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Rick Ross's Simple Lessons for Bosses, Dons, and Bitches

Rick Ross was born William Leonard Roberts II in 1976, and he borrowed his stage name (and the associated big-time cocaine-selling hustler persona) from the legendary L.A. drug lord Freeway Ricky Ross. But the website MediaTakeout uncovered a photograph of William Leonard Roberts II when he was a Florida corrections officer. Most people thought that'd be the end of his career. Freeway Ricky Ross then sued him for stealing his name. None of it mattered. Rick Ross the rapper just sold more records.

U.S. Journal: Pinellas County, Florida Attractions

A visit to Walt Disney World.
The first thing I did at Walt Disney World was to take an oath not to make any smart-aleck remarks. A Disney public-relations man had told me that attitude was everything. So I placed my left hand on a seven-Adventure book of tickets to the Magic Kingdom and raised my right hand and promised that there would be no sarcasm on my lips or in my heart.

Everest, the Grandaddy of Walking Adventures

Eco-tourism in the Himalayas.

The valley is everything you'd want and more. An icy milky river thunders over rocks and below steep wooded slopes are lush fields where people are working the land, oblivious to the Gore-Tex procession. Oblivious but not unaffected: the houses are smart, the prayer wheels freshly painted, just about everyone has a mobile phone, it seems, and is on it, and there are very few places you can't get a signal around here. This is not really the place to come if you're looking for peace and quiet.

The Internet Has Solved the Problem With Music

"Imagine a great hall of fetishes where whatever you felt like fucking or being fucked by, however often your tastes might change, no matter what hardware or harnesses were required, you could open the gates and have at it on a comfy mattress at any time of day. That’s what the internet has become for music fans. Plus bleacher seats for a cheering section."

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Previously: "The Problem With Music," Albini's 1993 essay in The Baffler.

Playboy Interview: John Mayer

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.

Nate Silver is the founder of FiveThirtyEight and the author of The Signal and the Noise.

“I know in a perfectly rational world, if you make an 80/20 prediction, people should know that not only will this prediction not be right all the time, but you did something wrong if it’s never wrong. The 20% underdog should come through sometimes. People in sports understand that sometimes a 15 seed beats a 2 seed in the NCAA tournament. That’s much harder to explain to people in politics.”

Thanks to MailChimp, Bombas, Squarespace, and Trunk Club for sponsoring this week's episode.

The Cat Psychic

“Two weeks before Christmas, I was explaining to a friend in town that if I seemed more distressed than usual, it was just because I was trying to accustom myself to the fact that my cat didn’t want to be my cat anymore. ‘No way,’ she said. ‘Here’s what you do: You just call Dawn.’ And then she gave me the cat psychic’s phone number.”

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Rachel Monroe is a Longform contributing editor.

T. Christian Miller, senior investigative reporter at ProPublica, and Ken Armstrong, staff writer at The Marshall Project, co-wrote the Pulitzer-winning story, “An Unbelievable Story of Rape.”

“I won’t forget this: when T. and I talked on the phone and agreed that we were going to work on [“An Unbelievable Story of Rape”] together, T. created a Google Drive site, and we decided we’d both dump all our documents in it. And I remember seeing all the records that T. had gathered in Colorado, and then I dumped all the records that I had gathered in Washington, and it was like each of us had half of a phenomenal story. And in one day, by dumping our notes into a common file, we suddenly had a whole story.”

Thanks to MailChimp, Squarespace, and Trunk Club for sponsoring this week's episode.

Edward Albee: The Art of Theater No. 4

“The final evaluation of a play has nothing to do with immediate audience or critical response. The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.”

How Peter Thiel's Secretive Data Company Pushed Into Policing

“These documents show how Palantir applies Silicon Valley’s playbook to domestic law enforcement. New users are welcomed with discounted hardware and federal grants, sharing their own data in return for access to others’. When enough jurisdictions join Palantir’s interconnected web of police departments, government agencies, and databases, the resulting data trove resembles a pay-to-access social network—a Facebook of crime that’s both invisible and largely unaccountable to the citizens whose behavior it tracks.”

Earth to André 3000

Outkast’s Andre Benjamin at 42.

You gotta understand, I’ve only written one check in my life. When I was 17, they still had checkbooks, and my mom taught me how to write a check and do my balance. So I had one check on my balance, and then OutKast took off. I have not paid a bill since. People ask, What does it feel like? As humans, we want attention. We want to be validated. At the same time, it’s strange attention, and a lot of it. If you have an excess of anything, it becomes strange.

Columbine Survivors Talk About the Wounds That Won't Heal

After all these years, it’s still there, in the back of her mind, lurking. No matter how good things are going, it never quite goes away, this feeling that she should have died that day. And her brush with death is the first thing that strangers tend to notice about her, like a limp or a disfigurement. Once they find out where she went to high school, that’s all they want to talk about.

Evan Ratliff, a co-host of the Longform Podcast, is host of the new podcast Persona: The French Deception.

“One of these big scams is like a story. And in the story, what they're doing is they're manipulating you to be a participant in the story, and they're getting you so hooked that you will not just do anything they say, but you will invest yourself in bringing the story to its conclusion. And like, isn't that what you're doing if you're trying to get someone to listen to eight episodes, spend that much of their life listening to your voice? … The idea that every story has this person pulling the strings... I like revisiting that in everything that I do."

Rob Copeland is a finance reporter for The New York Times. His recent book is The Fund: Ray Dalio, Bridgewater Associates, and the Unraveling of a Wall Street Legend.

“If I stab you, I'm going to stab you in the chest, not the back. You're going to see it coming. ... But if you're going to tell me something's wrong, you have to keep talking. I'm not going to take your word for it. I have a reason for why I believe my reporting to be true, and I'm going to present it to you as best I can. But just because you say something's wrong doesn't make it so.”

David Grann is a staff writer at The New Yorker.

"You don't always know all the answers. I think that's what kinda makes life interesting. The thing that makes these stories real, while they are in some ways unfathomable, [is that] there's an uneasiness of certitude. Because there are things that are not always known, there are elements of doubt, and that can be very haunting ... In some of the stories, you get as close as you can to all you know—and then there are parts that elude you."

Shane Bauer, a senior reporter for Mother Jones, spent four months working undercover as a guard in a private prison.

“The thing that I grappled with the most afterward was a feeling of shame about who I was as a guard and some of the things that I had done. Sending people to solitary confinement is hard to come to terms with—even though, in that situation, I don't know what else I could have done. ... I had to do what I could to keep myself safe.”

Thanks to MailChimp for sponsoring this week's episode.

Noel Gallagher After Oasis

"At the end of the cycle of Morning Glory, I was hailed as the greatest songwriter since Lennon and McCartney," Gallagher recalls. "Now, I know that I'm not, and I knew I wasn't then. But the perception of everybody since that period has been, 'What the fuck happened to this guy? Wasn't he supposed to be the next fucking Beatles?' I never said that I was the greatest thing since Lennon and McCartney … well, actually, I'm lying. I probably did say that once or twice in interviews. But regardless, look at it this way: Let's say my career had gone backwards. Let say this new solo album had been my debut, and it was my last two records that sold 20 million copies instead of the first two records. Had this been the case, all the other albums leading up to those last two would be considered a fucking journey. They would be perceived as albums that represent the road to greatness. But just because it started off great doesn't make those other albums any less of a journey. I'll use an American football analogy since we're in America: Let's say you're behind with two minutes to go and you come back to tie the game. It almost feels like you've won. Right? But let's say you've been ahead the whole game and you allow the opponent to tie things up in the final two minutes. Then it feels like you've lost. But the fact of the matter is it's still a fucking tie. The only difference is perception. And the fact of the matter is that Oasis sold 55 million records. If people think we were never good after the '90s, that's irrelevant."

Laurel Braitman is a science writer, the author of Animal Madness: Inside Their Minds, and the founder of Writing Medicine. Her new book is What Looks Like Bravery: An Epic Journey Through Loss to Love.

“My life was becoming unmanageable, in a way. I was using success in many ways like a drug, and I’d say like an analgesic on the sorts of difficult feelings I hadn’t wanted to face truly since childhood. And we are rewarded in this culture for these kinds of outward forms of success that often have nothing to do with what’s going on inside of you.”

Ben Smith is the editor-in-chief of BuzzFeed.

“I do think as a reporter in general, most of what we deal in is ephemera. And I love that. I mean that’s the business, and I don’t think there’s anything wrong with that. In fact, I think that’s a plus and something that shapes how you succeed at the job because you realize that this thing you’re writing is about this moment and right now, and about its place in the conversation. It’s not some piece of art to hang on the wall.”

Thanks to MailChimp, Harry's, and Reveal, and Home Chef for sponsoring this week's episode.

Jerry Seinfeld Intends to Die Standing Up

“I read an article a few years ago that said when you practice a sport a lot, you literally become a broadband: the nerve pathway in your brain contains a lot more information. As soon as you stop practicing, the pathway begins shrinking back down. Reading that changed my life. I used to wonder, Why am I doing these sets, getting on a stage? Don’t I know how to do this already? The answer is no. You must keep doing it. The broadband starts to narrow the moment you stop.”

Kim Kardashian West Has a Few Things to Get Off Her Chest

“Think about that: Kim has so thoroughly monetized the very act of living that the money she earns from being filmed going about her life constitutes a relatively small sum compared with the one she generates from allowing people to see pictures and cartoon drawings of the life she has already filmed. She has figured out how to spin the mundanity of being herself—something billions of people do every day for free—into a more lucrative business than being the most famous rapper in the world.”