Showing 25 articles matching fk33.cc_Which are the Chinese suppliers of Magnesium sulfate pentahydrate for industrial use.

Amanda Hess, a staff writer at Slate, has also written for Pacific Standard, GOOD, and ESPN the Magazine.

"I ended up not loving the fact that I was getting a bunch of calls from MSNBC and CNN, who mostly wanted to talk about people threatening to rape and kill me and only a tiny bit about the story I'd written. ... It was tiring, and it seemed dismissive of me as a person. It's a strange thing to become somebody else's story, especially when the story is: You're a victim of an insane online harasser. That's who you are."

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Heather Havrilesky writes the Ask Polly advice column for New York and is the author of the upcoming How to Be a Person in the World.

“I don’t give a shit if I succeed or fail or what I do next, I just want to do things that are strange and not sound bitey. I don’t want to be polished. I want to be such a wreck that no one will ever say ‘let’s put her on her own talk show.’”

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Latria Graham is a writer living in South Carolina. Her work has appeared in Outside, Garden & Gun, The Guardian, and The New York Times. Her latest essay is "Out There, Nobody Can Hear You Scream."

“My goal as a person—not just as a writer—is to be the adult that I needed when I was younger. That’s why I go and talk to college classes. That’s why I write some of these vulnerable things, to let people that are struggling know that they’re not on their own. … I have to be unmerciful to myself, I think, in order to do it. I really do try to dissect myself and my mistakes. And just kind of say, Here’s the full deck of my life. Take from it what you need. But I’m not holding out on you.

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Jackie MacMullan is an NBA journalist who has written for The Boston Globe, Sports Illustrated and ESPN. She hosts the podcast Icons Club for The Ringer.

“[Athletes] think they don't need journalists—and they're wrong. And I tell them all this. I'm like, ‘I know you think you've got your own production company, but we can tell your story better than you can.' That's just the truth. No one tells their own story the best. It's the people around them that tell the story the best. And nobody wants a whitewashed version of you. They want warts and all. That's what makes you lovable. That's what makes you interesting. ... There are great journalists out there that can tell your story—and it might not be exactly the way you want it to be told, but it'll have weight and it'll have legacy to it.”

African Dreamer

The diarist and photographer Peter Beard, known both for his series documenting a mass elephant starvation and for discovering the supermodel Iman on a Nairobi street, reflects on his life of “drugs, debt, and beautiful women” while recovering from being trampled by an elephant.

Jenny Odell is a multidisciplinary artist and the author of How to Do Nothing: Resisting the Attention Economy.

“I’ve noticed that the times I’m extra susceptible to being on social media is when I am feeling personally insecure or when I’m dealing with existential dread. That within itself is not part of the attention economy - that’s just a human being having feelings and reacting to things. For me, it’s a question of like, ’What do I do with that?’ I can either feed it back into the attention economy and actually get more of it back - more anxiety or more existential dread - or I can go in this other direction and spend time alone or with people who care about the same things. Those are places where I can bring my feelings and they won’t destroy me.”

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Life After Death

How is Canada’s “post-AIDS” generation coping? Not that well.

[I]n some ways we are still hopelessly lost. A generation of men who could have been our mentors was decimated. The only thing we learned from observing them was to ruthlessly identify “AIDS face,” that skeletal appearance the early HIV drugs wrought on patients by wasting away their bodily tissues. But those faces grow more rare each day.

Interview: Sol LeWitt

"Serial systems and their permutations function as a narrative that has to be understood. People still see things as visual objects without understanding what they are. They don’t understand that the visual part may be boring but it’s the narrative that’s interesting. It can be read as a story, just as music can be heard as form in time. The narrative of serial art works more like music than like literature."

Julia Turner is editor-in-chief of Slate.

“That’s what we’ve been focused on: trying to double down on the stuff that feels distinctive and original. Because if you spend all your time on a social platform, and a bunch of media brands are optimizing all their content for that social platform, all those media brands’ headlines say the same, all the content is pretty interchangeable. It turns media into this commodity where then what is the point of developing a media company for 20 years? You might as well take the Silicon Valley approach and just make a new one every three years for whatever that moment is.”

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Granddad Gone Bad

He was arrested for pushing his three grandsons so hard on a Grand Canyon hike that rangers feared for their lives. Their account of the summer they spent with their youthful grandpa would include an uncanny understanding of marijuana strains and a stopover in Jamaica.

Ta-Nehisi Coates is an author and journalist. He served as guest editor for the September issue of Vanity Fair, titled "The Great Fire."

“There’s this pressure to say something. Say something. The world’s burning, say something. But I try to stay where I’ve been or where I’ve tried to be in my career. ... Good things take time. You gotta let things cook. You can’t insta-bake something like this.”

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Mitchell S. Jackson is a journalist and author. His profile of Ahmaud Arbery, ”Twelve Minutes and a Life,” won the 2021 Pulitzer Prize for Feature Writing.

”What is 'great'? 'Great' isn’t really sales, right? No one cares what James Baldwin sold. So: Are you doing the important work?”

Pandemic Time: A Distributed Doomsday Clock

Even within a single apartment building, neighbors experience different temporalities. In one unit, we have a single extrovert experiencing the acute trauma of being forced to work alone from home. Next door, we have parents suddenly juggling childcare and work. At the end of the hall is an immigrant using WhatsApp to track the fate of family members on the other side of the globe who are suddenly physically unreachable due to travel bans. Even members of a single household experience pandemic time differently.

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Rao on the Longform Podcast