Parsing the Plagarism of Fareed Zakaria With Fareed Zakaria accused of plagiarism, V.F.’s columnist (Zakaria's onetime boss) examines the fine line writers walk—and whether the pundit crossed it. BY MICHAEL KINSLEY
Somewhere between plagiarism and homage, there is a line. Fareed stepped over it. For example, way back in 1998, he wrote an article for Slate about the glories of the martini. American Heritage magazine had run an article on the same subject the previous year, by Max Rudin. Rudin wrote that the martini “had acquired formal perfection, a glamorous mystique.” He also noted that Franklin D. Roosevelt “liked his with a teaspoon of olive brine.” In his own article, Fareed wrote that the martini had “acquired an air of mystery and glamour” and then noted that F.D.R. “added to the standard recipes”—can you guess? right!—“one teaspoon of olive brine.”
In a memo to me, Fareed makes a vigorous and often persuasive defense of himself. Unfortunately, CNN won’t let it be quoted. When he acknowledged making a mistake, at the time of his suspension, he didn’t just use the classic Nixonian passive-voice evasive formula, “Mistakes were made.” However, conscious changes in wording like the ones about the martini are not “mistakes” in the sense of something inadvertent or accidental. Fareed made these little changes in order to disguise his borrowing. His pursuers cite many examples (including this one).
（Wikipedia） Plagiarism controversies Zakaria was suspended for a week in August 2012 while Time and CNN investigated an allegation of plagiarism involving an August 20 column on gun control with similarities to a New Yorker article by Jill Lepore. In a statement Zakaria apologized, saying that he had made "a terrible mistake." Six days later, after a review of his research notes and years of prior commentary, Time and CNN reinstated Zakaria. Time described the incident as "isolated" and "unintentional"; and CNN said, “we found nothing that merited continuing the suspension...."
The controversy intensified in September 2014, when Esquire and The Week magazines reported new allegations that were first identified and documented in pseudonymous blogs. Newsweek added a blanket plagiarism warning to its archive of articles penned by Zakaria, before altering it to appear in seven specific articles that Newsweek felt warranted it. On November 10, 2014, Slate and The Washington Post added corrections to their articles by Zakaria. Slate warned on one that, "This piece does not meet Slate’s editorial standards, having failed to properly attribute quotations and information...". Slate executive Jacob Weisberg, who, months before, exchanged barbs with one of the aforementioned anonymous bloggers on Twitter in defense of Zakaria, kept his original position that what Zakaria did was not plagiarism. The Washington Post in turn told the Poynter media industry news site that it would be investigating the new batch of allegations against Zakaria. Later on the same day, November 10, the Post said that it had found "problematic" sourcing in five Zakaria columns, "and will likely note the lack of attribution in archived editions of the articles."
In total, some 26 individual reports attributed to Zakaria have been found to possess questionable passages.
盗用を告発したサイトOur Bad Mediaが作成した動画をみると一発です。
SEP 22, 2014 @ 10:55 AMNEWS & POLITICSJUST CNN Does Not Get to Cherrypick the Rules of Journalism The news is evolving. Old media is not evolving with it. BY CRUSHING BORT AND BLIPPO BLAPPO
Newsweekのインタビューに応じていました。きっと検証ソフトにでもかけたのだろうと思ったらそういうのは使っていいないと主張しています。sudden shifts in voice; inaccurate statistics; and the deployment of incredibly specific factsなどが盗用の兆候だそうです。
NW: Tell me about your methods. How do you go about finding specific instances of malfeasance? Paint me a picture of the process.
BB: We do what any diligent editor would when marking up a piece, with an eye toward: research claimed as “original” that seems beyond the skill of the author; sudden shifts in voice; inaccurate statistics; and the deployment of incredibly specific facts. There was surprise that we were able to find Zakaria’s theft without the use of anti-plagiarism software (we don’t use software because, well, it’s expensive, and considering the lengths some will go to cover up their lifting, it’s hard to know if those programs would be adequate in ferreting out theft). What we’re surprised about is that any editor could have read Zakaria’s pieces and not have found clear theft. Many of the examples stuck out like a sore thumb, even to the untrained eye.
NW: Why did you choose to be anonymous? Do you think your anonymity has helped or hurt your cause? Would you ever consider shedding your anonymity? Do you expect it to last?
CB: Like a lot of other people on Twitter, we’ve just used the site as an anonymous outlet to shoot the shit, joke around and catch up on news. We were anonymous before we ever posted anything on OBM. While we’d like to think that calling out blatant plagiarism is a nonpartisan good deed that wouldn’t result in any sort of underhanded backlash, we don’t feel an overriding need to test that theory. Brian Stelter reinforced that recently when he went on a multibillion dollar news network to trash our work without ever feeling the need to seek or acknowledge any comment from us. As for whether that anonymity has hurt us, we’ve never felt that we’re the ones losing face here. Even assuming the worst-case scenario here where we’re some kind of Astroturf operation or hired guns (we’re not), the examples we’ve found are public and independently verifiable, as well as newsworthy for a number of reasons. Zakaria’s a big name who already had one well-reported instance of plagiarism that his outlets claimed was isolated. It very clearly wasn’t and it very clearly hasn’t stopped. If reporters pass on that story because we won’t give our names, I don’t think we’re the ones people would be raising eyebrows at. How many anonymous sources does the average reader already come across on any given day?
Note: Newsweek has established that this article does not meet editorial standards. It borrows extensively from June 1, 2004 remarks by John Kerry without proper attribution. Newsweek acknowledges the error.
There is also the tragedy that, in the middle of the development of the project, Kyle—a national hero and military legend who had had a bounty placed on him by insurgents—was shot to death on February 2, 2013, along with another man, on a shooting range near Stephenville, Texas. Kyle had co-founded a nonprofit called FITCO Cares Foundation, which supplied at-home fitness equipment for emotionally and physically wounded veterans. He was 38 years old. The alleged shooter, an ex-Marine named Eddie Ray Routh, who had served several deployments and was said to be suffering from post-traumatic stress disorder, has been charged with capital murder. Kyle, according to reports, had taken Routh to the range at Rough Creek Lodge as a show of camaraderie. It was something he had done before.
Cooper had talked to Kyle on the phone, but he never had a chance to meet him in person. “The terrible beauty of the story is how he died and his death,” Cooper tells me. “If you take that away, it’s a much different story.”
COVER STORY Bradley Cooper Ventures Far Outside His Comfort Zone in American Sniper With Silver Linings Playbook and American Hustle, Bradley Cooper earned star status, now on display in the Broadway revival of The Elephant Man. But with American Sniper, opening this month, Cooper reaches a whole new dimension, playing Navy SEAL Chris Kyle, who was murdered in 2013. Buzz Bissinger discovers what a huge challenge the role represented. BY BUZZ BISSINGER JANUARY 2015
Every day before going on location Bradley Cooper recited the six pages of exercises. They had been pieced together by his speech coach, Tim Monich, to further reinforce a Texas accent and dialect that Cooper knew, if it didn’t come to him automatically, would rob all credibility. In a film such as this, and a role such as this, the most challenging of Bradley Cooper’s career, there was no margin for error. Don’t get it right, don’t do the movie. There are many Texas accents in Texas. This particular one, because of all the places the real-life character once lived, had parts West Texas and country Texas and home-on-the-range Texas, a little bit southern, a little bit western, a little bit shitkicker, with idiosyncratic inconsistencies, and yet poetic in its truncation.
Chris Kyle himself was excited when he sold the rights and learned that Cooper was going to play him, although he did have a caveat: “I’m going to have to tie him to my truck, drag him down the street, and knock some of the pretty off of him.”
Bradley Cooper Ventures Far Outside His Comfort Zone in American Sniperという記事タイトルにもあったように、今までのイメージに果敢に挑戦しKyleに少しでも近づけるよういろいろ取り組んで映画に挑んだようです。
During his workouts, Cooper listened to the exact playlist that Kyle had when he worked out as a navy SEAL in Iraq in between shifts, sometimes as long as eight hours, enveloped in his own urine because there was no opportunity to take a break when they were targeting insurgents bent on killing American soldiers and suspected collaborators. Kyle is credited with at least 160 confirmed kills. Cooper bulked up from 185 to around 225. He started eating 5,000 calories a day. He was able at the end to do dead lifts of 415 pounds, five sets of eight reps each.
Former navy SEALs Rick Wallace and Kevin Lacz (he had served two deployments with Kyle) also trained him on how to hold and shoot the various weapons that Kyle utilized. Cooper never equaled the shot from 2,100 yards Kyle once made in Iraq, but he was able to hit targets from 600 yards. Lacz responded the way navy SEALs often respond to superb performance: he said nothing.
Cooper kept in character during the entirety of the shoot. He talked to his girlfriend, the 22-year-old British actress and model Suki Waterhouse, in character. He ordered food at a restaurant one night with dinner companions Miller and Eastwood in character: “Y’all got any red meat?” He argued over another film with producer Harvey Weinstein in character: Harvey, I just gotta tell ya, man, there’s no way that it’s gonna be possible for me to do this.
But it still doesn’t necessarily add up to a great performance. Maybe the expectations are too high. Maybe Bradley Cooper really is fucked.
Unbroken Featurette: How Miyavi Became Watanabe Angelina Jolie discusses casting Japanese musician Miyavi as the vicious P.O.W. camp guard Watanabe—not because he would enjoy playing a villain, but the exact opposite.
先月のVanity FairはAngelina JolieをWoman of the Yearに選んでいました。4000語近くの記事で、Unbrokenの撮影とブラピとの結婚や家族のことを中心に描いています。
Woman of the Year She’s a newlywed mother of six, a superstar with little trace of the diva, a woman who bears witness to the terrible things people do even as she continues to celebrate the human spirit. Whether advocating for refugees or directing the forthcoming World War II survival epic, Unbroken, Angelina Jolie lets Janine Di Giovanni accompany her around the globe, discussing kids, marriage, war, and the hero she just lost. BY JANINE DI GIOVANNI NOVEMBER 17, 2014 11:23 AM
そんな記事でもMiyaviのことを結構大きく取り上げています。
Jolie is now shooting scenes that depict those brutal days. Given the grim realities that the film explores, the atmosphere on the set is subdued, even somber. The skinny guys look haunted. In their trailers, the lead actors are also deep into character. Louis Zamperini's real-life nemesis was a vicious sergeant named Mutsuhiro Watanabe. For this role, Jolie has cast Miyavi, a striking Japanese pop star (real name: Takamasa Ishihara). Miyavi, 33, recalls that Jolie encouraged him to delve into the mind-set of the guard, so much so that after one particularly intense scene—which required him to beat Zamperini—he says he felt such physical revulsion he ended up vomiting. “It was awful torture for me to hate the other actors—I had to have hatred for them. When I had to beat them, I had to think of protecting my family. At the same time I didn't want to be just a bad guy. I wanted to put humanity in this role. [Mutsuhiro] was both crazy and sadistic, but also weak and traumatized.”
When Miyavi met Jolie in Tokyo (“At a nightclub!” he says, as a joke), he was unconvinced he could take on the role. “It's a story that is still painful for my country. But she told me she wanted to make a bridge between all countries that had conflict. She was very persuasive.” Even so, he confides, after filming some of the more violent torture scenes, “I couldn't stop crying.”
Unbroken, as it turns out, is a $65 million movie, with Oscar ambitions, Universal's imprimatur, and a rarefied pedigree. (Joel and Ethan Coen worked extensively on the script.) It's an entirely different film from Jolie's last directorial effort, In the Land of Blood and Honey. That picture, from 2011—while startling and powerful—was much more low-key and way less Hollywood.
This set, in fact, looks like something Clint Eastwood might have devised for his World War II diptych, Flags of Our Fathers and Letters from Iwo Jima. (Eastwood directed Jolie in one of her most stunning performances, as a grieving mother, in Changeling.) Jolie, however, says she sought inspiration less from Eastwood than from Sidney Lumet's 1965 film The Hill, a gripping wartime drama with Sean Connery set in a British military prison in North Africa.
The Bekaa Valley, Lebanon February 2014 In February, she takes a break from editing Unbroken in L.A. and lands at the Beirut-Rafic Hariri International Airport. Upon arriving, there is much hand-shaking, picture-taking, and government protocol. But she is unassuming, dressed in her standard field uniform: slim pants, ballerinas, and a loose blouse. She sticks to black, white, navy, and gray; they travel more easily.
She actually looks cheerful, despite the fact that she has just flown 7,500 miles—after logging long hours locked in an editing suite. She is a tight hugger. When I tell her she looks great, she shrugs and says, “It's good concealer.”
We head up to the Bekaa Valley. The refugee crisis here is dire, with more than two million (by this writing, in early fall, more than three million) people having fled the war in Syria for Jordan, Turkey, and elsewhere—many to Lebanon. Jolie spends the next day with children who have been displaced, seeking ways to cut through the red tape and helping to prioritize their needs for policymakers who are in a position to assist them. The following day, en route to a meeting with the prime minister of Lebanon, she makes a point of stopping off in the U.N.H.C.R. field office to have breakfast with the local personnel. One of the officers, who organizes the cars that shuttle between Beirut and the Bekaa, is longing for a photo of himself and Jolie—for his mother, he says. A sizable gathering of senior staff and local politicians is waiting to talk to her. But the moment she hears his request, she walks over, smiles brightly, and poses.
Just over a year ago, Brad Pitt was still her fiancé, starring in another World War II film, Fury, half a world away, in England. And the two would exchange handwritten notes—sending them off by regular mail—because that's what couples did during the war. Such details, and authenticity, are important to Jolie. In Bosnia, while shooting In the Land of Blood and Honey, she spoke to journalists who had reported on the war extensively to make sure that the radio reports in the film were portrayed accurately. She studied the history of the former Yugoslavia and conferred, on occasion, with veteran diplomat Richard Holbrooke, who had served as President Clinton's envoy to the Balkans and, later, as special representative to Pakistan and Afghanistan, reporting to Secretary of State Hillary Clinton. In a similar way, Jolie preps thoroughly for her humanitarian missions, getting briefed by trusted advisers at the U.N., by foreign-policy experts, and by colleagues from the Council on Foreign Relations, of which she is a member. Not too many people in the Directors Guild of America can say that.
Especially provocative is a passage in the book that accuses the Japanese of engaging in the cannibalism of POWs. It is not clear how much of that will be in the movie, but in Japan that is too much for some. “There was absolutely no cannibalism,” claimed Mutsuhiro Takeuchi, a nationalist-leaning educator and Shinto priest. “That is not our custom.”
Takeuchi acknowledged Jolie is free to make whatever movie she wants, stressing that Shinto believes in forgive-and-forget. But he urged Jolie to study history, saying executed war criminals were charged with political crimes, not torture.
The release of “Unbroken” comes at a time when some in Japan are downplaying its colonization of its Asian neighbors and the war of aggression waged by the Imperial Japanese Army as it entered World War II.
For example, some politicians dispute the role played by Imperial Japanese soldiers in the 1937 Nanjing Massacre, in which an estimated 300,000 Chinese were killed in a weekslong orgy of rape and murder. They say the tally is a vast overestimate.
Similarly, they reject historical studies that show women from several countries, especially Korea, were forced into prostitution by the Imperial Japanese military. Some oppose the term “sex slave,” which the U.N. uses, preferring the vague and euphemistic term “comfort women” instead.
Vanity Fair Taylor Swift light the AMAs on fire. Literally.
*********
Taylor Swift #BlankSpace performance tonight on the #AMAs!!!!!!! It's gonna be crazy. No like, actually crazy.
披露したBlank SpaceにはOr it's gonna go down in flamesとかThey'll tell you I'm insaneとかいう歌詞があるので、今回のようなステージになったようです。
So it's gonna be forever Or it's gonna go down in flames You can tell me when it's over If the high was worth the pain Got a long list of ex-lovers They'll tell you I'm insane Cause you know I love the players And you love the game
Can you name three life lessons that you took away from working with him? This sounds simplistic, but it still shocks me how few people really practice this. And it's a struggle to practice, but it's this issue of focus. Steve was the most remarkably focused person I've ever met in my life.
three life lessons that you took away from working with himとVanity Fairの編集長は聞いています。
take XX away from には「〜からXXを学ぶ」という意味があるようですね。このような句動詞の感覚から名詞のtakeaway（教訓、まとめ）が生まれたのでしょう。
（ケンブリッジビジネス） takeaway [C or U] something that you get or learn from an experience, activity, etc.: the takeaway from sth What's the key takeaway from this survey?
