In the News 18.08.17 : Today’s Articles of Interest from Around the Internets


In the News 18.08.17 : Today’s Articles of Interest from Around the Internets
In the News 18.08.17 : Today’s Articles of Interest from Around the Internets
In the News 18.08.17 : Today’s Articles of Interest from Around the Internets

At The Heart of Every Restaurant

Plenty of bandwidth has been lavished on the men and women who cook the food, pour the wine and otherwise pamper us in restaurants. Scant attention has been paid to some of the lowest-paid workers with the most responsibility, the ones chefs say are the linchpins of the restaurant kitchen. “You can’t have a successful service in a restaurant without a great dishwasher,” says Emeril Lagasse, the New Orleans-based chef and cookbook author with 14 restaurants across the country. “Bad ones will bring the ship down.”

After years of performing tasks no one else wants to do — cleaning nasty messes, taking out trash, polishing Japanese wine glasses priced at $66 a stem (at Quince in San Francisco) — the unsung heroes of the kitchen might be finally getting their due.

Read the rest of this article at: The Washington Post

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Robert Pattinson Is Alive Again

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Instead, he plunged himself into a series of gritty art-house movies, which, of course, is a strategy favored by just about every teen idol trying to go legit. But this is different in that he doesn’t appear to be picking these projects with a calculated eye toward prestige, or even edge. His recent films are unified primarily by the fact that they feature directors who are great and mostly unheralded, and characters who are a little scary to play. Hardly anyone saw any of these movies, and he says he never expected them to. The point wasn’t for people to see the movies. And so far, he’s been right nearly every time. So far, it appears that Rob Pattinson has killer taste.

Cosmopolis, his first post-Twilight movie, gave him the chance to work with his lifelong hero and favorite director, David Cronenberg, and to try his hand at (a very dark sort of) comedy. His character, a nihilist finance bro in the age of Occupy Wall Street, sits in the back of a limo for the duration of the film. He loved Cronenberg. He loved working for his hero. But still, there wasn’t a lot of movement. Edward Cullen’s most notable attribute, besides his looks—powdered face, strong lip, clenched jaw, which would slice through his hand if he rested it there—was his stillness. After that, he wanted some motion. He wanted to floor it.

Read the rest of this article at: GQ

The Secret Lives of Tumblr Teens

At Tumblr headquarters, I found myself in a contest of name-dropping teenagers’ URLs, much the same way people dropped indie rock bands in college. Danielle Strle told me about Cornputer; I had to tell her that Heckacute had gone password-protected. “Oh my God, you know Pizza?” Strle said. “Yes. Oh my God, I love Pizza,” I said, “Tell me about Pizza.” Strle leaned in: “She’s kind of controversial.”

I had been trying to interview Pizza for a year before her blog disappeared in August 2014. It took almost two years to get her to talk to me. Based on a few posts about blogger meet-ups, I knew she was Australian, but nothing had been written about her in the Australian media. I sent her “fan mail” on Tumblr, the only option at the time, but popular blogs got tons of such messages, and I got no response. I sent her a direct message on Twitter, to which she responded with interest, giving me her email, but after an exchange, she went silent. I asked Tumblr to try contacting Pizza for me. No response. I tried contacting other kids on Tumblr instead, but they didn’t respond to me either. Tumblr’s public relations team reached out to them for me, too, but no response. I started to lose hope. And then, in August 2015, Jason Wong gave me a new email for Pizza. (“She was like a god in people’s eyes,” he said.) She replied, “Thank you so much for contacting me and for being interested with my blog!” and agreed to talk.

Read the rest of this article at: New Rupublic


Neoliberalism: The Idea That Swallowed the World


Last summer, researchers at the International Monetary Fund settled a long and bitter debate over “neoliberalism”: they admitted it exists. Three senior economists at the IMF, an organisation not known for its incaution, published a paper questioning the benefits of neoliberalism. In so doing, they helped put to rest the idea that the word is nothing more than a political slur, or a term without any analytic power. The paper gently called out a “neoliberal agenda” for pushing deregulation on economies around the world, for forcing open national markets to trade and capital, and for demanding that governments shrink themselves via austerity or privatisation. The authors cited statistical evidence for the spread of neoliberal policies since 1980, and their correlation with anaemic growth, boom-and-bust cycles and inequality.

Neoliberalism is an old term, dating back to the 1930s, but it has been revived as a way of describing our current politics – or more precisely, the range of thought allowed by our politics. In the aftermath of the 2008 financial crisis, it was a way of assigning responsibility for the debacle, not to a political party per se, but to an establishment that had conceded its authority to the market. For the Democrats in the US and Labour in the UK, this concession was depicted as a grotesque betrayal of principle. Bill Clinton and Tony Blair, it was said, had abandoned the left’s traditional commitments, especially to workers, in favour of a global financial elite and the self-serving policies that enriched them; and in doing so, had enabled a sickening rise in inequality.

Read the rest of this article at: The Guardian

Twelve Ways of Looking at Frank Lloyd Wright

Few things are more satisfying in the arts than unjustly forgotten figures at last accorded a rightful place in the canon, as has happened in recent decades with such neglected but worthy twentieth-century architects as the Slovenian Jože Plečnik, the Austrian Margarete Schütte-Lihotzky, the Austrian-Swedish Josef Frank, and the Italian-Brazilian Lina Bo Bardi, among others. Then there are the perennially celebrated artists who are so important that they must be presented anew to each successive generation, a daunting task for museums, especially encyclopedic ones that are expected to revisit the major masters over and over again while finding fresh reasons for their relevance.

Barry Bergdoll, the Columbia professor who served as the Museum of Modern Art’s chief curator of architecture and design from 2007 to 2013, continues to do exhibitions for the museum, and his latest, “Frank Lloyd Wright at 150: Unpacking the Archive” (which he organized with Jennifer Gray, a project research assistant at MoMA), was a more hazardous proposition than its universally beloved subject might indicate. Despite the seeming effortlessness with which the Modern has spun out popular Picasso and Matisse shows decade after decade, Bergdoll wanted to avoid rehashing its 1994 Wright retrospective or repeating material covered in more specialized exhibitions on the architect held in New York at the Whitney in 1997 and the Guggenheim in 2009.

He decided instead to organize this sesquicentennial tribute around a mere twelve projects, including rarely discussed unexecuted designs such as Wright’s Depression-era plans for a self-sufficient agricultural community and his postwar scheme for the world’s tallest skyscraper. These and others are illuminated by some 450 drawings, documents, photographs, models, and architectural fragments selected from the mountain of objects obtained by MoMA and Columbia’s Avery Architectural and Fine Arts Library when they took possession of the architect’s archives from the economically troubled Frank Lloyd Wright Foundation in 2012. Financial details of the arrangement have not been revealed, but it has been rumored that a transfer of money was involved, on terms said to be very favorable for the acquiring institutions.

The sheer numbers involved in this transcontinental move are staggering: 55,000 drawings, 300,000 sheets of correspondence, 125,000 photographs, 2,700 manuscripts, and a panoply of miscellanea including architectural details, working and presentation models, documentary films, and home movies, all of which had been moldering away under less-than-ideal conditions at Taliesin in Spring Green, Wisconsin, and Taliesin West, the foundation’s headquarters in Scottsdale, Arizona. (The archive will now be stored on the Columbia campus, with conservation done at the museum.)

Read the rest of this article at: The New York Review Of Books

P.S. previous articles & more by P.F.M. // Top images: @pamhetlinger; @brothervellies; @janicejoostemaa