She lived with us for 56 years. She raised me and my siblings without pay. I was 11, a typical American kid, before I realized who she was.
The ashes filled a black plastic box about the size of a toaster. It weighed three and a half pounds. I put it in a canvas tote bag and packed it in my suitcase this past July for the transpacific flight to Manila. From there I would travel by car to a rural village. When I arrived, I would hand over all that was left of the woman who had spent 56 years as a slave in my family’s household.
Bobby Moynihan, Vanessa Bayer, and Sasheer Zamata all said their goodbyes last weekend—in very different ways.
In the past, departing Saturday Night Live cast members have gotten whole sketches devoted to sending them off. Kristen Wiig was serenaded with song and dance from Mick Jagger and the rest of the crew; Bill Hader’s Stefon finally married Seth Meyers; Will Ferrell got a series of testimonials. On last weekend’s 42nd season finale, the show said goodbye to three cast members with varying tenures and legacies: Bobby Moynihan, Vanessa Bayer, and Sasheer Zamata. The first got a goodbye sketch of sorts, the second a couple of featured roles on her last night, and the third no acknowledgement at all. It was a slightly muddled end to what feels like one of SNL’s weaker eras—even as the show breaks ratings records in the age of Donald Trump.
The condition has long been considered untreatable. Experts can spot it in a child as young as 3 or 4. But a new clinical approach offers hope.
This is a good day, Samantha tells me: 10 on a scale of 10. We’re sitting in a conference room at the San Marcos Treatment Center, just south of Austin, Texas, a space that has witnessed countless difficult conversations between troubled children, their worried parents, and clinical therapists. But today promises unalloyed joy. Samantha’s mother is visiting from Idaho, as she does every six weeks, which means lunch off campus and an excursion to Target. The girl needs supplies: new jeans, yoga pants, nail polish.
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At 11, Samantha is just over 5 feet tall and has wavy black hair and a steady gaze. She flashes a smile when I ask about her favorite subject (history), and grimaces when I ask about her least favorite (math). She seems poised and cheerful, a normal preteen. But when we steer into uncomfortable territory—the events that led her to this juvenile-treatment facility nearly 2,000 miles from her family—Samantha hesitates and looks down at her hands. “I wanted the whole world to myself,” she says. “So I made a whole entire book about how to hurt people.”
Can governments be as innovative about saving lives?
Yesterday’s terrorist attack that struck at the end of an Ariana Grande concert in Britain’s Manchester Arena—leaving 22 people dead and 59 injured, by the latest count—feels perhaps even more callous and personal than other such recent atrocities. As The New York Times noted, the target was “a concert spilling over with girls in their teens or younger, with their lives ahead of them, out for a fun night.”
For Europe, the attack, now claimed by ISIS, represents a continuation of a nightmare scenario: The pace and deadliness of terrorist attacks in the continent has reached levels unprecedented in the post-9/11 era, with the heinous and grotesque becoming frighteningly routine.
Even five years ago, specialists could count the major post-9/11 attacks in Western countries on one hand, and knew every date on which they had been perpetrated. They were known by names like 3/11 or 7/7 (references to attacks in Madrid and London, respectively).
Her career of female self-determination demonstrates the rights of religion, sexuality, and expression that much terrorism seeks to undo.
Among the many sickening aspects of the bombing that killed 22 people at an Ariana Grande concert in Manchester, England, Monday night is the sense of a pattern. Ever since the November 2015 Paris attacks that claimed lives at a rock concert and soccer match, violent Islamic extremists have continued making mass entertainment events one of their primary targets. There was the Pulse massacre in Orlando and the street-festival truck attack in Nice, but also killings at nightclubs in Istanbul, Kuala Lumpur, and Tel Aviv.
There’s no doubt a logistical rationale to assaulting these “soft targets”—they may be vulnerable, and bloodshed at them can inspire a particular kind of fear among civilians. But it stands to reason there’s an ideological motive too: A culture is embodied its gatherings and in its entertainments. The particular implications of targeting musical events, which are almost inevitably bound up with art’s larger humanitarian project, have been widely noted.
New Orleans Mayor Mitch Landrieu explains to his city why four monuments commemorating the Lost Cause and the Confederacy had to come down.
Last week, the City of New Orleans finished removing four monuments—to Confederate President Jefferson Davis, Generals P.G.T. Beauregard and Robert E. Lee, and the postwar battle of Liberty Place. The removals occasioned threats, protests, and celebrations. On Friday, Mayor Mitch Landrieu explained to his city why he had concluded that the monuments needed to come down.
The soul of our beloved City is deeply rooted in a history that has evolved over thousands of years; rooted in a diverse people who have been here together every step of the way—for both good and for ill.
It is a history that holds in its heart the stories of Native Americans—the Choctaw, Houma Nation, the Chitimacha. Of Hernando de Soto, Robert Cavelier, Sieur de La Salle, the Acadians, the Islenos, the enslaved people from Senegambia, Free People of Color, the Haitians, the Germans, both the empires of France and Spain. The Italians, the Irish, the Cubans, the south and central Americans, the Vietnamese and so many more.
The office was, until a few decades ago, the last stronghold of fashion formality. Silicon Valley changed that.
Americans began the 20th century in bustles and bowler hats and ended it in velour sweatsuits and flannel shirts—the most radical shift in dress standards in human history. At the center of this sartorial revolution was business casual, a genre of dress that broke the last bastion of formality—office attire—to redefine the American wardrobe.
Born in Silicon Valley in the early 1980s, business casual consists of khaki pants, sensible shoes, and button-down collared shirts. By the time it was mainstream, in the 1990s, it flummoxed HR managers and employees alike. “Welcome to the confusing world of business casual,” declared a fashion writer for the Chicago Tribune in 1995. With time and some coaching, people caught on. Today, though, the term “business casual” is nearly obsolete for describing the clothing of a workforce that includes many who work from home in yoga pants, put on a clean T-shirt for a Skype meeting, and don’t always go into the office.
The reported suicide bombing at an Ariana Grande concert in Manchester was aimed at preteen and teenage girls enjoying one of the best nights of their lives.
Every terrorist attack is an atrocity. But there’s something uniquely cowardly and especially cruel in targeting a venue filled with girls and young women. On Monday night, a reported suicide bomber detonated a device outside Manchester Arena, killing 22 people, many of whom were children. The victims had gathered at the 21,000-seat venue to see the pop musician Ariana Grande, a former Nickelodeon TV star whose fan base predominantly includes preteen and teenage girls. The goal of the attack, therefore, was to kill and maim as many of these women and children as possible.
How can you respond to such an event? Like the shooting at Sandy Hook Elementary School in 2012, it’s something so horrific in intent and execution that it boggles the mind. And like the 2015 attack claimed by ISIS at the Bataclan theater in Paris and the shooting in Orlando last year, the Manchester bombing was targeting people who were celebrating life itself—the joy of music and the ritual of experiencing it as a community. For a number of children at the Grande concert, it would have been their first live musical event. Images and video of the aftermath of the bombing, depicting teenagers fleeing from the event, reveal some still clutching the pink balloons that Grande’s team had released during the show. The youngest confirmed victim of the attack, Saffie Rose Roussos, was 8 years old.
The story of a decades-long lead-poisoning lawsuit in New Orleans illustrates how the toxin destroys black families and communities alike.
Casey Billieson was fighting against the world.
Hers was a charge carried by many mothers: moving mountains to make the best future for her two sons. But the mountains she faced were taller than most. To start, she had to raise her boys in the Lafitte housing projects in Treme, near the epicenter of a crime wave in New Orleans. In the spring of 1994, like mothers in violent cities the world over, Billieson anticipated the bloom in murders the thaw would bring. Fueled by the drug trade and a rising scourge of police corruption and brutality, violence rose to unseen levels that year, and the city’s murder rate surged to the highest in the country.
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The president wants to cut funding for programs such as career and technical education and redirect that money toward school choice.
Updated on May 23, 2017
Many of the spending goals outlined in Donald Trump’s proposed education budget reflect his campaign rhetoric. The president, who has long called for reducing the federal government’s role in schools and universities, wants to cut the Education Department’s funding by $9 billion, or 13 percent of the budget approved by Congress last month. The few areas that would see a boost pertain to school choice, an idea that Trump and Education Secretary Betsy DeVos have repeatedly touted as a top priority. In the White House’s spending proposal, hundreds of millions of the dollars would go toward charter-school and voucher initiatives, while another $1 billion in grants would encourage states to adopt school-choice policies.
A wealthy white lawyer has spent 16 years and millions of dollars turning the Whitney Plantation into a memorial to the nation's past.
New data and analysis from PRRI and The Atlantic suggests that it was cultural anxiety more than economic distress that fueled white, working-class support for Trump.
Uncovering the link between early trauma and lifelong illness