Search Results for: tech

Who Wrote ‘Happy Birthday’?

Photo by Pixabay

Most musicologists who’ve traced the origins of “Happy Birthday” agree that its musical score dates back to the work of two Kentucky sisters in the late 19th century: Mildred Jane Hill (b.1859), and Patty Smith Hill (b.1868).

After graduating as valedictorian of Louisville Collegiate Institute, Patty went on to be a central figure in the progressive education movement, endorsing hands-on learning techniques and interactive teaching methods. She invented “Patty Hill Blocks” — a set of large, cardboard bricks that children could use to learn about structural engineering — and then founded the Institute of Child Welfare Research at Columbia University Teachers College.

In 1889, while serving as a kindergarten teacher at a Kentucky grade school, she began working on a set of childrens’ songs with her older sister Mildred, a well-known organist, composer, and “Negro music” scholar. Four years later, the two released their first collection of tunes in a book titled “Song Stories for the Kindergarten.” Among the songs, was a little ditty entitled “Good Morning to All,” which would later be the source of the sheet music for “Happy Birthday.”

Zachary Crockett writing for Pricenomics about who owns the copyright to “Happy Birthday.” Update: On Tuesday, September 22, a federal judge struck down Warner/Chappell Music’s long-standing claim to the copyright for “Happy Birthday.”

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The Dolphin Trainer Who Loved Dolphins Too Much

Ashley Guidry with Sandy, a wild-caught bottlenose dolphin, at Gulf World.

Tim Zimmermann | Longreads | April 2015 | 25 minutes (6,193 words)

 

Panama City Beach, Florida is set on the alluring waters of the Gulf Of Mexico, in northwestern Florida. It’s a town of cookie-cutter condos and sprawling outlet malls, built almost entirely on the idea that blazing sun, a cool sea, white sand beaches, and copious amounts of booze are an irresistible formula for human happiness (or at least a pretty damn good time). Everything about the place—from the ubiquitous fast food, to the endless chain stores, to the Brobdingnagian miniature golf courses—is designed to anticipate and then slake the vast and relentless array of human desires.

Prime among the entertainment offerings is Gulf World Marine Park. It sits on Front Beach Road, the main drag that parallels the seafront, and promises sun-addled or bored families a respite from the nearby beach. By day you can swim with dolphins (“guaranteed”) or watch them perform the standard flips and tricks in a show pool, check out the sharks and stingrays, or watch the sea lions act goofy. By night you can watch “Illusionist Of The Year” (it’s not clear who made the designation) Noah Wells unleash his “Maximum Magic.” “It’s Always Showtime At Gulf World” says the marketing department. And that’s true: The entire place shuts down for only two days a year (Thanksgiving and Christmas).

Gulf World is not SeaWorld; it’s much smaller, less expensive, (though a family of four will still fork over $96 just to get past the gate), and there are no killer whales. But it is more typical of the 32 marine parks that keep dolphins and do business in the United States, and it’s these local parks which happen to house the vast majority of the captive dolphins (according to Ceta-Base, which tracks marine parks, there are currently some 509 dolphins at marine parks in the U.S.; about 144 are located at SeaWorld). If SeaWorld is the Ringling Bros. and Barnum & Bailey when it comes to marine mammal entertainment, Gulf World is one of the many small, local carnivals that do a pretty decent trade out of the limelight. And Gulf World happens to be where Ashley Guidry—a brassy blonde with minimal experience, and a simple application accompanied by a Polaroid—happened to land a job in April 2001, at the age of 27. Read more…

The Human Upgrade

Longreads Pick

How tech billionaires are using money and data to solve for death.

Source: Washington Post
Published: Apr 4, 2015
Length: 20 minutes (5,000 words)

What It Really Means to Eat a Big Mac at the Arctic Circle

Longreads Pick

The technicolor fantasy of McDonald’s looms large for a girl growing up in Alaska.

Source: Eater
Published: Apr 9, 2015
Length: 9 minutes (2,300 words)

Elena Ferrante on the Historic Struggle of Women Writers

INTERVIEWER

Do you think female fiction is constitutionally weak?

FERRANTE

Not at all. I’m talking about my adolescent anxieties. For obvious historical reasons, women’s writing has a less dense and varied tradition than male writing, but it has extremely high points and also an extraordinary foundational value—just think of Jane Austen. The twentieth century, besides, was a century of radical change for women. Feminist thought and practice set in motion the deepest, most radical of the many transformations that took place in the last century. I wouldn’t recognize myself without women’s struggles, women’s nonfiction, women’s literature—they made me an adult. My experience as a novelist, both published and unpublished, culminated, after twenty years, in the attempt to relate, in a writing that was appropriate, my sex and its difference. But if we have to cultivate our narrative tradition, as women, that doesn’t mean we should renounce the entire stock of techniques we have behind us. We have to show that we can construct worlds that are not only as wide and powerful and rich as those constructed by men but more so. We have to be well equipped, we have to dig deep into our difference, using advanced tools. Above all, we have to insist on the greatest freedom. Writers should be concerned only with narrating what they know and feel—beautiful, ugly, or contradictory—without succumbing to ideological conformity or blind adherence to a canon. Writing requires maximum ambition, maximum audacity, and programmatic disobedience.

—From The Paris Review’s interview with the bestselling Italian writer Elena Ferrante, conducted by her Italian publishers, Sandro and Sandra Ferri. Ferrante writes under a pseudonym to protect her privacy and freedom to write, and this was her first in-person interview ever.

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The Craft of Poetry: A Semester with Allen Ginsberg

Elissa Schappell | The Paris Review | 1995 | 63 minutes (15,685 words)

  
We’re excited to reprint Elissa Schappell‘s essay, “The Craft of Poetry: A Semester with Allen Ginsberg.” The piece was first featured on the site in 2013 as a Longreads Member Pick, and originally appeared in the Summer 1995 issue of the Paris Review. It was later anthologized in the Paris Review’s 1999 collection Beat Writers at Work. Thanks to Schappell and the Paris Review for sharing it with the Longreads community:

Of all the literature classes I have ever taken in my life Allen Ginsberg’s “Craft of Poetry” was not only the most memorable and inspiring, but the most useful to me as a writer.
First thought, best thought.
It’s 1994 and I am getting my MFA in fiction at NYU. I’m sitting in the front row of a dingy classroom with a tape recorder and a notebook. The tape recorder is to record Allen Ginsberg, the big daddy of the Beat’s “Craft of Poetry” lectures for a feature I’m writing for The Paris Review. No. Lectures is the wrong word—Ginsberg’s thought operas, his spontaneous jet streams of brilliance, his earthy Dharma Lion roars—that’s what I’m there to capture. His teaching method is, as he explains it, “to improvise to some extent and it have it real rather than just a rote thing.”
It was very real.
The education Ginsberg provided me exceeds the bounds of the classroom, and far beyond the craft of poetry. Look inward and let go, he said. Pay attention to your world, read everything. For as he put it, “If the mind is shapely the art will be shapely.”
—Elissa Schappell, 2013

 ***

The news that Allen Ginsberg was going to be teaching at New York University was passed around campus like a joint, making some people giddy and euphoric, others mildly confused, and still others paranoid—teachers and students alike. The waiting list to get into the class was extraordinary not only in length, but for the sheer number of times students eagerly checked to see if they had moved up. As a graduate student in the creative writing program I was given first dibs. I was curious to meet Ginsberg, curious to see how he would commandeer the Craft of Poetry class, which in the past had been taught by Galway Kinnell and William Matthews. The following excerpts were culled from a diary I kept during the semester. Read more…

The Answer Is Never

Illustration by Devon Kelley-Yurdin

Sabine Heinlein | Longreads | April 2015 | 16 minutes (3,886 words)

 

One time, when I was in my early twenties, I shared a hospital room with a mother of many. I had a skin infection that wouldn’t respond to oral medication, and the 50-something-year-old woman had severe, inexplicable hives. Our main topic of conversation revolved around neither of our ailments. It was about my not wanting to have children. She was insistent, which seemed ironic considering her hives flared up whenever her family visited her on Sundays. I eventually compromised with the woman. Okay, I said, I will put off my decision until I reach my thirties. “You are starry-eyed,” she huffed. “You young women want it all. But you can’t have it all!” Maybe, I thought, some of us don’t want it all. Read more…

Understanding the ‘Swiss Cheese Model’ of Error

The human lapses that occurred after the computerized ordering system and pill-dispensing robots did their jobs perfectly well is a textbook case of English psychologist James Reason’s “Swiss cheese model” of error. Reason’s model holds that all complex organizations harbor many “latent errors,” unsafe conditions that are, in essence, mistakes waiting to happen. They’re like a forest carpeted with dry underbrush, just waiting for a match or a lightning strike.

Still, there are legions of errors every day in complex organizations that don’t lead to major accidents. Why? Reason found that these organizations have built-in protections that block glitches from causing nuclear meltdowns, or plane crashes, or train derailments. Unfortunately, all these protective layers have holes, which he likened to the holes in slices of Swiss cheese.

On most days, errors are caught in time, much as you remember to grab your house keys right before you lock yourself out. Those errors that evade the first layer of protection are caught by the second. Or the third. When a terrible “organizational accident” occurs — say, a space shuttle crash or a September 11–like intelligence breakdown — post hoc analysis virtually always reveals that the root cause was the failure of multiple layers, a grim yet perfect alignment of the holes in the metaphorical slices of Swiss cheese. Reason’s model reminds us that most errors are caused by good, competent people who are trying to do the right thing, and that bolstering the system — shrinking the holes in the Swiss cheese or adding overlapping layers — is generally far more productive than trying to purge the system of human error, an impossibility.

Dr. Bob Wachter writing in Backchannel about the errors that led a young patient to receive a massive overdose of antibiotics at one of the nation’s best hospitals. The above excerpt is from the third installment of a multi-part series called “The Overdose.” The series has been looking at the nature of error in tech-driven medicine.

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Buried Alive in a Grain Silo

Illustration by: Kjell Reigstad

Erika Hayasaki | December 2014 | 2,554 words (10 minutes)

 

Four years ago, Erika Hayasaki learned about the death of two young men in a corn grain bin accident in the Midwest. Over the next two years, while pregnant and later with her then-six-month-year-old daughter and husband in tow, she left her life in Los Angeles to visit Mount Carroll, Illinois, population 1,700, to capture the story. Her interest, however, wasn’t so much in rehashing the deaths of the two young men, but in telling the story of the survivor, Will Piper, who nearly died trying to save his friends from the deadly pull of the grain bin, and whose life took a surprising turn after the accident. The following is an excerpt from Hayasaki’s story, Drowned By Corn, which describes the lives of the young workers before the accident. Read more…

Shut-Ins and the Sharing Economy

Photo by PixaBay

With Alfred, you no longer have to open the door for the Instacart delivery: A worker comes into your apartment and stocks food in your fridge. You don’t hand off your dirty undies to a Washio messenger; Alfred puts the laundered undies in the drawer. This all happens by paying your Alfred $99 a month, plus the goods and services at reduced cost through Alfred’s hookups. Alfred won first place in the TechCrunch Disrupt SF conference last year.

Shutting people out is an important part of being a shut-in: When signing up, customers can choose the option of not seeing their Alfred, who will come in when they’re at work. Alfred’s messaging is aimed at sweeping aside any middle-class shame.

“We’re trying to remove the taboo and the guilt that you should have to do it,” says Alfred’s CEO Marcela Sapone over the phone. “We’re empowering you to let others do it for you. You’re the manager of your life. It’s against the stigma of ‘People use this because they’re lazy.’ Absolutely not. They’re using this because they’re extremely busy.”

Lauren Smiley, in an essay for Matter about the “sharing economy,” where anything and everything is now deliverable with a single click. Smiley sees the on-demand economy as less about sharing and more about serving, creating a world where one is either “pampered, isolated royalty,” or a “21st century servant.”

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