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THE GHOSTS OF NEW YORK

By Thomas Paper

I grew up among the remnants of greatness—whole complexes of buildings, completely vacant or partially occupied, like squatters in an abandoned house that had once been the residence of the giants of industry. I had a passive knowledge of their significance, from the stories of those who had worked in them—the companies that had been built by their ability and ingenuity, and from those who had handed that knowledge and ambition down to them.

There hangs over the city a nameless feeling that something has been lost. It is written in the hard earned lines, which are etched into the faces of the hangers on sitting in bars—those last few, from an age when you were taught to think first, and then feel. Their stoicism wavers when they start to talk about their history, brimming with both pride and melancholy when the point to where they had worked, and what they had built. {...}


IT'S AMAZING WHAT YOU CAN LEARN FROM A 20-YEAR-OLD

By  Diana Powers

I don’t often get much out of my 20-year-old-son, who spends most of the year at New York University. Over the phone from New York, he’ll rarely call, except to request more money or to pay some bill. When he’s home for the summer, he’s in his own world and either on the Internet or on the phone, watching TV, or all three at once. {...}


 
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HOLDING KIDS AT GUNPOINT

By Aaron Masengale

It's about mid-may, in Kandahar Province, Afghanistan. I'm a gunner in a really, really big truck, and I'm guarding an elementary school that my boss is in, talking to a few locals. {...}

TALKING GUNS

By Matthew Webster

“Here’s an idea,” I said. “Why doesn’t the NRA ask its members if they’d like to volunteer to go out to schools in their communities and give talks on gun safety, and then hit all the schools with an outreach campaign offering this service?”  {...}

ENGAGEMENT

By Patrick W. Andersen

"Mr. Gregoire, can I speak to you for a moment?"

"Of course, Mike," the man said, setting his newspaper aside on the coffee table next to his reclining chair. {...}

TRUSTAFARIANS

By Brian Whitney

So you have a trust fund. That must be awesome.

There are negatives, of course. People might treat you differently if they knew. You wouldn’t have a right to complain about things then.  {...}

PENS AND PAPER

By P Segal

The invaders of the public trust had hacked everything worth hacking that week. The governments of several big nations, all the big banks, and all the dating sites now had everyone’s information out in the open. The world had become transparent and the criminal class was quick to take advantage. There were not enough investigators to handle all the reports of credit card fraud, blackmail, identity theft, and related skullduggery.  {...}


LET THEM WEAR CAPES

By James Weaver

Leftist politics, under King Louis XVI, referred to the seating arrangements in the Estates General, which was a legislative assembly of the different French classes. The leftists had no real power and served strictly as an advisory body. They were kind of like today's lobbyists, but, because of the times, they were only able to offer their professional politicians gratuitous sleigh rides, instead of ski packages. {...}

OPINIONS ARE LIKE ROBOT ANUSES

By Gabriel Leif Bellman

Confirmation of a generational shift is recently coming out in ways entirely predictable for a generation raised under the surveillance of technology, politics, and the usual microscope applied to youth culture. Youth tend not to reveal their opinions. Whether it is the result of a culture of cyber bullying, disenchantment with the political process {...}

BLURRING THE LINES OF MODERN ADULTHOOD

By Aiya Madarang

“Check it out,” a boy my age whispered to me. He pointed at the computer screen, which was currently displaying his bank account. I leaned over. Checking balance: $10.06. “I wasn’t lying,” he said, smiling.

The trope of the Broke College Student is both fabricated and based on reality. {...}


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Rudy is a Film, and Instant Film photographer based in the Greater Bay Area of California. His shots with classic cameras and film, are a combination that is almost impossible to duplicate. 

"I consider my pictures to be my personal paintings; one-of-a-kind images that cannot be duplicated. This is why Instant Photography speaks so loudly to me. The classic bordered frame is my canvas, and the chemistry in the film is my medium. "

Check out more of Rudy's work at curatedstudios.com, and follow him on Instagram @clickinstantly.