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Sympathy, and Job Offers, for Twitter’s Misinformation Experts

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

In the weeks since Elon Musk took over Twitter, dozens of people responsible for keeping dangerous or inaccurate material in check on the service have posted on LinkedIn that they resigned or lost their jobs. Their statements have drawn a flood of condolences — and attempts to recruit them.

Overtures arrived from rival tech services, retailers, consulting firms, government contractors and other organizations that want to use the former Twitter employees — and those recently let go by Meta and the payments platform Stripe — to track and combat false and toxic information on the internet.

Ania Smith, the chief executive of TaskRabbit, the Ikea-owned marketplace for gig workers, commented on a former Twitter employee’s post this month that he should consider applying for a product director role, working in part on trust and safety tools.

“The war for talent has really been exceptional in the last 24 months in tech,” Ms. Smith said in an interview. “So when we see layoffs happening, whether it’s at Twitter or Meta or other companies, it’s definitely an opportunity to go after some of the very high-caliber talent we know they hire.”

She added that making users feel safe on the TaskRabbit platform was a key component of her company’s success.

“We can’t really continue growing without investing in a trust and safety team,” she said.

The threats posed by conspiracy theories, misleadingly manipulated media, hate speech, child abuse, fraud and other online harms have been studied for years by academic researchers, think tanks and government analysts. But increasingly, companies in and outside the tech industry see that abuse as a potentially expensive liability, especially as more work is conducted online and regulators and clients push for stronger guardrails.

On LinkedIn, under posts eulogizing Twitter’s work on elections and content moderation, comments promoted openings at TikTok (threat researcher), DoorDash (community policy manager) and Twitch (trust and safety incident manager). Managers at other companies solicited suggestions for names to add to recruiting databases. Google, Reddit, Microsoft, Discord and ActiveFence — a four-year-old company that said last year that it had raised $100 million and that it could scan more than three million sources of malicious chatter in every language — also have job postings.

Alethea founder Lisa Kaplan is trying to recruit former Twitter employees.Credit…Carolina Andrade for The New York Times

The trust and safety field barely existed a decade ago, and the talent pool is still small, said Lisa Kaplan, the founder of Alethea, a company that uses early-detection technology to help clients protect against disinformation campaigns. The three-year-old company has 35 employees; Ms. Kaplan said she hoped to add 23 more by mid-2023 and was trying to recruit former Twitter employees.

Disinformation, she said, is like “the new malware” — a “digital reality that is ultimately going to impact every company.” Clients that once employed armed guards to stand outside data rooms, and then built online firewalls to block hackers, are now calling firms like Alethea for backup when, for example, coordinated influence campaigns target public perception of their brand and threaten their stock price, Ms. Kaplan said.

The Spread of Misinformation and Falsehoods

  • Covid Myths: Experts say the spread of coronavirus misinformation — particularly on far-right platforms like Gab — is likely to be a lasting legacy of the pandemic. And there are no easy solutions.
  • Midterms Misinformation: Social media platforms struggled to combat false narratives during the 2022 U.S. midterm elections, but it appeared most efforts to stoke doubt about the results did not spread widely.
  • The Pelosi Misinformation Loop: We tracked how prominent Republican figures amplified groundless and often homophobic claims about the attack on Paul Pelosi.
  • A New Misinformation Hub?: Misleading edits, fake news stories and deepfake images of politicians are starting to warp reality on TikTok.

“Anyone can do this — it’s fast, cheap and easy,” she said. “As more actors get into the practice of weaponizing information, either for financial, reputational, political or ideological gain, you’re going to see more targets. This market is emerging because the threat has risen and the consequences have become more real.”

Disinformation became widely recognized as a significant problem in 2016, said John Kelly, who was an academic researcher at Columbia, Harvard and Oxford before founding Graphika, a social media analysis firm, in 2013. The company’s employees are known as “the cartographers of the internet age” for their work building detailed maps of social media for clients such as Pinterest and Meta.

Graphika’s focus, initially on mining digital marketing insights, has steadily shifted toward topics such as disinformation campaigns coordinated by foreigners, extremist narratives and climate misinformation. The transition, which began in 2016 with the discovery of Russian influence operations targeting the U.S. presidential election, intensified with the onslaught of Covid-19 conspiracy theories during the pandemic, Mr. Kelly said.

“The problems have spilled out of the political arena and become a Fortune 500 problem,” he said. “The range of online harms has expanded, and the range of people doing the online harm has expanded.”

Graphika CEO John Kelly said his company shifted its focus with the 2016 election.Credit…Michelle V. Agins/The New York Times

Efforts to tackle misinformation and disinformation have included research initiatives from top-tier universities and policy institutes, media literacy campaigns and initiatives to repopulate news deserts with local journalism outfits.

Many social media platforms have set up internal teams to address the problem or outsourced content moderation work to large companies such as Accenture, according to a July report from the geopolitical think tank German Marshall Fund. In September, Google completed its $5.4 billion acquisition of Mandiant, an 18-year-old company that tracks online influence activities as well as offering other cybersecurity services.

A growing group of start-ups, many of which rely on artificial intelligence to root out and decode online narratives, conduct similar exercises, often for clients in corporate America.

Alethea wrapped up a $10 million fund-raising round in October. Also last month, Spotify said it bought the five-year-old Irish company Kinzen, citing its grasp on “the complexity of analyzing audio content in hundreds of languages and dialects, and the challenges in effectively evaluating the nuance and intent of that content.” (Months earlier, Spotify found itself trying to quell an uproar over accusations that its star podcast host, Joe Rogan, was spreading vaccine misinformation.) Amazon’s Alexa Fund participated in a $24 million funding round last winter for five-year-old Logically, which uses artificial intelligence to identify misinformation and disinformation on topics such as climate change and Covid-19.

“Along with all the fantastic aspects of the web come new problems like bias, misinformation and offensive content to name a few,” Biz Stone, a Twitter co-founder, wrote on a crowdfunding page last year for Factmata, another A.I.-fueled disinformation defense operation. “It can be confusing and difficult to cut through to the trusted, truthful information.”

Google just acquired cybersecurity firm Mandiant.Credit…Annegret Hilse/Reuters

The businesses are hiring across a broad spectrum of trust and safety roles despite a host of recent layoff announcements.

Companies have courted people expert at recognizing content posted by child abusers or human traffickers, as well as former military counterterrorism agents with advanced degrees in law, political science and engineering. Moderators, many of whom work as contractors, are also in demand.

Mounir Ibrahim, the vice president of public affairs and impact for Truepic, a tech company specializing in image and digital content authenticity, said many early clients were banks and insurance companies that relied more and more on digital transactions.

“We are at an inflection point of the modern internet right now,” he said. “We are facing a tsunami of generative and synthetic material that is going to hit our computer screens very, very soon — not just images and videos, but text, code, audio, everything under the sun. And this is going to have tremendous effects on not just disinformation but brand integrity, the financial tech world, on the insurance world and across nearly every vertical that is now digitally transforming on the heels of Covid.”

Truepic was featured with companies such as Zignal Labs and Memetica in the German Marshall Fund report about disinformation-defense start-ups. Anya Schiffrin, the lead author and a senior lecturer at Columbia’s School of International and Public Affairs, said future regulation of disinformation and other malicious content could lead to more jobs in the trust and safety space.

She said regulators around the European Union were already hiring people to help carry out the new Digital Services Act, which requires internet platforms to combat misinformation and restrict certain online ads.

“I’m really tired of these really rich companies saying that it’s too expensive — it’s a cost of doing business, not an extra, add-on luxury,” Ms. Schiffrin said. “If you can’t provide accurate, quality information to your customers, then you’re not a going concern.”

28 Nov 2022 0 comment
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Adeem the Artist, Crafting a Country Music of Their Own

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

Hannah Bingham understood that the blouse she had bought for her spouse of six years, Adeem Bingham, who was turning 32 in 2020, would be more than a mere garment or birthday present. Deep green silk and speckled with slinking tigers and glaring giraffes, it was Hannah’s tacit blessing for Adeem to explore beyond the bounds of masculinity.

“Adeem had expressed an interest in dressing more feminine, but they went in the opposite direction — boots, trucker hats, canvas work jackets,” she said in a phone interview from the couple’s home in Knoxville, Tenn., as their 5-year-old, Isley, cavorted within earshot. “I thought, ‘If you’re not doing this because it might change our relationship, I’m going to help you.’”

The blouse proved an instant catalyst. Incandescent red lipstick followed, as did a svelte faux fur coat — another gift. Adeem donned the outfit for family photos on Christmas Eve, and a week later, announced online they were nonbinary. At the time, Adeem the Artist, as they’ve been known since 2016, was finishing a country album, “Cast-Iron Pansexual,” about the complications of being queer — bisexual, nonbinary, trans, whatever — in Appalachia.

“That record became therapy, helping me understand and explain myself,” Adeem, 34, said, speaking slowly by phone during one of a series of long interviews. “But I didn’t have in mind to explain my queer experience to straight people. I had in mind to tell my stories to queer people.”

“Cast-Iron Pansexual,” though, slipped through the crevices in country’s straight white firmament, which have been widened in the past decade by the likes of Brandi Carlile, Orville Peck, Rissi Palmer and even Lil Nas X. Adeem self-recorded and self-released the LP in a rush to satisfy Patreon subscribers. Galvanized by its surprise success, they returned to a half-finished set of songs that more fully explored the misadventures and intrigues of a lifelong Southern outlier.

Those tunes — cut in a proper studio with a band of ringers for the album “White Trash Revelry,” out Friday — sound ready for country radio, with their skywriting ballads swaddled in pedal steel and rollicking tales rooted in honky-tonk rhythms. Adeem culled its cast of tragic figures and hopeful radicals from their own circuitous story.

On her radio show, Carlile recently called Adeem “one of the best writers in roots music.” In an interview, B.J. Barham, who fronts the boisterous but sensitive barroom country act American Aquarium, suggested Adeem might be the voice of a country frontier.

“People aren’t coming to shows because of a nonbinary singer-songwriter. They’re coming because of songs,” said Barham, who asked Adeem to join him on tour the moment he heard Adeem’s trenchant Toby Keith sendup, “I Wish You Would’ve Been a Cowboy.” “If your songs are as good as Adeem’s, they transcend everything else.”

Before the blouse, Adeem struggled with discrete phases of intense doubt about identity, rooted in Southern stereotypes. First came the realization they were a “poor white redneck,” they said, a seventh-generation North Carolinian whose parents had a one-night stand while their mom worked late at a Texaco and married only after realizing she was pregnant. The family were pariahs, accused of spreading lice in a Baptist church and lambasted by an elementary-school teacher for teaching young Adeem to swear.

“I was this misfit in the small-town South, really into hip-hop and metal, with long, bleached-blond hair,” Adeem said. “I was beyond that cultural sphere.”

When Adeem was 13, the family moved to Syracuse, N.Y. Adeem tried to drop their drawl. “Everybody thought I was stupid no matter what I said,” Adeem recalled by video from their cluttered home studio, gentle waves of a mahogany mullet cascading across a tie-dye hoodie. “I wanted to be cerebral and poetic, words that seemed wholly incompatible with the accent.”

“I imagine these songs getting on a playlist beside Luke Bryan,” Adeem said, “articulating a full scope of the country experience.”Credit…Justin J Wee for The New York Times

Though their family attended church sporadically in North Carolina, Adeem began to pine for religion in New York, hoping for a kind of literal instruction manual for life. They moved to Tennessee to become a worship pastor, writing and performing songs (in nail polish, no less) that sometimes bordered on heresy. Months later, “hellbent on living life like people in the Scripture,” Adeem shifted to Messianic Judaism.

Nothing stuck, so they gave up on God entirely. (“That felt really great,” Adeem said and chuckled. “Big fan of leaving.”) Still, soon after marrying in 2014, Adeem and Hannah decamped to an Episcopal mission in New Jersey, where queer folks, trans friends and people of color prompted Adeem to face the ingrained racism, sexism and shame of their childhood. “I met my first person who used they/them pronouns,” Adeem said. “It put language to so much I struggled with.”

Years later, that experience helped Adeem, a new parent back in Tennessee, address gender at last. Adeem’s father had jeered the flashes of femininity, which Adeem cloaked in masculine camouflage, continuing the practice even as they realized they were bisexual, then pansexual.

Working on a construction crew in Knoxville, surrounded by casual misogyny, Adeem broke. They listened to Carlile’s “The Mother,” a first-person ode to atypical parenthood, until working up the nerve to walk off the job. A year later, the silk blouse appeared.

A poor Southerner, a proselytizing Christian, a performative man: Adeem once thought they could change those models from within before abandoning them altogether, at least temporarily. Country music represented another avenue of progress, one they now have no intention of leaving.

Adeem came to country when their parents decided their firstborn should not be singing the Backstreet Boys. Adeem fell hard for Garth Brooks and the genre’s ’90s dynamo women — Deana Carter, Reba McEntire, Mindy McCready. Adeem’s own music later flitted among angular rock and ramshackle folk, but for “Cast-Iron Pansexual” country represented a powerful homecoming. “Using the vernacular of country, I got to showcase my values with the conduit of my oppression,” Adeem said, laughing at how high-minded it all seemed.

Where “Cast-Iron Pansexual,” which opened with the winking “I Never Came Out,” indeed felt like a coming-out manifesto, “White Trash Revelry” expresses a worldview built by reconciling past pain with future hope. Adeem addresses the grievances of poor white people they have called kin with empathy and exasperation on “My America.” They mourn American militarism and state-sponsored PTSD on “Middle of a Heart.” They fantasize about a revolution of backwoods leftists on “Run This Town.”

“I was this misfit in the small-town South, really into hip-hop and metal, with long, bleached-blond hair,” Adeem said of their childhood.Credit…Justin J Wee for The New York Times

“I am passionate about not wanting to be the Toby Keith of the left,” Adeem said. “I imagine these songs getting on a playlist beside Luke Bryan, articulating a full scope of the country experience. The stories of queer Appalachians and Black activists in the rural South are part of this culture, too.”

There are signs it could happen. To record “White Trash Revelry,” Adeem started a “Redneck Fundraiser,” asking donors for just a dollar, as if it were a community barn-raising. They quickly raised more than $15,000, including cash from the actor Vincent D’Onofrio. For Adeem, the campaign revealed “how many people feel estranged by the culture of country.” They’ve since landed a distribution deal with a big Nashville firm and played a coveted spot at the city’s iconic venue Exit/In during AmericanaFest. “Middle of a Heart,” even before the album was released, netted more than 300,000 streams, a stat that stunned Adeem.

“Country should be this giant quilt work of people, of stories that let me see different struggles,” said American Aquarium’s Barham. “Excluding any of those stories, for gender or religion or race, is not country. Folks like Adeem remind you of that.”

Adeem seemed less sanguine about the prospect of moving beyond country’s margins, of infiltrating a genre and lifestyle chained to obdurate mores. Still, they beamed talking about widening queer acceptance, despite recent tragedies and political setbacks. Might it be possible for Nashville’s Grand Ole Opry and New York’s Gay Ole Opry, a decade-old showcase of queer country, to one day overlap?

“Every part of me thinks there’s no way I’m going to make it in the country industry,” said Adeem, pausing to swig from a giant Dale Earnhardt mug before continuing, drawl intact. “But no part of me thought Brandi Carlile would call me one of the best songwriters in roots music, so I have no idea anymore.”

28 Nov 2022 0 comment
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Crypto Lender BlockFi Files for Bankruptcy as FTX Fallout Spreads

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

BlockFi, a cryptocurrency lender and financial services firm, filed for bankruptcy on Monday, becoming the latest company in the crypto industry hobbled by the implosion of the embattled exchange FTX.

BlockFi had been reeling since the spring, when the collapse of several influential crypto firms pushed the market into a panic, sending the value of cryptocurrencies like Bitcoin plunging. In June, FTX agreed to provide the company with a $400 million credit line, which BlockFi’s chief executive, Zac Prince, said would provide “access to capital that further bolsters our balance sheet.” The deal also gave FTX the option to buy BlockFi.

But that agreement meant that BlockFi was financially entangled with FTX, and its stability was thrust into uncertainty this month after a series of revelations about corporate missteps and suspicious management at FTX. A few days after the exchange collapsed, BlockFi suspended withdrawals, explaining that it had “significant exposure” to FTX, including undrawn amounts from the credit line and assets held on the FTX platform.

BlockFi is not the first crypto lender to collapse in a devastating year for the industry. After the spring crash, in which Bitcoin fell 20 percent in a week, two other lenders, Celsius Network and Voyager Digital, filed for bankruptcy.

BlockFi, which is based in Jersey City, N.J., was created in 2017 and, as of last year, claimed more than 450,000 retail clients who can obtain loans in minutes, without credit checks. “We are just at the beginning of this story,” Flori Marquez, a co-founder of BlockFi, told The New York Times in September. But its business has attracted close scrutiny from regulators.

The Securities and Exchange Commission in February reached a $100 million settlement with BlockFi’s lending arm over registration failures, the first since the regulator warned that it would take action against cryptocurrency firms offering loans that failed to register them as securities or to register themselves as investment companies. The S.E.C. also found BlockFi made false and misleading statements about the level of risk in its loan portfolio and lending activity.

The settlement was intended to give BlockFi a path to register with the S.E.C., which would also set an example for other crypto lenders. But cryptocurrency advocates pushed back, saying that the deal supported their claim that regulation had pushed companies like FTX offshore into places where rules are looser, which puts consumers at risk.

28 Nov 2022 0 comment
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Mo Brings Plenty Was About to Quit Acting. Then Came ‘Yellowstone.’

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

In a scene from Season 3 of the hit neo-Western series “Yellowstone,” Mo, the steady right hand and loyal fixer of the Native American power broker Thomas Rainwater, lights some sage and lets the smoke waft through Rainwater’s office. They’re about to meet with Angela Blue Thunder (Q’orianka Kilcher), a hard-charging Native lawyer with a take-no-prisoners attitude toward going after the Montana ranch land owned by John Dutton (Kevin Costner).

Angela contemptuously douses the sage with water, but Mo — played by the actor Mo Brings Plenty — with a “who is this person?” look on his face, relights it after she leaves, allowing his boss to breathe in some of its healing powers. The moment contains both seriousness and subtle humor.

“In our culture, we use these items to cleanse the space and protect the mind,” Brings Plenty said in a recent video interview from Fort Worth, Texas, where “Yellowstone,” on Paramount Network, had its Season 5 premiere screening this month. “But burning sage and sweet grass has become a fad and has been culturally misappropriated,” he added, and those substances “are sacred to us.” For Brings Plenty, getting these details right is crucial.

“On and off the set, Mo really tries to be a bridge connecting Indigenous people with our industry in film,” said Kilcher, who is of Indigenous South American heritage. “It’s amazing to see all the good work that he’s doing.”

In a series that takes great care with its Native American characters and story lines, Brings Plenty keeps it as real as anyone. Onscreen he exudes a quiet strength, even when his character is executing some of the show’s frequently unsavory business. Offscreen he’s an adviser and a trusted confidante of the “Yellowstone” creator Taylor Sheridan and his creative team. He even wrangles horses.

Playing a character who started off as Rainwater’s nameless driver, Brings Plenty has gradually become a regular presence, especially in episodes that involve Native rituals. At the end of Season 4, he conducts a hanbleceya, a sort of vision quest, for Kayce Dutton (Luke Grimes), a white character married to a Native American woman, Monica (Kelsey Asbille). In a moving scene from the most recent episode, which aired on Sunday, he oversees a burial ritual for the son that died at birth after Monica was in a car accident.

From left, Gil Birmingham, Brings Plenty and Luke Grimes in Season 5.Credit…Paramount Network

That last sequence hit home for Brings Plenty, whose mother lost three infant sons when he was a child. “It was a powerful moment, and very real for me,” he said.

Brings Plenty, 53, was born and raised on the Pine Ridge Reservation, in South Dakota — though his mother is from the Cheyenne River Reservation and he has relatives on the Rosebud Reservation, also both in South Dakota.

“I spent time on all three reservations, so I always say I grew up in the Lakota Nation,” he said.

His interest in acting dates back to the days when he would ask children on the reservation why they didn’t have more pride in their identity. The most common answer? They never saw themselves on TV.

“So I thought, ‘How do I change that?’” he said. “Because I wasn’t on TV either.”

He added: “The misrepresentation of us has been occurring for so long.” He saw an opportunity to be the change he wanted to see.

He started in theater, worked his way into stunt riding (“I knew I could fall off a horse and take it”), then began landing supporting roles in film and television (“Hell on Wheels,” “The Revenant”).

But just a few years ago, he was ready to pack it in and return to his ranch in Kansas. Appreciative of his opportunities, he wasn’t entirely satisfied with the Native representation he saw onscreen. He felt discouraged. He and his family agreed that he would wait until the end of the year to make a decision. That’s when “Yellowstone” came calling.

Gil Birmingham, who plays Thomas Rainwater and has been friends with Brings Plenty for several years, likes to tell the story of how the character Mo got his name on the show. Sheridan had not given the character a name — he was just Rainwater’s driver — and during one of the many scenes between Birmingham and Brings Plenty, Birmingham called his old friend by his real name: “Mo”(short for Moses).

“So Taylor decided that he was going to use that name for the character as well,” Birmingham said in a phone interview. “When Mo is out and about, it’s pretty funny because people tend to call you by your character name, and it happens to be his real name. There’s no distinction there for fans.”

When fans do recognize Brings Plenty in public, it’s often because of his braids, which hang below his waist. As with most matters in Mo’s world, the braids carry cultural significance.

“We wear two braids as men to honor the gifts of the women,” he said.

“One strand” of each braid “represents the higher power,” he continued. “The second strand represents the Earth, which is also a physical being. The third strand represents our spirit. It’s a reminder that if we can live with that balance of all things, and we bring them all together, it makes a braid that is strong.”

For Sheridan, Brings Plenty’s overriding quality is truthfulness.

“There is a real honesty to Mo’s acting — a comfortable vulnerability,” Sheridan said in an email. “One of the great things about long-form storytelling is that it allows me to react to actors who really shine. Mo began as a co-star on the show, and now he is a series regular. That is how much his portrayal leapt from the screen.”

“Mo brings a great stability and a great loyalty, and you just have a sense that you’re being protected and you’re safe with Mo around,” Birmingham says of Brings Plenty’s character. Credit…Barrett Emke for The New York Times

The dynamics among the Native American characters on the broadly drawn “Yellowstone” are probably the show’s most nuanced. Thomas Rainwater, the most prominent Native character, did not grow up on the reservation; he is a suit-and-tie-wearing graduate of Harvard Business School who applies his knowledge to his duties as chairman of the Confederated Tribes of Broken Rock. Mo did grow up on the reservation; one could argue that he operates closer to the culture than his boss. Angela Blue Thunder is also from the reservation, and she has scores to settle with the Dutton family.

They all have one thing in common: They want the land that they see as rightfully theirs — and that the Duttons fiercely protect as their own.

“Mo brings a great cultural anchoring, and a perspective that tries to balance out the kind of world that Thomas Rainwater is operating in — that is, a system of laws and paradigms that aren’t familiar for, or operated by, the Native people,” Birmingham said of Brings Plenty’s character. “Mo brings a great stability and a great loyalty, and you just have a sense that you’re being protected and you’re safe with Mo around.”

These are heady times for Native American representation on television, with a great quantity and range of characters and stories. “Dark Winds,” on AMC +, follows two Navajo policemen investigating a mysterious double murder. ABC’s “Alaska Daily,” about the doings of a scrappy Anchorage newspaper, shines a light on the crisis of murdered and missing Indigenous women, a subject also featured on “Yellowstone” and in Sheridan’s 2017 film “Wind River” (its cast includes Birmingham and Asbille of “Yellowstone”). Hulu’s “Reservation Dogs,” a droll comedy about four teenagers growing up on an Oklahoma reservation, won a prestigious Peabody Award.

“‘Yellowstone’ was the catalyst to make room, to give space and inspiration for others to get involved with Native stories and give Native people opportunities,” Brings Plenty said. “We’ve often been left behind, but the way I see it and understand it, Taylor Sheridan said: ‘Come on, let’s go. That’s enough of you guys being back there. Let’s bring you up to the forefront.’”

Sheridan says it’s a matter of accuracy.

“One cannot accurately tell the story of the West without telling the story of the original inhabitants of the region,” he said. “Sure, ‘Yellowstone’ is highly dramatized, but the story lines are all rooted in truth. To ignore the impact of our settlement on Native people is to tell half the story. And the Native American half has been habitually ignored by the entertainment industry. We don’t ignore it. We look right at it.”

For Brings Plenty, it’s all about honoring his culture and his ancestors — not just other Lakota, but all Native Americans.

“My grandparents, they always said: ‘Speak Indian. Dance Indian. Sing Indian,’” he said. “They never said, ‘Speak Lakota’ — everything was Indian. So we try to remember those teachings and pass them on.”

28 Nov 2022 0 comment
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Is Bilal Baig Ready for Fame? Sort Of.

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

Only a few minutes after the writer and performer Bilal Baig arrived at an upstairs gallery of the Whitney Museum of American Art, a fan approached.

“Are you in a Canadian TV show?” a man in a pink shirt said. “It’s the best show ever.”

Baig acknowledged the compliment politely, though so quietly as to discourage further conversation. The man’s wistful closing salvo: “I’ll never be as cool as you.”

On that morning at the Whitney, Baig, 28, did look chic, in a knit dress, teal trench coat and high-heeled boots. Most people don’t wear jewel-toned leather without some comfort in visibility. But for Baig, a Toronto native and a queer transfeminine Muslim artist at the mostly sweet center of overlapping identities, being seen has its complications. (Baig typically uses they/them pronouns but accepts others. “Anything except the pronouns I was given,” they said. “Also, gender to me is so much about what other people are throwing on. I’m just rolling with it.”)

In “Sort Of,” the HBO Max half-hour comedy Baig created with the writer and performer Fab Filippo, Baig stars as Sabi Mehboob, a gender nonbinary nanny and bartender. Baig is not Sabi. Sabi trained as an electrician; Baig studied theater. And Baig has been out for years longer, and in generally more accepting places. Yet overlap remains. Both share a watchfulness, as well as a sense of humor so dry it’s practically a weather event.

Baig with Amanda Cordner in “Sort Of,” which returns for its second season on Dec. 1.Credit…HBO Max

When asked about similarities, Baig said, “The thing that I feel most connected to with that character is the level of guardedness, which is probably common in the transfeminine experience. I understand why Sabi doesn’t trust the world and trust people in general. I get that on a deep psychological level.

“There is always a piece of, Is someone going to hurt me?” Baig continued. “Is someone looking at me in a way that maybe isn’t exactly how I want them to look at me? It’s fascinating. I live that every day.”

“Sort Of,” which returns to HBO Max for a second season on Dec. 1, got started in 2018. Baig, a recent theater graduate who had a small role in a Toronto play, began chatting backstage with Filippo, who was also in the cast. Filippo suggested collaborating on a TV show, specifically a TV show inspired by Baig’s life. Baig had never really done TV before and was seriously considering abandoning acting for nonprofit work. But the idea was intriguing.

“It felt challenging and scary,” Baig said. “So I really wanted to do it.”

There were more conversations. Filippo recalled a day early on in which he admitted struggling with ‘they’ as a singular pronoun. “Like, ‘I just can’t get around the plural,’” he recalled saying. “And Bilal very gently said, ‘Or maybe you don’t quite see me yet.’ They held this really strong line with a kind of grace that was really exceptional.”

Together the two creators decided that “Sort Of,” which grew to include the family for which Sabi nannies and also Sabi’s own families, biological and found, would focus on identity and transition in a general sense, not a particular one. A mellow, finely observed comedy, it recognizes that almost all of us are in transition in one way or another, if we will only stop to notice.

Themes and questions that might have seemed pertinent — How does Sabi identify? Will people accept Sabi? Will people find Sabi attractive? — are mostly settled or not especially important. Instead, Baig and Filippo modeled the comedy on that of other shows about 20-somethings juggling jobs, friends and romantic partners.

“If we just don’t change much about that but insert this body, this skin color, this gender into it, that felt fresh and funny to us,” Baig said. “And like, it’s possible.”

Some elements were borrowed, directly or circuitously, from Baig’s life. Many of Sabi’s habits of gesture and expression are Baig all the way — the long pauses, the crushing deadpan, the purposefully blank expression. Sabi’s relationship with their parents doesn’t map onto Baig’s exactly. But Sabi does experience estrangement, particularly from their father. And Baig feels some estrangement, too.

“The ties between us are, I feel, quite unraveled,” Baig said of their parents. “They know about the show. They know about how I move through the world. But it’s not rosy at all.”

And yet Baig moves through the world with more sureness than Sabi, even as performer and character share a belief that the world may not always be welcoming. Ellora Patnaik, the actress who plays Sabi’s mother, has known Baig for years.

“Bilal is in a place of much more confidence, and awareness, and really looking forward to the future with more certainty than uncertainty,” Patnaik said in a recent interview. “Not that everything is rock solid, especially in their community. But they can look at things and really, really feel like they have a bit more control over their life. Sabi, they’re still searching.”

The creators didn’t want that search to feel singular. Baig and Filippo were determined to show a variety of genders, ages and sexual and racial identities, suggesting a rich spectrum of human experience rather than fixed points. And mindful of shows in which queer and transgender characters meet tragic ends, they wanted to provide a counternarrative.

“That was actually easy,” Baig said. “All we had to do was not show Sabi getting killed. Literally, that was it.”

Yet, “Sort Of” advances no particular agenda, and if the show is provocative, that provocation comes from its lived-in tone, its quietness, its broad acceptance of its characters.

“I get human beings,” Baig said. “I get excited by them. I want to throw them in spaces where they’re talking to each other.”

“The thing that I feel most connected to with that character is the level of guardedness,” Baig said about Sabi, the protagonist of “Sort Of.”Credit…Yael Malka for The New York Times

A company called Sphere Media put up the money for a sizzle reel, which convinced the Canadian Broadcasting Company to order the series. Just before filming began, HBO Max joined, too, which Baig described as terrifying: “It’s the pressure of, OK, we’ll be reaching so many more people.”

“Sort Of” was spared the pressure of being the first show to orbit a nonbinary main character. That honor likely goes to Mae Martin’s Netflix comedy “Feel Good.” But that first shoot, which began at the height of the pandemic, still felt fraught.

“Everybody thought they were going to die,” Filippo said. “Going to work was pretty scary.”

Everyone made it through, and the show, which debuted in November 2021, quickly became a critic’s darling. (“It is the kind of representation everyone deserves,” a critic from Mashable wrote, “and ‘Sort Of’ makes it look easy.”) It received a Peabody and won the best comedy prize at the Canadian Screen Awards. Baig declined to submit in either the actor or actress categories, which helped nudge the awards toward removing gender from its acting categories altogether.

This approval has brought Baig a level of fame that is just on the edge of comfortable. At the Whitney, I had planned to ask whether Baig was famous-famous or still only Canada-famous, which was when the man in the pink shirt approached. Turns out the man was from Toronto, so that was one answer.

Baig said: “Especially in Toronto, there’s a respect. People say really nice things and then totally leave me alone.”

If fame has never been the goal, Baig appreciates the opportunities it provides to tell more stories, stories that aren’t necessarily Baig’s own. “There’s more I want to create and say,” they said.

In the meantime, Baig would welcome at least a third season to round off Sabi’s story. This next season focuses on love, in all of its forms. An additional season might see Sabi settling even deeper into their identity.

“These walls that are up for them are just very slowly coming down,” Baig said.

Baig has walls, too, of course, and they’ll come down or they won’t. But this sense of apartness, of reserve, has made Baig a keen observer of human behavior, a quality that twines with an innate empathy to produce the distinctive tone of “Sort Of” — caustic, melancholy, ultimately generous.

An hour into the visit, we had taken the stairs down to an exhibit of Edward Hopper paintings. Baig paused at a painting of a woman sitting up in bed, lit by a low morning sun.

“This feels like something I would do,” Baig said. “I’m good with it. I think sad people are fascinating.”

28 Nov 2022 0 comment
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A Modernist London Refuge Drawn From Europe’s Aesthetic Past

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

IN THE SHADOW of Claridge’s hotel, a black iron gate marks the entrance to an otherwise hidden address. Cut into a red-and-yellow brick wall in Brook’s Mews, a cobblestone artery in London’s Mayfair neighborhood, it gives way to a private passage. This narrow alley, the proportions of which summon a darker, Dickensian past, leads to a compact courtyard, marked only by a pair of olive trees that shield the entrance to a contemporary office building.

Built as an extension to the back of a Grade II-listed terraced house on Grosvenor Street, this faceless glass structure conveys nothing of the ground-floor interior within. Devised by Alexy Kos and Che Huang of the London design firm Child Studio as a hybrid work and social space for the Iranian hotelier Navid Mirtorabi — who recently opened the Twenty Two, a nearby hotel and private members’ club — the Art Deco-inflected sanctuary is outfitted with rich materials like velvet and oak, curvaceous lines and eclectic objets d’art. It’s a mix largely inspired by the grand salon in the 1970s Left Bank apartment of Yves Saint Laurent and Pierre Bergé; in tribute, Kos, 39, and Huang, 36, named their creation the Brook’s Mews Salon (although Mirtorabi prefers simply the Digs).

In the lounge, folding plywood screens by Charles and Ray Eames flanking a linen-covered sofa, a Lampampe lamp by Ingo Maurer on a Calacatta Viola marble plinth and a maple coffee table and bookcase designed by Child Studio.Credit…Lee Whittaker

After an era of remote working, when screens became our main portal for connection, the salon, a sumptuous private space for meetings, drinks and intimate social gatherings, feels at once romantic and ripe for revival. Here, the objects seem to be communing, exactly the mood Mirtorabi hoped to invoke when he asked the designers to create an extension of a living room.

At the Brook’s Mews Salon, guests enter into a rectangular lounge room with a basket-weave-patterned parquet oak floor. Four white plaster columns frame the central seating area, where a pair of low-slung Hay sofas flank a Charlotte Perriand-inspired octagonal coffee table designed by Child Studio. Beyond it, two ethereal Ingo Maurer paper lamps positioned on Calacatta Viola marble plinths draw the eye toward a “ghost fireplace,” as Kos calls it; fashioned from wire mesh and plaster, it swells from the wall like a wave.

In the study, a work by the Iranian painter Massoud Arabshahi and a 1950s Italian floor lamp by Stilnovo with opaline glass shades, behind Cassina’s Pierre Jeanneret Capitol Complex teak office chair with a cane back. Vintage prints and lithographs by Jean Dubuffet, Georges Braque, Karel Appel and other 20th-century artists lean against the wall.Credit…Lee Whittaker
In the lounge, an African sculpture made of carved wood and black-glazed Scandinavian ceramics on the plaster fireplace.Credit…Lee Whittaker

At the back of the room, on a fluted bar cabinet, a collection of more than 200 pieces of vintage English crystal-cut glassware conveys the space’s after-hours life. The adjacent dining area is bordered on one side by a glass-brick room divider that cordons off the kitchen, and its wooden display shelves are backed with white-veined, claret Rosso Levanto marble: The contrast of materials pays homage to Adolf Loos, the turn-of the-20th-century Moravian master of utilitarianism, a lodestar for Child Studio’s two principals.

In the study, the 1960s Presidente desk lamp by the Spanish designer Pedro Martin sits on a custom leather-top desk with a brass Flame sconce by Svend Aage Holm-Sørensen on the wooden wall paneling.Credit…Lee Whittaker

To the right of the entrance is a 150-square-foot study hung with 20th-century paintings by Massoud Arabshahi and Mohammad Ehsai from Mirtorabi’s collection of Persian and Iranian art. Next to a bespoke leather-topped writing desk, which borrows from Le Corbusier’s Côte d’Azur holiday home, Cabanon, built in 1951, a bookcase wall is filled with lithographs by Jean Cocteau and Georges Braque. Throughout, the matching wooden cabinets are crowded with flea market finds — folk art, curated souvenirs and English pottery — which, Huang says, “suggest the idea of far-flung journeys, the lost sentimentality of travel.” 

Underneath a skylight, a Pernilla lounge chair designed by Bruno Mathsson, next to a brass pharmacy lamp and an 18th-century English landscape painting.Credit…Lee Whittaker

OVER THE PAST half-decade or so, Child Studio has become known for creating commercial interiors with a nostalgic sense of place: The pair’s first project for Mirtorabi was Humble, a vegan restaurant that opened on King’s Road in 2019, with a deliberately retro milky pink Formica interior.

The duo first met at University of the Arts London in 2009, where Kos studied spatial design and Huang furniture making. After working for large firms, they presented a collection of lighting informed by the 20th-century paintings of Giorgio de Chirico at 2017’s Salone del Mobile and launched their studio a year later. Huang, who grew up in Taichung City in west-central Taiwan, spent his youth touring residential sites with his father, an architect. The son of psychology professors, Kos was raised in Shabolovka, an area of Moscow known for its Constructivist architecture, then attended the Stroganov Academy, often referred to as the Soviet Bauhaus.

Huang, left, and Kos in the lounge.Credit…Lee Whittaker
In the lounge, a curved drinks cabinet designed by Child Studio, made of sapele wood with Rosso Levanto marble shelves.Credit…Lee Whittaker

“We go back to Modernism a lot,” he says, “but always find slightly offbeat references within it.” As the studio’s name suggests, they approach European history with childlike curiosity — their diverse backgrounds encourage a sort of “borderless design,” Huang says. The salon, he adds, already forms the “physical mood board” for their next Mirtorabi commission: a conversion of a six-story Romanesque Revival building near New York’s Union Square that will open next year as a 76-room hotel. “We don’t have a default mutual background to fall back on,” says Kos. “So if something makes sense to both of us, it means an idea translates.”

28 Nov 2022 0 comment
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A Tall Vase Inspired by Bodega Flower Stands

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

The ceramist Reinaldo Sanguino became obsessed with clay as a boy in Caracas, Venezuela, where he would go down to the river and shape the mud with his hands. Now 49, he came to the United States in his 20s to study at the Haystack Mountain School of Crafts in Maine for a summer and, after laboring for years on the trade show and art fair circuit, was discovered around 2012 by David Alhadeff, the founder of the New York City-based Future Perfect design gallery. Sanguino, who often starts with a simple hand-built or wheel-thrown clay form, makes stools, hanging wall pieces and tables, as well as monumental vessels, in his Long Island City, Queens, studio, then transforms the material with a glazing process to produce one-of-a-kind creations characterized by saturated shocks of colors, metallic glimmers and hints of oatmeal, with knotted or stitched-together pieces of fabric, yarn or burlap for texture. This two-foot-tall vase, which suggests an amphora, has craggy holes on the sides for branches or blossoms; unlike some art potters, he intends for most of his work, however precious, to be used. “I’m inspired by the rough beauty of bodega flower stands, which are staffed by immigrants,” he says. “The point is always to be real.” The Other Series vase, $10,000, thefutureperfect.com.

Photo assistant: Brandon Chau

28 Nov 2022 0 comment
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Have the Anticapitalists Reached Harvard Business School?

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

At Harvard Business School, inside a seminar room with a smattering of button-down shirts and puffy fall jackets, a group of future corporate managers were talking about capitalism. What makes capitalism truly and purely capitalism? What are its essential components? Property rights. Financial markets.

“Maybe this is almost so foundational that it’s too much to put on the board — but scarcity?” said Andrew Gibbs, 32, a second-year student who came to Harvard by way of the military. “Would it be capitalism if people were comfortable?”

Prof. Debora Spar, who teaches the widely sought-after course “Capitalism and the State,” turned to Mr. Gibbs with the eye glimmer of an instructor who knows the conversation is about to get heated. “Would you go so far as to say a necessary condition for capitalism is scarcity, which is going to drive inequality?”

Mr. Gibbs paused, contemplating. “I would say so.”

On the blackboard it went: Capitalism. Scarcity. Inequality.

Every year, some 250,000 young people step off the treadmill of their jobs, many in consulting and private equity, to chase skills and credentials that will turbocharge their future roles in consulting and private equity — by going to business school. They study accounting and negotiation. They learn about D.C.F.s (discounted cash flows) and the three C’s (company, customers and competitors). They emerge with the ability to at least feign intimate knowledge of the godfather of shareholder primacy, referred to in one classroom as “our buddy Milton Friedman.”

But today’s business school students are also learning about corporate social obligations and how to rethink capitalism, a curriculum shift at elite institutions that reflects a change in corporate culture as a whole. Political leaders on the left and right are calling for business leaders to reconsider their societal responsibilities. On the left, they argue that business needs to play some role in confronting daunting global threats — a warming planet, fragile democracy. On the right, they chastise executives for distracting from profits by talking politics.

The corporate phenomenon of socially responsible investing, or E.S.G., has become a point of contention — as well as a $40 trillion industry. Elon Musk called it a “scam” after the S&P 500 removed Tesla from its Environmental, Social and Governance index last spring. Mike Pence, the former vice president, recently urged states to “rein in” E.S.G. BlackRock issued a letter in September trying to stave off critics by noting, essentially, that the investment firm’s focus on the environment wasn’t detracting from its core purpose: making money.

Meanwhile, many workers have spent recent years demanding that their employers take a more decisive stance on social issues like racial injustice and abortion.

A Wharton School class. What happens at Wharton, Harvard and other elite campuses offers a small glimpse of the changes in the corporate realm.Credit…Hannah Yoon for The New York Times

Top-ranked business schools are stepping into the political arena. Harvard started its Institute for the Study of Business in Global Society last month. Nearly half of the Yale School of Management’s core curriculum is devoted to E.S.G. Next fall, the Wharton School of the University of Pennsylvania will start offering M.B.A. majors in diversity, equity and inclusion and in environmental, social and governance factors for business.

What happens at Harvard, Wharton and other elite campuses offers a small glimpse of the changes in the corporate realm. But at the same time, their graduates tend to have outsize influence on business, shaping the values and policies of the companies they may one day run.

Business schools are not generally known for their radicalism, but their students and faculty are grappling, sometimes ambivalently, with fast-changing expectations of business’s role in society. Most students are frank about the prestigious jobs they want, with hefty salaries attached. Now, though, they’re facing sharper questions from classmates about how to balance their ambitions with some sense of responsibility to the public good.

“We’re at Harvard Business School — it’s a bastion of capitalism,” said Ethan Rouen, who teaches the Harvard class “Reimagining Capitalism.” “I will say, though, that if you look at the courses being offered, the institutes being created and speakers we bring on campus, there is a huge demand both from the faculty and the students for rethinking the obligation of the corporation to society.”

Inside classrooms, the range of views on corporate political engagement has broadened in recent years, according to people across leading business schools. Assumptions long woven into the syllabus are open for questioning: the wisdom of maximizing profits, the idea that America’s version of capitalism is functioning properly.

“There’s a conscious shift happening with professors wanting us to question: Is profit the only thing corporations should care about? How should businesses use their influence?” said Chinedum Egbosimba, 27, who studied engineering and then worked at Bain & Company before winding up at Harvard Business School and in Ms. Spar’s class.

“The classic school of thinking that businesses should only make money is very much alive,” he continued. “But many of my classmates look at the world we have today and say, ‘Yeah, there’s clearly some things about this system we need to fix.’”

At Harvard, in “Capitalism and the State,” colloquially known as CATS, Ms. Spar asked her students to flip their name cards sideways if they felt globalization was ultimately a good system. She paced excitedly, cheetah-print shoes roving the classroom floor.

After some mumbling and paper shuffling, about 80 percent of the students flipped their placards, signaling a thumbs-up on globalization. Mr. Egbosimba disagreed. Leaning forward in his back-row seat, he asked his classmates to rethink the view that had given rise to the world as they knew it — the International Monetary Fund, Hyatt hotels around the world and McDonald’s golden arches at every airport.

“I’m from the global south, the old colonies of the West,” said Mr. Egbosimba, who grew up in Nigeria. “Maybe there’s some version of this idea that could have led to acceptance and peace, but it’s not the one we built. As a victim of it, I can say that with confidence.”

His classmate Alan Xie, 28, piped up in agreement. “The distrust of elites connected to capitalism undermines the whole globalization project,” he said. “We’ve actually imported illiberalism as a result of having nice stuff.”

Still, most of their classmates remained in favor of a globalized economy. Ms. Spar summed up their arguments succinctly: “We’ve got growth. We’ve got nice stuff,” she said. “It worked.”

To which Rachel Orol, 29, seated in the front row, replied: “It worked for us.”

A committed anticapitalist might feel as comfortable at Harvard Business School as an avowed atheist across the river at the Divinity School. Still, management professors have realized that their students, more than in previous decades, are looking for lessons that go beyond accounting. They want to discuss business’s role in society, how it has created social ills and how it may help solve them.

Mr. Rouen, at Harvard, said the demand for classes on social impact and E.S.G. had been so high that those themes had been integrated into nearly every introductory class, including accounting. Curtis Welling, a professor at Dartmouth’s Tuck School of Business, asks his students every year whether capitalism needs to be reformed. A decade ago, roughly one-third said yes. This year, two-thirds said yes.

“The biggest single trend in management education over the last 15 years has been examining the social contract,” Mr. Welling said.

Nitin Manivasagan, right, with his classmates in a “Responsibility of Business” class at Wharton last week.Credit…Hannah Yoon for The New York Times

At Wharton, in a class called “Responsibility in Business,” students debated whether the cryptocurrency company Coinbase had misstepped in telling its employees in 2020 that they could not discuss politics in the workplace. Yuta Kato, 29, who previously worked as a trader, suggested that Coinbase could evaluate the merits of its decision by looking at the historical effect of similar policies on stock prices.

“Why is that the right answer?” asked Kevin Werbach, a Wharton professor.

“Because the company is beholden to its shareholders,” Mr. Kato said. “Obviously.”

At this notion, the class chuckled. Mr. Kato later explained that he had volunteered this Milton Friedman gospel only because he figured that nobody else would. His interest in a class about ethics and social responsibility, he explained, was seeded by following different scandals in business: Elizabeth Holmes’s tenure at the now defunct blood-testing start-up Theranos, Martin Shkreli’s conviction on securities fraud.

“Five years ago I never would have considered this a core part of business school,” Mr. Kato said. “It’s just as important to learn how to think about ethical problem-solving as it is to learn about strategic problem-solving.”

This isn’t the first moment of tumult prompting business schools to undergo serious cultural renovation. The Ford Foundation in 1959 published a reportconcluding that “the gap between what society needs and what the business schools are offering has grown wide enough for all to see.” Business schools started to expand their focus on ethics and society.

The early months of the pandemic provided the impetus for another existential crisis.

Prof. Debora Spar of Harvard Business School came up with her course, “Capitalism and the State,” early in the pandemic.Credit…Tony Luong for The New York Times

When Ms. Spar was quarantining at home in the summer of 2020, Harvard administrators asked their faculty to consider what new courses might entice a flock of restless students, who might be doing M.B.A.s online, from their bedrooms. Ms. Spar was watching the news — markets going haywire, corporations putting out statements on Black Lives Matter, pharmaceutical companies racing to develop vaccines — and decided to try to put together a class answering her own most fiery questions, as she put it: “Why was capitalism under attack? How valid were those attacks?”

She thought students might be dissuaded by the hefty syllabus she had assembled: Adam Smith, John Locke, Karl Marx, Friedrich Hayek. Instead they ended up asking her to add Thomas Hobbes, Vladimir Lenin and Friedrich Engels.

Ms. Spar wanted to cap it at 30 students this year, but was oversubscribed and allowed it to reach 35. Largely forgoing the traditional business school case study method, she oversees lively debates, some set off by cultural prompts like a 1971 Coca-Cola ad (“I’d Like to Teach the World to Sing”) and a Grateful Dead song (“Truckin’”).

But Ms. Spar is the first to acknowledge that the questions animating her class remain outside business school norms. Administrators, after all, tend to be less attuned to the demands of young progressives than they are to the interests of the employers poised to hire their graduates.

“In the dean’s view, the business community is their primary stakeholder,” said Jim O’Toole, a former executive vice president of the Aspen Institute, a think tank. “The ranking of the business school is reflected in who hires the students. In their reading, most businesses are not trying to hire woke students.”

Business school leaders — most likely knowing that donors are listening — emphasize that their new courses and concentrations are simply answering the demand for political conversations in the corporate world, not pushing a progressive view.

“It’s not because we’re woke. It’s not because we’re driving an ideological agenda,” said Witold Henisz, Wharton’s vice dean and faculty head of the E.S.G. initiative. “It’s because it’s economics.”

And many of the students taking courses about challenging capitalism aren’t letting those big classroom questions overtake the ambitions that landed them in business school in the first place.

“Basically, once a day I’ll have a conversation with someone trying to convince them not to do consulting or banking,” said Aaron Sabin, 27, a Harvard Business School student who is working in climate technology. “It’s usually not successful.”

Ms. Spar asked her students to conclude the class thinking about problems far larger than any single embattled business.

“If I hadn’t blown the time so badly, this is the question I was going to end on,” Ms. Spar said. “One hundred years from now when we teach globalization at Harvard Business School, what’s the story going to be? Is it going to be ‘We had some bumps along the way, but we got there’? Or, ‘That was a disaster’?”

The students began to pack up. On the blackboard remained the notes from their wide-ranging debate. “Winners,” read one corner. “Elites in west.”

28 Nov 2022 0 comment
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Meta Fined $275 Million for Breaking E.U. Data Privacy Law

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

LONDON — In the latest penalty against Meta for violating European privacy rules, the tech giant was fined roughly $275 million on Monday for a data breach discovered last year that led to the personal information of more than 500 million Facebook users being leaked online.

The penalty, imposed by Ireland’s Data Protection Commission, brings to more than $900 million the regulator has fined Meta since last year. In September, the same regulator fined the company roughly $400 million for its mistreatment of children’s data. Last October, Irish authorities fined Meta, which was previously called Facebook, 225 million euros, or about $235 million, for violations related to its messaging service WhatsApp.

The accumulating penalties will be a welcome sign to privacy groups that want to see European Union regulators more aggressively enforce the General Data Protection Regulation, or G.D.P.R The law was hailed as a landmark moment in the regulation of technology companies when it took effect in 2018, but regulators have since faced criticism for not applying the rules strongly enough.

Meta did not immediately respond to a request for comment.

Ireland has been under pressure because of the key role it plays in enforcing E.U. data protection rules. The country is tasked with policing tech companies’ compliance with the 2018 law as a result of companies such as Meta, Google and Twitter all locating their E.U. headquarters in Ireland. TikTok, which also set up a E.U. hub in Ireland, is the subject of another investigation there.

The fine issued on Monday stems from an investigation started last year by Irish regulators into reports that Facebook had made public data that included users’ names, locations and birth dates, in violation of rules that require companies to safeguard personal information.

Meta is not the only tech giant facing scrutiny. Last year Amazon was fined nearly 750 million euros over its online advertising practices by regulators in Luxembourg, where it has its European headquarters. In January, Google was fined 90 million euros by French regulators for violations related to the data collection of YouTube users.

28 Nov 2022 0 comment
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Yahoo Takes Minority Stake in Ad Network Taboola

by SITKI KOVALI 28 Nov 2022
written by SITKI KOVALI

Yahoo is deepening its push into digital advertising, even as its competitors warn that the market is faltering.

The internet pioneer, which was taken private in a $5 billion deal last year, is taking a roughly 25 percent stake in Taboola, the company known for serving up attention-grabbing links on websites, the chief executives of the companies said in an interview. The deal is part of a 30-year exclusive advertising partnership that allows Yahoo to use Taboola’s technology to manage its sizable business in native advertising — ads that have the characteristics of traditional news and entertainment content.

Shares of Taboola have fallen nearly 80 percent over the past year, amid broader doldrums in the public and advertising markets, giving it a market capitalization of $455 million. Last January, when Taboola struck a deal to merge with a special purpose acquisition company, or SPAC, it was valued at $2.6 billion.

Executives at companies like Meta and TikTok have warned that advertisers skittish about the economy have pulled back on their spending. But Jim Lanzone, the chief executive of Yahoo, said in an interview that the deal with Taboola puts both companies in a good position for when the ad market revives.

“I’m thinking, you know, five, 10, 30 years,” Mr. Lanzone said. “Digital advertising has huge wind at its back over the long term.” He added that while the company will continue to try to bring in money in other ways, such as expanding its subscription business or investing in e-commerce, “we have hundreds of millions of people consuming news and sports and finance on market-leading properties that are heavily monetized through advertising — and will continue to be.”

Yahoo, a giant of the early internet, was eclipsed over the years by tech rivals like Alphabet’s Google and Meta’s Facebook. The company endured a messy power struggle and shaky leadership as it matured, leading to layoffs and shifts in strategy.

The company was taken private by the investment firm Apollo Global Management in the hopes that new leadership and a respite from the public markets would give it a chance to grow. Yahoo says it has about 900 million monthly users of its properties, which include AOL, TechCrunch and Yahoo Sports, making it one of the largest destinations on the web.

Taboola, founded in 2007, specializes in native advertising, operating a sprawling advertising network over thousands of well-known websites, including CNBC, NBC News and Insider.

The deal with Yahoo gives Taboola the exclusive license to sell native ads across Yahoo’s sites, and the companies will share revenue from those ad sales. The companies did not disclose the terms of the revenue split.

Yahoo and Taboola estimate that the deal will generate at least $1 billion in revenue annually. Yahoo, which will become Taboola’s largest shareholder, will also get a seat on the company’s board. And Yahoo advertisers will have the ability to sell their ads on sites across Taboola’s network.

“Everywhere I look at Yahoo, I see rocket ships,” said Adam Singolda, Taboola’s chief executive.

Taboola and its rival, Outbrain, have been locked in a multiyear battle to sign exclusive advertising agreements with publishers. They once struck a deal to merge, but they called it off in 2020 and each went public a year later.

Taboola this month reported roughly $332 million in revenues for the third quarter, down about 2 percent from the year before, a decline it attributed partly to weakness in the digital advertising market.

Yahoo, for its part, is looking to build up each product within its mini media empire and capitalize on its audience. Mr. Lanzone has also said Yahoo is open to spinning off some of its popular websites into stand-alone public companies.

But it’s also possible that Yahoo will stay intact as a holding company for its websites, he said, and that the holding company will be bolstered by additional deals. The company in September said it acquired The Factual, a company that uses algorithms to evaluate the trustworthiness of news websites.

“We’ve definitely been very aggressive in looking at areas of where we might innovate where we might partner or acquire,” Mr. Lanzone said.

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