In February, PLUS Model Magazine announced the winners of its latest Real Women/Real Models reader search. In March, the five chosen women graced the pages of the magazine.
But it is in April, via The Tampa Tribune, that arrives the best news of all. Before participating in the PLUS Model Magazine competition, Cateri Palmieri, a criminology student at the University of Tampa, was too embarrassed to hang out at the campus swimming pool. No longer:
\"The modeling shoot in New York exceeded all expectations I could have imagined,\" Palmieri says…
Since her return to campus, Palmieri is no longer afraid of going to the pool. \"The idea of real women who show their curves and impact others to be self-assured is very empowering,\" she says. \"I plan on promoting this aspect to everything I do in life.\"
The magazine started the Real Women series last summer, and is already on the lookout for participants in the next, fifth installment, to be showcased in the June 2015 issue. The article in the Tribune was written by intern and fellow University of Tampa student Lauren Richey.
The first sign of trouble at the Kentucky Post Pioneer (postpioneer.com), a recent addition to Google News, is the notation found at the bottom of each article. It reads:
Our editors found this article on the site using Google and regenerated it for our readers.
What they really mean – using just one Easter weekend example – is: Our algorithm copied the entire contents of a 2014 Telluride Film Festival review of the documentary Seymour: An Introduction by Variety chief film critic Justin Chang, changed barely a word, and re-posted it as our own.
How does a robo-thief like this get added to Google News? Who knows. But trying to figure out the perpetrator(s) sent us down a rabbit hole.
The physical contact address listed – 251 Broadway, New York – is basically the entrance to City Hall Park. Strange HQ for a “breaking daily Kentucky news\" site. The main menu navigation tab Writers brings up the header Our Journalists and lots of blank white space, while About Us briefly displayed just two words: sayfasi bulunamadi. A clue that this Bluegrass State operation may have come to pollute Google News by way of the Balkans.
The Kentuycky Pioneer Press is one, big, depressing Web content mess, with at least one evil twin further to the east. That one goes by the name of the Connecticut Bulletin Standard Daily Gazette.
Columbia University’s review of Rolling Stone’s deeply flawed UVA rape article is damning. The report is long and unveils a complete failure to follow “routine journalistic practice.” As a result, Rolling Stone has retracted the entire piece.
The review—penned by Steve Coll—explained that the many errors in the article started with its author — Sabrina Rubin Erdely. Erdely didn’t try to contact any of Jackie’s friends, who were quoted in the article. Instead, the quotes were based on Jackie’s recollections. Those same friends eventually came out and criticized Jackie’s account and the article. Erdely also failed to identify Jackie’s attacker.
Erdely finally commented on the article, releasing a statement that described the unraveling of her article as “a brutal and humbling experience.”
While Columbia’s report lays plenty of blame at Erdely’s feet, it also recognized that Rolling Stone editors are at fault too.
Rolling Stone will publish the Columbia University’s report on the magazine’s botched UVA rape story—A Rape on Campus—at 8 pm. What publisher Jann Wenner will not do is fire any editors or factcheckers who worked not the piece.
CNN Money reports that Wenner considers publishing the review—which is rumored to reveal “systemic failure” by Rolling Stone—enough punishment. Sabrina Rubin Erdely, who wrote the UVA article, is also supposed to release an apology alongside the Columbia report. If she does, it will be her first comments on the article since it came under scrutiny last December.
Erdely’s piece alleged that a gang rape occurred at a UVA frat party. As more people viewed the piece, more holes in the reporting emerged. Eventually, the piece completely unraveled and Rolling Stone was forced to ask Columbia to investigate its own story.
The Gluten Free Museum features works of art and popular culture, in which all trace of wheat has been removed with surgical Photoshop precision.
There’s an extra layer of meaning to be found in Jeremiah’s Vanishing New York, the title of a passionate and well-known urban blog showcased in this weekend’s Sunday New York Times. The blog’s owner and operator vanished, from the get-go, disappearing into a pseudonymous identity.
The blogger who goes by Jeremiah Moss tells Alan Feuer that the main reason he conceals his identity is to keep his urban preservation efforts distinct from his day jobs as a therapist and writer. As Jeremiah, he has recently upped his civic efforts, adding website savenyc.nyc to his campaign following the closure of a beloved old Times Square coffee shop. From Feuer’s piece:
\"What’s happening in the city now isn’t gentrification – it’s hyper-gentrification,\" Moss said one day last month, brooding over coffee in a gentrified diner in the gentrified East Village, where he has resided, begrudgingly of late, for more than 20 years. \"New York has traditionally changed organically: Italians move out, Chinese move in. But this is not organic. This is planned, it’s strategic. It’s the city government and major corporations colluding together to recreate the landscape.\"
To the many fellow NYC residents who are equally frustrated by the effects of hyper-gentrification, Moss has started pointing them to a bill first introduced to City Council in 1986 and re-sponsored last year that is designed to support commercial tenants battling landlords. And in a small, hopeful sign, a minor correction to Feuer’s article reminds that a Dunkin’ Donuts and Forest Hills pastry shop can, sometimes, miraculously co-exist.
One of the pinnacles of arts criticism is the ability to fundamentally change the way people view a film, painting, TV show or piece of music. Andrew Porter, who covered classical music for The New Yorker from 1972 to 1992 via the “Musical Events” column, did that and so much more.
Porter passed away this week in London at the age of 86. From today’s New York Times obituary by senior writer Margalit Fox:
To the work of criticism, Mr. Porter brought a formidable training in music performance (he was an accomplished organist); a deft linguistic ability (he translated the librettos of dozens of operas from the original French, German and Italian into highly regarded English versions); a deep knowledge of music theory, music history and composers’ biographies; a keen attention to the historical context in which a work was composed or performed, and to the prevailing political winds, both musical and non-, during those times; a ready command of the entire production history of an opera or the publication history of a score (he was an occasional opera stage director); the abilities of an intellectual gumshoe (he made a major discovery involving Verdi’s Don Carlos that altered the way the opera is understood); an acute sensitivity to the architectural and acoustic qualities of concert halls; a robust cultural understanding of the city in which that hall was located; an appreciation of the ways in which music dovetailed with allied arts (he wrote a good deal of dance criticism early in his career); a phonetician’s familiarity with the vowel sounds of a given language, and how they rendered the words of that language more or less singable; a passion for fealty to a composer’s historical intent that was matched by a commitment to the work of 20th-century composers; and much else.
NPR Music’s Tom Huizenga celebrates yet another one of Porter’s impressive accomplishments – the ability to redefine a journalism beat:
Tim Page, former music critic of The Washington Post and now a professor of music and journalism at USC, says that first and foremost Porter was a scholar. “Some thought perhaps the scholarship sometimes overtook the criticism because he included so much background information,” Page says. It was a departure for a New Yorker music critic.
“He really changed the definition of the gig in that he really examined music in great detail and taught you a lot about music,” Page said.
After leaving The New Yorker, Porter continued to write in the UK for The Times, The Observer and other outlets. In 1988, blogger Bruce Duffie led off an interview of Porter by asking, ‘What is the real, ultimate function of the music critic?’
“It’s a big general question, so you don’t get an answer,” Porter’s answer began. “You could say, ‘What is the function of this music critic writing here, or that one writing there?’ There’s no big, simple answer to that. The function of a critic on a daily paper is different from that of a critic on a weekly paper or a monthly paper, or a critic who writes books…”
There is also, this afternoon, a remembrance from current The New Yorker music critic Andrew Ross, who leads with the staggering suggestion that Porter was ‘the most formidable classical music critic of the late twentieth century, and, pace George Bernard Shaw and Virgil Thomson, may have been the finest practitioner of this unsystematic art in the history of the English language.’
Ross recalls how after years of being so severely intimidated by Porter that the pair exchanged only a few words, he was finally able to work up the courage to have lunch with the South African native in London a few years ago. RIP.
[Photos: YANGCHAO, Stokkete/Shutterstock.com]
The Nighwatchman, a quarterly publication about the sport of cricket, debuted in 2013. In the current Spring 2015 issue, there is a wonderful piece by journalist and author Dan Waddell about the other British invasion of America in 1964. The one involving Yorkshire County Cricket Club squad Freddie and the Seamers.
Waddell writes that ahead of the group’s North American goodwill trip to NYC and beyond, UK’s The Cricketer magazine tried to stir up some Beatles aura excitement with the cover line \"We Love Fred Yeah Yeah Yeah.\" However, once the lads made it over to the U.S. to play the Brooklyn League in their first match and the Joint Leagues of New York in a second contest, it was clear folks in America were resolutely focused on the Fab Four:
The crowds for both matches were unspectacular, in particular the second at Downing Stadium on Randall’s Island, which could hold 22,000 people but contained only a few hundred, mostly West Indians. Might this have been because, on the other side of the East River, The Beatles were playing the final gig of their second U.S. tour that year?
More than 100,000 hysterical fans had gathered during the day outside the Paramount Theatre on 43rd and Broadway, while a lucky 3,622 were crammed inside. The Beatles did not take the stage until 10.45 p.m., so the Yorkshiremen would have been able to make the concert after play. Alas, no one had had the foresight to put them on the guest list.
After Washington D.C. and various Canadian cities, the Seamers wound up in Los Angeles, where they played a pair of Southern California teams, one of which was named after British character actor Aubrey Smith. Again, from Waddell’s article:
The Los Angeles Times correspondent was moved to remember the time Smith was asked to field slip and called for his butler to bring him his glasses. The next ball he dropped an absolute dolly. Smith removed the spectacles and peered at them with some malevolence: \"Damn fool brought me my reading glasses.\"
The Seamers, after a quick non-playing return to NYC, closed out their epic bit of cricket diplomacy with some matches (and fun in the sun) in Bermuda. Thanks in part to a locally recruited ringer, Garry Sobers, the team stayed undefeated on this side of the pond.
A few hours before a March 31 event at Ohio’s Oberlin College and Conservatory, Dean Baquet sat down with a group of student reporters that included Oliver Bok, news editor of The Oberlin Review. When Bok asked the New York Times executive editor about the murky challenges of sponsored content, Baquet put it in perspective. We’re talking All The President’s Men-era perspective:
“When I started out as a reporter in New Orleans, we used to do something that I’m embarrassed to talk about now. Every year, we’d have to put out a section called \"Pro South,\" which meant positive things about the city. And really it was a special section, and you went to advertisers and you said, \"Biggest local automobile dealer, come talk to a reporter about how great your new Ford is.\"
In the 1960s and ‘70s, newspapers did that kind of stuff. And then a bunch of us, including me, rose up and said, \"We shouldn’t be doing this,\" and then we stopped. Newspapers have always struggled with this, and I think we’re more pure — and I intend to keep it that way — now than we ever have been.
Elsewhere in his answer, Baquet made a couple of forceful points about what a phenomenon that has returned to the daily newspaper newsroom, and is likely here to stay.[H/T: @BenMullin]
This week, Fast Company is hiring a digital project manager, as well as an associate editor for FastCompany.com. Meanwhile, BrainPOP needs a production writer, and NYC Bike Share is seeking a manager of new member acquisition. Get the scoop on these openings below, and find additional just-posted gigs on Mediabistro.Digital Project Manager Fast Company (New York, NY) Associate Editor, FastCompany.com Fast Company (New York, NY) Production Writer BrainPOP (New York, NY) Manager, New Member Acquisition NYC Bike Share (New York, NY) Press Secretary Caring Across Generations (New York, NY)
Find more great NY jobs on the Mediabistro job board. Looking to hire? Tap into our network of talented media pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.
The New York Times Magazine hires Nikole Hannah-Jones away from ProPublica to be staff writer… Hal Rubenstein and Cynthia Frank join Architectural Digest as special projects editor and contributing design editor, respectively… The Atlantic recruits Chris Bodenner, formerly executive editor of The Dish, as senior editor for TheAtlantic.com. Emily Anne Epstein will be visual editor for the site… Food Network Magazine hires Rory Evans as executive editor, replacing Joanna Saltz, who jumped to Delish.com…
Jonathan Allen trades Bloomberg News for Vox, where he’ll be chief political correspondent. He spent a little more than a year as Washington bureau chief of the New York-based site but “felt marginalized due to the launch of Bloomberg Politics,” according to Politico. Bloomberg Politics goes out and hires Kathy Kiely and Sahil Kapur… Meanwhile, Vox lands Los Angeles Times graphics and data editor Javier Zarracina as graphics editor, while Medium grabs Joe Purzycki from Vox Media. He’ll be head of partnerships in an effort to ramp up revenue… Yahoo Auto rolls out of the shop under the helm of managing editor Justin Hyde along with editor-at-large Alex Lloyd and road test editor Aki Sugawara… Former U.S. Rep. and Lt. Col. Allen West is Townhall’s newest contributor… Read More
TVNewser: A former CBS News staffer is suing two of his former bosses for sexual harassment.
SocialTimes: Facebook’s chief security officer is leaving to take on the same role with Uber. He has his work cut out for him.
AgencySpy: Various ad execs predict how Mad Men will end.
Here’s a look at the posts that made the most buzz the past seven days.Bomani Jones Goes National Outlander Writer Shares Secrets from The Hit Starz Show American Media Inc. Goes Full-Frontal on Robert Wagner Christopher Rosen Joins EW Bill Bratton Blasts NY Post Story
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San Francisco’s editor-in-chief Jon Steinberg arrived at the magazine from a different coast, after working at the most well-known eponymous city mag on the East Coast: New York. Let that ethos be a guide as you craft pitches that display smart writing and a strong Bay Area focus.
Those who are interested in feature writing will have a competitive advantage with a pitch that takes on a little-known subculture.
Steinberg says half of the features every month come from freelancers, mostly those who are in the magazine’s trusted stable of writers, but the editors are striving to introduce new writers. Freelancers with the best shot for breaking in are “those who have inroads to subcultures we’re not as familiar with, like smaller, urban tribes and interesting people doing interesting work,” says Steinberg. No matter what the pitch, it has to have a strong Bay Area focus. While you don’t have to live there, your pitch needs to resonate with the readers who do.
For more, read: How To Pitch: San Francisco
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Beginning last night, April 2, SoHo’s Louis K. Meisel Gallery on Prince Street is showcasing The Great American Pinup Returns. And it is one telling detail, relayed by Justin Rocket Silverman in the Daily News, that bears repeating:
The collection belongs to an anonymous Monaco playboy who decided to sell off some of his art after a race car crash, Meisel says. The paintings range in price from $10,000 to $400,000 – mostly because so few originals survive from the golden age. The high prices are also testimony to the lasting appeal of America’s pinup past, which continues to inspire artists.
Individual prices of the 49 paintings are not publicly listed but rather available to fellow collectors, upon request. Gallery owner Meisel and the Monaco gent go way back. Per the show notes, he worked with this same individual in the late 1980s and early 90s to assemble the pinup collection. The assembled vintage examples of this lost 1930s-60s era art form will be on display through May 2.
[Image, used with permission, by Zoe Mozert, 1955]
The latest Entertainment Weekly cover features comedian Amy Schumer naked, with strategically placed, tiny liquor bottles scattered around.
In total, the cover features roughly 2,000 liquor bottles and one naked human. Sounds like one hell of a Saturday night.
Rubenstein is one of the founding editors of InStyle. His work has also appeared in The New Yorker, New York, Interview, Elle, Vogue, Vanity Fair, and more. AD’s editor, Margaret Russell, told WWD that Rubenstein “will be doing shoots and writing for the web.”
Frank comes to AD from Elle Dećor.
Bloomberg Politics has added two to its team. Details are below.Kathy Kiely has been named Washington news director. Kiely most recently served as managing editor of the Sunlight Foundation. Previously she was National Journal’s managing editor of politics for one year and a reporter for USA Today for more than a decade. Sahil Kapur joins as a correspondent. He was most recently a senior reporter for Talking Points Memo. Kapur will be based in Washington.
The New York Times is planning to offer its mobile app NYT Now for free. According to Capital New York, the Times will revamp the app as well, changing its look from a multi-stream to a single stream.
NYT Now is currently free for Times subscribers, and $8 per month for non-subscribers. After a year of analyzing NYT Now and its users, it was apparent to Times execs that they needed to get more from the app.
“Times executives therefore decided NYT Now could attract more readers — and potentially more revenue — as a free, ad-supported offering, particularly readers in their ’20s and ’30s who already make up the bulk of the app’s user-base, according to the Times,” reported Capital.
Earlier we guessed that NYT Now would be folded into the main Times app, but that take was quickly — and quite passionately — shot down by app editor Cliff Levy.