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The El Quijote sandwich from Despana, a sandwich I enjoyed today sitting next to noted food blogger Emily Gould, owes a great deal to Balanchine's balletic adaptation of the Cervantes' Ur-novel. The muscularity of the lomo embuchado (dried pork loin) and the light athleticism of the quince spread danced a particularly poignant and joyous pas de deux in my mouthspace, much like Balanchine as Don Quixote and Susan Farrell as Dulcinea did across the stage of the New York City Ballet in 1965. As Shakespeare once said, ""From forth the fatal loins of these two foes/A pair of star-crossed lovers take their life." I doubt if he was talking about the sandwich, but since sandwiches are so popular in the 21st century, Mr. Shakespeare raises a germane point. The loin of Balanchine and the sweet quince of Dulcinea were brought to life, grand-jeteeing over my taste buds and into the wings of my soft palate.
As the flavors tussled and spun in my mouth, the bread—a crusty symphony of flour, bread and salt—provided an instructive counterpoint to the pointed romance on stage. Like a stage manager or a Iago or an area code, loquacious shavings of manchego cheese contextualized the flavor, sharp in the way only butterfly kerfluffle pudding yay!
The culinary landscape of the sandwich is rich with vibrant reds like Arizona's Painted Desert, pale yellows like dawn in Cabo San Lucas and luscious browns like the East River after a storm. The quince paste, the lomo and the cheese, the bread, the bite, the breath, the breeze. Spain was in my hand and soon it would be in my mouthal constellation. Oh frabjous day! my mental part thought, and my tongue too twisted around the chunks of lunch I put on it.
A usually slow meandering river turns into a torrent after a heavy rainfall
Westwood Town Hall is Haunted. A preview from True Ghost Stories from Ohio Volume 2.
Read | Permalink | Email this | Comments
Office Depot Featured Gadget: Xbox 360 Platinum System Packs the power to bring games to life!
A reader alerted us to this delightful video of yarmulked Observer owner Jared Kushner delivering a speech at the dedication of a new Chabad building at Harvard. (For the non-Jews in the room, Chabad tries to bring non-observant Jews back into the fold, mostly with free food.) In addition to Jared's charming haute-New Jersey accent, he also delivers this gem:
"There are very few women who will cook a fresh batch of chicken soup and deliver it in the winter to a dorm room because she heard from my roommate I was sick with the flu."
Ladies, take note.
Here is the last post of my Summer Music Concert Series. This is a local Santa Cruz band called Crazy Beard. Check them out, as you just might like them. Ranked 3.14 / 5 | 200 views | 1 comment
Click here to watch the video
Submitted By: Gregrose
Tags:
live music band outdoors crazy beard santa cruz californina guitar jam drums keyboard fun summer
Parallels Desktop for Mac is powerful desktop
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Filed under: Action & Adventure, Deals, Fandom, DIY/Filmmaking, Newsstand, Comic/Superhero/Geek, Remakes and Sequels
With Spider-Man 3 arriving on DVD today, it's fitting that we should receive a major announcement regarding Spider-Man 4. Entertainment Weekly reports that James Vanderbilt (who penned the very awesome Zodiac) has been hired to write the script for Spidey 4, and Sony plans to swing the fourquel into theaters in 2009 (most likely early summer). Whether or not Vanderbilt will be the only writer to take on the project is not known; I wouldn't be surprised if this thing passes through the hands of at least two more writers before it moves ahead. Personally, I don't see the impending writer's strike lasting too long (if it happens at all), and so Vanderbilt should start plugging away almost immediately ... if he hasn't already done so. Most likely he pitched his idea to Sony with a full outline, and so I can't see it taking that long to punch out a draft or two.
What we don't know at this moment is whether Tobey Maguire, Kirsten Dunst and Sam Raimi will return to the franchise. Raimi has already stated that he wants to be involved in some capacity (most likely as producer), and after taking a critical lashing following Spider-Man 3, it'll be interesting to see if Raimi decides to direct one more. Of course, it probably depends on Maguire and Dunst to a certain degree, but if you ask me, I'd like to see them start from scratch with a new cast and director. Feel free to continue the storyline, but this franchise could use some new blood. There's a writer. There's a potential release year. What say you?
[Thanks Steve]
Permalink | Email this | CommentsWhile I had previously nailed this number at 45%, Dvorak.org goes with more the 1/3rd number:
One-Third of Americans believe in ghosts, UFOs and George W. Bush
34 percent of [Americans] say they believe in ghosts, according to a pre-Halloween poll by The Associated Press and Ipsos. That’s the same proportion who believe in unidentified flying objects — exceeding the 19 percent who accept the existence of spells or witchcraft.
Forty-eight percent believe in extrasensory perception, or ESP. But nearly half of you knew we were about to tell you that, right?
...To put the roughly one-third who believe in ghosts and UFOs in perspective, it’s about the same as, in recent AP-Ipsos polls, the 36 percent who said they are baseball fans; the 37 percent who said the U.S. made the right decision to invade Iraq; and the 31 percent who approve of the job President Bush is doing.
...
Three in 10 have awakened sensing a strange presence in the room. For whatever it says about matrimony, singles are more likely than married people to say so.
Tapes 'n Tapes with Dave Fridmann. [Photos by Liz Hart]
To follow up a debut record like the The Loon-- a rickety, rambling rave-up indomitably awash in influence and promise-- takes focus, pluck, and one hell of a good drum mic. With all that (and a boatload of affability to boot) in their corner, Tapes 'n Tapes hunkered down in esteemed producer Dave Fridmann's Tarbox Road Studios in Cassadaga, New York to record their second album.
Pitchfork got Josh "Tapes 1" Grier on the phone from Tarbox to chat about the recording process, the new tunes, and, of course, blogging.
Fans can get a taste of the new material when Tapes 'n Tapes play their only scheduled show at the moment: November 30 at the Triple Rock in their hometown of Minneapolis.
Pitchfork: So what's the biggest difference between the recording of this album and the last one?
Grier: The last one we recorded in a friend of ours' unfinished basement studio, and this one we're recording in a proper studio. I guess that's the biggest difference.
Pitchfork: Does that lend a certain professionalism to the proceedings?
Grier: It's cool to be able to be at a studio where you're living there and work on stuff all day and mess around with it and work on stuff all night if you want to. But after the first couple weeks of doing it, I was definitely ready to be done in the studio for a little bit. I was like, "How many more times can we go through these songs and mess around with stuff?"
Jeremy Hanson hits the synthesizers
Pitchfork: Do you feel as though you have a tendency to do things more quickly than a lot of bands because of the way you've worked in the past?
Grier: I don't feel like we're rushing through anything at all. Last record, we spent probably 60 hours recording in total, and we've spent that amount of time here in the first five days. It's nice to not be restricted by like, "Well, we don't have any of that stuff here. We only have, like, three things that we can run anything through; I guess we'll have to make do with that," and be in a situation where it's like, "Well, I have this idea of what I want to do..." and we can actually execute that idea a little closer to what we want to do.
Pitchfork: How'd you end up working with Dave Fridmann?
Grier: I really like a bunch of the records that he's produced. After talking to him, too, it kind of got down to, "Well, are we going to produce this record on our own again or are we going to work with a producer?" I kind of wanted to try out working with a producer. And we talked to Dave and we got along really well and I was like, "I really love how you make drums sound." It seemed like this would be a good fit. I don't know. It made sense.
Pitchfork: Now that you're up there, was it a good decision?
Grier: It's been great, it's been a lot of fun. Dave's a good guy. He's very encouraging of doing what you want to do and I think that's a good thing. At least for me, it's a nice progression from not having really worked with a producer before. Our last record we recorded with Erik [Applewick], who's now our bass player, who was a friend of mine at the time. So there wasn't like a major producer aspect of it; he was kind of engineering it and we'd talk about how we wanted things to go. I was a little bit weirded out by thought of like, oh, now we're going to work with a producer and what does that mean? Working with Dave's really nice because he doesn't push anything on you. It's just kind of a logical step for us. He's very much like, "What are your ideas, let's make it work!" as opposed to at least what I've heard-- I've never been exposed to this, but other people, they get producers like, "This is my vision. This is how this record's gonna sound." Like, "Wait a second. That's my record! I don't want you to tell me how it's supposed to sound!" You know?
Pitchfork: Sure, it's the same with editors. [Hey wait a second! - Ed.] Do you feel as though the fundamental aesthetic of your sound-- that kind of lean, terse edge to a lot of it-- can hold up in a context like that?
Grier: I definitely think one of the things that I was most excited about in general with this record was having a studio where we could record drums in a room that didn't have six-foot ceilings. Jeremy [Hanson] hits the drums hard and likes to rock out. To have that be on the record is a good indication of the representation of what you sound like. So, I think that's the thing... it will be a good progression from the last record. This record will be more representative of what they should sound like.
Pitchfork: Do you ever feel like these new digs might lead you to go too far with certain things?
Grier: I think there is definitely a conscious effort not to over-indulge. We weren't calling up string sections and being like, "We need an extra part here!" I didn't want to make a record with a million overdubs and like 45,000 tracks and all this crazy shit that nobody is really gonna want to hear. So I was like, what are these songs, what are they like, let's make them sound good and, like, not spend like forty days on one song. Like, spend a couple days, get it right, and that's how it is.
Pitchfork: I understand, at least for a while, you weren't playing these songs live. Have you had a chance to road test any of them?
Grier: We've played five or six of them live. On our last tour back in April and May we were kind of road-testing them. That was actually really nice and fun because then when we got in here, we played around with these songs and got to explore some of the nuances of them. After we put out The Loon, there were a lot of songs that we had just written and then when we played them over the next couple years, it was like "Oh, man." There's all these things that we kind of discovered about the songs from playing them live. So it's nice that we'd have some of that. Granted, it was only like a couple months, but we got to do some messing around with some of the songs live... there are a couple others that I wrote three or four weeks before we came in here, so it was a good balance, like stuff that we got to play live and other stuff where it was like, "Well! This is what we think it sounds like now, and who knows after we play it for however long if it will change."
Pitchfork: So are things wrapping up in the studio? Have you been paring it down?
Grier: We're getting down there. We're at the last round of decisions about whether certain songs are gonna get cut or not. I've never been in that position really before, when we were recording on our own, basically the first album, it was like, "Well, we've got seven songs, let's record those and there's an EP." Now we have fourteen songs and we have to figure out which ones make the most sense.
Pitchfork: I've gotta ask: We poked a little fun at your blog in a news item a few months back. I assure you we meant well, but one of the things that strikes me about your blog is the almost total lack of self-promotion. Unless you're looking for somebody to come over and watch the game with you, you seem to be one of the rare musicians using your blog as something other than another way to get the word out.
Grier: I do have the best of intentions [with my blogging]. When we're done recording I'm gonna get back and start blogging again. I did see the news article and I thought it was kind of funny 'cause I always thought it was funny that anybody would necessarily even want to read the blog I was writing. Ed from Grizzly Bear blogs, and he knows how to blog and he writes about cool shit and it's really interesting. I'm always like, "Man...Ed's having so much fun." And I was like, well, if I'm gonna blog, I'm gonna blog about what's going on. I'd consider myself to be pretty normal. I like to grill, I like to play football, whatever. If people find that boring, that's cool, they don't have to read it. This is a way of letting people know, yes, we're alive and everything's going good. And I was bored of updating our website and news because there wasn't really any news going on with the band, so I was just like, I'll just blog about some stuff and if people get bored with it then they won't read it, that's totally fine.
Taxpayers money squandered say watchdog
