Login
Enlarge / In 1900, Charles Stewart Rolls (one of the founders of Rolls-Royce) said, "The electric car is perfectly noiseless and clean. There is no smell or vibration. They should become very useful when fixed charging stations can be arranged." Now, that's happened, and they are indeed very useful. (credit: Jonathan Gitlin)
A fully electric Rolls-Royce has been some years in the making. Back in 1900, Charles Stewart Rolls proclaimed the electric motor's suitability for automobiles—silent, smooth, and exhaust-free are all great attributes for a luxury car. Back then, the problem was a lack of charging stations, something that appears to be improving 123 years later. That means the world is now ready for the Spectre.
As you might expect of a car wearing the pantheon grille and Spirit of Ecstasy mascot—subtly redesigned here for improved aerodynamic efficiency—there is little shy or retiring about the Spectre, particularly when it's a vivid purple, as was the case for our test car.
My favorite design detail isn't captured well, but the way the spoiler kicks up subtly at the rear is wonderful. (credit: Jonathan Gitlin)
It's a two-door, four-seat coupe, and big one, too: 215.6 inches (5,475 mm) long, 79.4 inches (2,017 mm) wide, and 61.9 inches (1,573 mm) tall, with a curb weight of 6,371 lbs (2,890 kg). Despite that, the somewhat Art Deco-inspired shape cleaves the air with a drag coefficient of 0.25—the shape spent more than 800 hours being refined in the wind tunnel, which is about twice as much time as F1 cars are currently allowed.
If you consider yourself a mobile creator and you’re not using some sort of dedicated microphone, you might be holding yourself back. We’re not judging, but your audience likely is. Audio, especially dialog, is often overlooked, but if you want true, high-quality content, you need good sound. There are many, many options for the home or office/studio, but there are a surprising amount of mobile-specific (or at least, mobile-friendly) solutions out there to elevate your on-the-go recordings be that for social, a jam session, live streaming, making movies, podcasting and beyond.
What “the best mic for your iPhone or Android” is will vary depending on the task you need it for. If you want to record a TikTok or a podcast or even a jam session, all have slightly different needs but the selection below covers most bases (and maybe even a few you didn’t think of yet) for recording high-quality sound with little more than a mobile phone.
This guide is all about recording on the go, free from the constraints of a studio or office, but also far away from luxuries like power outlets, acoustically friendly rooms and a full-size PC. As such there are two styles of microphone that really shine here: Lavalier (lapel) and shotgun. We’ll be covering a few other types, too, but between those, most tasks are covered.
We’ll also show you how you can use the USB mics you may already have with your phone and even ways to connect heavy-duty studio classics (XLR) to your humble handset, but all that will be through accessories. For now, let’s start with the classic clip mics.
The obvious benefit of a lapel mic is size. Their small profile makes them perfect for presenting to the camera with the flexibility to move around while maintaining consistent audio quality. If you’re a budding TikTok or YouTube creator it’s definitely worth having one of these in your bag.
The main trade-off, however, is that they’re only good for recording the person they’re attached to. If you have two people talking and only one is wearing the mic, you’ll only get good audio for one half of the conversation, so for multi-person recordings you’ll need a mic for each guest and a way to record them at the same time, so costs can go up quickly.
Fortunately, lapel mics have become a very competitive market with good, viable options costing as little as $14.95. For an absolute bargain with a long cord and some connectivity accessories, the Boya BY M1 is hard to argue with. But, while these budget choices are great value, if you want something that should either last longer, is more versatile or just sounds better it’s worth paying a little bit more.
Rode’s Lavalier II is a slick-looking low-profile lavalier that sounds great. At $99, it’s somewhere in the sweet spot between budget and higher-end clip-on options. It’s easy to recommend the Lavalier II just on its sound alone, but it comes with a rugged case and a good selection of accessories. For even more flexibility you can pair this with Rode’s AI Micro interface ($79) which provides easy connection to an iPhone or Android (or even PCs) and adds support for a second mic – perfect for recording podcasts or interviews.
At $60, Sennheiser’s XS (USB-C) lav mic is fairly affordable, sounds great and plugs right into your phone (or laptop) without needing an adapter. This not only makes it convenient but reduces the overall cost as you don’t need a headphone adapter for your phone. What’s more, the XS has a 2-meter long cable which gives you plenty of scope for movement or framing.
Recently there has been an explosion in mobile-friendly wireless systems but there are two we really like. The first is Rode’s Wireless GO II. Arguably the original defined this category, but the second generation improves on it with two wireless transmitters making this podcast and interview friendly. This wireless microphone is also incredibly versatile as it doubles as a standalone recorder, can be mounted in a camera cold shoe and even has its own “reporter” mic adapter. Oh, and you can make any 3.5mm mic (including the lavaliers above) wireless by plugging it into one of the receivers.
The second is the Mikme Pocket. This Austrian-designed pack is a high-end wireless lavalier microphone system designed to be particularly mobile-friendly. There’s a comprehensive app for both video and audio recording and internal storage so you won’t ever experience dropouts. It also means you can enjoy a practically infinite range. At $399 it’s a higher spend, but if high-quality audio and near-infinite range are what you need then this is the one.
So we’ve already touched on this with the AI Micro, which is an adapter of sorts. One of the first things you might bump up against when dealing with mobile audio accessories is TRRS vs TRS connectors. Simply put, 3.5mm TRS is what you might know as the age-old classic headphone connector while TRRS became common for its support for headsets and inline mics. You can easily tell them apart as TRS connectors have two black bands on them while a TRRS has three.
For you, the budding creator, it can be a bit of an annoyance as many 3.5mm lavaliers are going to be TRS and won’t work when plugged into your phone’s headphone adapter. Sometimes your lavalier might include what you need in the box, but otherwise, you’ll want to pick up a TRS to TRRS adapter like this. Of course, some smartphone-specific mics have TRRS connectors already – for those, you’ll want a cable that goes the other way should you want to use it with other devices like a DSLR.
You may be more familiar with shotgun mics when it comes to video recording. It’s the style of microphone most often found atop a DSLR or mirrorless camera, but they make great companions for other portable devices too, your cell phone included.
The benefit of a shotgun is that they tend to be highly directional, which makes them perfect for podcasts, recording instruments, foley sounds and much, much more.
For us mobile recordists, another benefit is that they tend to be light and portable, perfect for slipping into a backpack or even a laptop bag. Even better, there are some great mobile-specific options.
You shouldn’t buy a mic just because of how it looks, but the MKE 400 from Sennheiser ($200) definitely makes its rivals look wimpy. More important than aesthetics, though, is how it sounds and the MKE 400 records very cleanly without obvious coloration to the audio. What’s more, the battery-powered mic won’t steal power from your phone or camera, and with three gain levels to choose from you can boost things when needed, or avoid clipping on louder subjects. The MKE 400 also comes with both TRS and TRRS cables for compatibility with a variety of devices.
The MKE 400’s physical gain controls and high pass filter (unlike the other two below that are updated via an app) take the stress out of worrying if your audio source moves or changes volume as you can adjust that on the fly. If you’re a musician looking to record loud drums and then softer vocals on the move, for example, these tactile gain settings are a massive plus.
When we tested the VideoMic GO II we were surprised at just how good it sounded right out of the box. At $100 it rivals many desktop microphones that cost three times the price. You’ll need a companion app to change settings, otherwise this performs well across the board.
Not to be confused with the older MV88 that plugged directly into a Lightning port, the MV88+ is a mini shotgun mic made with the smartphone in mind. Often sold as a vlogging kit ($249) with a tripod and phone grip, the MV88+ has modular cables for connecting directly to Androids and iPhones.
Mobile-specific mics are great, but there’s nothing stopping you from using your phone mic or another you might already have (if it’s somewhat portable). You’ll definitely need to do a little dance with some adapters, but that’s half the fun. Below are a couple of recommendations for “regular” microphones that pair well with a phone and then the cables and adapters that you’ll need to get setup.
Arguably, there are few microphones that are could be described as "mobile-friendly" than the HypeMic from Apogee. While it looks like a regular handheld mic, it's actually deceivingly small, making it very light and portable. It also comes with cables to directly connect it to iPhones and Android handsets — no adapters needed. Don't let the small size deceive you though, the HypeMic has a big trick up its sleeve: a built-in analog compressor for professional-sounding vocals. Whether you record podcasts, vocals or instruments there's a setting on the HypeMic just for you. At $349 it's a little on the spendy side, but you get a very versatile device that's just as useful for the desktop too.
This dynamic mic is a favorite with podcasters, with many production companies using it as their standard mic to send out to remote guests thanks to its excellent quality to value performance. The Q2U features both USB and XLR connectivity making it versatile for both desktop and mobile applications, but it’s the former we’re interested in here as that’s what allows you to connect it to your phone with nothing more than a USB cable and an adapter (see below).
What’s more, the Q2U is solid enough to endure a little bit of rough and tumble, so will happily live in the bottom of your backpack ready for when you need it. Meanwhile, the handheld design is versatile enough it can turn its hand to singing/instruments, podcasts, interviews and more.
You may not be familiar with the name, but Tula snuck into our hearts with its versatile, vintage inspired debut microphone. From a mobile perspective, the Tula connects to Androids directly over USB-C or iPhones with the right USB-C to Lightning cable (more on this below) or a USB “camera kit” adapter. What makes the Tula special is that it’s also a desktop mic and portable recorder with lavalier input and 8GB of storage and even features noise cancellation – perfect for cutting down on outside background sounds. With the Tula you could theoretically have one mic for home, mobile and standalone recording.
If you already have a stash of XLR mics or really do need a studio condenser mic with phantom power then the iRig Pre 2 is a portable interface that will feed any XLR mic into your phone. It runs off two AA batteries which it uses to supply phantom power when needed and won’t drain your phone. There’s also a headphone port for monitoring, gain controls and LEDs to help prevent clipping.
Connecting USB microphones directly to phones is rarely as simple as just one cable, although that’s starting to become more common. In general, Android makes this simpler, but also, thanks to the wide range of manufacturers and software versions you can’t always guarantee things will work smoothly.
The iPhone is a whole other situation. USB microphones have a good chance of working via the USB camera kit we mentioned earlier, but that’s still inelegant sometimes. Frustratingly, some USB-C to Lightning cables will play nice with microphones, but sadly most will not – including Apple’s own. One confirmed option is this cable from Fiio or this generic alternative. These are inexpensive enough that it’s worth having a couple around if you work with audio a lot (they of course can also be used to charge your phone as a bonus).
This article originally appeared on Engadget at https://www.engadget.com/best-mobile-microphones-for-recording-with-a-phone-154536629.html?src=rss
The best microphones for iPhones and Android
A phone surrounded by microphones that are particularly suited to recording on the go.
Your eyes aren't deceiving you. There really is an HBO show on Netflix. All five seasons of Issa Rae's highly acclaimed comedy-drama series Insecure are now streaming on Netflix in the US. Not only that, more HBO shows are on the way to the service as Warner Bros. Discovery (WBD) tries to wring more revenue out of its expansive library.
Band of Brothers, The Pacific, Six Feet Under and Ballers are also coming to Netflix as part of the deal, the company told Deadline. Meanwhile, Netflix users outside the US will be able to stream True Blood on the service. This is the first time that HBO content has appeared on Netflix in the US, though some has previously been available on Prime Video. The shows will still be available on Max.
All five seasons of Issa Rae's Peabody and NAACP award winning series Insecure are now on Netflix! pic.twitter.com/6hpNcw4ja2
— Netflix (@netflix) July 3, 2023
This is part of an effort to boost WBD's revenue. Late last year, the company removed some notable titles from Max, including Westworld and The Nevers. Those shows, and many others from the WBD library, are available to watch on free, ad-supported channels on Roku, Tubi and Amazon's Freevee.
Zaslav and his team have employed other tactics to improve WBD's bottom line. Those include pulling many shows and movies from Max to reduce costs, cancelingMax-exclusive projects before they were done (reportedly in favor of tax writeoffs in some cases) and laying off employees.
This article originally appeared on Engadget at https://www.engadget.com/hbo-shows-are-streaming-on-netflix-in-the-us-for-the-first-time-161235695.html?src=rss
Insecure
Insecure
We are off today and tomorrow for the US Independence Day holiday. Also included, a song that hews carefully to archaic rules about prepositions at the end of sentences.
The post Off for the US Holiday — More Grammar appeared first on The Scholarly Kitchen.
Tinder’s new headquarters in West Hollywood, California designed by Rapt Studio could be imagined as a thoughtful response to the transformative changes that have affected the corporate workplace dynamics the last few years. The seven-story, 77,000-square-foot project, handled by the same creative consultancy responsible for developing other creative spaces for the likes of Google, Dropbox, and Vans, is imagined to reestablish the pandemic-frayed ties that bind individuals into creative collaborative teams – and by extension, between the app users they seek to support – designing a multi-level headquarters layered with a multitude of opportunities for collaboration and connection.
Rapt Studio began the project by researching existing public space typologies, from the town square to the speakeasy, that empower a progressive deepening of ties that bind workers with their work in an organic manner.
Modeled after a town square, The Commons is the largest and most expansive of the spaces, and also the entry point into Tinder’s new headquarters. The airy environment is intended to encourage casual interactions and large enough to accommodate for company-wide gatherings.
The café — or “Boost Bar” — sits on the second floor, giving employees access to the skills of an in-house barista, and in turn providing an informal space to work away from the desk.
The IT help desk is fashioned after the nostalgic memories of the neighborhood arcade.
Diffuse lighting, custom modular furniture on wheels, and walls clad in top-to-bottom whiteboards all inhabit La Galleria, a room drawing its atmosphere from the workshops and displays of an artist studio.
A custom hot-pink central table with cutouts along the edges offers a surprisingly idiosyncratic hue to the space’s otherwise muted purpose.
Floor six is dedicated to quieter activities and appropriately demarcated as The Stacks, a tranquil communal space fashioned after a library.
Deep blue hues across plush fabrics, with curvilinear walls and curtains framing windows overlooking the LA skyline give the pinnacle seventh floor a nightclub vibe. Seating arrangements are situated to encourage engagement within intimate groups – a “secret” employee getaway of sorts.
“Connection is at the heart of the Tinder brand,” says Rapt Studio CEO and Chief Creative Officer David Galullo. “To design a space that deepens connection within Tinder, we looked to the places where we typically build relationships and then mapped them onto a floor plan. The end project emphasizes how design itself can be a force of connection.”
Tinder’s new HQ shares some similarities to Rapt Studio’s previous project, The Schoolhouse, a creative office for The Google School for Leaders. Each share the goal to spur informal engagements between team members by carving out both shared and intimate spaces, and furnished to empower employees to adapt those spaces to their needs on an as-needed basis.
As Rhode Island School of Design’s (RISD) 18th president, Crystal Williams believes that education, art and design, and staying committed to equity and justice are essential to transforming our society. At RISD, the Detroit-born activist is working to drive meaningful change centered on expanding inclusion, equity, and access. To back that up, Crystal has more than two decades of higher education experience as a professor of English as well as serving in roles that oversaw diversity, equity, and inclusion at Boston University, Bates College, and Reed College. The ultimate goal behind Crystal’s role at RISD is to enhance the learning environment by making sure it includes diverse experiences, viewpoints, and talents.
Photo: Jo Sittenfeld
However, Crystal’s talents go beyond the halls and classrooms of colleges and universities – she’s also an award-winning poet and essayist. So far, she’s published four collections of poems and is the recipient of several artistic fellowships, grants, and honors. Most recently Detroit as Barn, was named as a finalist for the National Poetry Series, Cleveland State Open Book Prize, and the Maine Book Award. Crystal’s third collection, Troubled Tongues, was awarded the 2009 Naomi Long Madgett Poetry Prize and was a finalist for the 2009 Oregon Book Award, the Idaho Poetry Prize, and the Crab Orchard Poetry Prize. Her first two books were Kin and Lunatic, published in 2000 and 2002. Crystal’s work regularly appears in leading journals and magazines nationwide.
Today, Crystal Williams is joining us for Friday Five!
Martha’s Vineyard \\\ Photo: Crystal Williams
Originally, I was going to write about a place that inspires me. But when I truly started to consider places I find inspiring, I realized that each of them elicits and enables silence and stillness, a refraction of silence (at least for me). So then, silence itself is the thing that inspires me. Silence inspires me to delve and investigate and allows me to situate myself in wonder and awe – in the amplitude and magnitude of who and what and how we are as a species, to sometimes take issue with personal fears or traumas or worse – the behaviors that ultimately impede personal and spiritual growth or insight.
For me, silence is a great gift. Perhaps the greatest. It is a balm. Through it, I connect to the world not as Crystal Williams of this particular body but as a congregation of embodied energy and spirit. In this way, it is the catalyst through which all good art, poetry, ideas, and leadership emerge. So it is among the most inspirational things in my life – and among the most rare, given my life.
Photo: Crystal Williams
I admire many poems. But Lucille Clifton’s “won’t you celebrate with me” (which is how it is commonly known although Clifton did not, in “Book of Light” originally title the poem), is the one that inspires me the most. It is a poem that speaks to resilience, fortitude, bravery, imagination, hope, and it names what being a Black woman in the United States can and often does elicit.
“won’t you celebrate with me
what I have shaped into
a kind of life? i had no model.
born in babylon
both nonwhite and woman
….
…come celebrate
with me that everyday
something has tried to kill me
and has failed.”
Nancy Wilson, Carnegie Hall, 1987 \\\ Video still courtesy YouTube
There are moments in art when an artist transforms one thing into another, utterly broadening, deepening, and transmuting the original meaning. In this live version of “How Glad I Am,” her encore performance at the 1987 “Live at Carnegie Hall” performance, Wilson – a vocalist I listened to obsessively as a younger person – transforms a simple song between lovers into a rousing tribute from an artist to her audience. This performance is the most profoundly loving example I have witnessed of an artist speaking directly and forcefully to the mutuality between artists and audiences. And it’s become a kind of personal soundtrack when I’m walking through my life, especially my life as a poet and now as president. Often, when I’m among creatives, I hear Wilson’s gorgeous, gravely voice imploring: “you don’t know how glad I am [for you].”
RISD students \\\ Photo: Jo Sittenfeld
Listen, these young people at RISD and young creatives everywhere are our best-case scenario. They are our visionaries, if only we can amplify them, listen to them, and then get out of their way. They have all the love (and strategy and insight and knowledge) we need if we can help them wield it successfully. They have all the intelligence and ingenuity we need to help solve our challenges and advance what is good, right, and just among our species. Added to those attributes are other facts: they are funny and curious and eager to learn and gloriously unusual.
I watch them here at RISD in their multi-colored outfits, hair-dos, and platform shoes, giggling with each other in front of the snack machine or intensely applying their best thinking to each others’ work during critiques. I listen to them grappling with big ideas, considering, reconsidering, and redesigning our world as if on slant, eschewing the boxes into which we have crammed stale ideas that continue to guide our actions. And I watch them in their magnitude – in the more quotidian actions of their lives trudging up and down the severe hill outside with their humongous portfolios and unwieldy art projects, and think through it all, “Wow” and think “to be so young and so powerful and necessary” and think “thank God” and think “Thank you, young people, for saying yes to the impulse that brought you here.” Not only do they inspire me, they humble me and they – each one of them – feel like a balm, like hope incarnate.
Photo: Crystal Williams
My folks married in 1967 against all odds. They were of different ethnicities – he Black, she white. Different places – he from the Jim Crow South, she from Detroit, Michigan. Different eras – he born in 1907, she in 1936. Different careers – he a jazz musician and automotive foundry worker, she a public school teacher. And different educational backgrounds – he, we think, not a high school graduate, she a college graduate. And yet, they found each other over the keys of a piano and decided, against society’s cruel eye and hard palm, to love each other and to love me. I now understand the courage it took for all of that to be true, for them to make a way, for them to walk through the world in 1967 as a couple and with me as their child. That courage inspires me. Those decisions inspire me. They inspire me. Everyday. All day.
Kin by Crystal Williams, 2000 \\\ Williams utilizes memory and music as she lyrically weaves her way through American culture, pointing to the ways in which alienation, loss, and sensed “otherness” are corollaries of recent phenomena.
Lunatic: Poems by Crystal Williams, 2002 \\\ Williams confronts large-scale social and cultural events such as September 11, the death of Amadou Diallo, and the Chicago Race Riots in addition to exploring the often paralyzing terrain of loss, desire, and displacement. Among its most common themes is personal responsibility.
Troubled Tongues by Crystal Williams, 2009 \\\ In each of the three sections of this book is a prose poem meant to be read aloud in which a character, interacting with other characters, is named for a quality. They are Beauty, Happiness, and Patience.
Detroit as Barn: Poems by Crystal Williams, 2014
This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!
This extraordinary profile of Clarence and Ginni Thomas—he a Supreme Court justice, she among other things an avid supporter of the January 6 insurrection—is a masterclass in everything from mustering archival material to writing the hell out of a story:
There is a certain rapport that cannot be manufactured. “They go on morning runs,” reports a 1991 piece in the Washington Post. “They take after-dinner walks. Neighbors say you can see them in the evening talking, walking up the hill. Hand in hand.” Thirty years later, Virginia Thomas, pining for the overthrow of the federal government in texts to the president’s chief of staff, refers, heartwarmingly, to Clarence Thomas as “my best friend.” (“That’s what I call him, and he is my best friend,” she later told the House Select Committee to Investigate the January 6th Attack on the United States Capitol.) In the cramped corridors of a roving RV, they summer together. They take, together, lavish trips funded by an activist billionaire and fail, together, to report the gift. Bonnie and Clyde were performing intimacy; every line crossed was its own profession of love. Refusing to recuse oneself and then objecting, alone among nine justices, to the revelation of potentially incriminating documents regarding a coup in which a spouse is implicated is many things, and one of those things is romantic.
“Every year it gets better,” Ginni told a gathering of Turning Point USA–oriented youths in 2016. “He put me on a pedestal in a way I didn’t know was possible.” Clarence had recently gifted her a Pandora charm bracelet. “It has like everything I love,” she said, “all these love things and knots and ropes and things about our faith and things about our home and things about the country. But my favorite is there’s a little pixie, like I’m kind of a pixie to him, kind of a troublemaker.”
A pixie. A troublemaker. It is impossible, once you fully imagine this bracelet bestowed upon the former Virginia Lamp on the 28th anniversary of her marriage to Clarence Thomas, this pixie-and-presumably-American-flag-bedecked trinket, to see it as anything but crucial to understanding the current chaotic state of the American project. Here is a piece of jewelry in which symbols for love and battle are literally intertwined. Here is a story about the way legitimate racial grievance and determined white ignorance can reinforce one another, tending toward an extremism capable, in this case, of discrediting an entire branch of government. No one can unlock the mysteries of the human heart, but the external record is clear: Clarence and Ginni Thomas have, for decades, sustained the happiest marriage in the American Republic, gleeful in the face of condemnation, thrilling to the revelry of wanton corruption, untroubled by the burdens of biological children or adherence to legal statute. Here is how they do it.
Global climate institutions have embraced the primacy of capital, private firms, and markets—and in so doing have fatally undermined their own efficacy.
In a decrepit house in São Paulo lives a woman who many people call a bruxa (the witch). As a blockbuster Brazilian podcast recently revealed, Margarida Maria Vicente de Azevedo Bonetti is wanted by U.S. authorities for her treatment of a maid named Hilda Rosa dos Santos, whom Margarida and her husband more or less enslaved in the Washington, D.C. area:
In early 1998—19 years after moving to the United States—dos Santos left the Bonettis, aided by a neighbor she’d befriended, Vicki Schneider. Schneider and others helped arrange for dos Santos to stay in a secret location, according to testimony Schneider later gave in court. (Schneider declined to be interviewed for this story.) The FBI and the Montgomery County adult services agency began a months-long investigation.
When social worker Annette Kerr arrived at the Bonetti home in April 1998—shortly after dos Santos had moved—she was stunned. She’d handled tough cases before, but this was different. Dos Santos lived in a chilly basement with a large hole in the floor covered by plywood. There was no toilet, Kerr, now retired, said in a recent interview, pausing often to regain her composure, tears welling in her eyes. (Renê Bonetti later acknowledged in court testimony that dos Santos lived in the basement, as well as confirmed that it had no toilet or shower and had a hole in the floor covered with plywood. He told jurors that dos Santos could have used an upstairs shower but chose not to do so.)
Dos Santos bathed using a metal tub that she would fill with water she hauled downstairs in a bucket from an upper floor, Kerr said, flipping through personal notes that she has kept all these years. Dos Santos slept on a cot with a thin mattress she supplemented with a discarded mat she’d scavenged in the woods. An upstairs refrigerator was locked so she could not open it.
“I couldn’t believe that would take place in the United States,” Kerr said.
During Kerr’s investigation, dos Santos recounted regular beatings she’d received from Margarida Bonetti, including being punched and slapped and having clumps of her hair pulled out and fingernails dug into her skin. She talked about hot soup being thrown in her face. Kerr learned that dos Santos had suffered a cut on her leg while cleaning up broken glass that was left untreated so long it festered and emitted a putrid smell.
She’d also lived for years with a tumor so large that doctors would later describe it variously as the size of a cantaloupe or a basketball. It turned out to be noncancerous.
She’d had “no voice” her whole life, Kerr concluded, “no rights.” Traumatized by her circumstances, dos Santos was “extremely passive” and “fearful,” Kerr said. Kerr had no doubt she was telling the truth. She was too timid to lie.
The National Wildfire Coordinating Group glossary gives this definition of an anchor point:
An advantageous location from which to start building a fire break or line. If done properly, this will prohibit fire from establishing itself on the other side of an unsuspecting crew who could otherwise end up being surrounded, with little chance for escape.
The first thing you learn at fire school is the acronym, LCES. LCES stands for Lookouts, Communications, Escape routes, and Safety zones. You will repeat it to yourself while sharpening your Pulaski and your chainsaw. You’ll say it again while wearing your stiff new boots into the shower, and later when you hike up steep trails with your new crewmates, each of you carrying around 40 pounds of gear strapped to your backs in 100-degree temperatures. It’s printed on the back page of every firefighter’s pocket guide, and on stickers handed out, which will later show up on helmets, bunks, notebooks, and water bottles.
Next comes the video you’ll sit through at the beginning of every fire season until you retire. Short, low-budget clips featuring interviews with survivors of tragic fires. Close-ups of haunted faces recall having spent interminable moments pressed tight to the ground in their foil shelters taking shallow breaths, breathing prayers against the dirt to their families and Gods while roaring flame fronts consumed the oxygen outside.
The camera pans away from the faces of the survivors to several small, white, weathered crosses high on a lonely mountainside that soon fade to black, and you can practically taste the ash and smell the faintest whiff of burning flesh coming from the bodies of firefighters who lived just long enough to stop thinking or feeling anything.
You are going to need a mantra. Throughout your career, you will have many. “LCES’ is as good as any to start with. The “L” in LCES stands for “lookouts.”
Post a lookout, whenever there is a need for one. There is always a need for a lookout.
Now, if you can, imagine another kind of fire; the kind of fire that starts within a human being. Alcoholism is that kind of fire.
Trying to control alcoholism is as complex and harrowing as learning to fight wildland fire, and because I happened to undertake both labors at the same time, the lessons I learned from each informed the other until I eventually rose from the ashes of my former self.
Barely into my first fire season, I began to notice I was no longer able to rocket out of bed in the mornings after nights spent drinking with the crew, no matter how much water I drank or how hard I exercised in an attempt to sweat it out. I was tired all the time. At thirty-six, I was the oldest firefighter in a close-knit fire crew of twenty and thirty-somethings. Maybe I was just too old to be playing with fire.
Older though I was, I was the happiest I could remember having been because I had finally stumbled into the work I was born to do.
Still, the beginnings of more serious health problems related to my alcohol consumption began to show themselves and by autumn there was a persistent hollow ache in my stomach.
When you decide to stop drinking only to discover that your willpower can’t keep you stopped, posting the analog of a fire lookout is a good idea. Survivors of tragic fires and late-stage alcoholism each told me in the early days that retreating into a survival shelter to wait out the fire is a tactic one should never rely on. Sure, you might survive fire or early sobriety by insulating yourself from the world in a hot, airless cocoon, but the ultimate goal is to expand your world by developing healthy interdependence with others. Together and connected, everyone increases their chances of surviving whole and resilient, instead of suffering alone beneath a heavy blanket of smoky darkness.
The first step I took toward sobriety was accepting that the fire had been there for a long time, quietly burning my life down.
The “C” in LCES stands for communications. Many tragedies could have been prevented had supervisors listened to lookouts’ warnings, or if someone—anyone—had spoken up in time to retreat from oncoming disaster.
Similarly, many alcoholics could have avoided lost time and opportunities, and later grave injuries to health and relationships, if they had only listened when their friends and family told them, “we’re beginning to worry about you.”
Abstinence isn’t sexy, no matter which social media influencer decides to take a public journey on the wagon. Although moderating is no big deal for a person whose alcohol problem is minor or temporary, for a real alcoholic, “dry January” is edge play.
When I fully removed alcohol from my life, I suddenly felt skinless, with all my nerves exposed to the air wherever I went. My body and mind felt like riverbanks being overrun by waves of unprocessed grief and trauma. It was necessary to find or create alternative escape routes and safety zones until new pathways developed through my interior moonscape of fading fire scars, which at some point miraculously began to fill in with new green growth.
The “E” in LCES stands for escape routes. What is an escape route? In wildland firefighting, it’s simple: Pick two directions. Face the danger. Make sure your pathway is clear, even if you have to cut your own path through chest-high brush with your saw. When first becoming sober, finding an escape route seems impossible: Alcohol is everywhere, and it feels like a social mandate. Work, sports, vacations, and activities of every kind involve the ever-present friend that one must now treat like the traitor it has become.
At first, sobriety feels at once like a death of a best friend, loss of comfort, and a beloved version of one’s self. On some level, it is exactly these things; it is also another kind of deceptively simple escape route from the need to use a substance to deal with life’s pain. You’ve probably known people who have ultimately chosen one of the others; sickness, insanity, or death.
Phone numbers of friends who can be counted on to call back, and taking my own car to social gatherings were among the first and most effective escape routes and safety zones I developed early on. Years later, I still rely on them although recovery no longer is about the fear of drinking again. These days, I use my tools to help remain steady in a world that is often on fire and in an upheaval of its own.
The “S” in LCES stands for “safety zones.” Safety zones are meant to be large, well-considered areas easily accessed from the fireline, but in reality, they rarely are. On the ground and in life, crews learn to prepare the best they can with the resources and time they have.
When fighting fire, the last step is called cold trailing. I learned to take off my thick gloves designed to protect firefighter’s vulnerable hands from burns and feel for any remaining heat around the blackened edges of the former blaze where it bumps up against the green. Where heat is found, the hot dirt is dug up and spread, allowing it to cool. Unbelievable amounts of heat can be found sometimes in deep pockets of warm soil. All it takes is a breath of wind and one spark for a drowsing fire to be reawakened.
While I still occasionally stumble upon hidden hot spots in my sober life, it’s been many years since I’ve stopped trying to put my own fires out with alcohol. I regularly invite other seasoned sober people to help me cold trail the edges of the old burns. Together, we take up our collective tools and legacy knowledge to open up the haunted ground, exposing our still-smoldering secrets to sunlight and air. Somehow, this is how we stay sober.
It took years from the time I realized I wanted to be a wildland firefighter for me to begin to walk toward that goal, while also leaving the biggest obstacle to achieving it behind.
**
Voices on Addiction is a column devoted to true personal narratives of addiction, curated by Kelly Thompson, and authored by the spectrum of individuals affected by this illness. Through these essays, interviews, and book reviews we hope—in the words of Rebecca Solnit—to break the story by breaking the status quo of addiction: the shame, stigma, and hopelessness, and the lies and myths that surround it. Sisters, brothers, mothers, fathers, adult children, extended family members, spouses, friends, employers or employees, boyfriends, girlfriends, neighbors, victims of crimes, and those who’ve committed crimes as addicts, and the personnel who often serve them, nurses, doctors, social workers, therapists, prison guards, police officers, policy makers and, of course, addicts themselves: Voices on Addiction will feature your stories. Because the story of addiction impacts us all. It’s time we break it. Submit here.
***
Rumpus original art by Ian MacAllen
We’ve asked Rumpus editors to share the titles forthcoming between now and the year’s end that they are most eagerly anticipating. These books transport us to different worlds, give us glimpses into lives we might never otherwise know, share new perspectives to consider, and offer us respite from reality.
If a title is marked as a Poetry Book Club selection, you can receive this book before its release date and participate in an exclusive conversation with its author! Just head to our store and become a member today! Our subscription programs help keep The Rumpus running—so you can connect with your favorite writers and support The Rumpus with just one click.
Family Lore by Elizabeth Acevedo
Flor has a gift: she can predict, to the day, when someone will die. So when she decides she wants a living wake–a party to bring her family and community together to celebrate the long life she’s led–her sisters are surprised. Has Flor foreseen her own death, or someone else’s? Does she have other motives? She refuses to tell her sisters, Matilde, Pastora, and Camila. But Flor isn’t the only person with secrets: her sisters are hiding things, too. And the next generation, cousins Ona and Yadi, face tumult of their own. Spanning the three days prior to the wake, Family Lore traces the lives of each of the Marte women, weaving together past and present, Santo Domingo and New York City. Told with Elizabeth Acevedo’s inimitable and incandescent voice, this is an indelible portrait of sisters and cousins, aunts and nieces–one family’s journey through their history, helping them better navigate all that is to come.
Forgive Me Not by Jennifer Baker
All it took was one night and one bad decision for fifteen-year-old Violetta Chen-Samuels’ life to go off the rails. After driving drunk and causing the accident that kills her little sister, Violetta is incarcerated. Under the juvenile justice system, her fate lies in the hands of those she’s wronged–her family. Denied their forgiveness, Violetta is now left with two options, neither good–remain in juvenile detention for an uncertain sentence or participate in the Trials. The Trials are no easy feat, but if she succeeds, she could regain both her freedom and what she wants most of all: her family’s love. In her quest to prove her remorse, Violetta is forced to confront not only her family’s grief, but her own–and the question of whether their forgiveness is more important than forgiving herself.
The New Naturals by Gabriel Bump
Drive by the abandoned restaurant on a hill off the highway in Western Massachusetts, and it doesn’t look like much. Definitely not a destination. But that’s exactly what it becomes, after a young Black Boston woman sees the country–in fact, the whole world–as an increasingly dangerous place. After losing their child and looking hard for a safe place, she and her husband begin to construct a separate society: somewhere nurturing, where everyone can feel loved and wanted, where all the Spike Lee movies play, where the children learn actual history–and somewhere underground, where they won’t need anything or anyone from the world above ground to make it work. She locates a Benefactor and soon it all begins to take shape. Two homeless men are told about the place and begin their journey by bus to get there. A young and disillusioned journalist stumbles upon it and wants in. And a former soccer player, having lost his footing in society, is persuaded to check out this place too. But it doesn’t take long for problems to develop, for conflicts to surface, for food to become scarce, for the children to crave life beyond this place.
I Done Clicked My Heels Three Times by Taylor Byas
a Rumpus Poetry Book Club Selection (subscribe by July 15!)
I Done Clicked My Heels Three Times takes its inspiration and concept from the cult classic film The Wiz to explore a Black woman’s journey out of the South Side of Chicago and into adulthood. The narrative arc of The Wiz–a tumultuous departure from home, trials designed to reveal new things about the self, and the eventual return home–serves as a loose trajectory for this collection, pulling readers through an abandoned barn, a Wendy’s drive-thru, a Beyoncé video, Grandma’s house, Sunday service, and the corner store. At every stop, the speaker is made to confront her womanhood, her sexuality, the visibility of her body, alcoholism in her family, and various ways in which narratives are imposed on her. Subverting monolithic ideas about the South Side of Chicago, and re-casting the city as a living, breathing entity, I Done Clicked My Heels Three Times spans sestinas, sonnets, free-verse, and erasures, all to reimagine the concept of home. Chicago isn’t just a city, but a teacher, a lingering shadow, a way of seeing the world.
Ripe by Sarah Rose Etter
A year into her dream job at a cutthroat Silicon Valley start-up, Cassie finds herself trapped in a corporate nightmare. Between the long hours, toxic bosses, and unethical projects, she also struggles to reconcile the glittering promise of a city where obscene wealth lives alongside abject poverty and suffering. Ivy League grads complain about the snack selection from a conference room with a view of houseless people bathing in the bay. Start-up burnouts leap into the paths of commuter trains, and men literally set themselves on fire in the streets. Though isolated, Cassie is never alone. From her earliest memory, a miniature black hole has been her constant companion. It feeds on her depression and anxiety, growing or shrinking in relation to her distress. The black hole watches, but it also waits. Its relentless pull draws Cassie ever closer as the world around her unravels. When her CEO’s demands cross an illegal threshold and she ends up unexpectedly pregnant, Cassie must decide whether the tempting fruits of Silicon Valley are really worth it.
Every Drop is a Man’s Nightmare by Megan Kamalei Kakimoto
Megan Kamalei Kakimoto’s wrenching and sensational debut story collection follows a cast of mixed native Hawaiian and Japanese women through a contemporary landscape thick with inherited wisdom and the ghosts of colonization. This is a Hawai’i where unruly sexuality and generational memory overflow the postcard image of paradise and the boundaries of the real, where the superstitions born of the islands take on the weight of truth. A childhood encounter with a wild pua’a (pig) on the haunted Pali highway portends one young woman’s fraught relationship with her pregnant body. An elderly widow begins seeing her deceased lover in a giant flower. A kanaka writer, mid-manuscript, feels her raw pages quaking and knocking in the briefcase.
Son has lived his entire life inside the mansion. He is a good child. He reads, practices piano, studies, and watches ghosts tend the farmland through a window in the attic. When Father decides it is time for Son to venture outside, Son’s desire to please Father overpowers his fear, and he must contend with questions he never wanted to face. What are the relentlessly grinning ghosts hiding? Has a ghost taken control of Father? What answers or horrors lie in the forest? And who will stop the mysterious encroaching shadows? Nghiem Tran’s debut inverts the haunted house tale, shaping it into a moving exploration of loss, coming of age in a collapsing world, and the battle between isolation and assimilation.
Blackouts by Justin Torres
Out in the desert in a place called the Palace, a young man tends to a dying soul, someone he once knew briefly, but who has haunted the edges of his life. Juan Gay–playful raconteur, child lost and found and lost, guardian of the institutionalized–has a project to pass along to this new narrator. It is inspired by a true artifact of a book, Sex Variants: A Study in Homosexual Patterns, which contains stories collected in the early twentieth century from queer subjects by a queer researcher, Jan Gay, whose groundbreaking work was then co-opted by a committee, her name buried. As Juan waits for his end, he and the narrator trade stories–moments of joy and oblivion–and resurrect lost loves, lives, mothers, fathers, minor heroes. The past is with us, beside us, ahead of us; what are we to create from its gaps and erasures?
Hush Harbor by Anise Vance
After the murder of an unarmed Black teenager by the hands of the police, protests spread like wildfire in Bliss City, New Jersey. A full-scale resistance group takes control of an abandoned housing project and decide to call it Hush Harbor, in homage to the secret spaces their enslaved ancestors would gather to pray. Jeremiah Prince, alongside his sister Nova, are leaders of the revolution, but have ideological differences regarding how the movement should proceed. When a new mayor with ties to white supremacists threatens the group’s pseudo-sanctuary and locks the city down, the collective must come to a decision for their very survival.
***
Yesterday’s newsletter was called “You don’t need a vision,” and seemed to be a big hit with some folks. (A few people told me this was their favorite letter.) Took me a few hours to read and respond to all the comments.
In the letter, I suggest that instead of worrying about some grand vision for your life, you focus on practice:
Establish a daily practice and use it as a way of getting through your days. Sometimes creative work really is just going through the motions. You don’t necessarily need a vision. Stick to your practice, and things will appear.
There’s a Sex Pistols song with the lyric, “Don’t know what I want, but I know how to get it.”
That’s where I am. I don’t have a grand vision for the future… but I have a practice, and I am curious to see what turns up, and that’s why I get up in the morning.
I’ve had fun lately posting “rough drafts” — little mind maps — of the newsletter online as a kind of #showyourwork style tease.
On a micro level, I rarely have a “vision” for the Tuesday newsletter — I think about it often throughout the week, and I keep a list of potential topics, but I wait for Monday morning to wake up, do some kind of exercise, and then work on it most of the day. (I block off all of Monday on my calendar to write.)
Read the newsletter here.
On the evening of Friday 9 June, Prof. Heather Widdows presented the inaugural Michael Lockwood Memorial Lecture, as part of a weekend of events to celebrate the twentieth anniversary of the Oxford Uehiro Centre for Practical Ethics and the fifth of the MSt. in Practical Ethics, based in the Centre. The title of Prof. Widdows’ fascinating and suggestive lecture was ‘Naming and Shaming: Responding to Lookism’.
Prof. Widdows began with a definition of lookism as ‘unjust discrimination on the basis of looks or appearance’. If an appointment committee, for example, knowingly or unknowingly offers a job to someone because of their appearance, when that appearance is itself irrelevant to the job in question, this is lookist, as analogous decisions based on race or sex would be, respectively, racist or sexist.
Prof. Widdows then provided evidence of lookism in employment and other domains, including the justice system and in the attitudes of young children. She suggested that lookism is less recognized than other forms of discrimination in part because its victims feel shame, and are hence unmotivated to call out that discrimination. Given that, she argued, we should seek to change that shame to anger or rage, as has happened in the case of sexism. This would increase the visibility of lookism, and make appearance at least a more plausible candidate for inclusion as a ’protected characteristic’ in equality legislation.
Philosophy can play, and is to some extent playing, its part, and here Prof. Widdows referred to the arguments in her Perfect Me: Beauty as an Ethical Ideal (Princeton, 2018) to the conclusion that our culture is now over-valuing, and mistakenly valuing, beauty to the extent that many are harmed through seeing their identity as dependent on their appearance. Prof. Widdows provided moving examples from stories posted on the website of the #everydaylookism campaign that emerged from her book, noting again the salience of shame in many of them.
A lively discussion followed the lectures, covering among many other issues whether choosing a partner on the basis of looks must count as an injustice, and whether calmly and clearly calling out discrimination might sometimes be a more appropriate or effective response than anger.
Relying on the private sector to decarbonize is a recipe for abandoning workers.
Coming off of Reclaim Open, one of the things I’m thinking about is online resources for self-teaching beginners. When we were interviewing people for the documentary, we asked people what they were glad the internet had now, in the present, that it hadn’t had in the past. And a lot of people — not everyone, but a lot — talked about how there’s a plethora of learning resources for beginners on just about any subject. Which got me thinking about the learning resources that I’ve used and the tutorials I’ve tried to follow.
There are so many things that I want to learn. I’ve got a post in the works about teaching myself to draw. About a month ago, I hit a milestone on my Duolingo streak (800 days!). I used to practice guitar, though I’ve fallen out of that habit in the past year. For a while I was experimenting with some of the beginner guides to Unity. I have an abundance of tutorials and resources on various topics bookmarked — a beginner’s guide to Ruby on Rails, Codecademy, HackerRank, etc. — which I’ve used… at some point in the past. I keep a list of topics to research that only gets longer and longer.
All this, and I still feel like a dabbler in everything. Part of it is that I’ve put aside topics for long periods of time (almost everything except Duolingo, honestly). That’s naturally led to skill atrophy and forgetting what I was doing, which means difficulty picking up where I left off. But for the one thing I have stuck with, I don’t feel like I’m getting any better — my Italian is beginner-level at best, with a poor grasp of grammar and difficulty remembering vocabulary when I need it.
So I’m thinking: what are the differences in the resources I’ve looked at? What do they require? Where do they go together, and where do they fall short?
The framework I’ve got in my head right now for self-teaching is structured vs unstructured learning resources.
Structured resources are things like Duolingo or Codecademy, a series of tutorials designed to build on each other. Unstructured resources are more like the Youtube video tutorials that exist for drawing or guitar, and their related practice tools (guitar tab websites, figure drawing photo banks).
Structured resources are designed methodically by one group in a way that emphasizes logical progress from point A to point B to point C. There’s a general focus on fundamentals first, then building up to more advanced concepts, with exercises designed to practice each new topic. The exercises are usually short and easy enough that lessons can be completed in 5-10 minutes max, to encourage making learning a routine and habitual practice. The focus is on progressing through the course.
Unstructured resources means that there’s a wide range of sources from various unconnected groups, which all specialize in different topics. Learning is self-directed, since there’s no clear path connecting everything, and there are few if any pre-built exercises (a given resource might have 2 or 3, but none of them hang together). Learners can focus their studying in their weakest areas, or specialize in the topics that most interest them, and the lack of pre-built exercises means that their learning goals shape what they’re working on — which means that there’s more intrinsic motivation to learn, since they’re tailoring their practice to their own interests. The most common advice I hear for people who want to learn guitar is “Pick a song you like, and learn to play it.” There’s simplified versions of just about every song out there so beginners can learn the most basic version, and once they have that, they can try something more advanced. It’s learning by doing.
With structured learning, there’s issues of pacing, attention span and motivation. Short, easy lessons are designed to keep attention and build routine, so you can do a little bit every day, but if you do only a little bit every day it might feel like you’re taking months or years to get anywhere. That damages motivation, which is doubly bad because you’re working towards proficiency but not a specific intrinsic goal; that makes it extra-hard to measure progress.
Curated and designed exercises may also not be right for all learners, or self-structured online learning may create certain pitfalls. For example, one major issue I have with Duolingo is that because of the way its lessons are structured, there’s no way to have exercises strengthening true composition (written or spoken). There’s options for translating back and forth between your native language and your target language, but there’s nothing along the lines of “Write a paragraph about your favorite book” or “Talk about your most recent vacation”. That’s a major barrier to fluency, since being able to read and listen in your target language is only one half of communication, and it’s the less challenging half.
With unstructured learning, though, you still get pacing, attention span and motivation issues. This time the issue is that it’s hard to know how much time to spend on certain topics, and where to start or how to build on them. Dumping time into something while feeling like you’re stumbling in the dark trying to figure out what you need to do next is a sure way to damage motivation, which can in turn make your attention focus elsewhere.
Exercises for unstructured learning can also feel repetitive, since your resources only give you a few. Everyone says the way to get good at drawing is to practice figure drawing, which is true — I have definitely improved as a result — but I don’t know how to vary it up to keep learning fresh or which details to pay attention to in order to practice most effectively. And if it’s not repetitive, it’s chaotic — everyone has an opinion, and everyone disagrees. Who do you listen to, and how do you cut through the noise and really decide how to spend your time?
This is a long way of saying: I’ve never learned to teach, and I don’t know how to learn to learn. Because self-structured learning is way different than learning in a classroom, or in a group, or with a mentor. There’s no external framework to keep you accountable, or to provide feedback, or to provide any of the other benefits that come with a learning community.
When it comes to self-directed learning, there’s so many principles I keep hearing about — resilience, goal-setting, failing forward, varying your practice, etc. — but all the resources I’ve found assume learners are coming to them with those principles already well-developed, and that all that’s left is the skill-building section.
Which makes sense! Teaching your learners how to self-teach before teaching them what they actually came to learn, is an absurd thing to ask. But for pretty much everything I learned in school, I learned from other people; I almost never got practice teaching myself.
So there’s a lot of beginner-friendly resources out there. And they’re great for if you have one or two specific things you need to learn. But for people starting in total ignorance who want to work their way up to overarching mastery, how beginner-friendly are they really?
Maria Tane reviews feminist geographer and glaciologist M Jackson's debut novel, which reveals a profound connection between melting ice and missing women.
The post Gender and Glacial Agency in The Ice Sings Back appeared first on Edge Effects.
FreshRSS 
