Chance the Rapper has purchased the Chicagoist website from WNYC, who bought the site along with Gothamist last year. “WNYC’s commitment to finding homes for the ‘ist’ brands, including Chicagoist, was an essential part of continuing the legacy and integrity of the site,” Chance said in a statement. “I look forward to relaunching it and bringing the people of Chicago an independent media outlet focused on amplifying diverse voices and content.”
Caitlin Moran talks to Entertainment Weekly about writing her latest novel, How to be Famous, during the start of the #MeToo movement. “I’d always known the plot was going to be [main character Johanna] would be hanging around all these famous people, she would have sex with a famous person in the industry, and he’d have a sex tape of her and use it to shame her,” she explained. “And then the Harvey Weinstein stuff started to break. . . . Hundreds of women who were in exactly the same position as Johanna were basically doing what she does in the book: showing that the only way to reverse shame is to not keep it a secret and talk about it.”
Alexander Chee and Paul Holdengraber discuss mentorship, political activism, and novel-writing.
At the New York Times, Michael Grynbaum reflects on the slow-growing solidarity between White House correspondents after The Hill’s Jordan Fabian allowed NBC’s Hallie Jackson to ask a follow-up question instead of asking his own. “Covering the White House is among the most competitive jobs in Washington journalism, a fact that press secretaries are keen to exploit. Between the demands of story-hungry editors — and a shot at cable-news glory — few reporters pass up a chance to ask a question on live TV,” Grynbaum explains. “So Mr. Fabian’s gesture, which caught Ms. Sanders off guard, quickly resonated beyond the West Wing.”
Josephine Livingstone looks at the open secret of branded content in women’s media and how the practice has changed in the digital age. “There exists not a single mainstream women’s magazine that does not rely on money from the fashion and beauty industries. . . . Vogue cannot run a huge story criticizing a brand that advertises in its pages,” she writes. “The difference between today’s women’s media scam and yesterday’s is that the advertising is now hiding in “native” content, and the scummy clickbait is packaged better. Instead of sitting in a box next to a trashy article about celebrities, lucrative advertising these days lurks inside content that simulates ethical, feminist journalism.”