Showing 25 articles matching fk33.cc_Magnesium sulfate heptahydrate large granules for agriculture.
A brutal assault and the struggle for justice at the University of Virginia.
Note 12/5/14: Rolling Stone has stated that they now doubt details of the facts reported in "A Rape on Campus."
More information is available in T. Rees Shapiro's "U-Va. Fraternity to Rebut Claims of Gang Rape in Rolling Stone" from The Washington Post.
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A profile of the late actor-turned NRA president:
A figure emerges from the wings, more than six feet tall but appearing shorter, his torso inclined forward. Speedo propylene beach slippers make the journey to the podium with hesitant steps. Hip-replacement surgery and old age have dampened the fabled dynamism: no more battles with broadswords; no more chariot races for him. But above the uncertain legs, the chest is still massive, the cheekbones still chiseled, the broken nose as resolute as the NRA eagle on all those baseball caps bobbing above the crowd. As Charlton Heston approaches the microphone, his lungs swell, the vocal cords making their splendid, vibrant music out of ordinary air. "I'm inclined to quit while I'm ahead," he jokes. "But I won't. No!"
Paul Simon’s Graceland at 25.
The Paul Simon who, on a bus en route to New York City told his sleeping girlfriend that he was empty and aching and he didn’t know why, that Simon belongs to our parents. My generation may love him but he’s not ours. The Simon who is soft in the middle (or at least feels an affinity for men who happen to be), however, the one who reminds young women of money, who has been divorced and has a kid to prove it, and who has the means to catch a cab uptown and take it all the way downtown talking dispassionately while doing so about the comings and goings of breakdowns, that Simon belongs to us as much as he does to our folks because he is our folks.
The real-life events that inspired the new Richard Linklater dark comedy Bernie:
It’s a story about people believing what they want to believe, even when there’s evidence to the contrary. It’s a story about people not being what they seem. And it’s a story, as the movie poster says, “so unbelievable it must be true.” Which it is. I know this because the widow in the freezer was, in real life, my Aunt Marge, Mrs. Marjorie Nugent, my mother’s sister and, depending on whom you ask, the meanest woman in East Texas. She was 81 when she was murdered, and Bernie Tiede, her constant companion and rumored paramour, was 38. He’ll be eligible for parole in 2027, when he’ll be 69.
The author reflects on his mayoral run with Norman Mailer against John Lindsay.
At the bar one night a couple of weeks after the primary, I looked up from a drink and saw my face and Norman's face floating across the screen on the NBC First Tuesday show. It is a network thing, and they did a 20-minute look at our campaign. The show reinforced my opinion that Norman and I had some of the most terrific lows in the history of anything that ever took place in this city. And, perhaps, a couple of highs that could be recognized as time passes a bit. Like maybe colleges for years will be using the things Norman Mailer was saying out in the streets.
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.
Mark Adams is the author of Mr. America and Turn Right at Machu Picchu. His latest book is Tip of the Iceberg: My 3,000-Mile Journey Around Wild Alaska, the Last Great American Frontier.
“It’s always sheer and utter panic the whole time I’m on the road. I never sleep more than like three or four hours a night when I’m on the road because I wake up at 4:00 in the morning and I’m like, Who am I going to talk to today? I don’t have anything scheduled for today. What am I going to do? And sometimes things work out for that day and sometimes they don’t. I think when you start to lose that feeling — that tense feeling, that pit in your stomach — then the work starts to lose something as well.”
Thanks to MailChimp and Pitt Writers for sponsoring this week's episode.
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.
Evan Osnos is a staff writer for The New Yorker. His new book is Wildland: The Making of America’s Fury.
“I'm always trying to get inside a subculture. That's the thing that I think has been the most enduring, attractive element for me. Is there a world that has its own manners and vocabulary and internal rhythms and status structure? And who looks down on whom? And why? And who venerates whom? Who's a big deal in these worlds? And if I can get into that, it doesn't even really matter to me that much what the subculture is. I'm fascinated by trying to map that thing out.”
Ta-Nehisi Coates is an author and journalist. His next book is The Message.
“I don’t think we have the luxury as journalists of avoiding things because people might say bad things about us. I don’t even think we have the luxury of avoiding things because we might get fired. I don’t think we have the luxury of avoiding them because somebody might cancel some sort of public speech that we have. I then have to ask you, what are you in it for? Like, why did you come here? Did you come here just to make a living? Because there are many other things where you could make more money.”
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Our sponsor this week is the W.W. Norton bestseller by Steve Cullen and Shelley Murphy, an unforgettable narrative follows the astonishing career and epic manhunt for Whitey Bulger—a gangster whose life was more sensational than fiction.
Based on exclusive access and previously undisclosed documents, Cullen and Murphy explore the truth of the Whitey Bulger story. They reveal for the first time the extent of his two parallel family lives with different women, as well as his lifelong paranoia stemming in part from his experience in the CIA’s MKULTRA program. They describe his support of the IRA and his hitherto-unknown role in the Boston busing crisis, and they show a keen understanding of his mindset while on the lam and behind bars. The result is the first full portrait of this legendary criminal figure—a gripping story of wiseguys and cops, horrendous government malfeasance, and a sixteen-year manhunt that climaxed in Whitey’s dramatic capture in Santa Monica in June 2011.
For the first time, Janet Reitman discusses her Rolling Stone cover story on accused Boston Marathon bomber Dzhokhar Tsarnaev.
"My editors, myself, a lot of people who work for the magazine — we lived through an act of terrorism. We know what it feels like. There have been accusations to me personally of being insensitive, and I can tell you that I'm far from insensitive, not only to the political realities of terrorism but to the personal realities of terrorism. I breathed it in, literally. … The cover elicited an emotional response from people; that is not always what magazine covers do. I think it's great on a certain level, because terrorism is emotional, it's real, it affects us. It is not something that happens just overseas or just to people who are somehow "Other." If you talk to terrorism experts around the world, what they will all say is that the vast majority of people who are involved in these violent, extremist acts are what we would consider otherwise to be very normal people. One of us. Part of our community. That's a reality, and it's a very emotional thing and it makes people very uncomfortable. I totally understand that. But that was the point of my story."
Thanks to this week's sponor, Squarespace.
Peter Hessler is a staff writer for The New Yorker.
“It may have helped that I didn’t have a lot of ideas about China. You know, it was sort of a blank slate in my mind. …I wasn’t a reporter when I went to Fuling, but I was thinking like a reporter or even like a sociologist: try to respond to what you see and what you hear, and not be too oriented by things you’ve heard from others or things you may have read. Be open to new perceptions of the place or of the people.”
Thanks to MailChimp and Squarespace for sponsoring this week's episode.
Ashley C. Ford is a writer and host of the podcast Fortune Favors the Bold. Her memoir, Somebody's Daughter, is forthcoming from Flatiron Books.
“For the first time I felt like I had so many more choices in my life than I originally thought I had. That was my first realization that I did not just have to react to the world, that I could be intentional in the world, and just curious about what came back to me.”
Thanks to Mailchimp and Pitt Writers for sponsoring this week's episode.
Delia Cai is the senior vanities correspondent for Vanity Fair and publishes the media newsletter Deez Links. Her debut novel Central Places is out this week.
“This was in like, 2011, where I think actual journalists were still trying to figure out ‘Is it gross to be a brand?’ And at least in school, they were all about it. They’re like, ‘You need a brand, you need to think about what your niche is going to be, you need to think about engaging your audience.’ We had to make websites, we had to blog, and of course, all of us being college students, we started using our blogs to write about each other. We used Twitter to talk shit about each other in a very thinly veiled way. So really, it was the best training for being online.”
Sarah Stillman is a staff writer for The New Yorker.
"People don't really care about issues so much as they care about the stories and the characters that bring those issues to life. ... A story needs an engine or something to propel you forward and it can't just be a collection of like, 'Oh hmm, this was interesting over here and this was interesting over there.' Realizing that helped me sit down with all my stuff on trafficking and labor abuses in Iraq and Afghanistan and say 'What are the five craziest things that I found here and how could I weave them together in a way that would actually have some forward motion?'"
Thanks to TinyLetter and Hulu Plus 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.
Jeanne Marie Laskas is the author of the new book Hidden America and a correspondent for GQ.
"I'm just a writer going into [people's lives], you know? What do you do with that kind of intensity of a relationship when you're job is to invoke it on the page? It's a huge ... not just privilege but responsibility. Because, you know, it's just for a story. And I tell them that: 'I'm asking you trust me, but at the same time don't trust me. I'm kind of like a vulture in this relationship—we're not friends.'"
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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Jerry Saltz is a Pulitzer-winning art critic for New York.
“To this day I wake up early and I have to get to my desk to write almost immediately. I mean fast. Before the demons get me. I got to get writing. And once I’ve written almost anything, I’ll pretty much write all day, I don’t leave my desk, I have no other life. I’m not part of the world except when I go to see shows.”
Thanks to MailChimp, TapeACall, The Dream, Squarespace, and Pitt Writers for sponsoring this week's episode.
Sheera Frenkel and Cecilia Kang are reporters for the New York Times. They are coauthors of An Ugly Truth: Inside Facebook's Battle for Domination.
“There are two types of reporters. There are reporters who date and reporters who marry. I think both Cecilia and I are reporters who marry our sources and by that I mean they are lifelong sources. It’s not a relationship that you build quickly. It’s one where you have to really let them get to know you as a journalist, show them that you are always going to be honest and do what you say and protect their anonymity and that you’re not biased. I think some reporters make mistakes in that they try to curry favor with sources by writing things they think the sources will like and I think sources actually respect you more when you show them: no I am accurate and I am honest and I am objective and I’m actually going to check what you tell me so that I know it’s true and you know I am doing my homework on everything.”
Alzo Slade is a correspondent for VICE News and host of the podcast Cheat.
“Human beings, we are the same, right? Like when you come out of the womb, you need to eat, you need to sleep, you need to pee, you need to shit, and when it comes to emotional needs, you need to feel loved. You need to feel there's compassion, you know? You need to feel significant and of value. And when it comes to like the feeling of significance and feeling valued, I think that's where we start to get into trouble because the same things that you hold of value, I may not in the same way. […] And so if I can engage you and recognize the perspective from which you come, and at least give you an entry level or a human level of respect from the beginning, then the departure point for our engagement is a proper one, as opposed to an antagonistic one.”
Javier Zamora is the author of Unaccompanied, a poetry collection, and Solito, a memoir.
“There was something that I felt eating away at me, which made me a very angry and volatile teenager. And I think I was an angry teenager because I had this trauma that nobody around me could talk about, and that I didn't have the right therapist to help me unpack. So the cheapest thing that I had was poetry.”
Kevin Kelly is one of the founding editors of Wired, where his current title is Senior Maverick. His new book is Excellent Advice for Living: Wisdom I'd Known Earlier.
“I never wrote a book because I wanted to do a good deed. I just wanted to tell a good story.”
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.”
Thanks to MailChimp, Audible, and Igloo for sponsoring this week's episode.
