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On the TechCrunch founder’s venture capital fund, and a new breed of startup investor.
As Twitter-loving VC investors have become brand names themselves (Fred Wilson, Marc Andreessen, Chris Sacca), what one might call the auteur theory of venture capitalism has emerged—the idea that startup companies bear the unique creative signature of those who invested in them. To study a venture capitalist’s portfolio is to study his oeuvre.
Arts History World Music Travel
Tracking down 40-odd members of the British band.
It's a Tuesday morning in December, and I'm ringing people called Brown in Rotherham. "Hello," I begin again. "I'm trying to trace Jonnie Brown who used to play in the Fall. He came from Rotherham and I wondered if you might be a relative." "The Who?" asks the latest Mr Brown. "No. The Fall - the band from Salford. He played bass for three weeks in 1978." "Is this some kind of joke?"
Creating an identity that’s no longer tied to the past.
Monsters occasionally assume a completely unexpected appearance. All of a sudden, Adolf Hitler is standing onstage wearing an Adidas tracksuit and flip-flops, and his name isn't Hitler; it's Oliver Polak. And the monster isn't really Adolf Hitler, either; it's the audience's laughter. It starts with a sputter, like something trying to break free from its restraints. But then it bursts out as if suddenly liberated.
Rachel Khong is a journalist and author whose latest novel is Real Americans.
“It's about the ways in which we miss each other as human beings and can't fully communicate what it is like to be ourselves. … And I think that's what makes it so interesting to me, to work on a novel and to spend so much time trying to get down on the page what it feels like to be a human being who's alive. … I think the effort itself is what human relationships are.”
Look, this is about Russia. So I think if [Robert Mueller] wants to go, my finances are extremely good, my company is an unbelievably successful company. And actually, when I do my filings, peoples say, “Man.” People have no idea how successful this is. It’s a great company. But I don’t even think about the company anymore. I think about this. ’Cause one thing, when you do this, companies seem very trivial. O.K.? I really mean that. They seem very trivial. But I have no income from Russia. I don’t do business with Russia. The gentleman that you mentioned, with his son, two nice people. But basically, they brought the Miss Universe pageant to Russia to open up, you know, one of their jobs. Perhaps the convention center where it was held. It was a nice evening, and I left. I left, you know, I left Moscow.
Anna Sale is the host of Death, Sex & Money. Her new book is Let’s Talk About Hard Things.
“What hard conversations can do is—you can witness what's hard. You can be with what's hard. Admit what's hard. That can be its own relief. … Some hard conversations … are successful when they end in a place that's like, Oh, we're not going to agree on this. … I think you can get used to the feeling of feeling out of control and that makes them less scary.”
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Hannah Giorgis is a staff writer at The Atlantic. Her latest feature is "Most Hollywood Writers’ Rooms Look Nothing Like America.”
”In general, when we talk about representation, we talk about what we see on our screens. We're talking about actors, we're talking about who are the lead characters, what are the storylines that they're getting. And I'm always interested in that. But I'm really, really interested in power ... how it operates, and process.”
Nancy Updike is a founding producer and senior editor at This American Life. Jenelle Pifer, a former Longform Podcast editor, is a senior producer at Serial. Their new three-part podcast, hosted by Updike and produced by Pifer, is We Were Three.
Updike: “I say it’s a story that’s a bit about COVID, but really about a family, and that’s the closest I’ve gotten to a short version. I don’t know. Why is that? I never have a short version of something I’m working on—never.”
Pifer: “We were doing a lot of talking about, for Nancy, what are the driving questions you tend to be attracted to? There were a few things we came up with, one of which was that you tend to gravitate toward stories where somebody is in the middle of something that they don’t know what to make of yet, and you kind of just want to sit with them and see what direction they walk in, or what they say, or what meaning they put onto something.”
Robert McKee is an author and screenwriting lecturer. His new book is Character: The Art of Role and Cast Design for Page, Stage, and Screen.
”When I'm in conversation with others, I'm always aware—or sensitive, at least—to what they're really thinking and feeling. And writers must have that. They can't possibly create excellent nonfiction or fiction if they're not aware of what is going on inside of other people, really, even subconsciously, while they go about saying whatever they do consciously in the world. Because if you just recorded the surface, if you were just paying attention to the surface, you'd be missing the whole show.”
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Only a handful of animals in the world can be tamed, but that can’t stop a homesick 15-year-old girl from trying.
In “A Raccoon of My Own,” new in Aeon Magazine, American psychologist and best-selling writer Lauren Slater recalls an exquisitely painful time in her youth, when, cast adrift from home herself, she adopted a baby raccoon. Her relationship with “Amelia” blossomed—one creature adapting to, and learning from the other. But Amelia’s wild instincts could not be contained in suburban domestic life, as Lauren was soon to realize.
Read it in Aeon Magazine—a new digital magazine publishing daily essays on ideas, culture and science.
Naomi Klein is a senior correspondent at The Intercept and the author of The Shock Doctrine and No Logo. Her most recent book is On Fire: The (Burning) Case for a Green New Deal.
“I have no idea whether we will do this. All I know is there is a slim chance, a very slim chance, that we could make things a lot better than if we do nothing and just let it burn. The stakes of that are so high that I’m not going to spend my time trying to figure out whether our chances are good or not. I’m just gonna try to enlarge those chances.”
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Our sponsor this week is Aeon, a great new digital magazine covering ideas and culture. Aeon publishes an original essay every weekday, several of which have been picked for Longform. Here are three recent favorites:
Spaced Out, by Greg Klerkx
Living in space was meant to be our next evolutionary step. What happened to the dream of the final frontier?
There’s an App for That, by John-Paul Flintoff
What to eat, when to meditate and whether to call your parents: can self-monitoring tools make a difference?
This Is Humankind, by Polina Aronson
If my grandfather could survive the Siege of Leningrad and still distinguish between a German and a Nazi, so can I.
Read those stories and more at aeonmagazine.com.
Evan Ratliff, a co-host of the Longform Podcast, discusses "The Mastermind,” his new 7-part serialized story in The Atavist Magazine.
“On several occasions [sources] didn’t want to go into the details of how they were identified. They were just like, ‘My safety is in your hands. Just be careful.’ And I didn’t really know what to do with that. I was sort of trying to balance what to include and what not to include and trying to make these decisions. Will Paul Le Roux know it’s this person? It’s impossible to know. I tried to err on the side of caution, but there’s no ethics hotline you can call and be like, ‘What do I do in this situation?’”
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Rosecrans Baldwin is a writer and regular contributor to GQ. His latest novel is The Last Kid Left.
“It requires a lot of preparation in order to just have lunch with Roger Federer. Being a person who tends toward anxiety and also a former Boy Scout—put those two things together and I will exhaustively prepare so that I can come across like a complete idiot. The idea of sitting down with someone like that is that you should know everything about their life and their career so that you can go in with 12 questions in the back of your mind.”
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Vanessa Grigoriadis is a contributing editor at Vanity Fair and New York.
On the art of the celebrity interview: "People are smart. Particularly these people. They're sitting there thinking, 'When is she going to drop that question?' They know what you're doing. So the way I think about it is: let's have an actual, genuine, human, interesting conversation. ... [Journalists] have all sorts of schemes of what they think works for them. My scheme is no scheme."
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“If I had to pick one sentence I’ve heard more than any other in the last six years of conversation about economics, it would be ‘Why aren’t people more angry?’ The Brexit vote showed that plenty of them are. But perhaps it expressed that other feeling, the one of bewilderment, just as much. ‘Take back control’ is a cynical but extremely astute pitch to an electorate in that state of mind.”
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The first major update to Longform’s critically acclaimed iPad app is available on the App Store.
Now included: dark mode, new fonts, fine-grain control over the reading experience, and more than 20 new magazines to follow.
Hartwick College didn’t really mean to annihilate the U.S. economy. A small liberal-arts school in the Catskills, Hartwick is the kind of sleepy institution that local worthies were in the habit of founding back in the 1790s; it counts a former ambassador to Belize among its more prominent alumni, and placidly reclines in its berth as the number-174-ranked liberal-arts college in the country. But along with charming buildings and a spring-fed lake, the college once possessed a rather more unusual feature: a slumbering giant of compound interest.
The United States, which took a forceful stance on other Arab revolts, remained relatively passive in the face of the kingdom’s unrest and crackdown. To many who are familiar with the region, this came as no surprise: of all the Arab states that saw revolts last year, Bahrain is arguably the most closely tied to American strategic interests.
A report on Bahrain, the Arab Spring’s most ill-fated uprising.
“What you say is very unclear, but I suppose you mean that since I find one of your remarks illogical and since I like your poems, that therefore I must like poems which are illogical. But I don’t find your poems either logical or illogical. If you want this interview to have the logic of a poem and not ordinary logic we will have to start over again.”
Power worship blurs political judgement because it leads, almost unavoidably, to the belief that present trends will continue. Whoever is winning at the moment will always seem to be invincible. If the Japanese have conquered south Asia, then they will keep south Asia for ever, if the Germans have captured Tobruk, they will infallibly capture Cairo; if the Russians are in Berlin, it will not be long before they are in London: and so on. This habit of mind leads also to the belief that things will happen more quickly, completely, and catastrophically than they ever do in practice. The rise and fall of empires, the disappearance of cultures and religions, are expected to happen with earthquake suddenness, and processes which have barely started are talked about as though they were already at an end.
Brooke Gladstone is the host of On the Media and the author of The Influencing Machine.
“I'm not going to get any richer or more famous than I am right now. This is it, this is fine — it's better than I ever expected. I don't have anything to risk anymore. As far as I’m concerned, I want to just spend this last decade, decade and a half, twenty years, doing what I think is valuable. I don’t have any career path anymore. I’m totally off the career path. The beautiful thing is that I just don’t have any more fucks to give.”
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Rachel Aviv is a staff writer for The New Yorker. Her new book is Strangers to Ourselves: Unsettled Minds and the Stories That Make Us.
“I used to feel that if I knew everything, that was a good sign. And I've become more aware that if you know everything you want to argue, that's not such a good sign…. Do I have a genuine question? Is there something I’m trying to figure out? Then the story is worth telling. But if I don’t really have a question or if my question is already answered, then maybe that should give you pause.”
Tim Ferriss is the author of The Four-Hour Workweek and The Four-Hour Body.
“If you have a fitness magazine, you can’t just write one issue, ‘Here are the rules!’ ... My job, conversely, is to make myself obsolete. The last thing I want to be is a guru, someone people come to for answers. I want to be the person people come to for better questions.”
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Rose Eveleth is the host of Flash Forward and the author of Flash Forward: An Illustrated Guide to Possible (and Not So Possible) Tomorrows.
“If I didn’t have that pretty bizarrely insatiable drive to do this stuff and understand things, I don’t know if I’d still be doing this. The curiosity index has to be high in order to make the rest of it worth it. Because otherwise, what’s the point?”
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