Anyone have an explanation why that giant peacock is on the front of the Delta Bessborough
I went freelance full time in December 2011 and made $17,000 in the first seven months, an average of almost $2500 a month. Making that little was, more or less, the plan. I had savings and I knew I needed to “get my name out there.” I wrote for free. I wrote for very little. I wrote pieces I didn’t want to write. I said no to almost nothing.
Slowly, it started to pay off. A story I wrote for The Awl prompted an editor at The Verge to contact me. I’ve written a number of features for them that paid between $750 and $1,500. After flying on Emirates Airlines and enjoying the in-flight magazine, I pitched the editor. He liked them and I continue to write features that pay a little less than a $1/word. I wrote slideshows for Complex.com for $10/slide (about sports, not hot women). I wrote a feature ($1,000) and blog posts ($250) for ESPN.com’s Grantland, and a photo-driven bit for ESPN The Magazine ($800).
I did pieces for BuzzFeed ($300), Penthouse ($750-$1,500), The Wall Street Journal’s sports section ($1/word), SBNation’s Longform unit ($1,750), Splitsider ($100), Guyism.com ($300/story), Street Fight ($0 but a slice of equity), The New Republic’s website ($150), and other outlets. Some paid more than they needed to, some paid less than they should. Deadspin gave me $100 for two pieces I wrote in Kiev, Ukraine. That seemed low, especially when they offered Jay Mariotti $1,000. (I’m 1/20th as valuable as he? Perhaps not untrue, but still, ouch.) At various points, I had contracts with mediabistro.com ($900/month), NBC ($350/month), Outside ($433/month), and Pacific Standard ($600/month).
I pitched and wrote constantly. I submitted invoices to between six and 12 outlets a month. But while I found consistent work, there were no massive payoffs. The most I made for a single piece was $2,200, although I did help launch and continue to edit American Soccer Now, a soccer website. I was paid a one-time fee of $10,000 and given a bit of equity. In my accounting, I spread that money over the six months starting in June, 2012 and now spend two hours a day working on the site, essentially for free.
I did less glamorous work, like ghostwriting a self-help guide ($40/hour) and some light editing and web production for a major media company ($50/hour). These weren’t my favorite assignments, but they paid well and freed me up to take a flyer on other pieces with low rates but potentially a bigger impact. Plus, while we’d all like to think there’s some magical fairytale land where freelancers write what they want when they want, that simply isn’t true. I have talked to many, many freelance writers while trying to figure out how to make it as one over the past eight years, and the vast majority take the occasional (or frequent) lucrative gig when it arrives.
I’m lucky. I’m making it work. I learned plenty about the economics of business, the good and the bad, especially that I am a poor negotiator. Still, I made a little more than $50,000 in the last six months of 2012 and around $45,000 during the first half of this year. It’s possible to succeed in this gig economy. It’s also exhausting. I’ve grown more ambitious and pitched bigger stories to larger outlets, but nothing has hit yet. Still, I keep trying.
Indeed, if there is one overriding factor in America’s secret wars—especially in its drone campaign—it’s that the U.S. is operating in an information black hole. Our ignorance is not total, but our information is nowhere near adequate. When an employee of the C.I.A. fires a missile from a unmanned drone into a compound along the Afghan-Pakistani border, he almost certainly doesn’t know for sure whom he’s shooting at. Most drone strikes in Pakistan, as an American official explained to me during my visit there in 2011, are what are known as “signature strikes.” That is, the C.I.A. is shooting at a target that matches a pattern of behavior that they’ve deemed suspicious. Often, they get it right and they kill the bad guys. Sometimes, they get it wrong. When Brennan claimed, as he did in 2011—clearly referring to the drone campaign—that “there hasn’t been a single collateral death,” he was most certainly wrong.
NBC has the 16 page memo that makes the argument that it is okay to kill Americans which seems to go against their entire legal system.
As in Holder’s speech, the confidential memo lays out a three-part test that would make targeted killings of American lawful: In addition to the suspect being an imminent threat, capture of the target must be “infeasible, and the strike must be conducted according to “law of war principles.” But the memo elaborates on some of these factors in ways that go beyond what the attorney general said publicly. For example, it states that U.S. officials may consider whether an attempted capture of a suspect would pose an “undue risk” to U.S. personnel involved in such an operation. If so, U.S. officials could determine that the capture operation of the targeted American would not be feasible, making it lawful for the U.S. government to order a killing instead, the memo concludes.
Drone killing is growing at such a boom that colleges are offering degrees in it. What is interesting about the article is that the FAA does not licence police forces to fly drones over high crime areas yet the Saskatoon City Police has a drone (really an amazing remote controlled helicopter) although from what I have read, it is more about taking photos of crime scenes than anything else.
The operator of the X6 guides the helicopter by using a remote control and wearing video-goggles that show what the chopper sees through the camera. While Draganfly staff will pilot the helicopter at first, police officers will decide what to photograph. Engele said he expects trained police officers will pilot the choppers themselves after they take a course this spring and receive proper clearances.
It won’t fly higher than a light post and will only be used in fair weather conditions, he said.
The American military has grown to rely on similar unmanned aerial vehicles, or drones, to do aerial surveys and provide video to commanders on the ground.
The key in expanding the service’s use of the technology is going to be proving the images hold up in court, Engele said. The X6 was used previously by the Ontario Provincial Police to photograph a homicide scene in rural Ontario and could be used in tactical or surveillance operations, he said.
“You could use it for anything your brain can think of,” Engele said. “You can fly it inside an office and take a picture of the whole room to capture blood splatter.”
City residents can expect to see the mini-helicopter hovering above collision scenes around late-spring or summer, Engele said.
It’s this: A good number of the on-air people covering the Games for the CBC, TSN, NBC, BBC and other international broadcasters will not be in Beijing or anywhere near the Olympic city. They will call events off a monitor from their home studios.
The CBC’s play by play for women’s soccer is being handled by Nigel Reed and Jason De Vos. But they’re not in Beijing. They’re announcing the games from Toronto by watching the games off a TV monitor.
The other events that the CBC will announce from Toronto are sailing, equestrian, weight lifting and Taekwondo.
In some cases, there are logistical reasons for calling these sports from a studio, but mainly it’s a money saver. Joel Darling, the head of production for CBC Sports, said the fact the women’s soccer team will play games in four venues would have made travel difficult and expensive for a play by play team.
“There was the cost involved of moving (Reed and De Vos) around inside the country,” he said. “And there’s no point in sending them there and calling it off tube.”
Darling said the BBC announcers are calling the men’s soccer tournament off a monitor from London.
The CBC will use the BBC and TVNZ (New Zealand) feeds for men’s soccer — another money saver. NBC’s play by play teams for weightlifting, equestrian, softball, soccer, tennis, baseball, handball, table tennis, badminton, fencing, archery, shooting and field hockey will work out of New York.
This seems like a bad commercial for HD. I can understand why they are doing this but having your game announcers at home rather than around the team they are covering (in the case of women’s soccer), you do lose a lot in terms of coverage, conversations, and the athlete’s perspective. For me personally, it is just another way that this version of the games seems to be the worst in a long time.
We talk about how China’s human rights record, links to the genocide in Darfur, and Tibet hurt the reputation of the IOC. Doesn’t CBC being apart of the whole spectacle that is the Olympics hurt it’s reputation when covering Darfur or human rights issues? Same with all of the media outlets and Olympic sponsors actually. Doesn’t it say that we care about human rights unless there is a lot of money to be made. Back when the announcement was made it was said that the games would change China but in the end, it seems as if the IOC itself made the concessions.