Showing 25 articles matching fk33.cc_What is the price of magnesium sulfate heptahydrate.
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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.
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“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.”
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.
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.”
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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.”
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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.”
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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.
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.
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.”
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.
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.
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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.”
Tracy Wang and Nick Baker of CoinDesk, along with their colleague Ian Allison, won the George Polk award for reporting that led to the fall of Sam Bankman-Fried and his cryptocurrency exchange FTX.
“Crypto had been kind of a backwater of reporting. It was kind of like nobody took it seriously. People didn’t know if it was a joke and they thought it was all drug dealers and fraudsters. And I was kind of thinking, well, that seems like a great place to be reporting.”
This is the third in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.
Kathryn Schulz is a staff writer for The New Yorker. "The Really Big One," her article about the rupturing of the Cascadia fault line, won the 2016 Pulitzer Prize.
“I can tell you in absolute sincerity: I didn't realize I was writing a scary story. Obviously I know the earthquake is going to be terrifying, and that our lack of preparedness is genuinely really scary. But, as I think often happens as a reporter, you toggle between professional happiness, which is sometimes, frankly, even professional glee—you’re just so thrilled you’re getting what you’re getting—and then the sort of more human and humane response, which comes every time you really set down your pen and think about what it is you’re actually reporting about.”
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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?
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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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."
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Neal punctuated Jack’s riffing with his “yesses” and “that’s rights,” head bobbing on his neck like a novice prizefighter’s. After four years of New York nihilism and intellection, Neal – wiping Jack’s face with his handkerchief – Neal – who looked so much like Jack himself, an athlete like Jack – celebrated lover of women and sharer of Allen’s passionate dark soul – finally the long-lost brother who said, “Go ahead, everything you do is great” – “a Western kinsmen of the sun” – “a wild yea-saying over-burst of American joy.”
The life and myth of Neal Cassady, Beat companion and muse for Kesey, Wolfe, Kerouac, Ginsberg, The Grateful Dead and more.
“The problem with Christie isn’t merely that he is a bully. It’s that his political career is built on a rotten foundation.”
The director Stacy Title is paralyzed and cannot speak. But she is determined to make one final movie.
A profile of the artist.
"Unfortunately, death is a fact of life. I don't think it's happened to me any more unfairly than to anyone else. It could always be worse. I've lost a lot of people, but I haven't lost everybody. I didn't lose my parents or my family. But it's been an incredible education, facing death, facing it the way that I've had to face it at this early age."
Former Washington Post opinion page editor Greenfield on not being overwhelmed by the past in the search for a “better truth”:
History helps guard against moral smugness too, or it should, anyway. For you are obliged, if you are honest, to acknowledge at least some reflection or resonance of the fallen ones in your own nature. Such humility is a conspicuously missing aspect of our contemporary culture, however. What might be a becoming spell of moral introspection, tends instead to become an orgy of bashing and blaming. I observe that now, as always in this country, when people speak of a terrible, all embracing decline in ethical standards, they are invariably speaking of the decline in their next door neighbor's standards, not their own.
