Search Results for: New Yorker

Macau’s rise as the new global gambling capital leads to complications for the Las Vegas casinos that have flocked to China for a piece of the action. Its differences are illustrated in the God of Gamblers case, in which a former barber named Siu Yun Ping won $13 million, setting off a chain of events, including a murder plot:

The files of the God of Gamblers case can be read as a string of accidents, good and bad: Siu’s run at the baccarat table; Wong’s luck to be assigned an assassin with a conscience; Adelson’s misfortune that reporters noticed an obscure murder plot involving his casino. But the tale, viewed another way, depends as little on luck as a casino does. It is, rather, about the fierce collision of self-interests. If Las Vegas is a burlesque of America—the ‘ethos of our time run amok,’ as Hal Rothman, the historian, put it—then Macau is a caricature of China’s boom, its opportunities and rackets, its erratic sorting of winners and losers.

“The God of Gamblers.” — Evan Osnos, The New Yorker

See also: “Online Poker’s Big Winner.” — Jay Caspian Kang, New York Times, March 25, 2011

Nieman Storyboard’s “Why’s This So Good” explores what makes classic narrative nonfiction stories worth reading.

This week: Tim Carmody examines Malcolm Gladwell’s “The Ketchup Conundrum,” which was originally published in The New Yorker’s Food Issue in Sept. 2004:

Note: I can’t stand ketchup. Any ketchup. I think it’s disgusting, and always have. I was averse to it as a kid, and unlike almost every other one of my wide list of childhood prohibited foods, it never made it off that list. But I am riveted by the story of ketchup regardless, because Gladwell’s offered me a route, through history, science, and the words of men and women here and now, to understand these odd human beings around me who love the stuff.

“Why’s This So Good?” No. 35: Malcolm Gladwell on Ketchup

“The most powerful newspaper in Great Britain.” A history of the Daily Mail, founded in 1896 as reading material “by office-boys for office-boys,” as a former prime minister said dismissively. Its daily readership is now four and a half million, and its website recently surpassed the New York Times in traffic, with 52 million unique visitors per month: 

On January 25th, the model Kate Moss went to some parties in Paris. The next morning’s Mail read, ‘The Croydon beauty had very obvious crow’s feet and lines beneath her eyes as well as blemished skin from years of smoking and drinking.’ Another journalist, interviewing her that day, asked why she thought the Mail was so focussed on her aging.

‘I don’t know. ’Cause it’s the Daily Mail ?’ Moss replied. ‘They just get on everyone’s tits, don’t they?’

“Mail Supremacy.” — Lauren Collins, New Yorker

See also: “Zell to L.A. Times: Drop Dead.” — Laurie Winer, Los Angeles Review of Books, Nov. 9 2011

Top 5 #Longreads of the Week: The Guardian, Deadspin, Smithsonian magazine, New Yorker, Vela Mag, a fiction pick, plus a guest pick from Maggie Calmes.

Inside the making of a hit pop song—or hundreds of them. Stargate and Ester Dean are a producer-“top-liner” team that helps write hits for stars like Rihanna:

“The first sounds Dean uttered were subverbal—na-na-na and ba-ba-ba—and recalled her hooks for Rihanna. Then came disjointed words, culled from her phone—’taking control … never die tonight … I can’t live a lie’—in her low-down, growly singing voice, so different from her coquettish speaking voice. Had she been ‘writing’ in a conventional sense—trying to come up with clever, meaningful lyrics—the words wouldn’t have fit the beat as snugly. Grabbing random words out of her BlackBerry also seemed to set Dean’s melodic gift free; a well-turned phrase would have restrained it. There was no verse or chorus in the singing, just different melodic and rhythmic parts. Her voice as we heard it in the control room had been Auto-Tuned, so that Dean could focus on making her vocal as expressive as possible and not worry about hitting all the notes.

“The Song Machine.” — John Seabrook, The New Yorker

See also: “Daniel Ek’s Spotify: Music’s Last Best Hope.” — Brendan Greeley, Bloomberg Businessweek, July 12, 2011

James Erwin, a writer for software manuals in Des Moines, Iowa, responded to a Reddit thread wondering what would happen if the U.S. Marines battled the Roman Empire. His comments lit up the Internet: 

The 35th MEU is on the ground at Kabul, preparing to deploy to southern Afghanistan. Suddenly, it vanishes.

The section of Bagram where the 35th was gathered suddenly reappears in a field outside Rome, on the west bank of the Tiber River. Without substantially prepared ground under it, the concrete begins sinking into the marshy ground and cracking. Colonel Miles Nelson orders his men to regroup near the vehicle depot—nearly all of the MEU’s vehicles are still stripped for air transport. He orders all helicopters airborne, believing the MEU is trapped in an earthquake.

“How One Response to a Reddit Query Became a Big Budget Flick.” — Jason Fagone, Wired

See also: “Flick Chicks.” Mindy Kaling, New Yorker, Oct. 3, 2011

The National Security Agency is building a “spy center” in Utah with the purpose of gaining intelligence by breaking codes. But the center will also collect massive amounts of private domestic data, including phone calls, emails and Google searches:

The NSA also has the ability to eavesdrop on phone calls directly and in real time. According to Adrienne J. Kinne, who worked both before and after 9/11 as a voice interceptor at the NSA facility in Georgia, in the wake of the World Trade Center attacks “basically all rules were thrown out the window, and they would use any excuse to justify a waiver to spy on Americans.” Even journalists calling home from overseas were included. “A lot of time you could tell they were calling their families,” she says, “incredibly intimate, personal conversations.” Kinne found the act of eavesdropping on innocent fellow citizens personally distressing. “It’s almost like going through and finding somebody’s diary,” she says.

“The NSA Is Building the Country’s Biggest Spy Center (Watch What You Say).” — James Bamford, Wired

See also: “The Journalist and the Spies.” — Dexter Filkins, The New Yorker, Sept. 19, 2011

What are the Gawker editors reading? Here’s their new Longreads page, with picks from The Hairpin, Warscapes, The New Yorker, plus more.

The story of “the world’s most notorious weapons trafficker”:

The longer we sat in the small, musty room, the more the tempered side of Bout’s personality receded. I asked whether he felt any remorse. “I did nothing in my mind that qualifies as a crime,” he replied. “Sure, I was doing transportation of arms,” he said. “But it was occasionally. Three hundred and sixty days were normal shipments. For five days, I shipped arms and made a couple of hundred thousand dollars.” (Mirchev, by contrast, recalls a period of “almost daily flights” for UNITA.)

“Disarming Viktor Bout.” — Nicholas Schmidle, The New Yorker

See also: “Glock: America’s Gun.” — Paul M. Barrett, Bloomberg Businessweek, Jan. 14, 2011

The presidential bully pulpit isn’t as effective as one would think. Evidence shows that the louder a president speaks to support an issue or bill, the more committed the opposing party will be to ensure that it won’t pass:

To test her theory, she created a database of eighty-six hundred Senate votes between 1981 and 2004. She found that a President’s powers of persuasion were strong, but only within his own party. Nearly four thousand of the votes were of the mission-to-Mars variety—they should have found support among both Democrats and Republicans. Absent a President’s involvement, these votes fell along party lines just a third of the time, but when a President took a stand that number rose to more than half. The same thing happened with votes on more partisan issues, such as bills that raised taxes; they typically split along party lines, but when a President intervened the divide was even sharper.

“The Unpersuaded.” — Ezra Klein, New Yorker

See also: “Power and the Presidency, From Kennedy to Obama.” — Robert Dallek, Smithsonian, March 21, 2011