A recent Pew Research Center report found that 39 of the top 50 news sites received more traffic from mobile devices than from desktop and laptop computers, sales of which have declined for years. This is a challenge for Wikipedia, which has always depended on contributors hunched over keyboards searching references, discussing changes and writing articles using a special markup code.
The way media dotes over its tortured male artists while undermining the personal struggles of women who suffer the same is nuanced, but a look into the archive suggests the phenomenon is well documented across race, genre, and generation. When Janis Joplin died on October 4, 1970 the New York Times called her a “misfit” whose “behavior was explosive” and remembers her as “drinking from a bottle at her concerts” and “screaming obscenities at a policeman in the audience”. Two weeks prior when Jimi Hendrix died— also at the age of 27— the same paper’s headline referred to him as a “Top of Music World Flamboyant Performer Noted for Sensuous Style” above an article that failed to highlight his fabled and widely-acknowledged affinity for mixing drugs with alcohol, even as new evidence emerged that he was wildly out of control during his final days.
Podcast: Kyle Massey on what catches readers’ attention, and why the “paper of record” never would have written, “Headless Body in Topless Bar.”
Tobias Jesso Jr. is the subject of Pitchfork.tv’s latest documentary, “Goon”. Directed by Jon Leone, the film follows Jesso around New York City and Hollywood as he prepares for the release of Goon earlier this year. He discusses why he makes those “piano faces,” covers Ray Charles with help from his manager’s dog, and performs with Danielle Haim, Ariel Rechtshaid, and a string section on “Conan”.
One of my favourite albums of the year so far.
In the Christian parenting books my dad wrote, we were always the most perfect devout family. When I found out he was secretly trolling for gay sex online, I became obsessed with unmasking the truth.
In context, sarcastic typography is part of a larger ecosystem of ways to convey emotional nuance and textual tone of voice — and it’s anything but random. Compared with all these subtle distinctions, a single sarcasm punctuation mark is too blunt an instrument: it defeats the entire saying-without-saying part of sarcasm that makes it engaging in the first place. Using a a percontation point or a SarcMark™ is like explaining why a joke is funny — if you have to bother, you’ve just ruined it anyway.