“We show up and say, ‘What’s to eat? What makes you happy?’” Bourdain says. “You’re going to get very Technicolor, very deep, very complicated answers to those questions. I’m not a Middle East expert. I’m not an Africa expert. I’m not a foreign-policy wonk. But I see aspects of these countries that regular journalists don’t. If we have a role, it’s to put a face on people who you might not otherwise have seen or cared about.”
KILIG (TAGALOG) n. The feeling of butterflies in your stomach, usually when something romantic or cute takes place.
“I didn’t have any eggs, so I replaced them with a banana-chia-flaxseed pulse. It turned out terrible; this recipe is terrible.”
food & sustainability — #
Sarah Yager’s recent Atlantic article, “The Awful Reign of the Red Delicious,” stops by that tree as she charts the apple’s story from unwanted beginnings to market saturation. “If you want to make an allegory of the Red Delicious, you might see in it the story of America,” she writes. “Confident intrusion on inhabited soil, opportunity won in a contest of merit, success achieved through hard work, integrity pulverized in the machinery of industrial capitalism.”
Designing the User Experience was a one day master class I recently taught to a group of startups.
culture & technology — #
This Guy’s Replies to 9/11 Brand Tweets Sum Up Everything That’s Wrong With 9/11 Brand Tweets. Mike Monteiro is priceless. A curmudgeonly kind of priceless, but priceless nonetheless.
Audiences might think they’ve seen this kind of coming-of-age story before. But they’ve never seen a film like “Boyhood,” which in the hands of writer-director Richard Linklater turns from classic cinematic portraiture into something epic, transcendent and monumental. Filmed for a few days every year over 12 years, “Boyhood” breaks open a brand new genre: a fictional drama contoured and shaped by reality; a lightly scripted ensemble piece executed by both professional and non-professional actors; an experiment in time, narrative and cinematic practice that utterly transforms the boundaries of what film can look like and feel like and achieve.