Sydney Brownstone

Sydney Brownstone

Senior Editorial Fellow

Sydney used to cover things like music, environmental justice and Occupy for The L Magazine in Brooklyn. She has also contributed to the Washington Square News, Brooklyn Magazine and NPR's All Songs Considered. Outside of writing, Sydney is an ardent fan of sunflower seed butter and the old version of Final Cut Pro.

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SUNY Buffalo Shuts Down its Frack-Happy Shale Institute

| Wed Nov. 21, 2012 4:13 AM PST

Remember that questionable study put out by the State University at Buffalo earlier this year, the one that claimed Pennsylvania was doing a good job at regulating the fracking industry? This week SUNY Buffalo's president announced his decision to shutter its publisher, the school's own Shale Resources and Society Institute (SRSI).

University president Satish Tripathi did not mince words when it came to explaining why. "Conflicts—both actual and perceived—can arise between sources of research funding and expectations of independence when reporting research results," he wrote in a public letter released to the university community on Monday. "This, in turn, impacted the appearance of independence and integrity of the institute's research."

In May, the study released by the university's newly created institute claimed that the likelihood of natural gas industry violations in the Marcellus region had decreased between 2008 and 2011, a tribute to Pennsylvania's regulating efforts. In fact, the rate of major environmental accidents increased by 36 percent, as later pointed out by corporate and government watchdog, the Public Accountability Initiative (PAI).

The PAI's followup was also quick to highlight passages patently lifted from the authors' previous reports, the study's failure to disclose the authors' relationships to the natural gas industry, a fudged peer-review process, and blatant "industry spin." In the days following the PAI report, Timothy Considine, one of the study authors, told the Washington Times he stood by his interpretation of the numbers, while the university promised to "examine all relevant concerns." After an investigation requested by the school's Board of Trustees and a 10,000-plus signature petition led by faculty and students calling for the institute's closure, it now appears that SUNY Buffalo has taken down the institute's old online domain for good.

Tripathi's decision to close the SRSI came in the midst of increased scrutiny over industry-funded academic reports. Last month, the industry-backed Marcellus Shale Coalition canceled its funding of a Penn State hydraulic fracturing study after faculty members declined to take part. The project's earlier publications had been co-written by former Penn State professor Tim Considine, one of the co-authors of the SUNY report. The University of Texas at Austin has also launched a probe into its controversial research on groundwater contamination—though the chair of that investigation previously served almost two decades as a ConocoPhillips boardmember.

Is this a small victory for academic accountability? Sure, an "institute" did break under the weight of incisive coverage and public criticism. But maybe the SRSI's brief lifespan had more to do with industry deadlines than anything else. The SRSI met its end a week-and-a-half shy of New York state's due date for a decision about regulating hydraulic fracturing within its borders—and if the state fails to meet this deadline on November 29, it'll have to draft a new set of regulations and usher in another round of public comments. Yesterday, Governor Cuomo announced that the deadline is likely to be extended (again), which could push the decision to end the state's fracking moratorium back several months. That, as Bloomberg points out, could mean it's already "too late" for New York to snag some of the Marcellus' fading winnings. In the end, the Shale Institute just might not have been worth the effort. At least they gave it a college try.

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Quick Reads: "What Are You Looking At?" by Will Gompertz

| Fri Nov. 9, 2012 4:03 AM PST

What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art

By Will Gompertz

DUTTON

If you've ever wandered into a contemporary art gallery with hope and left with a headache, BBC arts editor Will Gompertz may be your savior. His funny, straight-talking guide to the past 150 years of modernism contextualizes lofty art-speak—neo-plasticism?—using colorful anecdotes, Monty Python and Spice Girls references, and a master's grasp of history. He's not afraid to call bollocks on the art world, either. From Marcel Duchamp's famed urinal to Damien Hirst's dead shark, this book is an engaging tour of art's most radical innovations.

This review originally appeared in our November/December issue of Mother Jones.

Stormy Obama Attack Ad Resurfaces in Wake of Sandy

| Thu Nov. 1, 2012 3:03 AM PDT

After being sequestered in his northern Virginia apartment for the duration of Hurricane Sandy, 32-year-old journalist Haroon Moghul woke up Tuesday morning to find something odd poking out underneath his doorframe. As Moghul wrote in online magazine Religion Dispatches, it was a photocopied flier of the president's face superimposed against a turbulent, stormy backdrop. "We've seen storms in Virginia, but none like this…" it read, then proceeded to accuse the president of summoning financial disaster.

As the Houston Chronicle, and subsequently Buzzfeed reported Tuesday, the original mailing had been paid for by Americans for Tax Reform, conservative operative Grover Norquist's "anti-tax" group. It's unclear who redistributed the flier in the wake of Sandy. Moghul says that neither he nor his building's front desk manager saw anyone handing them out, though both discovered them on the floor and under doors Tuesday morning. "It seems like they were on every floor," Moghul says. One neighbor told Moghul that he saw the fliers on cars as early as Saturday.

30-Second Reviews: Taylor Swift, The Coup, Angel Haze, and Godspeed You! Black Emperor

| Mon Oct. 29, 2012 3:03 AM PDT

There are way more new music releases each month than we have spare brain cells around here. Thirty-second Reviews is our way of remedying that and acknowledging some of the stuff we didn't manage to review more formally. These reviews, which we'll post pretty much when we feel like it, will be specially formatted in "blurb." Let's begin with that teen-pop idol who (indirectly) caused President Obama to call Kanye a "jackass."

Marcin Wichary/Wikimedia Commons

Taylor Swift, Red
Release date: October 22, 2012

As benign as she may appear on Papa John's pizza boxes, some folks have named Taylor Swift pop culture's number one enemy against progressive social values. And yes, her whole pouty virginal shtick, the passive aggressive Kanye West drama at the VMAs, and her insistence on singing about boy crushes from the viewpoint of the helplessly googly-eyed is enough to justifiably raise the hackles on anyone who embraces the term "sex positivity." But hear me out: Once you get past the fact that her bread-and-butter is the Twilight franchise demographic, Red feels like it was sung by someone with more self respect than that wimp on the bleachers trying to get some dude to break up with his girlfriend in 2008. "We Are Never Ever Getting Back Together" is the album's refreshingly decisive single, which gives me hope that perhaps T-Swift might put out a record one day that will inspire adolescent girls to stop giving so many shits about what teenage boys think of them. It's a long shot, I know. Until then, has anyone else noticed that Taylor Swift's recent fashion choices (and love of horseback riding) bear an uncanny resemblance to Ann Romney's?


The Coup, Sorry to Bother You
Release date: October 30, 2012

Regardless of personal politics, "protest music" in the 21st century can often trigger my gag reflex. Perhaps it was the oversaturation of bad guitar playing heard during Occupy proceedings, or seeing Rage Against the Machine guitarist Tom Morello refer to himself over and over again in the third person as the "Nightwatchman." But Oakland's Boots Riley, Pam the Funkstress, and the Marxist hip-hop collab The Coup avoid the self-aggrandizing—instead, they opt for a brand of lefty political confrontation that's imaginative, funny, and very, very danceable. Sorry to Bother You is another funky Coup triumph of deft, charged flow—their first since 2006. Riley and company are also probably the only ones out there who can work in a lyric like, "Economics is a symphony of hunger and theft," without sounding like pedantic jerks or soapbox preachers.

Angel Haze, "Cleaning Out My Closet" 
Release date: October 25, 2012

Last week, a rising, 21-year-old rapper who goes by the name Angel Haze did something staggeringly brave. She released a song called "Cleaning Out My Closet" off her six-track Classick mixtape, which detailed a childhood of sexual abuse in blustering, unflinching verse. I don't know if rap's decades-old legacy as a medium rife with misogyny can be undone in 4 minutes and 30 seconds, but who knows? This track and its artist could end up being game changers. Let Haze show you why. (Be warned: This is not an easy listen.)

 

Godspeed You! Black Emperor, 'Allelujah! Don't Bend! Ascend!
Release date: October 1, 2012

In other "political" music news, cryptic Canadian post-rock tribe Godspeed You! Black Emperor recently released its first full-length record since 2002, and it came with a set of explicit policy positions on the jacket: "Fuck le Plan Nord. Fuck la loi 78." Here, GYBE was referring to Quebec's controversial $80 billion plan to develop its mineral and timber resources, as well as a law to restrict the province's pot-banging student protests against tuition hikes. "Music should be about things are not OK, or else shouldn't exist at all," the band told UK paper the Guardian. After a decade that's weathered all manner of manicured drone and apathetic chillwave spinoffs in the band's absence, this simmering, gritty latest is a welcome return. Now go read about why Godspeed You! thinks the "rock-biz" is like watching "millionaires piss on cherubs."

Photo credits: From top: Marcin Wichary/Wikimedia Commons; Courtesy The Coup/Facebook; Courtesy Angel Haze/Facebook; Courtesy Constellation Records.

Click here for more music coverage from Mother Jones.

Book Review: Sri Lankan Civil War Refracted in "Island of a Thousand Mirrors"

| Tue Oct. 23, 2012 3:08 AM PDT
Nayomi Munaweera

It was only one of the many headlines on foreign conflict that file rushed, largely unobserved, through the American news machine: "Sri Lanka frees Tamil Tiger leader," the Daily News announced last week, by way of Agence-France Presse. The last leader of the Tamil Tigers, the separatist group that fought a brutal civil war with the Sri Lankan military in suicide bombings, civilian mutilations, and child soldiers for more than three decades, was to be released without charges.

But where bone-dry agency reports fail, fiction can work to fill in some of the emotional blanks. From this particular war, one marked by 100,000 deaths and countless broken lives in atrocities committed by both sides, first-time author Nayomi Munaweera has published a lush family saga in a Queen's English lilt, told largely from the perspective of a Sinhalese woman who emigrates as a child, mid-conflict, to Los Angeles, and returns to Sri Lanka as an adult.

Island of a Thousand Mirrors reads quickly, though it's unsparing. With the same, rich strokes she uses to evoke exquisiteness in preparation of coconut sambola, Munaweera, who was born in Sri Lanka and raised in Nigeria, describes rape, massacre, and all matters of wartime evisceration in pulsing, sensory detail. In one breath, it's as much a swift inhale of trauma as it is a romantic epic, embracing both pain and nostalgia from earlier times. In the style of García Márquez or Allende, the story traces love lines from 19th century generations—then surfaces in the recent past, when the narrator goes back to Sri Lanka only to encounter new tragedy.

But there's another critical aspect of the novel that saves it, perhaps, from a narrow take on sprawling devastation. Munaweera doesn't just stick to the story of one Sinhalese family—she also writes from the mind and body of a Tamil woman who, after being brutally raped, joins the ranks of the Tamil Tigers. While the transition could be received as abrupt, it's also a welcome narrative in a story that refuses to sum up, or limit impact felt to one side.

Still, it might be the parts of the novel that deal with trauma indirectly that leave the largest impression. I return to one moment when the narrator, driving to the Sri Lankan capital Colombo, describes the car moving through a migrating cloud of "a million suicidal butterflies:"

"In the front seat, La holds her head in her hands. Shiva kneads her knee. She says, 'Why are they doing this?' in a thick strangled voice. And we can only shake our heads, struck dumb by the massacre."

In this way, Munaweera's fiction succeeds in flushing life into the numbers—the hundreds of thousands living in diaspora, as well as hundreds dead in suicide bombings—that have come into refracted light.

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