Showing 25 articles matching fk33.cc_Which company supplies industrial magnesium sulfate in China.
“I haven’t put out an album in 20 years. Let’s face it. I am an oldies act. I just don’t want it to be like when you watch Channel 13 and there’s the Delltones or some English band from the ’60s, and they’re real crotchety and they look terrible, and I go, ‘Oh, God, I don’t want to be on that show.’”
Jessica Hopper is editor-in-chief of the Pitchfork Review and the author of The First Collection of Criticism by a Living Female Rock Critic.
“I have an agenda. You can’t read my writing and not know that I have a staunch fucking agenda at all times.”
Thanks to MailChimp, Blue Apron, and Fracture for sponsoring this week's episode.
Since being revealed as a CIA operative and selling Blackwater, Erik Prince has set to work building U.A.E. a mercenary army, made up heavily of Colombian and South African troops, to be used “if the Emirates faced unrest or were challenged by pro-democracy demonstrations in its crowded labor camps or democracy protests like those sweeping the Arab world this year.”
On the current state of the global economy and the inevitable decline of the U.K. and the U.S.:
A decade-long slowdown would accelerate this shift in global wealth and power and would be a grim thing to live through, but from a world-historical perspective it might not be a game-changer: it might just be the non-scenic route to the place we’re going anyway.
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.
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.
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.
"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."
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.
“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.”
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.
“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.”
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.
I used to believe the art world was at war with itself, that money was fighting art and vice versa. But I’ve been living in my own ambivalence about things for a decade now, or more, and I’m starting to think it’s not a war but a new equilibrium state, defined by that ambivalence.
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."
Sabrina Rubin Erdely, a contributing editor at Rolling Stone, has also written for GQ, Philadelphia and SELF.
"I think that people are, by their nature, good and want to act rightly. So I'm very interested in why people do these things that result in really bad actions. My lack of outrage actually is one of the things that probably helps me in my reporting because I really am propelled by this pure curiosity. ... I just want to know, 'Where did that come from?'"
Thanks to TinyLetter and PillPack for sponsoring this week's episode.
Nicholas Schmidle is a staff writer for The New Yorker. His latest article is "Virgin Galactic's Rocket Man."
“I think there’s a lot more pressure that I’ve put on myself to make sure that the next [article] is better than the last one. To make sure there are sourcing standards and expectations I have for myself now that I might not have had earlier. I’m putting even more priority on building long-term relationships in which I trust an individual. ... I feel like the pieces coming in are tighter in terms of sourcing, but story selection becomes a lot more difficult. You want to do a different story.”
Thanks to MailChimp, Skagen, and Pitt Writers for sponsoring this week's episode.
Laura June is author of Now My Heart Is Full.
“Parenting wasn’t considered literary fodder for a long time. I think women in particular are raised not to complain. Which is not what I was doing. If you have to boil it down, it’s base emotion. Then you’re complaining about how hard it is. Or, the opposite end, you’re bragging. There’s no in between. Most of my writing is in between.”
Thanks to MailChimp, Read This Summer, Google Play, and Pitt Writers for sponsoring this week's episode.
Aaron Lammer is a co-host of the Longform Podcast and the host of the podcast Exit Scam: The Death and Afterlife of Gerald Cotten.
“Something I got from a number of reporters that I’ve interviewed on the Longform Podcast is letting the story guide you, and ultimately that led me to an ambiguous ending. Early on, I was like, the pinnacle achievement is to solve this case. But ultimately, I felt like an ambiguous ending was the most honest to what I actually experienced in reporting it.”
Thanks to Mailchimp for sponsoring this week's episode.
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.”
Thanks to MailChimp, Breach, CoinTalk, and Pitt Writers for sponsoring this week's episode.
Hamilton Morris is the science editor for Vice and a contributor to Harper's.
"It's a shame that there isn't more of an interdisciplinary approach to a lot of scientific investigations, because often the result is that misinformation is produced. Again, there's misinformation in journalism and there's misinformation in science. And if you combine the best elements of both of those disciplines you can come a little bit closer to the truth. If you want to understand a drug phenomenon, you're going to need to look at it medically, chemically, anthropologically, you need to talk to people, you need to interview people, you need to look at the drug policy, the chemistry, the history—there's a lot of different factors that need to be examined in order to understand even the most simple, minute drug phenomenon. And if you're approaching something purely as a scientist, as an academic, there are huge limitations as to what you can do."
Thanks to TinyLetter and Hulu Plus for sponsoring this week's episode.
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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GQ: Your relationship with your biological father seems complicated. Lil Wayne: He don't give a shit about me. And I don't give a shit about him. I know his friends be like, "Damn, nigga. That is not your son. Stop lying. Nigga, you could be living in a motherfucking ranch right now, nigga." You know, whatever your father's into, if you're rich, you're gonna get him that shit. I would've got that nigga all kinda harnesses, ranches—you know what I mean? I saw the nigga recently—I had a show in New Orleans. And I ain't afraid to put this out there, 'cause this is just how much I don't give a fuck about a nigga, and I want people to see how you're not supposed to be. I was parked at the hotel, and I saw him walking outside the hotel. Just walking back and forth. I'm like, "Look at this nigga! You gotta be looking for me." If Lil Wayne got a show in New Orleans, the whole of New Orleans knows. Basically, you're not there for nothing else but me. So I call my man on the bus. I'm like, "Nigga, that's my daddy." He's like, "Word? Oh shit. That nigga looks just like you!" So I tell my man, "Go see what's up." So my man goes to holla at him. He tells my man, "Oh. I didn't know y'all was here. I'm here waiting for this little ho to get o¬ff. Get off¬ work from the hotel." For real? That's when I was like, "Typical Dwayne Carter." So that's what's up with me and my real father. I don't want to look like his ass, but I do.
