1. Chicago The capital of improvisation and a mecca of stand-up comedy.
2. Boston It has a split comedy personality: dry high-brow and rowdy low-brow.
3. Atlanta Many jokes on race: “What do you call a black pilot? A pilot, you racist.”
4. Washington Politics and politicians provide plenty of fodder for cynical jokesters.
5. Portland, Ore. Known for its celebration of oddballs and weirdness.
6. New York City How to cope with the stress of life here? Humor, about anything.
7. Los Angeles It’s teeming with aspiring entertainers who like to riff on shallow locals.
8. Denver Home to a more relaxed humor, often about (and mellowed by) pot.
9. San Francisco Likes jokes about its wacky characters, liberals and, lately, tech nerds.
10. Seattle Its humor: youthful, tech-savvy and sometimes smug toward outsiders.
His findings were drawn from surveys of residents (on the prevalence of humor in their daily lives) and of comedians, number of visits to comedy websites, tweets, radio stations, comedy clubs per square mile and native-born comedians per capita.
Michael Lewis is out with a new book today. Flash Boys: A Wall Street Revolt is about how Wall Street banks are using high frequency trades and various algorithms to make trades milliseconds ahead of the rest of the market. Sergey Aleynikov who was profiled by Lewis in Vanity Fair last fall is featured in the book, along with Brad Katsuyama, the founder of IEX, a new exchange with an interesting speed bump (60 km of cable) aimed at thwarting high frequency trading. Interestingly, the book seems to have been kept a secret until a day or two before its release.
The controversial practice, in which firms strategically locate servers and use sophisticated computer algorithms to accelerate transactions by mere microseconds -- and thus reap huge profits -- is the subject of a probe by New York Attorney General Eric Schneiderman. Last week, he announced an inquiry into how such traders have gained an unfair advantage in the timing of their trades by paying fees to exchanges such as the New York Stock Exchange and Nasdaq to locate their servers in the exchanges’ own data centers. “I have been focused on cracking down on fundamentally unfair – and potentially illegal – situations that give elite groups of traders early access to market-moving information at the expense of the rest of the market,” Schneiderman said in a speech. Several regulators, including the Securities and Exchange Commission and the Commodity Futures Trading Commission, are exploring new regulations of high-frequency trading to limit such abuses.
On 60 Minutes, Lewis say, Flash Boys is, "The story of trying to restore trust to to the financial markets."
So: It's the fall of 2010, and Gates is meeting with the president and top brass. "Biden, Mullen, Jones, Donilon, Brennan, and Tony Blinken, the vice president’s national security adviser, were there." The subject: how to be ready if a conflict between Iran and Israel ignites. Gates worries that the particulars have not thought the scenario through, and advises the president to deploy a second aircraft carrier to the Persian Gulf soon, just in case. The meeting ends.
I was put off by the way the president closed the meeting. To his very closest advisers, he said, "For the record, and for those of you writing your memoirs, I am not making any decisions about Israel or Iran. Joe, you be my witness." I was offended by his suspicion that any of us would ever write about such sensitive matters.
Every year around the holidays, I buy my mom books. My process historically has been to spend hours reading all the best books of the year lists and form a mental consensus about which books she'd like. This year, I found Daily Beast's list of lists, which takes 40 total best of lists from places like the New Yorker, The Guardian, NPR, etc and counts the total votes each book gets. The result is a list of 10 books that everyone likes. This is much easier. The fiction list is below*, but they also have a non-fiction list.
Television critics have discussed how cable shows like The Wire and The Sopranos showed how television could be like books in the storytelling and character development. Scott Meslow joins Alyssa Rosenberg to discuss how Game of Thrones might be pushing the envelope on the novelization of television, or how, at least, Game of Thrones might be too much book to effectively transfer to television. I just finished book 3 and 4 of the GoT series, and… There are a lot of new characters and stories. Where as the story of the Starks and Lannisters might be enough to fill several seasons of television on their own, the GoT series actually contains at least 6 or 8 other stories going on by the end of book 4. I really liked this thought: "Sprawl, for good and ill, is a characteristic of books in a way that it never can be of television."
Now, obviously Martin’s books have been released on a cycle that by the standards of television look leisurely. But they’re also able to give much more space to each character—sometimes for good, sometimes for ill—unconstrained by the production budgets, writing, production, and editing cycles, and standard length of a television episode that inevitably provide structure to the show. That means he writes a fair amount of digression and worldbuilding into the books, but also that he’s not bound by anything except how many pages his publishers can bind into a single volume, and even then, if he’s got to spill over into more volumes, they’re going to be nothing but happy. And those digressions, and the amount of time it takes to read the books, just give readers more hooks into the stories, the characters, and the settings. Sprawl, for good and ill, is a characteristic of books in a way that it never can be of television. I’m not saying that means the books are better than the show. But I do think that they expose some of the irreducible differences between reading and watching television once you reach a certain scope.
Gerald Howard edited the first books of both Bret Easton Ellis and David Foster Wallace and wrote recently about why they didn't like each other. Ellis recently read the new Wallace biography and took to Twitter to be a bitch about it. As Howard tells it, criticism of Wallace's first book used Ellis's minimalist first book as a foil and that stuck in Ellis's craw. Then it was off to the races. Anyway, it seems like Howard sides with Ellis, so, I don't know.
The reviews were pretty much all one could desire for a first novel, and a number of them drew a sharp distinction between Wallaceâ€™s hyperintelligent and maximalist approach and the work of the Brat Packers, who were already being set up for a critical flogging. Bret Ellis being one of those writers on whom nothing is lost, these invidious comparisons would not have escaped his attention. The anschluss arrived with the publication of his underrated second novel, â€œThe Rules of Attraction,â€ which we would also reprint at Penguin despite a cascade of disapprobration. Not pretty and really not fair.
In late 1988 I moved from Penguin to W. W. Norton, taking with me Davidâ€™s second book, the collection â€œGirl With Curious Hair,â€ which Penguin had refused to publish for legal reasons. (Long story.) The title story, about a bunch of L.A. punks misbehaving at a Keith Jarrett concert, struck me as an obvious and expert parody of Bret Ellisâ€™ affectless tone and subject matter and I said so. David, ever disingenuous about his influences (you could barely get him to admit heâ€™d even read Pynchon), denied ever having read a word of Bretâ€™s work â€“ an obvious lie that I let pass. I am certain, though, that Bret took peeved notice when the book was published.
The following two paragraphs are my two favorite from Theo Tait's review of Demon Fish by Juliet Eilperin. I bought the book and I will hate read the hell out of it.
'Many scientists don't like to talk about shark sex,' Juliet Eilperin writes in her entertaining study of sharks and their world. â€˜They worry it will only reinforce the popular perception that these creatures are brutish and unrelenting.' In as far as we understand the subject - only a few species have been observed mating - the business is 'very rough'. Larger male sharks have to bite or trap the females to keep them around during courtship; marine biologists can tell when a female has been mating because her skin will be raw or bleeding. The process is so violent that, come the mating season, female nurse sharks will stay in shallow water with their reproductive openings pressed firmly to the sea floor. Otherwise they risk falling prey to roaming bands of males who 'will take turns inserting their claspers in her' (the clasper is the shark version of a penis, found in a pair behind the pelvic fins). A litter of fifty pups will have anything from two to seven fathers. But the reproductive story gets rougher still. A number of shark species go in for oophagy, or uterine cannibalism. Sand tiger foetuses 'eat each other in utero, acting out the harshest form of sibling rivalry imaginable'. Only two babies emerge, one from each of the mother shark's uteruses: the survivors have eaten everything else. 'A female sand tiger gives birth to a baby that's already a metre long and an experienced killer,' explains Demian Chapman, an expert on the subject.
There are three defining events in modern American shark mythology. First, the attacks of 1916, when four people were killed in one week in five separate attacks off New Jersey, two at beach resorts and two in Matawan Creek, more than a dozen miles inland. It created mass hysteria, launched a wave of shark-hunts and gave rise to the myth of the serial man-eater â€“ something that all the evidence tells us is wrong. The second was the sinking of the USS Indianapolis on 30 July 1945, in the final weeks of the Pacific War. The cruiser, which had delivered the uranium for the Hiroshima bomb, was sunk by a Japanese submarine between Guam and the Philippines. Of the 1200-strong crew, 300 were killed during the sinking; the survivors spent four days in the water, during which all but 317 were killed by exposure, dehydration and sharks. The third event was Jaws, which bundled up the earlier two into a slick package that spread rampant shark-phobia across the world: Peter Benchley's novel was based on the Jersey attacks, and Quint, the Ahab-style shark hunter played with scenery-chewing vigour by Robert Shaw in the film, is a veteran of the Indianapolis disaster. Benchley, Eilperin says, did more to instil 'intense fear and hatred of sharks than anyone else in the 20th century'. By bringing an age-old nightmare to life, he 'gave it a credibility, a sense of concreteness, it had never had before'.
The Boston Book Festival kicks off tomorrow with a discussion on The Art of The Wire. I've never been to one of these, but I'm always curious... Did The Wire just get lucky with amazingly insightful actors able to discuss race, class, institutional failure and the visual novel? These are heady topics, I wouldn't have thought actors would generally be the best to discuss them. I don't know who would be MORE qualified, though.
Kick off the Boston Book Festival with a thoughtful and timely exploration of The Wire with its cast and creators. Its creator, David Simon, referred to this powerful, gritty, and all-too-realistic exploration of urban poverty as a "visual novel." The Wire, perhaps the most critically-acclaimed series in television history, has been compared to Dickens, to Greek tragedy, even to Shakespearean drama. It is both high art and social commentary. Join several cast members and writer/producer George Pelecanos in a conversation about The Wire and issues of race, class, institutional failure, and the visual novel. The discussion will feature Donnie Andrews (the real "Omar"), Fran Boyd (the inspiration for David Simon's The Corner), Tray Chaney ("Poot"), Robert Chew ("Prop Joe"), and Jamie Hector ("Marlo Stanfield") and will be moderated by Reverend Eugene Rivers, co-founder of the Ten Point Coalition.