This story originally appeared in Common Dreams on Aug. 11, 2026.It is shared here under a Creative Commons (CC BY-NC-ND 3.0) license.
A right-wing talk show host on Tuesday pushed President Donald Trump to declare a “national security emergency” that would let him meddle in the 2026 midterm elections—and the president did not rule it out.
In an appearance on Real America’s Voice, Trump listened as host Wayne Allyn Root rattled off actions he would like to see the president take ahead of the midterms.
“Let me put an idea in your head,” Root told Trump. “Because it’s so hard to get the Senate to do anything, now they’re on recess, they never get anything done. If they never get the SAVE America Act done, you have the right to declare a national security emergency for elections.”
🚨🚨🚨
WAYNE ALLYN ROOT: You have the right to declare a national security emergency for elections. If you do this in the next month, we will get photo ID, proof of citizenship, and a limit to mail ballots
Root then told the president that “if you do this in the next month” it would allow for the implementation of photo identification and proof of citizenship requirements, as well as restrictions on mail-in ballots.
“Let me just say that stranger things have happened,” Trump said in response. “I’ll leave it at that.”
The US Constitution does not give the president power to declare a “national emergency” that would allow him to unilaterally rewrite states’ election laws.
Regardless, ABC News reported in February that a group of pro-Trump attorneys were circulating a 17-page draft order that would use the purported threat of election interference from the Chinese government to declare a “national emergency” that would outright ban mail-in ballots and mandate that all ballots be hand-counted.
Trump has not yet signed such an order, but he has issued other election-related directives, including one that instructs the United States Postal Service (USPS) to not deliver ballots in any states that have not given the federal government access to their voter lists.
The USPS executive order and an order that required Americans to show proof of citizenship when registering to vote have been blocked by courts.
Regardless, some observers expressed concern that the president wasn’t yet finished in his efforts to meddle in the coming elections.
“There is zero reason,” wrote CNN host Jake Tapper, “to not take Trump at his word that he and his team are planning something alarming to disrupt the midterms and beyond.”
Criminal defense attorney Scott Greenfield observed in response to the president’s appearance on Real America’s Voice that “Trump has no legal authority to do this,” but warned “that doesn’t mean he won’t try.”
Journalist Mike Rothschild questioned what the conversation between Trump and Root said about both men’s mental stability.
“Once again, Donald Trump is not a wizard,” wrote Rothschild. “He can’t just manifest things into existence by saying them or with a tweet. There is no ‘right’ to do this in US law, nor is there any mechanism that would enable any of this to happen. Both people in this conversation are deranged.”
After losing the 2020 presidential election to former President Joe Biden, Trump refused to concede the race, lied about the election being “stolen” by nefarious actors, pressured Georgia Secretary of State Brad Raffensperger to “find” enough votes to overtake Biden in the Peach State, and pushed then-Vice President Mike Pence to reject certifying the election despite lacking constitutional authority to do so.
When these efforts to overturn the election failed, Trump encouraged his followers to march to the US Capitol, where they broke into the building, assaulted law enforcement officers, and sent members of Congress running for their lives.
Um violento acidente rodoviário tirou a vida a um jovem de 22 anos, esta segunda-feira, na Autoestrada 13 (A13), ao quilómetro 7,201, no sentido Montijo – Almeirim, na zona de Pegões, concelho do Montijo.
A colisão ocorreu entre uma carrinha fechada de mercadorias e um veículo pesado de mercadorias (camião). Segundo fontes das autoridades e dos serviços de prestação de socorro, do sinistro resultou o óbito do jovem de 22 anos e ainda um ferido ligeiro.
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Um acidente rodoviário envolvendo seis viaturas provocou dois feridos ligeiros na manhã desta terça-feira, 11 de agosto, na freguesia de Santa Clara, em Lisboa.
O alerta foi dado às 08h29 para uma colisão na Rua Tito de Morais. Segundo o Regimento de Sapadores Bombeiros de Lisboa, a ocorrência mobilizou diversos meios de socorro para o local para prestar assistência às vítimas e assegurar a segurança da via.
Segundo a mesma fonte, do sinistro resultaram dois feridos ligeiros, que foram assistidos no local e posteriormente transportados para o Hospital de Santa Maria.
Um acidente trágico na A25 tirou a vida a um jovem de 28 anos, ao final da tarde desta terça-feira, 11 de agosto.
Exclusiva OS MONHACAS
O alerta foi dado às 17h42 para uma colisão rodoviária ao quilómetro 155,402 da A25, no sentido Celorico-Guarda, ao cimo da subida, na União de Freguesias de Avelãs de Ambom e Rocamondo, concelho e distrito da Guarda.
Segundo fonte das forças de socorro, o sinistro mobilizou para o local 13 operacionais apoiados por 5 veículos de emergência. Apesar de todos os esforços das equipas no local, a vítima não resistiu aos graves ferimentos, tendo o óbito sido declarado.
À família e amigos da vítima, apresentamos as nossas mais sentidas condolências.
No interior da Igreja Matriz de Alvor há uma imagem que, reza a lenda local, deu misteriosamente à costa, tendo sido recolhida e colocada com profunda reverência no altar pelos antigos pescadores. É a esta célebre e milagrosa escultura do “Senhor Jesus” que os fiéis ainda hoje prestam grande devoção.
O grande destaque arquitetónico da Igreja Matriz de Alvor vai por inteiro para o seu pórtico principal. Esta autêntica joia de pedra é legitimamente considerada a mais bela e trabalhado expressão do estilo manuelino em toda a região algarvia.
A estrutura ostenta uma decoração exuberante, repleta de motivos detalhados e inspirados na fauna e flora locais, combinados com cenas bélicas expressivas e uma forte simbologia religiosa.
Erguido originalmente na década de 1520, o monumento afirma-se como o grande ex-líbris histórico desta vila do concelho de Portimão.
A sua construção decorreu sob os auspícios da influente família Ataíde, alcaides-mores da localidade, tendo sido muito provavelmente impulsionada por Álvaro de Ataíde (filho).
Décadas mais tarde, em 1573, o jovem rei D. Sebastião visitou a localidade para inspecionar as casas outrora habitadas pelo “Príncipe Perfeito”.
Ao longo dos séculos, a gestão do templo cruzou-se com os grandes senhores da terra, desde os condes de Odemira até à poderosa família Távora — cujo condado em Alvor se extinguiu devido ao trágico processo político de Belém, no século XVIII.
Ao longo do tempo, a Igreja de Alvor resistiu a abalos sísmicos, incluindo os de 1755 e 1969, e passou por reconstruções setecentistas, com destaque para a torre sineira e o retábulo de Joaquim José Rasquinho.
Intervenções polémicas nos anos 1970 destruíram elementos originais, como o coro-alto, mas alertas do Museu Nacional de Arte Antiga, em 1977, travaram a destruição da talha dourada e imagens sacras.
Atualmente, a estrutura sobrevive como um testemunho de arte e resiliência, apesar da pressão urbanística.
Para além da famosa escultura e do portal, o interior da igreja guarda tesouros artísticos de enorme valor histórico, como altares em talha dourada, azulejos setecentistas e capelas particulares.
Police in cities across the U.S. are rolling out a pro-drone PR blitz as hundreds of local police departments prepare to deploy autonomous, AI-driven surveillance drones. The drones are capable of following a single vehicle across an entire city, capturing footage through apartment windows, and generally recording daily life from the sky without being noticed.
As of February, more than 1,000 law enforcement and public safety agencies had received waivers from the Federal Aviation Administration (FAA) to operate autonomous surveillance drones as part of so-called “drone-as-first-responder” (DFR) programs, according to public records obtained by the Electronic Frontier Foundation (EFF) and released in July. While the list of waiver recipients includes fire departments and other first responders, the vast majority are law enforcement agencies, including police in cities large and small.
The automated drone push comes as resistance to mass surveillance by license plate-reading cameras goes viral. Residents are packing city council meetings across the country to demand restrictions on the data gathered by high-tech drones and cameras — or an end to mass surveillance altogether.
Flock Safety, a top surveillance tech firm, is the company most associated with ALPRs and is itself often at the center of controversy. But Flock also has a number of competitors, including Axon and Motorola Solutions. And business across the surveillance tech economy is booming.
In many cities, local cops have extra funding for surveillance from wealthy private donors, police foundations, and federal grants; surveillance companies also often offer police free trials and help with applying for grants and waivers. Those surveillance firms have expanded from offering singular technologies such as ALPRs or body-worn cameras to become one-stop shops for police seeking the latest surveillance setup — including advanced drones.
Unlike most consumer drones, which are controlled by an operator looking up from the ground, autonomous surveillance drones used for DFR programs are operated remotely, allowing police to send drones much longer distances and stream live video footage back to headquarters. Cops in many cities have launched camera-carrying drones for years, but autonomous drones guided by AI are capable of flying “beyond the visual line of sight” of the operator (also known as BVLOS drones) and can be managed from a central launch pad, freeing up police time and capacity.
“The human increasingly is not flying the drone; the drone is driven by artificial intelligence and just deployed from one spot to another spot.”
“The human increasingly is not flying the drone; the drone is driven by artificial intelligence and just deployed from one spot to another spot,” said Beryl Lipton, the senior investigative researcher at EFF, in an interview. “They don’t have a pilot, but there is often a human person who is there to manage the feed.”
Instead of attending a street parade and launching a drone overhead, for example, police can fly multiple drones with AI-driven navigation from a desk, as EFF writes:
FAA rules for police drones also required a human operator to manually fly the device to a scene, but DFR technology has become a more common and more automated police technology. DFR programs increasingly rely on artificial intelligence to automate drone flights from launchpads placed around the city, often atop municipal buildings, and make it possible for one drone operator to “fly” multiple devices at once.
Flying a BVLOS drone requires an FAA waiver. The agency streamlined the waiver process in April 2025 and approved more waivers for BVLOS drones between then and February 2026 than it had in the previous seven years combined, EFF reports.
Lipton said most law enforcement applicants are already deploying automated drones or are strongly considering a “drone-as-first-responder” program. Once police begin a relationship with a company such as Flock Safety or Axon, Lipton said, taxpayers can expect a push for purchases of additional gadgets, upgrades, and storage for video.
It’s also not surprising that these programs now seem ubiquitous. “There is a lot of this kind of peer pressure in law enforcement, you can really see it with Flock,” Lipton said. “One police department gets a new tool or signs off on Flock cameras, and then you see neighboring cities are now signing up for Flock to keep up with the latest new thing.”
Flock Safety boasts that its automated “first responder” drones carry ALPR cameras that can read license plates from above up to 2,000 feet away, allowing police to connect surveillance footage of individual vehicles to data captured on the street. Lipton said companies such as Flock and Axon bundle services like gadgets and processing software to help police compile data from multiple streams into easily searchable databases, including footage from body-warn cameras, ALPRs, automated gunshot detectors, and drones flying overhead.
While a corporate partnership between Flock Safety and Axon fell apart in early 2025, some of the most prominent companies selling drones to police departments, including Skydio, integrate their products directly with the software and data analysis tools sold by leading manufacturers of ALPRs. “People don’t realize that video analytics has really developed as much as it has in the past few years, no matter whether coming from a police body-worn camera, drones or ALPR,” Lipton said. “All of these can easily be analyzed and made searchable, and that is a really integral part of what Axon and Flock are doing.”
Amid widespread backlash to ALPRs, police across the nation are going into PR mode, releasing footage of drones in action along with statements casting the technology as a “first responder” that can arrive on the scene before police to establish “situational awareness,” help with search-and-rescue, and track down suspects and stolen property.
“It seemed much more palatable for a drone to be framed as a ‘first responder’ … But in practice it is plain old surveillance.”
“It seemed much more palatable for a drone to be framed as a ‘first responder’ going to a specific crime rather than a tool for surveillance that has a very abstract crime-fighting purpose,” Lipton said. “But in practice it is plain old surveillance.”
Audits of drone flight logs — from piloted or autonomous drones — tell a more complicated story. In places police are required to log flights, officers often record only vague justifications for launching drones without a warrant, often for what appear to be routine dispatches and training flights, the ACLU has noted. Even on mundane missions, such drones equipped with powerful zoom lenses or infrared sensors can capture significant data that can later be analyzed with AI-powered data processing and facial recognition technology.
On July 13, Wired published an investigation into hours of drone footage from the San Franciso Police Department, providing an unfiltered look at automated drones in action. The footage was accidentally released on the open internet via the website for Skydio, the company providing the drones and software behind them. Discovered by security researchers Sam Curry and Maik Robert, the leaked footage itself raised serious privacy concerns.
“In the case of San Franscisco, they are doing a lot of locking onto license plates and, particularly, people, and the drone is able to navigate itself,” Lipton said.
The innocuous scenes captured by drones — police talking to a unhoused person, an arrest at a gas station by undercover officers, two men parking a car before joining a basketball game — also raised questions about the nature and breadth of the surveillance.
In one video, a response to an alleged “prowler” incident, the drone hovers over a young person wearing headphones and apparently having a private moment on the roof of a building. The drones have powerful zoom lenses, and footage captured of living rooms in the interior of apartments and people on private rooftops raise serious constitutional questions about the level of intrusion involved, according to Jay Stanley, a privacy analyst at the ACLU.
“It’s pretty clear that a police drone hovering, say, outside a 2nd story window in a suburban backyard would violate ‘reasonable expectations of privacy’ and thus the Constitution’s Fourth Amendment, but it’s less clear what the courts would find to be a reasonable expectation of privacy in a city, where people are already susceptible to Rear Window-type observation,” Stanley wrote in a blog post on July 17.
In some cities, police launched drone-as-first-responder programs with automated BVLOS drones with little or no oversight. The city council in Nashville, Tennessee, is considering placing restrictions on automated drones after learning that police had quietly launched a trial program without a vote or hearing by the city council. After public outcry, the Metro Nashville Police Department announced on August 6 that it would end its trial drone program.
New Orleans was among the cities that received the FAA waiver for an automated drone-as-first-responder program. Police plan to expand their existing drone program to launch drones in response to 911 calls from the historic French Quarter later this year. But residents were outraged after activists discovered that the city’s police department had changed internal rules to allow police drones to carry “weapons” with prior approval from the police superintendent, according to Edith Romero, an organizer with Eye on Surveillance. Police claimed the change was only a proposal added to a draft policy, but as Verite News pointed out, the file name for the “draft” document suggests the policy was meant to go into effect on June 21.
“Nobody knew; city council didn’t know, we had to announce it, and we mobilized people to start calling and start demanding that this be rescinded,” Romero told Truthout in an interview.
Police ditched the policy on drones carrying weapons after public outcry. On August 6, the New Orleans City Council voted to require police to publicly publish regular drone flight logs and reports on usage and reasons for deployment. While the new ordinance addresses transparency, it does not place enforceable restrictions on drone use. Romero echoed residents who submitted public comments arguing the ordinance does not go far enough.
“We need to do an investigation of the policy violations that happened last year, and the change in policy that weaponized the drones before we can move toward an expansion,” Romero said, adding that there must be penalties for police who deploy drones for unapproved uses.
The city has become a testing ground for surveillance tech, including ALPRs and cameras equipped with facial recognition. Wealthy private interests have funded an expansion of policing in the French Quarter, and the nonprofit Project NOLA secretly supplied police with data from a network of facial recognition cameras in violation of local law.
Officials said the use of facial recognition was paused after a Washington Post investigation exposed the program in May 2025, but the ACLU reported in April 2026 that abuses continue. The ongoing controversy has left residents anxious about surveillance in a city where drones are already a common sight during parades and street festivals.
“We already have people coming to us saying, ‘I saw drone outside my window, we don’t know what to do, how can we even confirm that it was a police drone?’” Romero said. “But we don’t know who was manning the drone, and for what purpose.”
According to Skydio flight logs for 2025 obtained by Eye on Surveillance and reviewed by Truthout, piloted drones were overwhelmingly dispatched to respond to calls about minor incidents, including a subject who was “involved in a disturbance with the hot dog guy then fled the scene.”
Drones were twice dispatched in response to a “Black female” causing a “disturbance” on or near Bourbon Street, famously one of the rowdiest bar crawls in the world. While many entries for “Type of Incident” in the flight logs are left blank, in multiple cases, drones responded to calls about unhoused people and people with mental illness.
“This is really why they want the [drones-as-first-responder] drones in the French Quarter,” Romero said. “These business owners don’t want to see people that are houseless, and they want to harass people they think are suspicious.”
Romero said building a surveillance state is clearly not the solution to homelessness or the budget crisis facing city leaders, who may be tempted by lucrative federal grants that require cities to build out surveillance infrastructure. Romero pointed to the Trump administration’s Model Cities Initiative, which offers $300 million to cities that invest in “proactive policing” and surveillance tech.
“If cities are building the surveillance infrastructure, the risks that our data will end up in the hands of the federal government or state government in our case are really high.”
“We have to take into consideration that the federal and the state governments are trying to use all the surveillance technologies out there. And so if cities are building the surveillance infrastructure, the risks that our data will end up in the hands of the federal government or state government in our case are really high,” Romero said.
Lipton said many questions remain about how police are actually using drones as “first responders,” and advocacy around restrictions and transparency is critical. Drones are not as immediately visible to the public as traffic cameras. But as anger continues rise over the automated license plate readers sold to police by Flock and Axon, Lipton expects a similar backlash to automated drones once more people learn about the technology.
“The adoption of these tools has outpaced the public’s awareness that they exist,” Lipton said. “License plate readers have been around for a very long time at this point, but we are seeing a moment where everybody — even people who are not tech-savvy — understand what it means that these systems are accessible in real time and interconnected.”
There’s nothing like walking into a pub and sitting down at an empty stool where your regular order awaits you. You have been seen; it’s a singular feeling of camaraderie and community. Club 2101, a dive bar in Oakland California, opens around 8 am each day. For The Oaklandside, Azucena Rasilla profiles a 16-hour-day in the life of the 80-year-old haunt, a story as colorful as the dedicated regulars who frequent the establishment, many of them captured in evocative photos by Sarahbeth Maney.
Another regular, Steve Powell, puts on the jukebox’s first song of the day, Stevie Ray Vaughan’s “Texas Flood,” and just as Vaughan’s guitar solo builds, another Breakfast Club member walks in: 71-year-old Kurt Meyer. Perez says Meyer had a health scare a few months ago; Perez is happy to see Meyer get back to his routine of hanging out with the crew.
By 11:30 a.m., the ice chest is in need of a refill and the bar starts to settle down. There are about a dozen people inside, some playing pool, others chatting or reading the newspaper. A few attentively watch the horse races now playing on the TV screens.
George is the first of the early morning crew to call it quits and catch the bus home. Winn and Altamonte follow shortly after.
“All of these regulars are not just customers,” Perez says. “They are friends and family.”
The charred body of a man was found inside a car on fire on Tuesday when firefighters rushed to extinguish a fire in Pikermi village in eastern Attica, on August 11, 2026. The fire on the vehicle is believed to have started a wildfire in the surrounding area. The body reportedly belonged to a man, […]
Ahead of the 40th anniversary of Stand By Me, Alec Joyner takes up Rob Reiner’s classic film and considers it from a few dozen angles. It’s a canny piece of critical writing on time, memory, masculinity, and tenderness, forces that often work against each other. (Joyner doesn’t raise the subject of Reiner’s violent death last year, though he pauses briefly on Chris, a character “freakishly knifed to death . . . trying to break up a fight.”) Stand By Me‘s two days of summer are a “vital pause” in the life of its characters, a “portal . . . into the expanse of time.” Here, Joyner illuminates that pause, and captures some of its elusive grace.
Stand by Me was slapped with an R rating, for the boys’ profanity, as well as the prominence of child abuse and death. This may have hampered ticket sales, but it also made it the first R-rated movie that many ’80s and ’90s kids saw. It made it a fitting rite of passage.
Still, there’s something lamentable in the verdict, the MPAA telling a faulty story much like the fictional adults of Castle Rock. How many blockbusters have promoted horrendous violence, only to make the PG-13 grade because they feel safely unreal? Stand by Me was received as dangerous because its horrors and its dirt live at home.
Prime Minister Kyriakos Mitsotakis was shortly hospitalized in the general hospital of Chania on the island of Crete after an accident with his bicycle yesterday Monday. According to information from local media zarpanews.gr, the accident occurred when the front wheel of the bicycle “slipped”, causing the Prime Minister to lose his balance and fall to […]
The Greek countryside is deserting, the villages are “extinguishing” and banks have no interest in the areas. Greek Finance Minister and Eurogroup chief, Kyriakos Pierrakakis, had a brilliant idea: village cafes to operate as ATMs, facilitate citizens to come to cash. According to a report by aftodioikisi.gr, in most of the remote villages, there is […]
Two wildfires on the island of Zakynthos – Zante – on Tuesday mobilized strong firefighting forces and aerial means and forced the evacuation of a village. The first wildfire that broke out early Tuesday in the Marathias area of Keri was fully contained within a few hours, while a separate blaze triggered the evacuation of […]
The total outstanding liabilities of General Government entities to private individuals and businesses fell by 168 million euros in June, declining to 3.55 billion euros from 3.718 billion euros in May. However, over the first six months of the year, they have increased by 251 million euros compared with the 3.299 billion euros recorded in […]
The wildfire in eastern Attica on Monday, August 10, that broke out on Monday morning in Kouvaras, eastern Attica, is being attributed to sparks caused by contact between low-voltage cables belonging to the Hellenic Electricity Distribution Network Operator (DEDDIE/HEDNO). This are the findings of the Fire Brigade’s investigative authorities so far, state-run news agency amna.gr […]
Mais de mil milhões de pessoas em todo o mundo vivem com hipertensão arterial, uma condição frequentemente silenciosa que aumenta o risco de complicações cardiovasculares. Para reforçar a importância da prevenção, do diagnóstico precoce e do controlo da doença, acaba de ser lançada a campanha nacional de consciencialização “Viva Sem Pressão”. Coordenada por Ricardo Santos, […]
Sam Roberts | Longreads | August 11, 2026 | 4,862 words (20 minutes)
This is an excerpt from Are They Dead Yet? by Sam Roberts, which was published on August 11, 2026, by Bloomsbury Publishing, Inc.
Tuck Everlasting is a cautionary tale about a family of the same surname who, by inadvertently discovering the proverbial Fountain of Youth, is forced to reconcile with eternity. When I was assigned to write the obituary of the book’s author, Natalie Babbitt, I wondered whether she had continued pondering immortality herself. It turned out she had. Not surprisingly, her own take on eternal life echoed that of the fictional family patriarch, Angus Tuck. “I think that living forever would be a terrible thing,” I quoted her as saying in her Times obituary. “It would be boring, sad and lonely.” Babbitt died when she was 84. But Tuck and her other novels endure as Babbitt’s legacy for readers. So does my obituary, which in 2016 revealed her motivation to become an author: She was inspired to write Tuck, she said, when her four-year-old daughter woke from a nap crying because she was scared of dying. Babbitt had intended to become an illustrator, not an author, but pivoted after taking one writing course in college. She had enrolled because her husband hoped to become a novelist and she wanted to understand the challenges he faced.
Back at the Daily News, obituaries weren’t the best way to achieve immortality. We mostly ran one-paragraph squibs for members of the paper’s family, of printers, pressmen, and their immediate relatives. Instead, like most tabloids, the News thrived on the reported details of murders, assassinations, and suicides. Few news stories generated more of a sensation than death in all its dimensions. No less an authority once defined “news” than the ancient newspaper deliverer—a beloved man known as Bo Gee, who was decades too old to be described as a newsboy—weaving up Second Avenue with a wire shopping cart brimming with Chinese-language newspapers, calling out the headlines as he delivered the papers to Chinese bars and restaurants on Manhattan’s East Side. He began his route in Chinatown, where the papers were printed. Subscribers on Manhattan’s Upper East Side were often a day or two behind the headlines because the last stop on his evening route depended largely on the number of drinks he had finagled from bartenders along the way before he was too wobbly to walk any farther. When a colleague of mine, the columnist Jimmy Breslin (who described him as “a small, thirsty man”), asked him which headlines sold the most papers, he responded unhesitatingly. He didn’t need a public opinion poll or a focus group of readers or a real-time digital analysis of clickbait: Two were surefire circulation boosters. One was war! The other: big guy dies!
Taken separately, obits constitute an individual’s legacy. In aggregate, they can capture the social and cultural currency of an era. Which people are worth remembering? Which values are worth celebrating? How do we measure success and failure, good and evil, achievement and defeat, social rank and professional standing? How many of the one hundred thousand people now immortalized in the periodically printed historical compilation Who Was Who were deemed worthy of obituaries at the time of their death? How many of the more than 33,000 contemporary notables included in the latest editions of Who’s Who will get obituaries when they die? (That the titles of those reference books don’t include question marks suggests that the listings themselves are indisputable, a questionable supposition when the price of inclusion by some publishers seems to be for the “whos” to buy at least one copy of the book. An entry for Michael Fowler Cullis, a former British diplomat, describes his recreation as “writing obituaries for friends.”)
People want to be remembered, and we want to remember them, or, at least, we do. “Obituaries commemorate a life at the point where it is completed by death. Yet the completion is also depletion, in the sense that the life is constructed as meaningful precisely at the point where it stops,” Professor Clare Brant, who teaches literature and culture at Kings College London, has written. “They act as the first version of a biography—sometimes the only one, although Wikipedia has closed the gap with each life story seemingly waiting for a death sentence.” But as valuable as Wikipedia can be, the New York Public Library notes, “Obituaries provide an important tool to researchers by offering biographical information on individuals that may not be readily available elsewhere. In many cases, the obituary supplies the only biographical data extant on a person.” Philip Sutton, a genealogy librarian at the library, told Legacy.com, the self-proclaimed world’s largest commercial provider of online memorials and guest books, that obituaries may reveal the married name of a daughter identified years earlier in the census only by her maiden name; that by identifying an immigrant’s specific birthplace, obituaries can also invigorate research on a family’s roots.
Obituaries are a reminder that when you die, someone else gets the last word on your legacy—or, at least, the first of the last words.
Especially in small towns and midsize cities, local newspaper obituaries bond one generation to the next. By recalling where the deceased went to school and whom they married and who survived them, those obits provide the frames that form a moving picture of continuity, a narrative of cohesion. They describe whether, and how, the departed outpaced their parents in personal and professional achievement, their legacy to contemporary readers, and the promise of their progenitors—grandchildren or great-grandchildren who are still blank slates with the potential to add to the story.
To me, obituaries evoke the heartrending backstories of the characters in Thornton Wilder’s play Our Town, the unfulfilled promise of Joe Crowell, who got a scholarship to the Massachusetts Institute of Technology and graduated first in his class: “Goin’ to be a great engineer, Joe was. But the war broke out and he died in France. All that education for nothing.” Emily is dead, too, but so consumed by nostalgia—before being persuaded that “live people don’t understand, do they?”—that she descends from the town’s cemetery and wants to return to her past life in Grover’s Corners, New Hampshire, until the Stage Manager reminds her, “You not only live it but you watch yourself living it. And as you watch it, you see the thing that they, down there, never know. You see the future. You know what’s going to happen afterwards.” “When I think of an obituary, it’s as objective as journalism can be, a story on someone’s life,” Holly Shreve Gilbert, a journalism instructor at Oakland University who was the interim president of the Funeral Consumers Information Society, told Molly Birnbaum of Atlas Obscura. But “hyper-local journalism is dying, and so is the obituary of the local person.” Gilbert added, “Now, if it’s on Legacy.com or Facebook or a blog, we’re basically whitewashing everyone’s lives. We’re all happy. Everyone is happy.”
Well, not everyone.
Obituaries are a reminder that when you die, someone else gets the last word on your legacy—or, at least, the first of the last words. And for all the beloved and respected and cherished and valued that punctuate paid obituaries, don’t forget that families can try to perpetuate irreverent descriptions unilaterally to settle scores when one is no longer in a position to retaliate or respond. In Shakespeare’s Macbeth, Malcolm declaims of the repentant Thane of Cawdor, who was executed for treason, “Nothing in his life became him like the leaving it.” If the Thane got the benefit of ambiguity, Florence Harrelson of Chelsea, Maine, had no such luck when she died in 2024 and her daughter, Christina Novak, placed a paid obituary in the Kennebec Journal. Wasting no words, the four-line obit read that the 65-year-old Henderson died “without family by her side due to burnt bridges and a wake of destruction left in her path.” It continued, “Florence did not want an obituary or anyone including family to know she died. That’s because even in death, she wanted those she terrorized to still be living in fear looking over their shoulders. So, this isn’t so much an obituary but more of a public service announcement.”
In 2023, Gayle Harvey Heckman took the trouble to announce the death of her mother, Linda Lernal Stull, in her Michigan hometown newspaper, the Three Rivers Commercial-News, even though they hadn’t spoken in 24 years. “As a mother, Lernal was violent, hateful and cruel,” Heckman wrote. “She physically, mentally, emotionally, verbally and financially abused Gayle.” After going into excruciating detail, the obituary concluded, “Gayle and her family forgive Lernal and hope that she has found peace. They also hope to find peace within themselves. Lernal will not be missed by Gayle or her family. They all understand that the world is a much better place without her.”
Blunt isn’t always bad. If writing can be a cathartic, it can also offer an object lesson. In 2015, a nine-hundred-word paid obituary in Maine’s Bangor Daily News (down-easters seem less inhibited about publicly evaluating their kin) began, “Coleen Sheran Singer (born Coleen Sheran Clark) would have turned 33 this August 31, but she died in Lewiston in an unsuspecting suburban professional couple’s home of a heroin overdose on the morning of December 25, 2014.” The obit was written by Singer’s former husband. It detailed her considerable assets—intellectually gifted, creative, and spirited—without concealing her hefty baggage as a woman who was addicted and suffering from borderline behavioral disorder. Brent Singer attributed the life his former wife led to her broken childhood home but blamed her death on Maine’s governor for denying her access to the methadone clinic she had relied on to stay straight.
In 2008, the Casper Star-Tribune in Wyoming reported that Jim Adams died at 53. Weary of soppy obituaries of patients who had courageously struggled against one disease or another until the bitter end, Adams went through his son to provide an unvarnished premortem verdict on his abbreviated life. And he had no compunctions about belatedly exercising personal responsibility and admitting that he lost his battle for less inspiring reasons entirely: “It was primarily as a result of being stubborn and not following doctor’s orders or maybe for just living life a little too hard for better than five decades.” He did lament, however, that he “was sadly deprived of his final wish, which was to be run over by a beer truck on the way to the liquor store to buy booze for a date.”
In 2019, the family of Joe Heller (not that one) playfully celebrated his life in the Hartford Courant. They described him as “a frequent shopper at the Essex Dump” who “left his family with a house full of crap, 300 pounds of birdseed and dead houseplants.” Heller was so practiced a consummate napper that “there wasn’t an occasion too formal or an event too dour that Joe didn’t interrupt with his apnea and voluminous snoring.” The obituary added, “The family is seeking donations to offset the expense of publishing an exceedingly long obituary which would have really pissed Joe off.” (It then appealed generously for contributions to the Seabee Memorial Scholarship Association.)
The Hellers weren’t kidding. Those paid “obits” aren’t cheap. The New York Times doesn’t accept paid obituaries, but their paid death notices, depending on the edition and the day, cost about $1,000 for a bare-bones nine lines of type and $50 for each additional line, which verbose encomiums and fervent eulogizing can raise into the thousands of dollars. (In memoriam notices in newspapers that wish the departed “Happy Birthday in Heaven” remain a testament to the enduring value of print advertising.) While radio and television have generally fallen short in memorializing the dead, there are blogs, zines, and commercial websites devoted to dying, and personal web pages and online videos have all helped democratize death. So far, though, it’s one area in which even a buzzworthy website can’t always live up to its name (such as when Michael Jackson’s death was announced on MichaelJacksonLive.com).
The Charlotte Observer in North Carolina used to publish brief obituaries of local figures for free—until executives discovered that printing a full page of them daily was costing $350,000 annually for newsprint alone. When the paper imposed a fee, readers revolted; the editors relented in some editions. MyGoodbye.com was started by Stephen Miller (definitely not that one), who grew up next to a cemetery and, after escaping from his bank’s eightieth-floor office in 2 World Trade Center on the morning of September 11, 2001, decided to become an obituarist full-time. Legacy.com partners with hundreds of newspapers and thousands of funeral homes worldwide to account for about 70 percent of the deaths in the United States alone. A prototype called EPOCH—Electronically Preserving Obituaries as Cultural Heritage—created by the Orange County, Florida, Library System enabled people to publish an obit online for free. Another website, MyObits.com, also lets anyone publish a free memorial. Facebook even allows users to designate an executor to manage their profile after they’ve personally logged off this mortal coil for good.
While radio and television have generally fallen short in memorializing the dead, there are blogs, zines, and commercial websites devoted to dying, and personal web pages and online videos have all helped democratize death.
Paid death notices have been wielded as much to ward off the living as to get the last word on the dead. In the early 1920s, Audrey Munson, America’s first supermodel, became so fed up with fame that she tried to fake her death by paying to run a phony death notice in her local upstate New York newspaper. Her gambit failed; she was so celebrated that the clerk she approached refused to accept the advertisement because he recognized her. Rudyard Kipling may have done her one better: When a newspaper reported his death prematurely, he wrote to the editor, “I’ve just read that I am dead. Don’t forget to delete me from your list of subscribers.”
Six months before Oliver Sacks died of cancer at 82 in 2015, the London-born neurologist who lived in Manhattan wrote an op-ed in the New York Times that amounted to an auto-obituary. Sacks was galvanized, he wrote, by the eighteenth-century philosopher David Hume, who, learning he was mortally ill at 65, penned a short autobiography in a single day in 1776. “I feel a sudden clear focus and perspective,” Sacks wrote. “There is no time for anything inessential. I must focus on myself, my work and my friends. I shall no longer look at ‘NewsHour’ every night. I shall no longer pay any attention to politics or arguments about global warming.” He explained that his shifting priorities were influenced less by passion than perspective: “This is not indifference but detachment—I still care deeply about the Middle East, about global warming, about growing inequality, but these are no longer my business; they belong to the future.”
Kelly McMasters, the author of The Leaving Season: A Memoir, started writing her obituary when she was 12; she has refreshed it almost annually since then. Her ritual was inspired by an assignment her mother was given while training as a volunteer at a local hospice. “I usually end up with a gentle accounting of the year, held against all the past ones,” McMasters wrote in a New York Times opinion essay. “I found many of the accomplishments that felt precious one year were hardly worth a mention the next.” Her private accounts produced an album of verbal snapshots, unreachable versions of herself that seemed as good as the dead about whom obituaries are otherwise published. “It seems dreadfully unfair that we wait until after our deaths to write them and never get to read them ourselves,” McMasters wrote. “Writing your obituary while you’re still alive can offer clarity about your life and, mercifully, if you find something lacking, you still have time to revise.”
By inspiring the “Portraits of Grief” series of intimate minibiographies of the victims of 9/11 in the New York Times, the attack by fanatical al-Qaeda suicide bombers on the World Trade Center in 2001 may inadvertently have made the obituary more egalitarian than any event since the Civil War. These 200-word vignettes with thumbnail photographs weren’t standard obits or news stories. Volunteer reporters interviewed families and friends of the victims and the missing to sketch some 2,500 hundred profiles. Overseen by Jon Landman and Christine Kay on the Metro Desk, the portraits were published over nearly five months. “Terrorism rather than the internet democratized the obituary,” Professor Clare Brant wrote. Roy Harris wrote for the Poynter Institute of the project, “The portraits identified one aspect of life—a woman gardening, a man taking his daughter to ice-skating lessons, or perhaps indulging in a fondness for cigars.” The obituarist Nigel Starck said, “Each day’s pages would renew a sense of the tragedy’s scope, while the individual portraits made each person intimately real.” Our exercise in mining the unremarkable found a larger-than-life common denominator, one that challenges the novelist W. P. Kinsella’s conclusion that “the lives of ninety percent of the population are so dull that no one would care in the least about them, the lives of the remaining ten percent are so bizarre that no one would believe them.”
Some of the deaths in those “Portraits of Grief” were preceded by chivalrous acts of courage and self-sacrifice. Those heroics worked their way into news articles. The portraits were not about how people died, not about their last moments of life, no matter how gutsy, but how they lived and what their loss meant to their family, friends, neighbors, and colleagues. The gruesome, grisly details were superfluous, unlike an earlier obituary style in which the how sometimes seemed to predominate over the who, what, when, where, and why.
When Louisa May Alcott died in 1888, for example, the New York Times explained in the first paragraph of her obituary, “For a long time Miss Alcott had been ill, suffering from nervous prostration. Last Autumn she appeared to be improving and went to the Highlands to reside with Dr. Rhoda A. Lawrence. She drove from there into town to visit her father on Thursday last, and caught a cold, which on Saturday settled on the base of the brain and developed spinal meningitis.” The first five paragraphs of Teddy Roosevelt’s Times obituary in 1919 left nothing about the cause of death to the reader’s imagination: “His physicians said that the immediate cause of death was a clot of blood which detached itself from a vein and entered the lungs.” In 1892, reporting the death of Caroline Harrison, the wife of President Benjamin Harrison, the Atlanta Constitution described her corpse in clinical detail: “She shows in her emaciation the effects of the long wasting illness of eight months that has reduced her large, matronly figure to a thin, frail form.” Then again, as recently as 2000, the paper, now called the Atlanta Journal-Constitution, ran an obituary by Kay Powell of a local church-choir tenor, who had also written a manuscript on the philosophy of religion, beginning this way: “David Robeson Morgan was a brilliant man whose future looked good, until he had a frontal lobotomy in 1947.”
“A writer may bear the same name as the subject of his memoir, but he is hardly the same person,” Robert W. Fuller, the former college president and self-styled dignitarian, surmised in the epilogue to his own memoir. “He has long since morphed into the subject’s successor, and then the successor of the successor.” Bridget Fowler, a sociology professor at the University of Glasgow and the author of The Obituary as Collective Memory, wrote, “The auto/biography as such is under the expressive control of its author and is thus as profound (or simplistic) as he or she is. In contrast, one characteristic of the obituary is that these lives are selected as particularly memorable, distinguished, or newsworthy.” She adds, “The obituary offers the rare accolade of public recognition, the first step toward posthumous memory. Yet it is not just a store of value, it is also a measure of value: the obituary as a biographical form illuminates the social reality of dominance and distinction, whilst only rarely shedding light on the world of subordination.”
The onset of the AIDS epidemic presented editors with a sensitive dilemma: Merely having the virus implied vulnerable behavior—either drug use or homosexuality—that society was far from accepting. In 1986, the fashion designer Perry Ellis died of AIDS at age 46, as stated in his obituary in the Washington Post. In the New York Times and the Los Angeles Times, his cause of his death was reported to be viral encephalitis. In early May 1987, Charles Ludlam, a playwright, parody actor, and admired figure in New York’s East Village underground arts scene, withdrew from the New York Shakespeare Festival’s scheduled Central Park production of Titus Andronicus. On May 28, Ludlam’s publicist announced that he had died of pneumonia. The New York Times‘s Jeremy Gerard assumed correctly that the pneumonia was a complication of AIDS, and believed the refusal to acknowledge the disease compounded the tragedy of Ludlam’s death by validating the stigma attached to gay people, who were among its most prominent victims.
As Leah Rosenzweig reported in Slate, for hours Gerard desperately tried to persuade Ludlam’s parents to confirm the actual cause but failed. “They were working-class Catholics from Long Island; as far as they were concerned, their son had died a shameful death,” Gerard recalled. But fifteen minutes before his deadline, the family’s lawyer called back. The Ludlams agreed to confirm the cause. On May 29, 1987, Gerard’s obituary of Charles Ludlam was the first that identified AIDS as the cause of death in the Times, on the front page.
“Obituaries contribute to national myths or collective memories of contemporary heroes by symbolically ‘reflecting what, in death, was most valued about the lives of individual citizens,'” Janice Hume wrote. “An obituary distills, publishes, and thus legitimizes something more abstract than mere facts. It also reveals values, highlighted in the attributes of the deceased, and should be examined not just as an indifferent chronicle but as a commemoration, a representation of an ideal, with its own distinct contribution to the understanding of history. Those ideals, part of obituary coverage, become safeguarded by their publication.”
To quantify those values, Lux Narayan, a social media analyst, conducted a statistical survey of some 2,000 New York Times news obituaries that were published in 2015 and 2016. Not surprisingly, the fields of academics, science, politics, film, theater, music, dance, and art predominated among those deemed worthy. On average, they achieved the thing that made them worthy of a Times obituary when they were 37 years old—athletes more likely in their twenties, politicians in their forties. The prototypical obituary subject lived to be 81, which meant 44 years had elapsed between the accomplishment and, in the cases of the many obscure and quirky characters, their public aggrandizement. “Talk about having to be patient,” Narayan said. In a TED Talk, he explained his obsessive reading of the daily paper over scrambled eggs this way: “If you think about it, the front page of the newspaper is usually bad news and cues man’s failures. An instance where bad news cues accomplishment is at the end of the paper, in the obituaries.”
What were the most common denominators among those obituarized, and what do they suggest society—or, more to the point, the Times—valued? If your name was John, you didn’t necessarily have a better chance of being the subject of an obituary, but it was more likely that a man whose first name was John would appear in one. That’s not so surprising, given that John (along with James, Robert, Michael, and David) has been among the most popular names for American men born in the last 100 years. Narayan was struck by another commonality, though. The language-processing program revealed that the one word that leapt out everywhere was help, as a noun or verb. The most universal value, it seemed, that elevated the famous and not-so into those the Times editors considered worthy of obituaries was how much people helped. “They made a positive dent in the fabric of life,” Narayan said.
For a family member, an obit represents an imprimatur, validation by association, a keepsake that maintains their heritage and, perhaps for a generation, prevents their own legacy from vanishing like a walnut in the batter of eternity.
Journalists understand, or should, that statistical surveys of subjective material are fertile ground for as many question marks as answers. Patrick Nolan, a sociologist at the University of South Carolina, wondered whether the cult of celebrity has blossomed over the last century, as the anecdotal evidence suggests. Has the public become so starstruck that somebodies in less glamorous professions have been overshadowed? One way to measure the trajectory of society’s fascination quotient, he figured, was to enlist New York Times obituaries as a cultural barometer. Nolan’s canvas was every “notable death” that was published in the Times during the entire twentieth century.
“Most striking are the simultaneous increases in celebrity obituaries and declines in religious obituaries,” Nolan and Timothy J. Bertoni reported in the journal Sociation Today. “They document the increasing secularization and hedonism of American culture at a time when personal income was rising and public concern was shifting away from the basic issues of survival. The magnitude of these trends is seismic. While the Greeks may have looked to their gods for guidance and entertainment, we’ve turned increasingly to our celebrities—entertainers and athletes.” After dividing the century into quarters, Nolan and a doctoral student, Timothy Bertoni, randomly selected 20 days from 1900, 1925, 1950, 1975, and 2000 and ranked the professions of the dead by the number of obituaries run.
The number of obits of entertainers and athletes, grouped together, rose, from seventh most in 1900 to fifth in 1925, third in 1950, and first in 1975. By 2000, they remained in first place and accounted for 28 percent of obituaries. In 2000, the researchers didn’t find a single notable religious figure who was memorialized. The category had plummeted from fourth place when the 20th century began to last when the millennium ended. During the same period, the number of obituaries of notable individuals from the fields of business, finance, manufacturing, and industry declined by half. Americans, Janice Hume has written in her study of grief, “value each other and, indeed, value life for collective reasons. They value a long, robust, and full life, a life that is uniquely American, and a life that ensures social preservation. A typical Victorian obituary would carry the statement, ‘in life we are in the midst of death,’ but as this study suggests, at least on the obituary pages of historic mainstream American newspapers, in death we are in the midst of life.” Nigel Starck, too, argues that obituaries provide a glue that bonds society not in grief but in an aspirational reevaluation of our own lives.
“There is nothing inherently gloomy about the newspaper obituary page,” he writes. “Done well, it should capture life rather than wallow in death.” Clare Brant recalled her euphoric reaction to reading of the death of Martin Wells, the grandson of the English writer H. G. Wells, in the Guardian in 2009. He was an 80-year-old biologist with a passion for cephalopods and was also a novelist, painter, and yachtsman. “Though marine biologists don’t have dry lives in a literal sense, and people who love octopus usually have a sense of play, he was really lively,” Brant wrote. “I rejoiced that an academic could have such a full, happy and entertaining life—there’s hope for the rest of us! It wasn’t that I wanted to know him or even to have known him, but I was glad he’d existed, and I still want not to forget the implications of his existence.”
And that was an obituary about a total stranger. For a family member, an obit represents an imprimatur, validation by association, a keepsake that maintains their heritage and, perhaps for a generation, prevents their own legacy from vanishing like a walnut in the batter of eternity. “The greatest investigative piece I ever wrote when I thought I was really important never survived more than a few weeks in terms of being kept around,” said Jim Nicholson, the Philadelphia journalist who regularly chronicled deaths of the common man, the nobodies, as he put it. “But these obituaries, they’re laminated. They’re put under glass. They’re hung on walls or in family Bibles. In fact, they’re even put into the inside coat pocket of the deceased. And, yeah, they’ll be around long after you and I are gone.” Nicholson’s obituaries were indelible. “My words give readers thousands of moments to remember of little lives lived well,” he said. “Perhaps I even gave them the secrets of how to live one well.”
What readers cherish about obituaries, Casey Cep wrote in the New Yorker, is “the opportunity to celebrate one’s own good fortune at still being alive, to keep tabs on death—who it comes for, at what age, and how much we have in common with the deceased—and also to trace an immensely compact narrative arc. So much of the news is ongoing and unsettled, but obituaries by definition have a kind of alluring finality.” In the two weeks after Victoria Chang’s mother died of pulmonary fibrosis in 2015, the Los Angeles–based poet feverishly wrote seventy poems. Her goal: to recast the newspaper obituary to identify what had been lost (“civility, language and the future,” she wrote) and death’s cultural impact on the living. She described writing an obituary as a wake-up call. “This person is dead,” Chang wrote. “You’re alive.”
Sam Roberts, a fifty-year veteran of New York journalism, is an obituaries reporter and formerly the Urban Affairs correspondent at the New York Times. He has hosted the New York Times Close Up on TV and the podcast Only in New York, anthologized in a book of the same name. He is the author of The New Yorkers, A History of New York in 27 Buildings, A History of New York in 101 Objects, Grand Central, and The Brother, among other books. He has written for the New York Times Magazine, the New Republic, New York magazine, Vanity Fair, Foreign Affairs, and Air Mail. Before joining the Times in 1983, he was the youngest city editor of the New York Daily News. He lives in New York with his wife.
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