Maddie worked as a travel guide in Argentina and a teacher at several educational nonprofits in San Francisco before joining Mother Jones. She’s also written for Outside, the Bay Citizen, and the Rumpus. She manages Mother Jones' Ben Bagdikian Fellowship Program.
Director Andrew Rossi opens his doc with shots of clunky presses spitting out broadsheets—footage that feels dated, and that's the point. He catches the Gray Lady at a moment when print is waning and the bosses are scrambling for ways—a paywall?—to survive the impending digital era. Rossi becomes "part of the furniture" at Times HQ as journos mull the value of Twitter, whether to publish WikiLeaks docs, and how best to cover the demise of newspapers. And while the film's big unanswered questions might leave viewers feeling untethered, the paper's personalities—from editors' goofy antics to reporters coaxing sources into going on the record—leave us believing that all the news that's fit to print isn't doomed quite yet. "Of course we will survive," insists media columnist David Carr, the film's smack-talking star. "You," he reminds his fellow journos, "are a bunch of tenacious motherfuckers!"
At barely 20 years old, roots singer Sarah Jarosz has already recorded two full-length albums and performed at Telluride, Austin City Limits, Bonnaroo, and on A Prairie Home Companion. On her new CD, Follow Me Down, she plays eight instruments, and normally travels with four—guitar, mandolin, banjo, and her new favorite, octave mandolin.
Though she spent her teen years at folk festivals and mandolin camps, Jarosz opted to put year-round touring aside to pursue a degree at New England Conservatory of Music. "My parents are both teachers and I always wanted to have the college experience," she told me eagerly. She'll major in Contemporary Improvisation—put simply, the development of personal style.
The Prunéřov Power Station in Bohemia, Czech Republic
The Federated States of Micronesia (FSM), an island nation scattered across the Pacific north of New Guinea, has already had to confront the tides of climate change, which have eaten away at its coasts and left its food and water security in shambles. When leaders in FSM heard that the Czech Republic planned to extend the license on its biggest polluter, the Prunéřov power station, they decided that a coal plant halfway across the world had everything to do with their fragile island country's health. In January of 2010, FSM legally intervened in the extension of the plant by calling for a Transboundary Environmental Impact Assessment, which required the Czech government to take into account the environmental impact upon another territory when deciding whether to approve the project.
Yesterday, Rep. Zoe Lofgren (D-Calif.) called again for an immediate investigation into whether Immigration and Customs Enforcement intentionally misled local authorities as to whether they could opt out of the controversial immigration enforcement program, Secure Communities. In late April, Lofgren asked ICE to investigate the program for misleading statements surrounding their opt-out policy. "I believe some of these false and misleading statements may have been made intentionally, while others were made recklessly, knowing that the statements were ambiguous and likely to create confusion," Lofgren wrote. In return, she received a promise from Acting Inspector General Charles Edwards that a review of Secure Communities, otherwise known as S-Comm, would begin at the start of the 2012 fiscal year. In a letter she sent out on May 17, Lofgren states that an investigation into the program is "pressing," and that the review should begin immediately (see "Lofgren Letters" at the end of this article for all documents).
There's a moment towards the end of Fleet Foxes' new album Helplessness Blues, during the song "The Shrine/An Argument," where front man Robin Pecknold's voice cracks in desperation. The fissure may be the emotional nadir of the record's narrative, but it sends ripples down my spine—it's probably been the highlight of my listening experience lately. For the first time, Pecknold dares to waver from his flawless vocal prowess, hinting at a darkness his listeners have rarely experienced from the angelic singer.
Helplessness Blues is not a huge departure from Fleet Foxes, the band's first CD, but it possesses more moments of frustration and despair. By allowing these feelings to creep in, Fleet Foxes have created a more complicated and ambitious repertoire, strengthening their overall reach.