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03
Jun 13

The ever-changing styles of protest and the fashions of 2013

I’m in Thailand (at the World Editors Forum) and the news is full of protest all over the world: Bangkok itself, Turkey and in the unpredictable places where the ladies of Femen pop up and take off their clothes.

Protest needs innovation as much as any department of life and perhaps it needs it more than most because protest goes nowhere if it isn’t noticed and doesn’t spread. Innovation is deviation and new protesters must find new and original ways to imprint a message instantly in as many minds as possible, preferably without words. It must be an image delivered instantaneously because protest can be snuffed out fast and because there is anyway so much else competing for peoples’ attention. Compelling visual wit is harder than it appears.

The examples above represent a remarkable cluster of originality in this specialised global competition. In Turkey, they wave beercans to protest against new restrictions on alcolhol. Much better, a hundred or so people held a kiss protest at a subway station in Ankara to make fun of the increase in rules on public behaviour.

The ever changing styles of protest and the fashions of 2013Here in Thailand, demonstrators have reached back into an example distant in both geography and time. Political movements in Thailand have long been signalled by colour (yellow vs red mostly) but yesterday, the anti-goverment crowd wore Guy Fawkes masks and the (equally peaceful) counter-demo wore red masks. Needless to say, young Thai activists have not been reading books about 17th century British history. They picked up the cue from the 2005 film V for Vendetta in which people march on the parliament in London wearing the masks. (The use of these masks isn’t confined to Thailand and didn’t start here – examples here – but looks especially odd so far from its origins).

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26
May 13

Three somethings for the weekend

When I began this blog in 2010, at weekends I would occasionally do a post on a few pieces I’d read that I liked, good journalism well-written (and often contra-suggestive). These posts consistently received the lowest hit rates of anything I wrote.

I guess the reason was that people read blogs less at weekends, the posts didn’t contain strong opinion and you have to click links to see what I’m talking about (and you impatient lot don’t seem to like doing that). But I’m going to go back to doing it occasionally. Despite the endless threnodies for the End of Journalism As We Know It, there’s a lot of very good writing out there; sometimes I want to explain why in more than the 140 characters of a tweet.

The more writing there is being done, the harder it is to catch the good stuff. The quantity of words in circulation has increased by a colossal order of magnitude; the day is exactly the same length as it always was. The depth and quality that is present in the writing generated by the internet’s indiscriminate output is the subject of this excellent essay in optimism by Robert Cottrell, founder of thebrowser.com, who reads and selects long-form writing so that you don’t have to. He has better qualifications to judge the true noise-to-signal ratio of writing on the internet in English than most.

  • First recommendation is a piece in the current Prospect magazine on Nigel Farage and Ukip by Edward Docx. Millions of words have poured into the media since Britain’s fourth political party scared the other three with a strong performance in recent local elections. This reportage and analysis is one of the most perceptive I’ve read, slicing through a lot of cluttered thinking. As a taster, this is Docx on British bullshit detectors and why Farage connects with voters in ways that neither the Conservative or Labour leaders can:

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13
Jan 12

Ed Milliband, Jon Stewart and Richard Clive Desmond: the humor crisis

I was going to write about the use of jokes in politics and how political reporters never cover the subject for fear of sounding trivial. But then jokes suddenly starting happening everywhere.

The leader of Britain’s parliamentary opposition, Ed Milliband, made one of those doomed “relaunch” speeches last week which no one outside the political industry much noticed. An interview that morning intended to set the stage for the speech went awry when Milliband found himself being asked if he was too ugly ever to be elected Prime Minister.

Milliband’s looks may or may not be a liability but he has bigger problems. He never seems to find anything funny and never makes any jokes anyone can remember and retell. Plenty of leading politicians are born without a sense of humour, but the smart ones have that corrected. Margaret Thatcher wasn’t naturally hilarious and had to have jokes explained to her. But she had a speechwriter (the theatre director Ronnie Millar) who was funny and who, as someone reminded me the other night, carried a small notebook everywhere in which he recorded lines that he could use.

Milliband shares this humour-deficit with the strange collection of people currently slugging it out (“mud-wrestling for dwarfs” one commentator called it) for the Republican presidential nomination in the US. John Dickerson of Slate reflects here the Great Republican Humour Crisis and on what the presence or absence of gags tells you about politicos. And his piece has jokes. My favourite is the self-deprecating story told by a now-forgotten man called Mo Udall. Canvassing, Udall walks into a barber’s shop and introduces himself as the local candidate who’s asking for their votes. “Yeah,” replies the barber, “We were just laughing about that.”

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09
Nov 11

Serendipity and Mr Kurkov

When I travel I read more serendipitously and randomly, wandering off the path I normally take through newspapers and magazines. And as I sat in trains and planes, I fell across this piece from the New York Times by Andrey Kurkov.

I sat up immediately because I had never before seen any journalism by Kurkov, who I know only as a novelist. He is Ukrainian and his debut novel Death and the Penguin deserves to be more widely celebrated as a small comic masterpiece. In the course of a short, spare novel about a man who makes friends with a penguin who has wandered out of an untended zoo, Kurkov manages to say more about the bleak reality of post-communist societies than a dozen textbooks. The tone is quirky and ironic; Kurkov belongs on the same literary shelf as Bulgakov. There are other novels: I recommend A Matter of Life and Death, which in the course of a meandering story about an obituary writer manages to speak powerfully about a corrupted state.

And so with his New York Times piece. The gentle irony and local detail are deceptive (“The Chernobyl disaster of 1986 brought great joy to my family”). His conclusions about law and public honesty apply well beyond his own country. Indeed they could apply to Italy, where I happened to be when I read it. The government was just falling in Rome.


16
Jun 11

Spiderman musical: lone editor joke

The brickbats have been clattering down on the much-touted, much-delayed Spiderman musical written by Bono and The Edge and which has just opened on Broadway.

This typical review from the WSJ does us the favour of relaying the only funny line from what sounds like an otherwise limp script. The scoop-hungry editor of the Daily Bugle, J Jonah Jameson, hears about one of Spiderman’s exploits and is unimpressed. “Man in tights saves child? That’s the plot of “The Nutcracker”. Get me news!”


11
Jun 11

Miscellany: on getting used to things being free, Mamet, closure on a reporter’s death and more

I’ve haven’t for some time rounded up a diverse collection links in a weekend post because I noticed that the readership of this blog falls to its lowest on a Saturday and Sunday.

But I’ve also been noticing that my posts have quite a “long tail” and get looked at some time after they’ve gone up. So here’s some varied weekend or weekday reading. There is absolutely no common theme.
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02
Mar 11

More on churnalism, stings and plagiarism

Two illuminating interventions on churnalism and plagiarism (not quite the same thing of course) worth highlighting. First is from Chris Atkins, who produced Starsuckers in 2009 and who has continued to hoax gullible hacks. The second is from Jimmy Wales, founder of Wikipedia and, as it turns out a fan of neologisms. This piece includes Plagipedia and clicktivism. But it’s about the web’s ability to correct its own mistakes.


05
Jan 11

Tony Judt: fine writing from the shadow of death

One of my sons gave me for Christmas Tony Judt’s last book, The Memory Chalet. His choice wasn’t a hard one: I’ve wittered on for years about Judt’s perceptive and eloquent writing. But even being a paid-up Judt fan didn’t quite prepare me for this small, posthumous book’s perfectly-formed qualities.

All Judt’s skills are on display as they were fondly listed by his friends and colleagues when he died in August last year. You are reminded of his wide, lightly-worn learning, his grasp of cause and effect in European culture and history, his preparedness to unpick lazy conventional wisdom and his skill at clinching an argument with a skillfully selected and vividly described example. All these qualities and more are discussed more fully in this review by Michael O’Donnell in the Washington Monthly.

But there’s something different about this book, most of which was published episodically by the New York Review of Books in the months when Judt knew he was dying and as his body gradually shut down. The something different is the prose.

Judt was always a good writer; in The Memory Chalet he rises to a new level altogether. He was composing from memory during wakeful, immobile nights and memory is a ruthless editor, pruning the inessential. The writing fuses the personal and the political in a way that is truly rare. It reveals Judt as a talented reporter: he had an eye and a memory for killer detail.

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