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

Sloane Crosley is the author of I Was Told There’d Be Cake and How Did You Get This Number. Her latest essay collection is Look Alive Out There.

“The more extreme things get in reality, the more extreme escapism has to be. It’s like Game of Thrones or bust. But in reality, I think that part of what I’m trying to do with this book — or in anything I write — is to give permission to be mad about little things. Just because there’s all of this, someone still slid their hand down a subway pole and touched you. Or somebody bumped into you. There are still these minor indignities and infractions that occur consistently. And I think there’s some sort of robbing if you tell yourself, Well, I’m not going to be mad about this because of the political landscape that we’re in.

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Amel Guettatfi and Julia Steers won this year's George Polk Award for Television Reporting for “Inside Wagner,” their Vice News investigation of Russian mercenaries on the Ukraine front and in the Central African Republic.

“One of the best takeaways I got from seven or eight years at Vice is that it’s not enough for something to be important when you’re figuring out how to make a story. It’s the intersection of important and interesting. And that has taught me that people will watch anything, anywhere, as long as it’s interesting. Nobody owes us their time. The onus is on us to explain things in an interesting, compelling way. I’m hoping that a landscape opens up somewhere else that sees that and understands that can be done anywhere in the world.”

This is the first in a week-long series of conversations with winners of this year’s George Polk Awards in Journalism.

Terrence McCoy is The Washington Post's Rio de Janeiro Bureau Chief. He won the George Polk award for his series "The Amazon, Undone" on the illegal and often violent exploitation of the rainforest.

“When I first got to Brazil, the Amazon was an arena of mystique. But after you spend a fair amount of time in the Amazon, it becomes quite clear what the struggle is—and how human that struggle is.”

This is the last of a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

Magic Actions

Looking back on the George Floyd rebellion.

Armed only with their psychotic courage, they were running, dancing, singing, smashing, burning, screaming, storming heaven: all rapturous varieties of Baraka’s “magic actions.” I listened to 19-year-olds talk nonstop throughout the night we spent in jail, as they howled insults at the officers and swapped stories of humiliation by police. It struck me that they were too young to have seen even the initial phase of BLM. Though well-acquainted with power and violence, they were tasting “politics” for the first time. Whatever the fate of the movement, I suspect that much of their future thinking will be measured against the feelings that filled the nights of 2020: the vastness and immediacy, the blur and brutal clarity.

A Letter to a Younger Me

I remember when you were a little girl, you used to call yourself “peach-brown”. Peach represented your mother, brown represented your father, and together they made peach-brown, a perfect articulation at the time for what you were. The colors came from the crayons you matched to the skin of your parents, and although they were separate and didn’t mix together very well on paper, they were the best you had at the time. This silly little phrase represented what would become a lifelong struggle of coming into your own identity.

Robert McKee is an author and screenwriting lecturer. His new book is Character: The Art of Role and Cast Design for Page, Stage, and Screen.

”When I'm in conversation with others, I'm always aware—or sensitive, at least—to what they're really thinking and feeling. And writers must have that. They can't possibly create excellent nonfiction or fiction if they're not aware of what is going on inside of other people, really, even subconsciously, while they go about saying whatever they do consciously in the world. Because if you just recorded the surface, if you were just paying attention to the surface, you'd be missing the whole show.”

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In this special episode with Stephen Rodrick, contributing writer at the New York Times Magazine and contributing editor at Men's Journal, Rodrick discusses his recent story "Here Is What Happens When You Cast Lindsay Lohan in Your Movie."

"Publicists don't want to give you access because they're afraid of what you're going to see. But if you spend enough time with anybody, short of Mussolini or Ghengis Khan, they're going to humanize themselves. Because they're human beings, like you are. And they have whatever demented battles they're fighting, their version of crazy, but if you get to spend some time with them as flesh and blood, they're going to come across as flesh and blood in the story."