i-clip in use on Charles Darwin’s “Voyage of the Beagle”

i-clips are little folding magnets to use as a bookmark or paperclip. The front has a design (there are several to choose from), the back has a little arrow that marks the specific spot in a book you’re reading. The packs currently sell for $2.59 per pack of 8 at Amazon, and for $3.95 per pack directly from the manufacturer, Peter Pauper Press.

As someone who often has multiple books unfinished (and who prefers paper books in most situations), I find these little guys indispensable. They have two main advantages compared to paper bookmarks: they’re less likely to fall out, and they can mark the specific page and line where you stopped reading.

I can’t think of anything to improve. They make a nice gift, too.

(One note of caution — since these are metal, you do have to be a bit more careful, as they’re fully capable of tearing into a page when pushed into it. It’s only happened once so far and should be easy to avoid.)

My wife Lisa got me a chocolate bar on Saturday. Before I ate it, I read the back of the wrapper to learn more about it.

This chocolate bar came from a company called Chuao Chocolatier. A man in Venezuela started the company. First, he left his technical career; then, he went to Paris to learn to cook. Later, he found his calling—making chocolate (About Chef Michael). This story touched me; like him, I left my technical career. I still seek my calling, but this guy’s story gives me hope.

Chuao calls the bar I got Spicy Maya. Spicy Maya mixes dark chocolate with cinnamon, cayenne pepper and pasilla chile (Spicy Maya Bar). I love all these things. So I could not wait to taste them together in a single bar.

I unfolded the wrapper; I took the bar out. I brought it close to my nose, closed my eyes and took a deep sniff. I smiled.

I opened my eyes. I broke a square of chocolate off of the bar. I put it into my mouth. I rubbed my tongue around the bottom of the square. Then, I sucked on it. I tasted the flavors, one by one.

First, I tasted the chocolate. A sweet, creamy feeling filled my mouth.

Then, I tasted the cinnamon. First, I noticed it in my nose. Then, the taste moved down into my mouth; it mixed in with the chocolate. It made me think of Christmas-time.

Then, I tasted the cayenne pepper. Then, the pasilla chile. The spices gave a kick to the sweetness from the chocolate and cinnamon. It made me think of Mexico, where people like their chocolate spicy!

All these flavors blended. I closed my eyes again; I felt like I was floating up to the clouds. But soon, the chocolate melted away in my mouth. I swallowed it. I fell back to reality.

So I broke off another square from the bar. I ate it. I started the process over again!

This chocolate is wonderful. Try it, if you get a chance.

Sources

About Chef Michael. (n.d.). Retrieved June 28, 2017, from http://chuaochocolatier.com/about/chef-michael/
Spicy Maya Bar. (n.d.) Retrieved June 28, 2017, from http://chuaochocolatier.com/chocolate-bars/bars/spicy-maya.html

This review first appeared here - https://pegdad.wordpress.com/2017/06/29/coconut-ash-banana-bar/

Downtown Houston holds a large liquor store. It sells more than liquor, though. It sells fine foods like deli-meat, artisan-cheese and gourmet-candies.

One rainy Memorial Day, I went there with my family. My mother-in-law shopped for bourbon; my wife shopped for red wine; I shopped for dark chocolate.

I found a bar, made by a chocolatier called Vosges Haut Chocolat. They called this bar the Coconut Ash & Banana Super Dark™ Chocolate Bar. What’s in it? Besides 72% dark chocolate, it has coconut, charcoal coconut ash, and banana (Coconut Ash & Banana Super Dark™ Chocolate Bar). I grabbed it; I bought it. I had to try it.

When I got home, I sat down on the couch to enjoy my new adventure in chocolate. I started to unfold the wrapper. But then, I saw something on the wrapper. the chocolatier printed a list of steps to follow when you eat the chocolate bar:

SMELL. Rub your thumb on the chocolate to help release the aromas. Inhale the chocolate and ingredient notes deeply through your nose…

SNAP. …Break the bar into two pieces. Hear a crisp, ringing snap, which indicates a well-tempered bar of chocolate.

TASTE. Place the chocolate on your tongue and press it to the roof of your mouth. Within thirty seconds, the chocolate should slowly begin to melt around your tongue… (How to eat chocolate at Vosges:The Art of Eating Chocolate)

Fascinating.

So I followed my directions. I rubbed the bar with my thumb; I smelled it. The sweet smell turned my blank stare into a smile.

Then, I broke off a piece from the bar; I put it in my mouth; I pressed it up with my tongue. As it melted, the flavors came out. First came the chocolate, strong and dark. Then, the banana pieces made it lighter and sweeter. Then, along came the coconut: it added some more sweetness and gave the chocolate some crunch. The mix of coconut and banana made me feel like an ape in the jungle.

All the flavors in the bar worked together to create something wonderful. This bar brought pleasure to three of the five senses: smell, taste and touch. I tried this bar with the goal of having a nice snack. Instead, I got more; I got a delightful experience.

In other words, this is good chocolate. You should try it, if you get a chance.

Sources

Coconut Ash & Banana Super Dark™ Chocolate Bar (n.d.) Retrieved on Jun 29, 2017, from https://www.vosgeschocolate.com/product/coconut-ash-banana-bar

How to eat chocolate at Vosges:The Art of Eating Chocolate (n.d.) Retreived on Jun 29, 2017, from http://www.vosgeschocolate.com/how_to_eat_chocolate

Gwendy’s Button Box is the result of a collaboration between Stephen King and anthology editor/publisher Richard Chizmar. It’s a short novella about a young, awkward girl named Gwendy (shocking, I know) who is given an odd device by a stranger. It turns out that the “button box” has great potential for evil, but it can also change her life for the better. Will she be a responsible custodian?

At one point, Gwendy quizzes her teacher and class about what to do, using a not-so-subtle political analogy. The story invites us to reflect on the responsibilities of power — perhaps, knowing King’s liberal politics, it was prompted by the recent occupation of the White House by a bumbling demagogue.

It’s a good story that stays with you and that suffers only from being a bit too cartoonish in parts. You’ll probably devour this in one or two sittings, so you might want to go for the cheap Kindle edition (7 US$ as of this writing).

number9dream, published in 2001, is David Mitchell’s second novel. Unlike Cloud Atlas, the famous book/movie that followed it, this story stays focused on a single protagonist, Eiji Miyake. Eiji is a young man from a small island, searching for a father he has never met in Tokyo’s vast urban jungle. In the process, he loses himself in his own fantasies, gets caught up in a Yakuza gang war, falls in love, and has to figure out what exactly he’s hoping to get out of his quest.

We don’t always know for sure what is real and what is imagined, a point driven home by a departure into writings Eiji discovers during his quest: the anthropomorphic animal stories of a woman at whose house he is staying; an old World War II journal of a relative. And it’s of course no coincidence that we encounter a character from Mitchell’s first novel, the Mongolian hit man Subhataar, who plays a dangerous game with the Yakuza.

The novel as a whole succeeds in conveying the dreamlike quality that its title (inspired by John Lennon’s “#9 Dream”) promises; its strength is in its power to transport and surprise the reader, its weakness in the flatness of its characters and the limited payoff of its story arc. If you’re new to Mitchell’s work, I wouldn’t recommend reading this one first (I’d suggest starting with Cloud Atlas and Black Swan Green instead). And a fair warning—while this isn’t a horror story, there are some violent scenes that may induce nightmares.

Two Minute Papers is a YouTube channel that delivers what the name promises: short summaries (sometimes a bit above two minutes in length) of scientific papers, presented by Károly Zsolnai-Fehér, a young computer graphics researcher from Vienna. Given his own field of expertise, many of the featured papers are about graphics and neural networks: the simulation of realistic interaction between liquid and hair; the generation of images from sentences using a neural network; the beautification of selfies.

This has the advantage that the videos can often feature stunning animations and images from the papers that are summarized. The videos are lovingly put together, and Károly’s excitement is infectious (if occasionally a bit disproportionate). He stays away from the details and generally focuses on the practical application and the high-level challenges the researchers attempted to overcome, while giving links to any available open source code or data. There’s also a subreddit for additional links and discussion.

Like many YouTube channels, the project solicits public support via Patreon. With already more than 50,000 subscribers, the project will hopefully be able to raise enough funds to stay alive. It’s a beautiful idea, and it would be lovely to see the approach expanded to other topics. As it is, I recommend subscribing if you’re interested in graphics, machine learning, 3D printing, and similar topics.

Natural selection has equipped our species with brains that pay special attention to negative events. We monitor the world for threats to our well-being, and we enforce in-group social norms by ostracizing those who violate them.

Our modern media ecosystem kicks these reasonable sensitivities into overdrive and produces pathological feedback loops. A celebrity’s stupid offhand remark in an interview may trigger a multi-day cycle of outrage; a terrorist’s violent act may dominate collective attention for weeks.

This is not without consequences. We become vulnerable to manipulation and demagogy. We become polarized. We become depressed. Negativity spreads on its own. It is positive, constructive engagement with the world that takes effort.

Positive News wants to help. A public benefit co-operative based in London, owned by authors and readers, it’s both a print magazine and a website dedicated to what it terms “constructive journalism”. This isn’t about images of puppies (not that there’s anything wrong with those) or about seeing the world through rose-colored glasses. Instead, Positive News focuses on stories that show how difficult problems can be solved or at least chipped away at.

The magazine is beautifully designed, with appealing typography and layout, and large format photographs and illustrations

Background

Positive News has been around for a while. It was started as a quarterly newspaper in 1993 but was relaunched as a magazine by editor-in-chief Seán Dagan Wood in 2015. The crowdfunding campaign for the co-op raised £263K (about $340K). The co-ownership model is becoming increasingly popular in the UK — nonprofit magazine New Internationalist launched a similar campaign earlier this year and raised £704K.

As part of its crowdfunding campaign, Positive News published a business plan, which includes long-term revenue goals. I was not able to find public information about revenue and spending beyond the plan, and have not received a response to an email inquiry. That said, the numbers here are still too small to worry about excessive compensation or bloat.

With a small budget, the site has managed to build a sizable social media presence, especially on Facebook, where it has more than 250K followers. Several multi-million dollar nonprofit journalism organizations we’ve reviewed do not come close to those numbers.

Revenue Model

Positive News is largely funded by print subscriptions. Subscribers get access to a digital version, but it’s impossible to directly buy individual issues of the magazine in digital form. The “Own the Media” campaign website is still up, but no community shares are currently up for sale.

There are no ads on the site, but there is a page dedicated to “brands of inspiration” — essentially a selective approach to sponsorship. Occasionally, staff writers write longer articles about these brands (which disclose the sponsorship).

That approach isn’t without risks — would Positive News report fairly about a competitor that doesn’t want to be a sponsor? Would it include legitimate criticisms? Do readers fully understand the sponsorship relationship? While all the featured businesses tend to be in the green/organic/pro-social category, the criteria for becoming a partner are not public.

I don’t want to overstate the issue. Positive News is not in the business of writing exposés about corporate abuses, so it is unlikely the sponsorship will clash with investigative work. And in any case, only two such sponsored “advertorials” can be found on the website so far. Still, a more transparent process for selecting partner brands would be welcome.

Like the magazine, the website design puts photographs and illustrations front and center — perhaps a bit at the detriment of readability for shorter articles

Design and Content

The website publishes feature-length articles and short newswire pieces, categorized into sections such as “lifestyle” or “economics”. Just like the printed magazine, the site is very visual, placing significant emphasis on design, typography and large lead images.

The site uses Disqus for comments. Activity is low (most conversations happen on the site’s Facebook feed) but there is little trolling or negativity in the comment section.

Although the organization is based in the UK, much of its reporting is international in nature (some is syndicated from other sources, including NGOs). The articles tackle tough subjects: climate change, terrorism, racism, and so on. But they focus on people working on solutions (“on patrol with an all-women anti-poaching unit”; “5 grassroots responses to terror attacks”) rather than on simply pointing out the gravity of problems.

For the most part, this isn’t about replacing bad news with good news — it’s about restoring a sense of agency. I found the reporting reasonably dispassionate, but it typically only scratches the surface and is not evaluative in nature (“does this work?”).

Site content is under conventional copyright.

The Verdict

I recommend adding Positive News to your media diet: 4 out of 5 stars. I am swayed by the argument that constructive journalism is psychologically valuable, and it undeniably brings attention to important causes. It also may inspire readers to replicate good ideas.

The organization behind the site would benefit from greater transparency about its revenue model and its plans for the future, especially if it intends to further pursue sponsorships and advertorials which may compromise real or perceived impartiality.

The site’s large social media reach demonstrates that there is a growing hunger for this type of journalism. Other media ventures would do well to consider how they can provide similar value to their audiences, e.g., by doing more feature reporting on solutions as opposed to problems.

Get Out by Jordan Peele (of Key & Peele fame) is not a masterpiece. It misses that high bar because its canvas is too small, the plot at times a bit too predictable, and the acting too ordinary. But it is a dark and entertaining little story about race and class that stays with you, and that you won’t regret watching.

The premise is simple enough: black photographer Chris Washington gets to meet the well-off parents of his white girlfriend Rose. As what started as a “meet the parents” trip is subsumed into a larger annual family get-together, small sinister goings-on develop into full-on horror.

Yes, this is a horror movie that quickly picks up pace, but its dark humor and social commentary are always so close at hand that the horror that gets under your skin is mostly of a different nature than, say, the creepy twins in The Shining. This is a movie about the role of black people in the United States, about slavery, about upper/middle-class anxieties. But it manages to speak to those topics without being preachy and depressing.

This is a fine directorial debut for Peele, who has assembled a solid cast to tell his tale. Daniel Kaluuya and Allison Williams do well enough in the lead roles, though I felt there was a bit of depth missing in their performances. LiRel Howery knocks his “comic relief sidekick” role out of the park (I laughed out loud several times), and Catherine Keener is excellent as the “friendly but actually super-creepy” matriarch.

Recommended without major reservations. I look forward to Peele’s future directorial efforts.

These facts are not in dispute: the gun homicide rate of the United States is 25 times higher than that of other high-income countries. Last year, more than 15,000 people died from gun injuries, excluding suicides. Chicago’s number of gun victims since 2001 has exceeded US troop deaths in war zones in Iraq and Afghanistan.

It’s a system of violence sustained by a large industry. Guns and ammunition stores had revenue of about $9B in the last year, and the National Rifle Association, a nonprofit with 5M members that opposes gun control, had $348M in revenue in 2013.

Everytown and The Trace

National groups promoting gun control have long paled in comparison with the NRA. Former New York mayor and 10th richest person on Earth, Michael Bloomberg, is working to change that. To this end, he funded the advocacy group Everytown. Its action fund reported $39.5M in revenue in 2015; much of it comes directly from Bloomberg.

Beyond its lobbying and activism, Everytown has seeded a new nonprofit newsroom, The Trace, to engage in specialized reporting on gun violence.

I was not able to find a tax return for The Trace (the organization did not respond to email inquiries), suggesting it probably hasn’t filed one yet. The “About us” page credits the Kendeda Fund and the Joyce Foundation as funders in addition to Everytown; Huffington Post co-founder Ken Lerer and liberal venture capitalist Nick Hanauer are listed as individual supporters.

The Trace does not define itself as partisan or nonpartisan; it states that it simply seeks to carry out public interest journalism to shed light on the problem of gun violence. It has partnered with many other publications to achieve this goal, including The Atlantic, TIME, and the Guardian.

Content Example: Murder Inequality

The article about “murder inequality” is a good example of evidence-based journalism. Its premise is that looking at city-level crime statistics is misleading because the disparities between neighborhoods (both in crime and poverty) can be dramatic.

This is consistent with increasing evidence that the economic barriers in American society are almost impenetrable. If this article has an agenda beyond broadening the evidence base of public discourse, it’s impossible to discern what it might be — it simply cites the available data in an easy to understand form (kudos for the use of interactive embedded charts with source code).

The article on “murder inequality” includes an elegant, interactive visualization that makes the large disparities between Chicago neighborhoods apparent.

Content Example: Killing of an 89 Pound Boy

“The Reasonable Killing of an 89-Pound Boy” is an in-depth look at the case of Martinez Smith-Payne, a 13-year-old kid from St. Louis, MO shot dead for rummaging through someone’s car looking for change. The article places the killing in the context of Missouri’s “Stand Your Ground” laws. These laws offer legal protection for the use of deadly force in defending one’s life or property, with hotly debated consequences on crime rates.

The article is a solid piece of journalism which largely refrains from value judgments (other than the implicit value judgment that “killing children for stealing change is bad”). Together with more data-centered articles, it contributes usefully to the discussion about “Stand your Ground” laws by way of a particularly horrifying case study.

Content Example: NRA and Immigration

This article from the category “Gun Lobby” tackles Donald J. Trump’s anti-immigration rhetoric and actions, and the NRA’s record of siding with far right anti-immigrant positions.

Though not labeled commentary, the article is much more explicit in its value judgments. It explicitly accuses NRA executive Wayne LaPierre of “inflaming fears” and uses phrases such as “So much to be afraid out of there. If only there were a wall!”

While I strongly agree with its sentiments, it would be fair to describe it as advocacy journalism grounded in liberal values.

Design, Licensing

The Trace is powered by WordPress. It uses a slick theme that’s easy on the eyes and straightforward to navigate. The design shop behind the site, Upstatement, published a “making of” that gives some insights into the process.

As one would expect from a WordPress site, it works well on mobile devices and without JavaScript. Content is categorized into areas such as “Gun Policy”, “Data”, “Politics”; commentary is in its own category.

There is no “Terms of Use” page, so by default, content is under conventional copyright.

Note that the main site’s RSS/Atom feed is not advertised and can be found here: https://www.thetrace.org/feed/

The Verdict

The journalists at The Trace do an admirable job providing news and data to anyone concerned about the problem of gun violence, whether because they’re personally affected, or otherwise moved to care and do something about it. I recommend following the site if you fall into either category, and it is part of our Twitter list of quality nonprofit media.

Responsible gun owners who support more consistent gun control and safety measures should find the site generally to be fair in its coverage, but may take umbrage at the occasional slip into value judgments they disagree with.

There are two minor criticisms. First, The Trace would benefit from the standard bits of nonprofit transparency: continuous reporting about organizational impact, more financial details, and so on.

Second, the site seems to not be quite clear yet who its target audience is — some articles lack a clear “through line”, others stray a bit into commentary or advocacy without being labeled as such. Explicitly adopting a journalistic code of ethics (example: ProPublica) could help to establish a more consistent standard for readers and writers alike.

The intelligence and passion of the site’s editorial team are evident, and there’s every reason to believe it will play an increasingly important role informing the debate about guns and violence. 4 out of 5 stars.

You may never have heard of the Wellcome Trust, but with a £20.9B ($26.7B) endowment, it is one of the largest philanthropies and the largest non-government funder of health research in the world. Established in 1936 after the death of American British pharma magnate Henry Wellcome, it has retooled itself into a modern science funder and promoter of open access to scientific research.

Beyond direct funding for research, Wellcome also supports science communication projects, and Mosaic is an in-house effort launched in 2014 to publish “compelling stories that explore the science of life.”

The model is simple: every week, Mosaic publishes a long-form story or other journalistic work. Some examples:

• a look at kangaroo care, a child care concept for pre-term babies pioneered in Colombia,

• an investigation of the work of Robert G. Heath and his almost forgotten research. Heath implanted electrodes in human brains and gave them the ability to self-stimulate their pleasure center. He also attempted to “cure” homosexuals.

• an overview of the current state of thinking about animal intelligence.

These articles are written for a general audience. They would be right at home in, say, the New Yorker, but might be a bit too light on details for Scientific American. Illustrations are often artistic rather than technical. There is some podcast and video content as well.

Occasionally, Mosaic experiments with data journalism. A good example is the Global Health Check, which is a nice way to explore how health indicators have changed since the year of one’s birth.

Other Aspects

The site design is entirely inoffensive, and some of the illustrations are quite beautiful.

Given the financial position of its parent organization, you won’t find any ads or donate buttons on the site. You also won’t find a lot of information about Mosaic’s organizational internals (though there are mountains of documents about Wellcome itself).

The site design is unremarkable and easy to navigate. It works well on mobile devices and without JavaScript.

Mosaic is described as editorially independent, and its reporting goes beyond projects Wellcome funds. I did find disclosure statements where appropriate. It’s also nice to see that every person involved with a story is credited at the bottom of each story (author, editor, copyeditor, fact checker, art director, illustrator, etc.), a practice I’d encourage other media to emulate.

Consistent with Wellcome’s open access policy, Mosaic content is under the Creative Commons Attribution License, allowing anyone to re-use it for any purpose provided credit is given.

The Verdict

If you’re at all interested in life science, I can’t think of any reason not to follow Mosaic’s work. It’s fairly easy to decide whether the weekly story is something you care about, and if it is, the journalism is generally of very high quality and a pleasure to read.

The focus of Mosaic is on the process of scientific exploration, on the scientists and caregivers, and on the lives impacted by their work. There’s room for improvement in how more technical aspects and key takeaways are conveyed. Call-outs or sidebars summarizing key concepts of an article might help readers who are short on time, or who just want a bit more than a teaser before deciding to spend 30-60 minutes on a story.

You can follow Mosaic on social media (Twitter, Facebook) to get updates and reposts, or you can subscribe via email to get only the new stuff. They’re also part of our Twitter list of quality nonprofit media. The rating is 4 out of 5 stars: recommended.