Showing 25 articles matching fk33.cc_Who is the manufacturer of magnesium sulfate Monohydrate.
On November 12, 2012, after Belizean police announced that they were seeking him for questioning in connection with the murder of his neighbor, John McAfee began a well-publicized stint on the lam. Six months earlier, the writer had begun an in-depth investigation into McAfee's life. This is the chronicle of that investigation.
Listen to Joshua Davis disucsses this article on the Longform Podcast.
On Jews:
The Jews are happy in the United States. There are now two hundred congregations of them here, half of whom have arrived within the last twelve years. They are good citizens, firmly attached to those liberal principles to which they owe their deliverance from degrading and oppressive laws, and are rising in the esteem of the people among whom they dwell. Their attachment to the system of universal education is hereditary; it dates back three thousand years; and though their religious feelings are wounded by the opening exercises of many public schools, they would not for that reason destroy them.
Joshua Yaffa is a correspondent for The New Yorker, the author of Between Two Fires: Truth, Ambition, and Compromise in Putin's Russia, and has been reporting from Ukraine for the last several weeks. His most recent article is "What the Russian Invasion Has Done to Ukraine."
“I’m not at all a conflict reporter. I don't like it, though who would like being in these situations? But this is the story, right? If you cover this part of the world, if the war in 2014 felt like the tectonic plates of history were shifting, now they're just erupting, crashing. This is the asteroid-impact event for this part of the world with effects that will last similarly long going forward.”
The Bashar al-Assad regime’s indiscriminate air strikes have terrorized civilians for years. Now a small band of activist-entrepreneurs is building a sensor network that listens for warplanes and warns people when and where the bombs will fall.
Jay Caspian Kang is a staff writer for The New Yorker and a co-host of Time to Say Goodbye.
“At some point, you have to kick it out the door, and it’s never finished to the degree that you would finish a magazine piece. But it, in some ways, is more interesting because it is produced in a short amount of time, and it’s read as something that is not supposed to be complete. It’s just meant to provoke or to provide thought or whatever, to provide some sort of context on a certain issue or not. And I actually like that a lot better than the magazine writing. I respect the magazine writers—obviously, I was one—but for my disposition now, in my lifestyle, I actually enjoy having to produce this thing every week.”
Have a question for the mailbag? Email the show or leave a voicemail at (929) 333-2908.
A critical look at the contemporary art marketplace.
The trouble is that a business model has come to drive the entire art world, and like the corporate executive who regards the launch of each new product as a challenge to the success of the last one, because you must keep growing or you will die, the arts community finds itself in a state of permanent anxiety. There always has to be a new artist whom the media will embrace as enthusiastically as they embraced Warhol; there always has to be a show that will top the excitement generated by the last blockbuster at the Modern or the Met.
Sponsored
Is the century-old Jewish-Leftist alliance ending?
For much of the 20th century, the radical and revolutionary left played a huge role in defining how the rest of America saw Jews and how Jews saw themselves. In an essay for Tablet Magazine, literary critic Adam Kirsch considers whether that linkage is over.
For information about sponsoring Longform, click here.
Katherine Eban is an investigative journalist and contributor to Vanity Fair. Her latest article is ”The Lab-Leak Theory: Inside the Fight to Uncover COVID-19’s Origins.”
”You can't make a correction unless you know why something happened. So imagine—if this is a lab leak—the earth shattering consequences for virology. For the science community, for how research is done, for how research is regulated. Or if it is a zoonotic origin, we have to know how our human incursion into wild spaces could be unleashing these viruses. Because COVID-19 is one thing, but we're going to be looking at COVID-25 and COVID-34. We have to know what caused this.”
Thanks to Mailchimp for sponsoring this week's episode.
Brian Howey is a freelance journalist who won the Polk Award for Justice Reporting after exposing a deceptive police tactic widely used in California. He began the project, which was eventually published by the Los Angeles Times and Reveal, as a graduate student in the UC Berkeley Graduate School of Journalism.
“It’s one thing to hear about this tactic and hear about parents being questioned in this way. It’s another thing entirely to hear the change in a parent’s voice when they realize for the past 20 minutes they’ve been speaking ill of a relative who’s actually been dead the entire time, and to hear that wave of grief and sometimes that feeling of betrayal that cropped up in their voice and how the way that they spoke to the officers afterwards changed.”
This is the fourth in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.
Mitchell Prothero covers intelligence and crime for Vice News. His new podcast with Project Brazen is Gateway: Cocaine, Murder, and Dirty Money in Europe.
“I’m really interested in transnational networks—crime, intelligence. I’m fascinated by the gray. Like, when is something legal and when is something illegal? One thing with this Gateway project [was that] nobody could ever tell me that moment where money goes from absolutely being illegal to being legal.”
Sponsored
On Saturday, more than 50 years after he started writing about the game, Roger Angell will be honored at the Baseball Hall of Fame in Cooperstown, NY. If you're unfamiliar with Angell's work, here's where to start: The Summer Game, the first of his three incomparable collections of baseball writing for The New Yorker.
Our friends at Open Road Integrated Media have made the book available for 80% off through the weekend. And they've been generous enough to share an excerpt with Longform, "The Interior Stadium," a 1971 classic in which Angell captures the timelessness of the game. "Since baseball time is measured only in outs, all you have to do is succeed utterly," he writes. "Keep hitting, keep the rally alive, and you have defeated time. You remain forever young.”
Get your copy of The Summer Game through Sunday for 80% off.
Two weeks spent walking across Provence.
There is something about entering an ancient town on foot that's radically different from entering the same place by car. Keep in mind that these old French towns were all designed by people on foot for people on foot. So when you walk in, you're approaching the place as it was intended to be approached—slowly and naturally, the way Dorothy came upon Oz (spires rising in the distance, a sense of mounting mystery: What kind of city will this be?).
Graciela Mochkofsky is a writer for The New Yorker and dean of CUNY's Newmark Graduate School of Journalism. She has written six nonfiction books in Spanish. Her new book, her first in English, is The Prophet of the Andes.
“It connects with me as a journalist, actually — it’s this idea of just seeking truth and how elusive that is. So this is a person who thinks he can get to the true meaning of God and of how he needs to live. And he thinks that by asking the right questions, and by reading, and reading, and reading, and by discussing collectively, he can get to the truth. And he can’t.”
“What’s it like to be kidnapped and held for ransom, not as a political prisoner but as an economic one? What’s it like to live in the Ecuadoran jungle for 141 days? What’s it like not to sleep, to be bound in chains, to have your body invaded by living things, to waste away to the point of death?…What’s it like? This is what it’s like.”
“Tiffany Haddish may, in fact, be too good at being Tiffany Haddish. Too good at seeming like one of your friends who became famous. At times, she treats her new fame like she is on a group text with the world.”
Andy Greenberg is a senior writer for Wired. His new book is Sandworm.
“I kind of knew I was never going to get access to Sandworm, which is the title of the book - so it was all about drawing a picture around this invisible monster.”
Thanks to Mailchimp, Pitt Writers, and Family Ghosts for sponsoring this week's episode.
There are no resurrections in Armageddon MUD, a text-based role-playing game (RPG) set on the harsh desert planet Zalanthas. One of the Internet’s oldest extant virtual worlds, it is an amoral fairytale about dune traders and bandits, assassins and sorcerer-kings, collaboratively written by thousands of players over a period of twenty-six years. Created in 1991 by a thirteen-year-old coder named Dan Brumleve, the kernel of the story was cribbed from a Dungeons and Dragons campaign setting called “Dark Sun,” source of the game’s fantasy races (elves, dwarves, muls, halflings, half-giants), its kaiju-sized insects, and the foundational conceit of a once-verdant world desiccated by “defiling” magic.
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.”
Thanks to Audible, Open Source, MailChimp, Igloo, and Squarespace for sponsoring this week's episode.
All of the books about all of the David Bowies:
There are more and more books like this these days: rock histories and encyclopedias, stuffed with information, compendiums of every last detail from this or that year, era, genre, artist – time pinned down, with absolutely no anxiety of influence. And while it would be churlish to deny there is often a huge amount of valuable stuff in them, I do think we need to question how seriously we want to take certain lives and kinds of art – and how we take them seriously without self-referencing the life out of them, without deadening the very things that constitute their once bright, now frazzled eros and ethos.
Pamela Colloff is an executive editor and staff writer at Texas Monthly.
"There are many, many people who write and they have tragic stories, but they're not necessarily compelling magazine articles. Figuring out what is a compelling magazine article and what isn't is one of the more painful things about this. You can't look into every case. But your job is to be a storyteller."
Thanks to TinyLetter for sponsoring this week's episode!
When a boulder shifts and pins his hand, a climber on a solo trip is forced to do the unthinkable: amputate his own arm. A first-person account of the six-day ordeal, excerpted from Ralston’s Between a Rock and a Hard Place.
Jason Motlagh, a journalist and filmmaker, is a contributing editor at Rolling Stone and the founder of Blackbeard Films. He won the Polk's Sydney Schanberg Prize for “This Will End in Blood and Ashes,” an account of the collapse of order in Haiti.
“Once you've gotten used to this kind of metabolism, it can be hard to walk away from it. Ordinary life can be a little flat sometimes. And so that's always kind of built in. I accept that. I think I've just tried to be more honest about like, [am I taking this risk] because I need a bump my life? Or do you really believe in what you're doing? And I feel like I really do need to believe in the purpose of the story. There has to be some motivation greater than myself."
This is the last in a series of conversations with winners of this year's George Polk Awards in Journalism.
Jen Tullock is ready for her moment. Is the moment ready for her?
How Frank and Jamie McCourt bought the Dodgers for “for less than the price of an oceanfront home in Southampton” and eventually became entangled in one of the most expensive divorces in California history, which laid bare their finances and confirmed what many already knew: they had bankrupted one of the most storied franchises in baseball.
In all, the McCourts reportedly took $108 million out of the team in personal distributions over five years—a sum that Molly Knight, a reporter with ESPN who has extensively covered the story, notes is eerily similar to the cash payment that she says Frank McCourt has claimed he made for the team.
In the film bullets approach in slow motion a series of glistening roundels, resembling condoms just taken out of their paper wrappings. Most of the bullets go right through, leaving a clean hole. But the last roundel in the film collapses slowly, wrapping itself around the bullet like a blanket on a laundry line hit by a wayward football. It is a piece of artificially bred human skin, reinforced with eight layers of transgenic spider silk, the material spiders produce to spin their webs.
Translated from the original Dutch, exclusive to Longform.org.
