adams’ artistic process. And please, no one ask John Mayer for his opinion.

***

Lisa Whittington-Hill is the publisher of This Magazine. Her writing about arts, pop culture, feminism, mental health, and why we should all be nicer to Lindsay Lohan has appeared in a variety of magazines.

Editor: Krista Stevens
Fact-checker: Julie Schwietert Collazo
Copy editor: Cheri Lucas Rowlands

When Refugee Families are Separated, Women Carry the Burden

Author photo by Jill Filipovic, used courtesy of St Martin's Press.

Ty McCormick | Beyond the Sand and Sea, One Family’s Quest for Country to Call Home | April 2021 | 3,518 words (20 minutes)

A few weeks after Maryan gave birth to her first son, Mohamed, word came from Dadaab that her parents and younger siblings were going to America. The Ashraf had been given priority for resettlement by the UN, and thousands of people seemed to be were leaving at once. Believing her brief marriage to Yussuf had run its course, Maryan took the first bus back to Dadaab with little Mohamed in tow. She had yet to tell her parents about her husband, in part because there was part of her that always doubted their marriage would survive. Now there was no hiding the fact that she was married and a mother. Sharif and Kaltuma would never approve of her plan to leave without Yussuf. But if they were going to America, she was going too.

The sight of Maryan with an infant child was a shock to her parents. Her mother broke down in tears, and she and Sharif both begged her to reconcile with Yussuf. “Think of the damage you are doing to our reputation,” they said. But Maryan was adamant that she was done with him. A day or two before the family was scheduled to begin the vetting process for resettlement, though, Yussuf showed up in Dadaab demanding to know why Maryan had left with their son. He had heard from family back in Moyale that the UN was taking her to America. Suddenly, the wife he had abandoned was his ticket to a better life.

Initially, Maryan rejected the idea out of hand. But her parents pushed and cajoled her. Divorce was simply out of the question as far as they were concerned. It wasn’t just taboo; it was unspeakable, a religious and moral failing that she would take to the grave. Leaving Yussuf behind, she realized, would wound her parents in a way she could never repair. What’s more, she harbored her own feelings of guilt at having agreed to marry him. You picked this guy, she thought. You can’t just walk away.

Reluctantly, Maryan agreed to give her marriage a second chance. She and Yussuf hadn’t had a legal wedding in Moyale, so they organized a hasty one at a mosque in Ifo in order to obtain the marriage certificate they would need to be resettled as a family. A sheikh named Jawad Abdi presided over the ceremony, and his signature is affixed to the bottom of a handwritten document from that day, specifying a dowry of “a cow of three years.” Sharif’s signature appears as a witness, above a statement clarifying that the improvised certificate, written in English and in Arabic, “should serve as proof of said marriage because currently marriage certificates are out of stock.”

Once they were officially wed, Maryan and Yussuf were given their own resettlement case with baby Mohamed, instead of remaining attached to Sharif, Kaltuma, and the rest of their children. That fateful decision, made to accommodate Yussuf, would end up splitting the family in two for years to come.

* * *

Maryan came off the plane in Phoenix carrying one-year-old Mohamed and a white plastic bag stamped with the blue insignia of the International Organization for Migration. In addition to immigration and work authorization papers, the bag contained a four-by-six-inch card bearing the lyrics to “The Star-Spangled Banner.” Unlike the generation of Somalis that would follow her, including her three youngest siblings, Maryan hadn’t grown up dreaming of the United States. The words “land of the free and home of the brave” held no meaning for her. All she knew was that she wanted a better life for herself and for her family. That meant being more than a mother and a wife, more than a woman for whom a suitable dowry was a cow of three years.

Their journey had lasted more than forty-eight hours, taking them from Nairobi to New York to Houston and finally on to Phoenix. Neither she nor her husband had ever seen an airplane up close, let alone ridden on one. Now as they exited the terminal at Sky Harbor Airport, Maryan suddenly froze in terror. In front of her was a glass-encased stairway that appeared to be collapsing. The steps were grooved and sturdy-looking, but they fell away, one after the other, each time she went to step on them. It took a moment for Maryan to grasp what was happening. The concourse had been relatively empty when they arrived at the top of the escalator, but now a small line had formed behind them and people were anxious to move.

“It’s okay, you can walk on it,” came the gentle voice of a woman behind her. The woman must have guessed they had just arrived from somewhere far away—Maryan in her black hijab looking fearful and confused, and Yussuf at a loss as well.

The escalator wasn’t the only thing about their new life that seemed odd. When Maryan would ride the Number Eleven bus with baby Mohamed, people would fawn over them and say what a cute daughter she had. It wasn’t until she made friends with a few Americans that she figured out the source of the misunderstanding: children’s clothes were gendered here, and Mohamed’s light pink pajamas were throwing people off. The grocery store was another locus of confusion. For months after they arrived, Maryan kept buying things by mistake because the pictures on the labels were misleading. A packet of tea bags, for instance, showed huge cubes of sugar, which was what she had intended to buy. Nothing was packaged this way back in Kenya. You bought things loose, not in bags or plastic wrappers. But Maryan was curious and outgoing by nature, and she didn’t mind learning by trial and error. In fact, she bought lots of things on impulse, without even trying to guess what they were. A box of shiny red strawberries jumped out at her, so she bought them on a whim, only to recoil in disgust at what to her was their strange, sour taste.

Many new arrivals in Tucson who had come from Dadaab, including Yussuf, had never lived outside of a small rural village. Some of the children had never seen the outside of a refugee camp. Maryan was unique in that she had lived alone in Nairobi. She also spoke decent English, and was used to a level of independence that was unusual in conservative Somali communities. This was a source of constant friction in her marriage, but it was also a font of opportunity in America. Because she could read and translate, she was an invaluable resource to the dozens of refugee families living in the area, the person inevitably called on to resolve all manner of misunderstandings with landlords, employers, and the police. It wasn’t long before the International Rescue Committee started hiring her for little jobs assisting other new arrivals, translating at job interviews or helping decipher training videos. She liked helping other refugees, and she could make as much as $75 for a single day of work.


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With the help of the International Rescue Committee, Maryan soon got a full-time job at Jack in the Box, cutting tomatoes and iceberg lettuce for Caesar salads. The pay was only $5 per hour, but the work was more regular than the translating jobs and the restaurant was close enough to the apartment complex that she didn’t have to waste money riding the bus. There were a few mishaps in the beginning, like the time she called a colleague fat and caused her to break down in tears. In Somali culture, girth signifies wealth, so she hadn’t anticipated this reaction. But on the whole, things went smoothly on the food-prep line. She made friends with her manager, a young woman named Nancy Rodriguez who was also a new mother in a tempestuous relationship. The two women liked to gossip and often confided in each other when things weren’t going well at home. Sometimes, Nancy would knock quietly on Maryan’s window at 3 a.m. or 4 a.m. Maryan would slip out of the house, careful not to wake Yussuf, and zoom off with Nancy in her silver Honda Civic. The two of them would drive for hours before the sun came up, talking and listening to music. Eventually, Nancy started letting Maryan drive, teaching her to maneuver along quiet back roads even though she didn’t have a license.

Yussuf was having a different experience in his new country. Much less comfortable than his wife in their new surroundings, he was even more determined to control her than he had been in Kenya. The International Rescue Committee had helped him get a job, too, first as a night-shift cleaner at the Hilton and later as a landscaper. But the work was hard and he was constantly confused and embarrassed. Unable to speak English and unwilling to learn, he took his frustrations out on Maryan. He disliked that she worked, and he hated that she thought it earned her a measure of autonomy. The way Maryan saw it, she brought in more than half of their income, so she should have at least half the say in how the household was run. Yussuf disagreed, often forcefully. Over time, their fights grew even more ferocious. She would yell and cry, and he would slam his fists against the tables and the walls. Sometimes, he would physically block her from storming out into the hall. More than once, the neighbors called the police. But there was part of Maryan that felt sorry for Yussuf, part of her that knew she couldn’t leave him in a place where he couldn’t survive on his own. Each time the cops came, she kept her mouth shut.

Yussuf seemed threatened by Maryan’s prominent position in the community. He grew incensed when people he didn’t know called the house asking for her, and more than once he ripped the phone out of the wall. He also tried to sabotage Maryan’s friendships by spreading rumors that she had neglected their son. Once, when he and Maryan were meeting with an employment counselor at the International Rescue Committee, he announced that he had forbidden her from working outside the home. The counselor calmly reached across the desk and lifted up baby Mohamed, who had been swaddled in Maryan’s arms, handed him to Yussuf and told him to take the bus home. “You can control your child,” she said flatly, “But in America, you can’t control your wife.” Enraged, Yussuf stormed out of the room with the baby, a torrent of insults pouring out of his mouth in Somali. “You just follow the cadaan,” he sneered at Maryan, using the Somali word for whites. “You just follow their rules, and you don’t respect our religion.”

* * *

Maryan began to dread being in the apartment. Whenever Yussuf was there, she would find an excuse to go somewhere else with the baby, whether it was to the Reid Park Zoo with Nancy, who had a yearlong entry pass, or to Chuck E. Cheese with other friends from work. But the bond between her and Yussuf wasn’t completely severed, and feeling lonely and isolated, she sometimes let herself be drawn back into his arms. A little more than a year after they arrived in Arizona, she realized she was pregnant again.

Ambia was born with jaundice, a common blood disorder that made her skin appear slightly yellow. “You have a cursed child,” Yussuf said, when he first laid eyes on her at the University of Arizona Medical Center. The doctors said she would be just fine, but that Ambia needed to stay overnight for special therapy under a halogen light. They discharged Maryan, though, and told her to go home with Yussuf, a notion that struck her as preposterous. She wasn’t about to leave her baby in the care of people she didn’t know to be treated with a light machine she didn’t trust. In Kenya, no mother would leave her newborn at the hospital, but here the impassive white robed physicians clearly expected her to. She broke down crying, and implored them to let her stay. Eventually, they relented, and Maryan and Ambia were given a room together for the next three nights.

The counselor calmly reached across the desk and lifted up baby Mohamed, who had been swaddled in Maryan’s arms, handed him to Yussuf and told him to take the bus home. “You can control your child,” she said flatly, “But in America, you can’t control your wife.”

A few weeks later, when they were back home at the apartment on North Alvernon Way, a bill arrived in the mail. When Maryan read it, she let out a gasp: $16,000, for the care she and her daughter had received. It was more than a year’s salary at Jack in the Box. A knot forming in her chest, she dialed the billing department, unsure of what exactly she would say. But after she gave her patient code and verified her date of birth, the woman on the other end of the phone sounded surprised Maryan had called. “I’m showing no balance owed,” she said. “It’s been paid in full.”

Maryan never found out who paid that bill. She wondered if maybe it was the employment counselor from the International Rescue Committee, a woman whose name she can’t recall but who was always kind to her. Two years later, after her second daughter, Najma, was born, Maryan got up the courage to ask the counselor if she had been the guardian angel who had wiped out her debt. The woman scoffed at the suggestion. “I don’t have that kind of money,” she said.

But the counselor did have ideas about how Maryan could earn more money of her own: by pursuing a GED. With a high school equivalency certificate, a whole range of new job opportunities would open up—ones that paid better than $5 per hour and wouldn’t leave her clothes smelling like fried food.

Soon, Maryan was spending several hours a day at Pima Community College while an elderly Somali woman in their apartment building looked after the children. Maryan liked being back in school, but in the beginning, she was bewildered by her classmates. They put their feet on their desks and ate food during class. Acting like that at Abdul Aziz Primary would have earned you a beating. Were these students not afraid of the teachers? Did the teachers have no self-respect?

One of her courses at Pima was English as a Second Language, or ESL. Most of the assignments were simple worksheets that involved identifying errors in grammar or spelling. But the worksheets were supposed to serve a secondary function as well: introducing foreigners to American traditions and customs. Tailgating at sporting events was the subject of one memorable ESL worksheet, which advised students that the boozy tradition was “a fun part of college life and for sports fans in Illinois.” Maryan often found herself giggling quietly over assignments like these, which struck her as random to the point of absurdity. They weren’t even in Illinois, she thought to herself. And why on earth would she ever need to know about drunken college football parties?

Six months later, Maryan had her GED. Not long after that she got a job at St. Joseph’s Hospital, mopping up the surgical theater after operations. The pay was better than at Jack in the Box, and she was able to afford a drivers’ education course and eventually a used car. She was also able to send more money home to her parents. There had been all manner of expenses to cover, including tuberculosis medication for her father, whose health had taken a turn for the worse. Lately, she had also noticed additional charges on her credit card statement for e-books that her brother Asad had downloaded from Dadaab. The books were expensive, certainly more money than she would have spent on small luxuries for herself. But remembering the monotony of life in Dadaab, she was glad her brother had become a passionate reader. She hated to think of him wiling away his days in the heat, waiting in humiliating food distribution lines, and cooking over a fire pit. Books seemed to light him up, and thinking of him that way made her happy.

The two of them corresponded more frequently as the years wore on and Asad matured into a reserved and sensitive young man. She would create email and social media accounts for him so they could communicate more easily, then give him the log-in credentials over the phone. Sometimes, she would get email alerts warning that someone was trying to access her accounts from abroad. Those emails always made her smile.

She had come to think of Asad not just as a little sibling in need of direction, but as a partner in caring for their parents—she as the breadwinner in Arizona and he as the caregiver and problem-solver at home. Now instead of talking to Sharif about difficulties with doctors or the UN, it was always Asad she coordinated with. His was a comforting voice on the other end of the phone, and as time passed she felt herself leaning on him as well. When he was young, she had tried not to burden him with her own struggles. But the worse things got with Yussuf, the less of her suffering she was able to hide. It was strange opening up to someone she remembered only as a small child, someone whom fate had taken away from her and whose life was now so different than hers. They existed in totally separate universes, and yet there were things that only he could understand.

* * *

Maryan had another phone besides the one she used to call home with her $20 calling cards. It was slim and black and its existence was a closely guarded secret. In the contacts, there was only a single number saved: 911.

The emergency phone had come from a domestic violence counselor. Because Maryan had high blood pressure and crippling anxiety, her doctor had come to suspect she was in danger at home and referred her to a shelter for battered women. Even before that Maryan had thought about running away with her children, but she didn’t know who she could trust or where to turn for help. Yussuf had succeeded in turning much of the refugee community against her, spreading vicious rumors about his wayward “Western” wife who thought she was better than other Somalis and didn’t value their traditions. Even the idea of domestic violence was viewed with suspicion by many of the refugees she had helped translate for over the years. “If you are married and your husband beats you up, you have nothing to say because he’s your husband,” was how she summed up their thinking.

She hated to think of him wiling away his days in the heat, waiting in humiliating food distribution lines, and cooking over a fire pit. Books seemed to light him up, and thinking of him that way made her happy.

Yussuf never hit Maryan, but his constant emotional and psychological abuse had slowly broken her down. She would wake up in the middle of the night, heart racing, unable to bear the thought of another day with him. Even so, she felt paralyzed. Faith had always been important to her, and while divorce was technically allowed in Islam, it would make you an outcast. There was part of her that felt she had a religious duty to stay in the marriage as long as her husband did. And nothing had changed her belief that leaving Yussuf would crush her parents and forever change the way they looked at her. Running away to avoid getting married had been one thing. Divorcing the father of her three children would be quite another. “It felt like there was something holding me down that was heavier than me,” she recalled. “Like I was in the ocean and the waves were just overpowering me.”

But the situation had become untenable. She had started breaking down in public, crying in front of coworkers and in the middle of shifts at the hospital. She had missed work after one particularly painful fight, and then she had missed another day and another. Eventually, her boss had let her go. Yussuf had finally gotten his wish: a wife without a job.

Not long after that Maryan found herself alone on a ledge, looking down at what seemed like her only avenue of escape. As Yussuf pounded angrily on the locked door of their apartment, threatening to break it down, she teetered on the edge of a sliding-glass window, the smooth pavement of the parking lot beckoning from twenty feet below. She had reached the limit of what she could take. But as she contemplated stepping out of her life, it occurred to her that Yussuf probably wouldn’t care if she died. The thought of his indifference filled her with rage, and she pulled back from the ledge. Suddenly, she knew what she would do, and it was something that would hurt Yussuf, too. The next day, she sold her car and bought four plane tickets to the farthest place from Arizona she could think of that was still in the United States. Then she picked up the phone to tell her parents she was leaving Yussuf and moving the kids to Seattle.

Excerpted from Beyond the Sand and Sea by Ty McCormick. Published by St.Martin’s Press.

The Top 5 Longreads of the Week

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This week, we’re sharing stories from Megan Evershed, Mark Mann, Jaelani Turner-Williams, Minelle Mahtani, and Kim Cross.

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1. How an Upper West Side Hotel Came to Embody the City’s Failure on Homelessness

Megan Evershed | The New Republic | March 31, 2021 | 5,900 words

During the pandemic, men housed at the Lucerne hotel have seen the worst side of New York’s self-described liberals. They’ve also exposed a decades-long policy of neglect.

2. The Great Work

Mark Mann | Beside | March 29, 2021 | 2,102 words

“Overwhelmed in the classroom, Peter and David began taking long, slow walks around the neighbourhood together. In Peter’s unhurried pace and frequent pauses, they found a shared rhythm and a way of enjoying each other’s company.”

3. Hanif Abdurraquib’s Third Favorite A Tribe Called Quest Album Might Surprise You

Jaelani Turner-Williams | Okayplayer | March 31, 2021 | 2,509 words

“Author Hanif Abdurraquib on his new book, A Little Devil in America, how current Black music is shaping the racial justice movement, his favorite A Tribe Called Quest albums, and more.”

4. Finding My Voice as My Mother Lost Hers

Minelle Mahtani | The Walrus | March 24, 2021 | 3,100 words

“Not long after I started my job as a radio host, my mother told me she had tongue cancer.”

5. My Month of Doing 100 Wheelies a Day

Kim Cross | Outside | March 15, 2021 | 3,550 words

“In her quest to master a quintessential cool-kid trick, a writer found the sweet spot at the crossroads of work and play.”

Crosby, Stills, Nash & Young’s Lost Album, Human Highway

CSNY, January 1, 1970. (Photo by Michael Ochs Archives/Getty Images)

David Gambacorta | Longreads | March 2021 | 15 minutes (4,190 words)

They needed a song, but not just any song. It had to be a throat-clearing, lapel-grabbing, hey-what’s-that-sound number that could open what was shaping up to be one of the most anticipated albums of 1970: the debut of the super group to end all super groups, Crosby, Stills, Nash & Young. “We don’t have that song where you know that a listener will not take that needle off the record,” Graham Nash told Stephen Stills sometime in the fall of 1969, after they’d already labored for countless hours in a recording studio in San Francisco. “We need that song where we’ve got them from the very beginning.”

Nash, a skinny, shaggy former member of the British group The Hollies, and Stills, a soulful, straw-haired survivor of Buffalo Springfield, knew plenty about grabbing listeners by the ear. A year earlier, they’d discovered — at Joni Mitchell’s house in California, maybe, or Cass Elliot’s, no one’s quite sure — that they could create heavenly harmonies with David Crosby, the ex-Byrds singer who wore a droopy mustache, and the amused grin of a man who was in on some cosmic joke. They released an album, Crosby, Stills & Nash, that was filled with instant classics like the soaring “Suite: Judy Blue Eyes.” Then, at the urging of Ahmet Ertegun, the owlish Atlantic Records honcho, the trio turned themselves into a quartet, adding — with some reluctance — Neil Young’s reedy voice, barbed-wire guitar playing, and unpredictability to the mix. After the four of them played in front of 400,000 swaying, stoned people at Woodstock, their own concerts started to take on the feel of what Rolling Stone described as “mini-Woodstocks” that unleashed “effortless good vibes.”

Read more…

Youn Yuh-jung Comes to America

Longreads Pick
Source: Vulture
Published: Mar 1, 2021
Length: 9 minutes (2,482 words)

Shelved: Dr. Dre’s Detox

Chelsea Lauren / Getty Images for BET

Tom Maxwell | Longreads | March, 2021 | 6 minutes (1,743 words)

 

Dr. Dre’s Detox might be the best-known album that no one’s ever heard in its entirety. The legendary hip-hop producer’s supposed third album persisted in the public’s mind for 13 years, kept alive by rumors, leaks, and revised release dates. After first announcing the record in 2002, Dre finally admitted in 2015 that Detox was shelved because he “didn’t like it.” It’s probably just as well, because no album made by actual, fallible people ­— no matter how talented — could live up to such breathless, protracted hype.

Detox didn’t begin as an empty promise. We do have a few singles from the project to listen to, including “I Need A Doctor,” featuring Eminem and Skylar Grey, released in 2011.

 

 

Dre has apologized for physically abusing female partners — something that goes beyond the misogyny common in early ’90s hip hop — but only in a career as accomplished as his could such an epic dashing of hope become a footnote. Responsible for dozens, if not hundreds, of millions of records sold, Dre is a rapper, producer, actor, and music industry entrepreneur — a musical architect who defined a generation of expression. He was a member of seminal rap group N.W.A. in the 1980s. He co-founded Death Row Records after that — almost single-handedly inventing the West Coast G-funk style in the process — produced Snoop Doggy Dogg, 50 Cent, Kendrick Lamar, and Eminem, to name a few, and founded Aftermath Entertainment and Beats Electronics. Responsible for game-changing albums The Chronic (1992) and 2001 (1999), Dre has nothing to prove by producing the rumored Detox.

The most interesting thing about Detox is not what it would have sounded like had it been released, but its relationship to its creator. What compelled Dre to keep working on it year after year? How, for a record that was probably never even completed, much less issued, did it become so monolithic in the minds of his fans?

Born Andre Romelle Young in Compton, California in 1965, Dre had his first local hit with the World Class Wreckin’ Cru at age 19.

L.A. is the place for you to be

To witness Dr. Dre in surgery

He has a PhD in mixology

To cut on the wheels so viciously

One year later, in 1987, Dre helped design gangsta rap with N.W.A.. Songs like “Fuck Tha Police” from 1988s Straight Outta Compton talked openly about police brutality. Ice Cube, MC Ren, and Eazy E did most of the rapping. DJ Yella and Dre designed the beats. The music was apolitical, explicit, angry, hedonistic, and unrepentant. It set up California as home to the most innovative hip-hop of the next decade.

Dre left N.W.A. in 1991 and formed Death Row Records with Suge Knight the following year. His debut album, The Chronic, made with the help of Snoop Dogg and The Lady of Rage (among others) went triple platinum. Dre won a Grammy for “Let Me Ride.” He also was Death Row’s in-house producer, responsible for Dogg’s massively successful Doggystyle as well as acting as the supervising producer for the Above the Rim soundtrack.

Parting ways with the notorious Knight, Dre formed Aftermath Entertainment, a boutique rap label, in 1996. After a shaky start, the label signed Detroit rapper Eminem. His The Slim Shady LP was certified quadruple platinum. Dre’s second solo album, 1999s 2001, sold at least six million copies.

Flush with capital to write, produce, and record anything he wanted, Dre announced the Detox project in 2002, referring to it as his “final album.” It was going to be the story of a hit man. Rumor had it that Denzel Washington would narrate.

“I had to come up with something different but still keep it hardcore, so what I decided to do was make my album one story about one person and just do the record through a character’s eyes,” Dre told MTV News in April 2002. “And everybody that appears on my album is going to be a character, so it’s basically going to be a hip-hop musical.”

“I’ve been blueprinting, getting ideas together for the past six months or so, just trying to figure out which direction I want to take and how I’m gonna present the project,” Dre continued. “Just gathering sounds and what have you. I want this one to be really over the top.” He predicted Detox would be released in 2003.

Less than a year later, Dre admitted to giving “the cream of the crop” of his Detox beats to 50 Cent for his album Get Rich or Die Tryin’. It has never actually been confirmed that the beat for what became 50 Cent’s single “In da Club” was intended for Detox, but that cream of the crop beat helped this song go to No. 1 for the rapper. 

 “Dre, he’ll play dope beats…they’re automatic,” 50 said of those sessions. “[He’ll say], ‘These are the hits, 50. So pick one of these and make a couple of singles or something.’”

Having abandoned its original concept, Detox’s release date was pushed back to late 2004. “I’d describe it as the most advanced rap album musically and lyrically we’ll probably ever have a chance to listen to,” co-producer Scott Storch told MTV News. “Dr. Dre always tries to top his last one. That’s why he spends so much time putting [albums] together and they don’t come out every five minutes. He puts a lot of time, energy and genius into the stuff.”

Dre told XXL that the album would have 12 or 13 singles. So I’m really taking my time with each one. No album fillers or nothing like that. No fast-forwarding.” But by May 2004 he’d changed his mind, telling the same publication that he wanted to concentrate on his Aftermath artists. (Eminem’s The Marshall Mathers LP, released in 2000, sold in excess of 10 million copies.)

Years passed. Collaborators hinted at an unreleased masterpiece in other magazine interviews. “I’m thinking of making the album like a movie,” producer Imsomie “Mahogany” Leeper said, “like having 16-bar jazz pieces, live instruments.”

“I was really hoping to have it out this year, but it’s going to have to be pushed back a while because of some other things I’ve got to work on,” Dre told the L.A. Times in 2007. The following year, Snoop Dogg confirmed Detox was finished. “That record is real, it’s coming,” Dogg told Rolling Stone. “I was starting to doubt it myself and then I went up in there and he played so much music for me it knocked my head off.”

The first official release of anything from Detox came during a 2009 Dr. Pepper commercial. “For me,” Dre says, “slow always produces a hit.” He then shows a flailing young DJ how to slow a record down by putting a soda can on the turntable.

By then, Detox’s release date was scheduled for that year And indeed, singles purportedly part of the mix for Detox’s track listing dropped  — “Under Pressure,” “Kush,” and “I Need a Doctor.” The last single went double platinum. The album, however, did not come out.

More Detox songs were leaked in 2011 — “Mr. Prescription,” Chillin’,” and “Die Hard.” In a long-ranging interview with The Fader that year, Dre announced he was ready to take a break from music, mused at how successful his Beats by Dr. Dre line of headphones were, and said nothing about Detox. In 2015, he confirmed that the project was dead.

“Over the years Detox has become the most long-awaited album in hip-hop history, a project that has taken on mythical proportions, and with good reason,” Nathan Slavik wrote for DJBooth. “In addition to launching several of the biggest rappers of the last two decades — Snoop Dogg, Eminem, 50 Cent, Kendrick Lamar — Dre’s first two headlining albums, The Chronic and 2001, were classics. It was completely reasonable to be excited about Detox until it was completely insane to think it would ever drop.”

In 2015, Dre released the soundtrack for Straight Outta Compton, a collection of tracks by N.W.A. and its former members. He also released Compton, his third solo effort, and first in 16 years.

But the story wasn’t actually over. When asked by reporter Chris Haynes in 2018 if Detox was permanently shelved, Dre replied, “I’m working on a couple songs right now. We’ll see.” As if on cue, more musical snippets from the project leaked in May of that year.

The best way I’ve found to think about Detox is that it was a catch-all name for, essentially, most everything Dr. Dre was working on for 15 years. Even noted perfectionists like Dre release material. Instead, as Detox became more mythic in the hip-hop community, it served, whether Dre intended to or not, as a useful publicity tease even as the hype proved impossible to live up to. Between 2009 and 2011, the best of the hundreds of song snippets he worked on were released. In such a rapidly changing musical universe, nothing recorded for Detox, no matter how inspired, was going to remain stylistically relevant over more than a dozen years.

It’s also possible that Dre buckled under the weight of expectation. “I worked on Detox,” DJ Quik told DJBooth. “Just, in theory, Detox is a super smart-ass piece of music, but it’s all music, you know what I mean? That’s what could be the stumbling block for the record. Because it’s all music, and you got so many people to please. If you’re off with one, it won’t be a classic record. So, I understand Dre’s concerns about putting it out. But, some of the tracks I heard, oh my God, get the fuck out of here… Sound-wise, it was gonna be better than Chronic and 2001, and idea-wise.”

“By all accounts — and believe me, I heard every account there was — it seemed like the album had become any creative person’s nightmare,” Slavik wrote.

Given an unlimited budget and no deadline, could you spend the rest of your life locked in a perfectionist’s jail, constantly terrified that the music you’ll make next will be better than the music you’ve made so far, each passing day only becoming further justification to take your time, the pressure of expectation becoming suffocating until one day you realize decades have gone by and you’re even farther away from the finish line than when you started? You seemingly could, and Dr. Dre was living proof. 

***

Tom Maxwell is a writer and musician. He likes how one informs the other.

Editor: Aaron Gilbreath; Fact-checker: Matt Giles

Congratulations, You Now Own a Newspaper

ALASKA, UNITED STATES - 1994/01/01: USA, Alaska, Inside Passage, Skagway, Main Street. (Photo by Wolfgang Kaehler/LightRocket via Getty Images)

At Columbia Journalism Review, Lauren Harris reports on the gritty determination of Melinda Munson and Gretchen Wehmhoff, a duo who became the owners of the Skagway News in a give-away. The pair, who are taking the paper into the modern age, are committed to making the publication a success — despite the effects of Covid-19 on a tourist town dependent on visiting cruise ships to survive.

IN 2019, LARRY PERSILY, owner of the Skagway News, announced that he would give away his local Alaskan publication to a person or a pair demonstrating journalistic skill, self-motivation, grit, and—above all—affectionate dedication to the quirks and quiddities of rural small-town reporting. National news outlets picked up the story as a sort of lark, emphasizing the remote and small-town nature of Skagway, the rarity of the giveaway, and then, in a few short lines, the challenges of sustaining critical local news coverage. In such stories, Persily was a Willy Wonka figure, courting a successor.

Among the applicants were Melinda Munson and Gretchen Wehmhoff, teachers in the Anchorage area who cowrote a blog for Alaskan families. Munson and Wehmhoff envisioned a dream job not unlike that conjured in headlines: the freedom to write and the promise of a place in a tight-knit community. Over the course of months, Munson and Wehmhoff had several intense phone interviews with Persily; for some, they met in a room in the school building with the lights off, to avoid drawing the attention of their principal.

Persily took over the paper’s management in 2019, working from Anchorage—a distance of nearly eight hundred miles from Skagway, which he quickly came to believe was too far.

“You gotta be part of the town,” Persily says. “You gotta go to the basketball games. You gotta be a trusted part of the community.” He discounted applicants who envisioned doing the job “for a couple years” or who wondered about how much they could contribute annually to an IRA. “Small-town papers need small-town editors,” he says. “I wanted an owner who was going to live there happily ever after.”

GRETCHEN WEHMHOFF AND MELINDA MUNSON make a winning pair. Wehmhoff is garrulous and lively; Munson is eloquent and tempered. Munson writes and edits, in addition to managing childcare and remote schooling for six kids; Wehmhoff does everything else. Each shows an obvious faith in the other’s capabilities.

“Gretchen is a Renaissance lady: she can do layout, ads, business,” Munson says. “When Gretchen writes, she spits it out on the paper, then hands it to me to edit.”

“I wipe up a little bit of the spit,” Wehmhoff responds.

Read the story