robertogreco + newyorker   24

Where’s Earl Sweatshirt? | The New Yorker
"Word from the missing prodigy of a hip-hop group on the rise."

[bookmarking this as a standalone, but it was already here: ]

"How's Earl" ]

[See also:

"Complex Exclusive: We Found Earl Sweatshirt"

"Odd Future's Earl Sweatshirt – found in Samoa?"

"Odd Future’s Earl Sweatshirt Speaks"

"What’s Life Like for Odd Future’s Earl Sweatshirt in that Secret Samoan Academy?"

"Earl Sweatshirt's Coral Reef Academy Friend Says "New Yorker" Story Is False"

"The story of Odd Future's Earl Sweatshirt gets another knot"

"Earl Sweatshirt in Samoa" ]
oddfuture  ofwgkta  music  parenting  2011  newyorker  kelefasanneh  hiphop  keorapetsekgositsile  fame  youth  adolescence  identity  earlsweatshirt  thebenerudakgositsile  rap 
july 2018 by robertogreco
"How could The New Yorker’s fact-checking department fail catch all this? How could an editor see the detail in Gladwell’s descriptions and not ask for backup? There are only two plausible answers here. The first is this: Gladwell may have said that he was describing well-documented events and that the quotes and details had “escaped their source.” Indeed, as reported by the Columbia Journalism Review’s Edirin Oputu, the fact-checking director at The New Yorker, Peter Canby, has used this exact defense in the past.

This past April, a New Yorker article by Elizabeth Kolbert quoted the following from chemist F. Sherwood Rowland, without attribution:
“What’s the use of having developed a science well enough to make predictions if, in the end, all we’re willing to do is stand around and wait for them to come true?”

The quote, Oputu noted, had originally appeared in a 1986 New Yorker piece by Paul Brodeur. “The New Yorker,” she wrote, “had effectively plagiarized itself.” In response, Canby said that the quote was “so widely used without attribution that it has effectively escaped its authorship.”

But that defense simply doesn’t pass the sniff test here. Almost none of the quotes – not those from Tesler or Jobs, or those from the Troy-Greenfield railroad promoters, or those of the participants in the Greensboro sit-ins – have reached escape velocity and broken free from the need for attribution. It’s almost impossible to find any of them before they appeared in Gladwell’s articles. And it’s not just the quotes that haven’t escaped their original, obscure sources – the vast majority of the details used by Gladwell haven’t, either.

So is this on The New Yorker’s factcheckers? As former New Yorker factchecker Jon Swan wrote in reply to the Rowland incident, “surely the checker is not alone at fault for this breach of journalistic ethics. Editor and author are involved in the process. Did the editor ask for verification? Did the author know where the quote had originated?” In this case, probably not. As we’ve seen demonstrated by Fareed Zakaria, as well as the initial protection of both Lehrer and BuzzFeed’s “deeply original” Benny Johnson, sometimes an outlet’s superstar gets a little more leeway."

[See also: ]
malcolmgladwell  ethics  journalism  newyorker  2014  plagiarism  jonahlehrer  attribution 
december 2014 by robertogreco
THE CHAGALL POSITION: Tidy Words & the End of the World: LeRoi Jones Reads a New Yorker Poem
"Baraka nails the essential quality of the New Yorker poem in a compact formulation: a carefully put-together exercise published as high poetic art. And when it comes to literary standards nothing has changed in the half century plus since the poet shed tears over that alienating poem – New Yorker still puts a premium on carefully put-together exercises that it publishes as high poetic art. This is just as true of the magazine’s fiction, which represents the “quality” apogee of the MFA cookie-cutter “epiphany story.” Wrapped up in tidy packages of psychological realism, these stories reflect the spurious “humanism” of the liberal professional-managerial class that is really a form of fatuous, self-congratulatory narcissism and an apologetics for a racist, imperialist, and exploitative status quo. Such work is “well-crafted,” meticulous, careful, “clean,” and absolutely risk free – the literary equivalent of a gentrified neighborhood. It’s a neighborhood (Baraka even calls it, perceptively, a “place”) where people like the aspiring Black writer are not welcome, where they are the excluded Other.

In the yearning for social mobility that painfully inflects his response, the young poet of the autobiography implicitly realizes how this “high poetic art” functions as a marker of status, what Pierre Bourdieu calls “distinction.” New Yorker verse and fiction are indeed high-end consumer commodities, of a piece with the tailored clothes, pricey jewelry, and haute cuisine dining spots that share its pages. It’s a cultural “address”, but – as commentators such as Sharon Zukin and David Harvey have shown – one that is eminently available to be cross-mapped onto real space, in urban neighborhoods across the US and around the globe.

One way that this type of “cultural address” manifests itself in the contemporary urban arena is the phenomenon of “cultural districts,” specially designated clusters of arts and humanities venues which then become the focus of public-private investment partnerships. There are many such districts in Massachusetts already, including two here in Boston, the Fenway Cultural District and the new Boston Literary District. According to the Massachusetts Cultural Council, the state body that awards such designations, the ultimate goal of cultural districts is “enhancing property values and making communities more attractive” – i.e., gentrification."

"Social exclusion and symbolic violence inflict real damage and pain, the pain of marginality, invisibility, and muteness – cultural apartheid. It is precisely the type of pain that Amiri Baraka’s younger self experienced while reading that New Yorker poem. The passage from Baraka’s autobiography struck me because I encountered it at the very time I was writing about the Boston Book Festival’s failure, for the fifth year in a row, to select a local African American or Latina/o author for their flagship “One City One Story” program. One of the “Executive Partners” in organizing the Boston Literary District, the BBF states that this citywide “Big Read” event is supposed to promote literacy and “create a community around a shared reading experience.” Yet what kind of community are they creating? Boston is at least 42% Black and Latina/o, but in the 5 years of One City One Story’s existence they’ve chosen 4 white authors and 1 Asian-American author. The stories themselves, moreover, are very much of the same “carefully constructed exercises” (white and uptight) that continue to be published “as high poetic art” in the New Yorker.

I wonder how many minority youth in Dorchester, Roxbury, and Mattapan were assigned the book festival’s 2014 offering, Jennifer Haigh’s “Sublimation,” in their high school English classes. No doubt they were exhorted that they were participating in civic life, and that the story’s values and outlook were somehow “universal” and relevant to their own experience. And no doubt that many of them felt the same confusion and shame and anger that LeRoi Jones felt reading that New Yorker poem in San Juan over a half century ago.

I hope none of them shed tears over it, though – the story wasn’t worth it."

[via: ]
amiribaraka  leroijones  newyorker  mfa  writing  realism  narcissism  racism  imperialism  statusquo  gentrification  literature  edmondcaldwell  socialmobility  commodities  consumerism  mainstream  elitism  culture  sharonzukin  davidharvey  arts  art  humanities  marginality  invisibility  muteness  culturalapartheid  race  homogeneity  2014 
november 2014 by robertogreco
The New Yorker needs more photos of LA | A Walker in LA
"You may remember this image and some of the language below it from few months ago when the article “Leaving Los Angeles” received an impressive 629 points on the LA Haterating scale.

Well, this week, The New Yorker published another article about Los Angeles, and I thought for a moment I had clicked upon the very same hatery article.

[image of article]

I will not be giving Gabriel Kahane’s essay an #LAhaters rating—frankly, because it’s pretty and honest and slyly winking in all the best ways—but I do want to mention something here about the story. I’m really worried about The New Yorker. Apparently the publication only owns this one photo of Los Angeles.

It’s a beautiful photo, no doubt, shot by one Bruce Davidson. Surely it’s not the only photo of Los Angeles by Bruce Davidson, seeing as they’ve made an entire video about him taking photos of Los Angeles. But for two very different articles about two very different people experiencing two different parts of a city, they have chosen to use the exact same photo. There’s no other explanation for it: They must only have one.

Here’s the more upsetting fact to some: As several people have pointed out, this photo is of a part of town that most people would identify as San Pedro, which—while still technically LA—is its own place (and at one time, was its own city).

For a publication that sometimes runs a department called “Postcard from Los Angeles,” you’d think they’d have, perhaps, one postcard from Los Angeles?

Unfortunately, they don’t. But it makes sense to me now. It makes sense now why The New Yorker would have this skewed, stereotypical view of our city. They’ve only seen this one image of it. And it’s not even in color.

Let’s send The New Yorker our photos of LA so they might believe that there is more than just this one street, this one palm tree, this one black-and-white vista. I want to help show this publication what LA is really like. You can dispatch your images as tweets to @NewYorker. I just did."
newyorker  losangeles  alissawalker  2014  photography  routine 
june 2014 by robertogreco
russell davies: big-town folksy
"Scamp has started blogging again. Which is nice.

He's written something thoughtful about capturing 'tone of voice' which reminded me that pithy statements of tone are things I collect.

Here's the latest I've found, from Nicholson Baker's The Way The World Works:

John Updike described the tone of the New Yorker as "big-town folksy".

Isn't that perfect? Big-town folksy."
big-townfolksy  johnupdike  nicholsonbaker  newyorker  writing  tome  russelldavies 
september 2012 by robertogreco
Les Petites Échos, Apple’s book failure and the Borgesian dilemma of...
"So in effect you have to handcraft your own “app”…basically reinventing the wheel every time. Almost all of these apps are artisanal, and most are clunky, as were probably the first wheels or codexes or horseless carriages."

"In a way, reading on the iPad reminds me of Jorge Luis Borges’s haunting story The Book of Sand, in which the narrator comes across an infinite book that contains the pages of all other books in the universe. At first intrigued, the idea of the book begins to terrify him. He considers burning it, but reasons that the smoke from the book would be infinite and thus suffocate the world, so he ends up abandoning it in the National Library, on some anonymous shelf. I feel some sense of this low-grade unease when reading on the iPad, as if the book I am reading at that particular moment in time might be part of a much larger book, and that I am actually reading all books at once. Then again, maybe this feeling is not such a bad feeling because maybe it is true."
reiflarsen  ipad  reading  books  ebooks  borges  newyorker  thebookofsand  bookofsand  appstore  apple  amazon  2011  from delicious
december 2011 by robertogreco
Page One: Banish Multi-Page Articles (Global Moxie)
"I DESPISE MULTI-PAGE ARTICLES WITH THE HEAT OF A MILLION SUNS. The Page One extension for Safari and Chrome fixes them, automatically displaying the single-page version of articles for several popular news sites. Install the extension now:"
tools  productivity  news  safari  chrome  googlechrome  extensions  browsers  plugins  singlepage  nytimes  newyorker  theatlantic  slate  wired  vanityfair  gq  lapham'squarterly  newrepublic  rollingstone  villagevoice  washingtonpost  thenation  businessweek  browser  from delicious
july 2011 by robertogreco
News Desk: Looking for Earl Sweatshirt : The New Yorker
[full article this references is available online (contrary to what is says in the text)
"Where’s Earl?" ]

"Earl’s real name is Thebe Neruda Kgositsile, and his father is Keorapetse Kgositsile, one of South Africa’s most celebrated poets. Sanneh spoke with Kgositsile, and learned that the father knew of Earl’s success, but had not listened to the music. “When he feels that he’s got something to share with me, he’ll do that,” Kgositsile said. “And until then I will not impose myself on him just because the world talks of him.”

The person most responsible for Earl, however, is of course his mother, whose marriage to Kgositsile fell apart about a decade ago. She asked that The New Yorker not publish her name because she feared that Earl’s fans would harass her, and she is fiercely trying to protect her teen-age son from the exigencies of sudden fame. “There is a person named Thebe who preëxisted Earl,” Earl’s mother told Sanneh. “That person ought to be allowed to explore and grow, and it’s very hard to do that when there’s a whole set of expectations, narratives, and stories that are attached to him.”"
oddfuture  ofwgkta  music  parenting  2011  newyorker  kelefasanneh  hiphop  keorapetsekgositsile  fame  youth  adolescence  identity  earlsweatshirt  thebenerudakgositsile  rap  from delicious
may 2011 by robertogreco
The Boy - Backbone.docx - Powered by Google Docs
"Changes between the transcription of David Foster Wallace reading ‘A fragment of a longer thing’ (Dec. 2000) and The New Yorker’s publication of that story as ‘Backbone’ (Feb. 28, 2011)<br />
Blue are insertions, red reveal deletions."
davidfosterwallace  editing  newyorker  via:lukeneff  writing  backbone  from delicious
march 2011 by robertogreco A Current Famous Unschooler
"current New Yorker (Sept 6)…provides interesting details about how [Francis Collins, manager of The Human Genome Research Institute & current director of the NIH] was raised & unschooled.<br />
<br />
"For Francis, it was an enchanting, if arduous, childhood, part Boy's Life & part Woodstock. He could set a bar door & knew how to predict weather by reading the sky over the distant Alleghennies. He did not see the inside of a schoolroom until 6th grade, because Margaret taught her boys at home. "There was no schedule," Francis recalls. "The idea of Mother having a lesson plan would be just completely laughable. But she would get us excited about trying to learn about a topic that we didn't know much about. & she would pose a question & basically charge you w/ it, using whatever you had—your mind, exploring nature, reading books—to try to figure out, well, what could you learn about that? & you'd keep at it until it just got tiresome. & then she'd always be ready for the next thing.""
franciscollins  science  education  learning  unschooling  homeschool  newyorker  humangenomeresearchinstitute  from delicious
september 2010 by robertogreco
Matt Langer • This is not our regularly scheduled rant!
"You know, Mark Coatney brought Newsweek to Tumblr with astounding success because Mark knows how to be a part of a community, because he’s smart enough to see that his audience works just as hard as he does at producing the sort of content that makes this community worthwhile, an audience that did all this without ever expecting a ticker tape parade to celebrate our esteemed arrival.<br />
<br />
Meanwhile, established media came to Tumblr to engage their audiences, and in so doing revealed that the only audience that really matters is themselves." [via:]
tumblr  media  newsweek  theatlantic  newyorker  americanprospect  huffingtonpost  readerengagement  bigmedia  missingthepoint  politico  parisrevieweconomist  journalism  link-whoring  elitism  from delicious
august 2010 by robertogreco
A Podcast with Nicholson Baker : The New Yorker
via John Naughton via David Smith, : "“Painkiller Deathstreak” by Nicolson Baker. An extraordinary piece (alas, available only to subscribers to print or digital editions of the New Yorker, so maybe it’s unfair to include it here) about what happens when a gifted and observant writer spends a month of his life playing computer games. I’ve often blanched at the arrogance of adults denouncing ‘mindless’ computer games which (a) they’ve never tried to play, and (b) are actually far too complex for them to master. The result is a chasm between the shared cultural experience of entire generations — and total ignorance on the part of adults. The kids who understand and play games have better things to do than to delineate the contours of this exotic subculture for the benefit of their elders. So it was an extraordinarily good idea to get a sophisticated, observant, articulate writer to have a go."
2010  gaming  games  nicholsonbaker  newyorker  generations  subcultures  videogames  lostintranslation  arrogance  culture  sharedexperience  experience  anthropology  children  youth  gamedesign  from delicious
august 2010 by robertogreco
Media Companies Try Getting Social With Tumblr -
"Mr. Coatney describes Tumblr as “a space in between Twitter and Facebook.” The site allows users to upload images, videos, audio clips and quotes to their pages, in addition to bursts of text.

As on Twitter, users can follow other users, whose posts appear in a chronological stream on a central home page known as the dashboard. Users can indicate that they like an item by clicking on a red heart next to it or “reblogging” it.

One of the big differences between Tumblr and Twitter is that Tumblr does not display how many followers a user has, said David Karp, Tumblr’s 24-year-old founder and chief executive.

“Who is following you isn’t that important,” he said. “It’s not about getting to the 10,000-follower count. It’s less about broadcasting to an audience and more about communicating with a community.”"
tumblr  twitter  media  nytimes  journalism  future  2010  facebook  socialmedia  socialnetworking  newsweek  newyorker  huffingtonpost  rollingstone  theatlantic  theparisreview  lifemagazine  blackbookmedia  internet  social 
august 2010 by robertogreco
News Desk: The Velluvial Matrix : The New Yorker
"When you are sick, this is what you want from medicine. When you are a taxpayer, this is what you want from medicine. And when you are a doctor or a medical scientist this is the work you want to do. It is work with a different set of values from the ones that medicine traditionally has had: values of teamwork instead of individual autonomy, ambition for the right process rather than the right technology, and, perhaps above all, humility—for we need the humility to recognize that, under conditions of complexity, no technology will be infallible. No individual will be, either. There is always a velluvial matrix to know about."
atulgawande  collaboration  complexity  medicine  healthcare  education  commencement  systems  newyorker  learning  knowledge  tcsnmy  humility  infallibility  autonomy  interdependence  teamwork  toshare  topost  history  health  science 
july 2010 by robertogreco
Annals of Education: Most Likely to Succeed: How do we hire when we can’t tell who’s right for the job?:The New Yorker
"Hanushek recently did a back-of-the-envelope calculation about what even a rudimentary focus on teacher quality could mean for the United States. If you rank the countries of the world in terms of the academic performance of their schoolchildren, the U.S. is just below average, half a standard deviation below a clump of relatively high-performing countries like Canada and Belgium. According to Hanushek, the U.S. could close that gap simply by replacing the bottom six per cent to ten per cent of public-school teachers with teachers of average quality. After years of worrying about issues like school funding levels, class size, and curriculum design, many reformers have come to the conclusion that nothing matters more than finding people with the potential to be great teachers. But there’s a hitch: no one knows what a person with the potential to be a great teacher looks like." Also on Gladwell's blog:

[ ]

[see comments here: ]
malcolmgladwell  teaching  school  policy  assessment  newyorker  education  statistics  learning  psychology  research  hiring  management  administration  leadership  us  effectiveness  credentials  economics  children  schools 
december 2008 by robertogreco
The Choice: Comment: The New Yorker
"We cannot expect one man to heal every wound, to solve every major crisis of policy ... yet Obama has ... the temperament to shut out the noise when necessary & concentrate on the essential. The election of Obama—a man of mixed ethnicity, at once comfortable in the world & utterly representative of 21stC America—would, at a stroke, reverse our country’s image abroad and refresh its spirit at home ... be a symbolic culmination of the civil- & voting-rights acts of the nineteen-sixties & the century-long struggles for equality that preceded them. It could not help but say something encouraging, even exhilarating, about the country, about its dedication to tolerance & inclusiveness, about its fidelity, after all, to the values it proclaims in its textbooks. At a moment of economic calamity, international perplexity, political failure, & battered morale, America needs ... a leader temperamentally, intellectually, & emotionally attuned to the complexities of our troubled globe"
barackobama  elections  2008  us  politics  geopolitics  world  global  influence  change  reform  endorsement  newyorker  via:preoccupations 
october 2008 by robertogreco
The Chameleon, Frederic Bourdain [New Yorker story is here:]
"Frédéric Bourdain is a Frenchman in his early thirties who has spent much of his life impersonating kidnapped or runaway teens....That's an interesting story by itself but just the tip of the iceberg. At some point, Bourdain's story gets intertwined with that of Nicholas Barclay, a teen who went missing in Texas in 1994. After that, the story proceeds like the craziest episode of Law and Order you've ever seen."
crime  france  youtube  newyorker  identity  reclaimingadolescence  adolescence  conmen  impostors  chameleons  acting  obsession 
august 2008 by robertogreco
Letter from Tokyo: Shopping Rebellion: What the kids want: The New Yorker [see also]
"coat is designed to serve as a final home in the case of a natural or man-made disaster...For warmth, you can stuff its many pockets with newspapers, or with the floppy nylon teddy bears which Final Home also sells."
finalhome  japan  newyorker  tokyo  fashion  shopping  glvo  2002  nomads  neo-nomads  disasters 
july 2008 by robertogreco
Our Local Correspondents: Up and Then Down: Reporting & Essays: The New Yorker
"Elevator design is rooted in deception—to disguise not only the bare fact of the box hanging by ropes but also the tethering of tenants to a system over which they have no command"
elevators  newyorker  psychology  engineering  technology  society  architecture  skyscrapers  ubicomp  buildings  infrastructure 
april 2008 by robertogreco
Genius: 2012: Online Only Video: The New Yorker
"Malcolm Gladwell talks about the importance of stubbornness and collaboration in problem-solving, and how long it takes to master any challenge. Introduced by David Remnick."
malcolmgladwell  intelligence  genius  behavior  experts  expertise  learning  collaboration  newyorker  productivity  problemsolving  colleges  universities  future 
november 2007 by robertogreco

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