Showing 25 articles matching fk33.cc_Where to buy magnesium sulfate heptahydrate large granules in China.
The sewer hunters, or “toshers,” of 19th century London.
Knowing where to find the most valuable pieces of detritus was vital, and most toshers worked in gangs of three or four, led by a veteran who was frequently somewhere between 60 and 80 years old. These men knew the secret locations of the cracks that lay submerged beneath the surface of the sewer-waters, and it was there that cash frequently lodged.
Alexandra Lange is a design critic whose work has appeared in The New Yorker, The New York Times, and many other publications. Her new book is Meet Me by the Fountain: An Inside History of the Mall.
“I really like to write about things that I can hold and experience. I'm not that interested in biography, but I am very interested in the biography of an object. ... Like I feel about the objects, I think, how most people feel about people. So what I'm always trying to do is communicate that enthusiasm and that understanding to my reader, because these objects really have a lot of speaking to do.”
We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.
Delivered at the Austin Convention Center on March 15, 2012.
In the beginning, every musician has their genesis moment. For you, it might have been the Sex Pistols, or Madonna, or Public Enemy. It's whatever initially inspires you to action. Mine was 1956, Elvis on the Ed Sullivan Show. It was the evening I realized a white man could make magic, that you did not have to be constrained by your upbringing, by the way you looked, or by the social context that oppressed you. You could call upon your own powers of imagination, and you could create a transformative self.
On the road with the band:
Axl Rose is carrying on like an Apache. He stormed into his home state for a concert and compared the fans there to prisoners at Auschwitz. He showed up two hours late for a New York show and launched into a tirade against his record company and various other institutions, including this magazine. He steamrolled into St. Louis, and before he left town, a riot had broken out. During an encore in Salt Lake City, he got ticked off because the Mormons weren't rocking and said, "I'll get out of here before I put anybody else to sleep." Then he did.
Helen Rosner is a food correspondent at The New Yorker.
“I believe the things that are really important to me are structure over all and—forgive me, I’ve said this on other podcasts before—if I were going to get a tattoo this is what I would get a tattoo of is that it doesn’t matter what you say, it only matters what they hear. It’s my job to make sure the gulf between those two things is as narrow as possible and there’s as little ambiguity between what I say and what you hear. It’s never easy, but it’s certainly easier in the realm of arguable objectivity. To create emotion in a reader requires a huge amount of really thoughtful work on the part of the writer in a way that forces you as a writer to remove yourself from the emotion you’re creating in the reader. If I to set you up for sadness, I have to create emotional stakes. I have to create investment in whoever I’m talking about or whatever the story’s about. The craft of making stakes and setting up a potential downfall, a potential loss, whatever it may be I think is not something you can do well if you’re feeling the feeling you’re trying to create in the reader.”
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“Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.”
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Here’s what I really want to do at 32: fuck a girl and then, as she’s sleeping in bed, make breakfast for her. So she’s like, “What? You gave me five vaginal orgasms last night, and you’re making me a spinach omelet? You are the shit!” So she says, “I love this guy.” I say, “I love this girl loving me.” And then we have a problem.
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Terrence McCoy is The Washington Post's Rio de Janeiro Bureau Chief. He won the George Polk award for his series "The Amazon, Undone" on the illegal and often violent exploitation of the rainforest.
“When I first got to Brazil, the Amazon was an arena of mystique. But after you spend a fair amount of time in the Amazon, it becomes quite clear what the struggle is—and how human that struggle is.”
This is the last of a week-long series of conversations with winners of this year's George Polk Awards in Journalism.
Chris Heath, winner of the 2013 National Magazine Award for Reporting, is a staff writer at GQ.
"I present myself as someone who is going to be rigorous and honest. And if you can engage in the way I'm asking you to engage, then I hope that you will recognize yourself in a more truthful way in this story than you usually do. And maybe even, with a bit of luck, more than you ever have before. That's what I bring. That's my offer."
Thanks to TinyLetter and the The Literary Reportage concentration at NYU's Arthur L. Carter Journalism Institute for sponsoring this week's episode.
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The failure of MTV’s Staten Island-based reality show and the fate of its cast members:
While Bridge & Tunnel hangs in programming purgatory, the DeBartolis are hamstrung by Draconian network contracts that reportedly don't allow them to have agents or managers or even talk about any of this publicly for five years. So while JWoww shills her own black bronzer line and Snooki slams into Italian police cars for $100,000 an episode, Gabriella and Brianna have been working respectively as a secretary and a pizza-order girl in Staten Island. The papers they signed as passports off Staten Island are effectively keeping them there.
Jesse Coburn is an investigative reporter at Streetsblog. He won the Polk Award for Local Reporting for "Ghost Tags," his series on the black market for temporary license plates.
“You can imagine this having never become a problem, because it’s so weird. What a weird scam. I’m going to print and sell tens of thousands of paper license plates. But someone figured it out. And then a lot more people followed. It just exploded.”
This is the second in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.
Lawrence Wright is an author, screenwriter, playwright, and a staff writer for The New Yorker.
”There’s nothing more important about a person than their story. In a way, that’s who we are. And yet, memories fade and people die. So those stories disappear and the job of the journalist is to go out before that happens and accumulate the kinds of stories that are going to help us understand who we are, why we are, where we are right now in time, and try to thread those stories into a coherent narrative. In a way, you give it a kind of immortality. And that’s a big job. It’s a great privilege.”
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Ashley C. Ford is a writer and host of the podcast Fortune Favors the Bold. Her memoir, Somebody's Daughter, is forthcoming from Flatiron Books.
“For the first time I felt like I had so many more choices in my life than I originally thought I had. That was my first realization that I did not just have to react to the world, that I could be intentional in the world, and just curious about what came back to me.”
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A profile of the comedian who’s “not so funny anymore”:
Jon Stewart has made a career of avoiding "Whooo" humor. He has flattered the prejudices of his audience, but he has always been funny, and he has always made them laugh. At the Juan Williams taping, however, at least half of Stewart's jokes elicited the sound of Whooo! instead of the sound of laughter. He's been able to concentrate his comedy into a kind of shorthand — a pause, or a raised eyebrow, is often all that is necessary now — but a stranger not cued to laugh could be forgiven for not laughing, indeed for thinking that what was going on in front of him was not comedy at all but rather high-toned journalism with a sense of humor. Which might be how Jon Stewart wants it by now.
Looking back on the George Floyd rebellion.
Armed only with their psychotic courage, they were running, dancing, singing, smashing, burning, screaming, storming heaven: all rapturous varieties of Baraka’s “magic actions.” I listened to 19-year-olds talk nonstop throughout the night we spent in jail, as they howled insults at the officers and swapped stories of humiliation by police. It struck me that they were too young to have seen even the initial phase of BLM. Though well-acquainted with power and violence, they were tasting “politics” for the first time. Whatever the fate of the movement, I suspect that much of their future thinking will be measured against the feelings that filled the nights of 2020: the vastness and immediacy, the blur and brutal clarity.
Masha Gessen has written for The New York Times, The London Review of Books, Vanity Fair, and others. Her book about Tamerlan and Dzhokhar Tsarnaev, The Brothers: The Road to an American Tragedy, came out in April.
“The moment she said it, it was obvious that I'd been created to write this story. I'd covered both wars in Chechnya. I'd covered a lot of terrorism. I'd studied terrorism. And I'd been a Russian-speaking immigrant in Boston, which actually is the most important qualification for writing this book. It didn't give me special knowledge, but it gave me a lot of questions that I knew to ask that other people wouldn't.”
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Brooke Gladstone is the host of On the Media.
“I’ve learned so much about how easy it is to redefine reality in this era of billions of filter bubbles. How easy it is to cast doubt on what is undeniably true. And I think that that’s what frightens me the most. I actually think that’s what frightens most people the most. How do we make sure that we all live in the same world? Or do we?”
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Chris Jones (Live in Romania)
Evan Ratliff interviews Chris Jones before a live audience in Bucharest, hosted by the Romanian magazine Decât o Revistă.
"It just feels good to fucking win ... If you want to say 'Let's get rid of [journalism awards],' no problem. But if they exist, I want to win them. Just because I won two—I know Gary Smith has won four. I want five. Unless Gary Smith wins five, and then I want six. That's just how I work. And maybe that's a terrible, competitive, creepy thing. But journalism is competitive."
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Andy Ward, a former editor at Esquire and GQ, is the editorial director of nonfiction at Random House.
"How you gain that trust is a hard thing to quantify. The way I try do it is by caring. If you don't care about every word and every sentence in the piece, writers pick up on that. ... Ultimately, it's their book or their magazine article. Their name is on it, not mine. I always try to keep that in mind."
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“Oh, I think I do overshare, and I sometime marvel that I do it. But it's sort of - in a way, it's my way of trying to understand myself. I don't know. I get it out of my head. It creates community when you talk about private things and you can find other people that have the same things. Otherwise, I don't know - I felt very lonely with some of the issues that I had or history that I had. And when I shared about it, I found that others had it, too.”
