An open letter to Grand Theft Auto IV’s protagonist Niko Bellic about Grand Theft Auto V and video game culture:
“Almost everyone I know who loves video games — myself included — is broken in some fundamental way. With their ceaseless activity and risk-reward compulsion loops, games also soothe broken people. This is not a criticism. Fanatical readers tend to be broken people. The type of person who goes to see four movies a week alone is a broken person. Any medium that allows someone to spend monastic amounts of time by him- or herself, wandering the gloaming of imagination and reality, is doomed to be adored by lost, lonely people. But let’s be honest: Spending the weekend in bed reading the collected works of Joan Didion is doing different things to your mind than spending the weekend on the couch racing cars around Los Santos. Again, not a criticism. The human mind contains enough room for both types of experience. Unfortunately, the mental activity generated by playing games is not much valued by non-gamers; in fact, play is hardly ever valued within American culture, unless it involves a $13 million signing bonus. Solitary play can feel especially shameful, and we gamers have internalized that vaguely masturbatory shame, even those of us who’ve decided that solitary play can be profoundly meaningful. Niko, I’ve thought about this a lot, and internalized residual shame is the best explanation I have to account for the cesspool of negativity that sits stagnating at the center of video-game culture, which right now seems worse than it’s ever been.”
In 2011, Longreads highlighted an essay called “Weekend at Kermie’s,” by Elizabeth Hyde Stevens, published by The Awl. Stevens is now back with a new Muppet-inspired Kindle Serial called “Make Art Make Money,” part how-to, part Jim Henson history. Below is the opening chapter. Our thanks to Stevens and Amazon Publishing for sharing this with the Longreads community.Read more…
Fifteen-year-old Audrie Pott took her own life after nude photos of her were circulated around school by high school classmates. Three boys were later arrested and charged. It’s “a shocking tale of sexual assault in the Digital Age” that’s becoming less uncommon as a number of high-profile cases similar to Pott’s makes headlines while many others go unreported:
“‘It’s a perfect storm of technology and hormones,’ says lawyer Lori Andrews, director of the Institute for Science, Law and Technology in Chicago. ‘Teen sexting is all a way of magnifying girls’ fantasies of being a star of their own movies, and boys locked in a room bragging about sexual conquest.’
‘But as of yet the law provides little protection to the rights of those violated. Section 230 of the Communications Decency Act effectively means that no Internet provider can be forced to take down content for invading a person’s privacy or even defaming them. ‘I could sue The New York Times for invading my privacy or Rolling Stone for defaming me,’ Andrews says. ‘But I couldn’t sue and get my picture off a website called sluttyseventhgraders.com.’
“The flip side of this ugly trend is that when gang-rape participants and bystanders record and disseminate pictures of an assault, public outrage is inflamed and cops and prosecutors have evidence they can take to court. This can mean rape victims get more justice than in years past. Arguably, the Steubenville rape would never have been prosecuted without the video. However, since so many of the incidents involve juveniles, punishment is neither swift nor certain.”
The writer stays with the Dominican Sisters of Houston and learns about the life they lead and the work they do:
“‘I think a lot of them want some kind of sign,’ Pat says of the choice to wear the habit. ‘They want people to know.’ She also cites ‘that romanticism,’ as in (and this almost makes me blush) ‘those old nun movies, you know, all that parading around looking the same.’ The cloister was never an attractive choice for her, as it wasn’t for Carol or most of the other Houston Dominicans. ‘Some say we can be in the world but not of the world,’ she says. ‘Well, that’s not the way Jesus worked. So we like to be a little bit more involved here—and freer.’
“The active Dominican sisters who stuck it out after Vatican II—particularly of the generation now in their seventies—were drawn deeper into the social activism the order’s women are known for. It’s something I see in action over the course of the week. I accompany Sister Ceil, the Dominicans’ ‘promoter of justice,’ to a grassroots press conference announcing an immigration rally (Ceil also represents the sisters in the fight against sex trafficking, and at death-penalty vigils at the state penitentiary in Huntsville); and I visit Sister Maureen at Angela House, the transitional center she’s set up for women just exiting prison (a former cop and counselor, Maureen also works with victims of sex abuse by clergy). I also learn about the Dominican sisters’ long history of political engagement. Back in 1987, they declared the motherhouse grounds a public sanctuary for El Salvadorian refugees, potentially risking prison themselves for harboring illegal immigrants. And over the last ten years, Dominican sisters in Colorado and Michigan have done prison time for breaking into nuclear facilities and spraying them with blood in protest.”
In this episode of Stuff You Should Know, hosts Chuck and Josh discuss the history of hip-hop, from The Sugar Hill Gang to the present. They add their own personal history, which includes stories of attempted breakdancing and well-intentioned clothing choices.
Co-authors Jeff Weiss and Evan McGarvey speak with host Colin Marshall about their book 2pac vs. Biggie: An Illustrated History of Rap’s Greatest Battle. They talk about the artists’ rivalry, their beginnings, how their styles differed, and why you’re missing out if you only listen to one and not the other.
The drummer for The Roots talks about his influences growing up, how he listens to music, and his favorite part of Soul Train. (Bonus: Also check out Terry Gross’s classic 2010 interview with Jay-Z.)
Dan Charnas, a veteran hip-hop journalist and one of the first writers for The Source, talks with Jesse Thorn about the history of the hip-hop music business and how executives and entrepreneurs turned an underground scene into the world’s predominant pop culture.
Andrew Rice, contributing editor for New York magazine, spoke about his article on Jay-Z’s business acumen with James Braxton Peterson, director of Africana Studies, professor of English at Lehigh University, and founder of Hip Hop Scholars. Together they delve into the financial side of Jay-Z’s career.
If you were around in the ’90s, you might recognize Michael Rapaport from movies like Zebrahead, Poetic Justice, and Higher Learning. In 2011, he came out with a documentary on A Tribe Called Quest. He talks to The Treatment’s Elvis Mitchell about his love of hip-hop, his childhood in New York City, and his experience filming his favorite artists.
Got a favorite podcast episode on hip-hop? Share it in the comments.
Emily Perper is word-writing human for hire. She blogs about her favorite longreads at Diet Coker.
During rough weeks, I tend to refer back to a good #longread over and over. Here are four of the funniest around. Bookmark them, read them to your best friend on the phone, or save them for a particularly bad day. And when you read them, laugh.
“Why can’t you stand like that guy on stage? Look at his posture. Forget he’s black for a second, and just look at his body.” Eisenberg goes to the ballet with his mother so you don’t have to.
No one understands the intricacies of romantic comedy and genuinely loves the genre quite like Kaling does. Here, her descriptions of the supporting characters in rom-coms are spot-on.
Screenwriter-producer Damon Lindelof reveals the formula—and challenges—facing big Hollywood movies: How do you escalate with any shred of originality?
“‘Once you spend more than $100 million on a movie, you have to save the world,’ explains Lindelof. ‘And when you start there, and basically say, I have to construct a MacGuffin based on if they shut off this, or they close this portal, or they deactivate this bomb, or they come up with this cure, it will save the world—you are very limited in terms of how you execute that. And in many ways, you can become a slave to it and, again, I make no excuses, I’m just saying you kind of have to start there. In the old days, it was just as satisfying that all Superman has to do was basically save Lois from this earthquake in California. The stakes in that movie are that the San Andreas Fault line opens up and half of California is going to fall in the ocean. That felt big enough, but there is a sense of bigger, better, faster, seen it before, done that.'”
Every week, Syracuse University professor Aileen Gallagher is helping Longreads highlight the best of college journalism. Here’s this week’s pick:
Recent Indiana University journalism student Mary Kenney used her study-abroad experience in India to test her abilities as a foreign correspondent. In “Light From Darkness,” Kenney profiles a sex worker named Akshaya. Akshaya was a rural girl who sought a new life in a big city. But like so many other impoverished women around the world, Akshaya’s life turned violent. Kenney relies on Akshaya’s own voice to provide the story’s tone and cadence, but without the soft-focus indulgence that can turn such narratives into overwrought Lifetime movies. Her willingness to spend time with a subject, and earn her trust, is evident in this piece.
Hilary Armstrong is a literature student at U.C. Santa Barbara and a Longreads intern. She also happens to love science fiction, so she put together a #longreads list for sci-fi newbies.
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Have you heard? Science fiction is “in”—nerds at the movies, nerds everywhere. This is thrilling if you are familiar with the genre, but what if you never got into sci-fi in the first place? Where would you start?
Since its inception (ha), speculative fiction has worked as social commentary, satire, and a creative answer to the question “What if?” Here are my personal picks to get you started.
A look at the symbiotic relationship between aliens and humans. If you’ve seen any horror movie featuring extraterrestrials, you’ve pretty much seen them all, but sci-fi stories like this one explore more “alien” ideas than the simple “monster from space” trope.
Robots! Here’s a short and wicked story from Bell, a contemporary sci-fi writer who touches on slavery, mortality, and the horror of a slow decline in life.
Chiang addresses PTSD, advancements in medical science, and the horror of not trusting your own mind. This story is probably one of the best “straight” sci-fi examples on this list—the clear “What if?” develops steadily, and pushes the reader along to its surprising conclusion. Entire novels have been written in this style—Max Barry’s Machine Man is my personal favorite.
A brief history of the rock legend’s style and fashions:
“Bowie’s image was as carefully contrived for album covers as for the actual musical performances: Sukita Masayoshi’s black-and-white photograph of Bowie posing like a mannequin doll on the cover of ‘Heroes’ (1977), or Bowie stretched out on a blue velvet sofa like a Pre-Raphaelite pinup in a long satin dress designed by Mr. Fish for The Man Who Sold the World (1971), or Guy Peellaert’s lurid drawing of Bowie as a 1920s carnival freak for Diamond Dogs (1974).
“All these images were created by Bowie himself, in collaboration with other artists. He drew his inspiration from anything that happened to catch his fancy: Christopher Isherwood’s Berlin of the 1930s, Hollywood divas of the 1940s, Kabuki theater, William Burroughs, English mummers, Jean Cocteau, Andy Warhol, French chansons, Buñuel’s surrealism, and Stanley Kubrick’s movies, especially A Clockwork Orange, whose mixture of high culture, science fiction, and lurking menace suited Bowie to the ground. Artists and filmmakers have often created interesting results by refining popular culture into high art. Bowie did the opposite: he would, as he once explained in an interview, plunder high art and take it down to the street; that was his brand of rock-and-roll theater.”
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