Sliced wrapped bread first appeared in 1930, and that became the sandwich standard right away. They had the slicing technology before then, but they didn’t have the wrapping technology and the two had to go together.
Before sliced bread, the lunch literature is full of advice on social distinctions and the thickness of bread in sandwiches. You slice it very thick and you leave the crusts on if you’re giving them to workers, but for ladies, it should be extremely, extremely thin. Women’s magazines actually published directions on how to get your bread slices thin enough for a ladies lunch. You butter the cut side of the loaf first, and then slice as close to the butter as you possibly can.
What am I supposed to say to that? That’s ridiculous. You see the way they can fuck up music? It’s a mismatch. They don’t complement each other. Max and Mingus can play together, by themselves. Mingus is a hell of a bass player, and Max is a hell of a drummer. But Duke can’t play with them, and they can’t play with Duke.
Now, how are you going to give a thing like that some stars? Record companies should be kicked in the ass. Somebody should take a picket sign and picket the record company.
NY Magazine has recent interviews with two of the bigger American filmmakers in the last couple decades, Spike Lee and Oliver Stone.
Will Leitch talks to Spike Lee about about movies, Brooklyn, and Barack & Michelle:
When he was sizing Michelle up, this fine woman, he said, “How am I going to impress her?” I always kid him, good thing he didn’t choose motherfucking Driving Miss Daisy or she would have dumped his ass right there.
It’s very intense, and ultimately very painful. I’ve actually done some acting, but I’m not talking about that. I’m using acting as a metaphor. For me, filmmaking is like acting, in the way that it takes over you. It becomes part of you. The role, the lines, the personality of the character — it’s all in you. It’s in your dreams. You think about the character without meaning to, in your sleep. I compare the process to acting because of that quality of immersion, that attempt to internalize the material and become the story. If the attempt is successful, the result is a good or at least an interesting film. But once it’s done, it’s over, and the actor goes back to being himself.
In an interview with Nicola Twilley and Geoff Manaugh, photographer Edward Burtynsky talks about his use of film and drones, his current big project photographing water, and the challenges of finding ways to photograph the ubiquitous.
I’d say, actually, that I’ve been careful not to frame the work in an activist or political kind of way. That would be too restrictive in terms of how the work can be used in society and how it can be interpreted. I see the work as being a bit like a Rorschach test. If you see an oil field and you see industrial heroism, then perhaps you’re some kind of entrepreneur in the oil business and you’re thinking, “That’s great! That’s money being made there!” But, if you’re somebody from Greenpeace or whatever, you’re going to see it very differently. Humans can really reveal themselves through what they choose to see as the most important or meaningful detail in an image.
Stanley Kubrick didn’t give long interviews…or didn’t like giving them anyway. But Jeremy Bernstein convinced him to sit down for one, perhaps because Kubrick was a huge chess nerd and Bernstein played chess seriously. So the two of them did this hour-long interview in 1965 that resulted in this New Yorker piece about his life, films, and the then in-production 2001.
During our conversation, I happened to mention that I had just been in Washington Square Park playing chess. He asked me who I had been playing with, and I described the Master. Kubrick recognized him immediately. I had been playing a good deal with the Master, and my game had improved to the point where I was almost breaking even with him, so I was a little stunned to learn that Kubrick had played the Master on occasion, and that in his view the Master was a potzer. Kubrick went on to say that he loved playing chess, and added, “How about a little game right now?” By pleading another appointment, I managed to stave off the challenge.
If you’re like me, you can read interviews with Bill Murray all day long. Here, go nuts.
When I work, my first relationship with people is professional. There are people who want to be your friend right away. I say, “We’re not gonna be friends until we get this done. If we don’t get this done, we’re never going to be friends, because if we don’t get the job done, then the one thing we did together that we had to do together we failed.” People confuse friendship and relaxation. It’s incredibly important to be relaxed — you don’t have a chance if you’re not relaxed. So I try very hard to relax any kind of tension. But friendship is different.
He’s trying to sell IT to the King of Saudi Arabia, with telepresence technology as a lure. It’s basically a way to have long-distance meetings using holograms. And Alan really doesn’t know what he’s doing. He’s like a lot of men of his generation, who were trained to sell things, to make deals over dinner, golf courses, all that. But now things are very different, and he’s adrift. I have a lot of friends who work in management and consulting and manufacturing, and they talk a lot about men like Alan, and what to do with them. Their modes of working are sometimes outdated, and they’re hard to hire because they’re very expensive. Alan’s surrounded by young people who know more about IT than he does, who work cheaper, and who assume all things are made in China. They would never see it as fiscally plausible to hire someone like Alan. He costs too much and in Alan’s case, comes with a lot of baggage.
Q: Do you ever look inside?
A: I NEVER look. It’s none of my business. Involving yourself in people’s private affairs can lead to being subpoenaed in a lawsuit or criminal trial. Besides, I’d prefer not knowing about a client’s drug stash, personal porn, or belly button lint collection.
When I’m done I gather my tools and walk to the truck to write my invoice. Sometimes I’m out of the room before they open it. I don’t want to be nearby if there is a booby trap.
This long four-part interview of 30 Rock show runner Robert Carlock at the AV Club is, as mentioned, long but worth reading if you’re into TV or 30 Rock. Part one covers season one & and part of two, and part two walks us through part of season two & season three.
[Jerry Seinfeld’s] people and NBC were talking at a very high level about promoting Bee Movie, and they were encouraging us to use him. We were really eager to do anything we could to continue our life writing the show, in part, at that point, because we’d really fallen in love with writing it. I will never have another opportunity to write for those people again. Writing a half-hour for Alec Baldwin is insane. And to work with Tina. A lot of the things this show has done, like product integration and guest stars, is partly to give NBC the fewest number of excuses possible to get rid of us. If they’re saying, “We’ll promote you. Have Seinfeld on,” and we all love Seinfeld, we’ll sit down and try to find a way to do it on our terms-much like product integration, where every time we’ve done it, we’ve had the luxury of being able to call it out or mock it or integrate it. This past live show had a couple of P.I. things in it, because that was so much about television that you’re able to do it. We were happy to have Jerry come on the show, and he shot 10 pages in a very long day. We usually shoot six or seven pages, so it was a real burden.
We were exploring things like, ‘How shiny should the skin be? How visceral and uncomfortable can we make it? How abstract can we get? Is that a flower? Is it a vagina?’ — that sort of thing.
During David’s visits to the studio we would brace for impact, because he has a reputation for being incredibly picky. The first time I met him, I asked one of his friends, ‘How picky is David?’ And he said, ‘You’ve heard of pixel fuckers? Well David breaks each pixel down to its separate RGB components and fucks them one at a time.’ So there was some fear every time we would send something in, but 99% of the time we were just told to keep going.
My white desk doesn’t work so well with the optical mouse, so for some dumb reason I’m using a 242-page book called Proust Was a Neuroscientist by Jonah Lehrer as a mousepad.
One of the real dilemmas we have in our country and around the world is that what works in politics is organization and conflict. That is, drawing the sharp distinctions. But in real life, what works is networks and cooperation. And we need victories in real life, so we’ve got to get back to networks and cooperation, not just conflict. But politics has always been about conflict, and in the coverage of politics, information dissemination tends to be organized around conflict as well. It is extremely personal now, and you see in these primaries that the more people agree with each other on the issues, the more desperate they are to make the clear distinctions necessary to win, so the deeper the knife goes in.
I don’t particularly follow chess or play the game, but I’m fascinated by Magnus Carlsen. This line from him about how he approaches the game is great:
Dan Lyons posted the notes of a long conversation he had with Steve Wozniak last week. Lots of Apple history and prehistory…I didn’t know, for instance, that Woz designed the Apple I before Jobs was involved.
I was highly regarded for my engineering skills. But I never wanted money. I would have been a bad person to run a company. I wanted to be a nice guy. I wanted to make friends with everybody. Yes I came up with the idea for the personal computer but I don’t want to be known as a guy who changed the world. I want to be known as an engineer who connected chips in a really efficient way or wrote code that is unbelievable. I want to be known as a great engineer. I’m thankful Steve Jobs was there. You need someone who has a spirit for the marketplace. Who has the spirit for who computers change humanity. I didn’t design the Apple II for a company. I designed it for myself, to show off. I look at all the recent Apple products, like the iPhone, the iPad, and even Pixar, and it was like everything Steve worked on had to be perfect. Because it was him. Every product he created was Steve Jobs.
And Woz is *still* an Apple employee! He makes $100 a week. (via stellar)
Why is it that people just have to have so much to say about me? It bugs me because I’m not that important. Some critic that didn’t have nothing else to do started this crap about I don’t announce numbers, I don’t look at the audience, I don’t bow or talk to people, I walk off the stage, and all that.
Look, man, all I am is a trumpet player. I only can do one thing — play my horn — and that’s what’s at the bottom of the whole mess. I ain’t no entertainer, and ain’t trying to be one. I am one thing, a musician. Most of what’s said about me is lies in the first place. Everything I do, I got a reason.
“I knew I didn’t want to do city planning, to play in that bureaucratic world,” he continues. “I also knew that if I stayed another semester they would hand me a diploma, and that diploma is going to open a whole lot of doors that I don’t want to go through. And I know that I am not real strong, and if I have that key, at some point I’m going to be seduced and want to go through one of those doors. So by not having the diploma, I will remove the temptation. That actually worked out very well, because I was tempted, more than once.”
That’s from a man who became a world-renowned knife expert.
Claudia Dreifus of the NY Times scores a rare interview with Stephen Hawking. The ten questions were sent to him in advance and then he met with Dreifus in person to play his answers for her.
Q. Given all you’ve experienced, what words would you offer someone who has been diagnosed with a serious illness, perhaps A.L.S.?
A. My advice to other disabled people would be, concentrate on things your disability doesn’t prevent you doing well, and don’t regret the things it interferes with. Don’t be disabled in spirit, as well as physically.
Audio clips of some of his answers are available in the article’s sidebar. Interestingly, despite the advances in text-to-speech audio and upgrades to his writing hardware & software, Hawking’s voice remains the same.
They each have a personal brand web site — Gwyneth has GOOP and Jay-Z has the recently launched Life + Times — so they recently decided to interview each other about that. Here’s Z Qing G:
SC: Personally I was very surprised at your extensive knowledge of hip-hop songs. Particularly how you can sing ’90s hip-hip songs word for word. I can’t even do that! How does a girl from Spence discover hip-hop?
GP: I first was exposed to hip-hop when I was about 16 (1988) by some boys who went to collegiate. The Beastie Boys were sort of the way in for us preppie kids. We were into Public Enemy, Run-DMC and LL Cool J. But then I went to LA the summer between my junior and senior year of high school and I discovered N.W.A which became my obsession. I was fascinated by lyrics as rythym and how Dre had a such different cadence and perspective from say, Eazy-E, who I thought was one of the most ironic and brilliant voices hip-hop has ever had. It was an accident that I learned every word of Straight Outta Compton and to love something that a.) I had no real understanding of in terms of the culture that it was emanating from and b.) to love something that my parents literally could not grasp. But I was hooked. I can’t remember what I ate for dinner last night but I could sing to you every single word of N.W.A’s “Fuck Tha Police” or [Rob Base & DJ E-Z Rock’s] “It Takes Two.” Go figure.
GP: You are the coolest man on Earth, how the f did you get like that?
SC: I’m around great women, starting with my mom. Women keep men cool. The hotter the chick the cooler the guy … that sounds like a really bad rap line!
What a couple of huge cornballs! And I mean that in the best way possible.
This is the first part of a four-part interview with Chris Ware, in which he discusses comics, working, and family. Ware on becoming a father:
Yeah, it kind of fixed every mental problem that I had within an hour. So I highly recommend it if anybody out there is thinking of having children, you should really, I mean, it’s the only reason we’re here, and if you have any doubts in your mind about yourself or where your life is going, it’ll be answered easily and almost instantaneously. It’s a clich’e to say, but it also immediately sets you aside from yourself and you’re no longer the star of your own mind, which is really not a very good state of mind to be in. Unfortunately, in my country it is one that seems to be encouraged until about the age of 60 or something, now. I really think the main export of America is this sort of fountain of youth that we somehow manage to tap into, like with pop music — it’s not out of the question to see 50-year-old men still dressing like teenagers and I just feel like, “What happened?” It’s like we won World War II and now we can be idiots for the rest of time.
I don’t know about an hour, but yeah, similar experience here. Here’s part 2, part 3, and part 4.
This equation’s initial purpose, he wrote, was to put meaningful prices on the terrestrial exoplanets that Kepler was bound to discover. But he soon found it could be used equally well to place any planet-even our own-in a context that was simultaneously cosmic and commercial. In essence, you feed Laughlin’s equation some key parameters — a planet’s mass, its estimated temperature, and the age, type, and apparent brightness of its star — and out pops a number that should, Laughlin says, equate to cold, hard cash.
At the time, the exoplanet Gliese 581 c was thought to be the most Earth-like world known beyond our solar system. The equation said it was worth a measly $160. Mars fared better, priced at $14,000. And Earth? Our planet’s value emerged as nearly 5 quadrillion dollars. That’s about 100 times Earth’s yearly GDP, and perhaps, Laughlin thought, not a bad ballpark estimate for the total economic value of our world and the technological civilization it supports.
I wanted T.G.I. Friday’s to feel like a neighbourhood, corner bar, where you could get a good hamburger, good french fries, and feel comfortable. At the time, it was a sophisticated hamburger and french fry place — apparently, I invented the idea of serving burgers on a toasted English muffin — but the principle involved was to make people feel that they were going to someone’s apartment for a cocktail party.
The food eventually played a larger role than I imagined it would, because a lot of the girls didn’t have enough money to stretch from one paycheque to the other, so I became the purveyor of free hamburgers at the end of the month.
I don’t think there was anything else like it at the time. Before T.G.I. Friday’s, four single twenty-five year-old girls were not going out on Friday nights, in public and with each other, to have a good time. They went to people’s apartments for cocktail parties or they might go to a real restaurant for a date or for somebody’s birthday, but they weren’t going out with each other to a bar for a casual dinner and drinks because there was no such place for them to go.
An interesting interview with the anthropologist-in-residence of the NYC Department of Sanitation.
The money set aside for street cleaning was going into the pockets of the Tweed and Tammany politicians. Eventually, it got to be that it was so dirty for so long, no one thought that it could be any different. Imagine, on your own block, that you can’t cross the street, even at the corner, without paying a street kid with a broom to clear a path for you, because the streets were layered in this sludge of manure, rotting vegetables, ash, broken up furniture, debris of all kind. It was called “corporation pudding” after the city government. And it was deep — in some cases knee-deep.
In a recent interview for the 25th anniversary of Super Mario Bros., Mario’s baby daddy Shigeru Miyamoto revealed that the infinite 1-up trick was included in the game on purpose but that the minus world was a bug.
“We did code the game so that a trick like that would be possible,” Miyamoto revealed. “We tested it out extensively to figure out how possible pulling the trick off should be and came up with how it is now, but people turned out to be a lot better at pulling the trick off for ages on end than we thought.” What about the famed Minus World? “That’s a bug, yes, but it’s not like it crashes the game, so it’s really kind of a feature, too!”
I enjoyed this extensive interview with John Sculley about his time at Apple (he was CEO from 83-93) because of 1) his insight into Steve Jobs’ way of thinking, 2) his willingness to talk about his mistakes, and 3) his insights about business in general…he gives Jobs a lot of credit but Sculley is clearly no slouch. Some high points:
[Jobs] felt that the computer was going to change the world and it was going to become what he called “the bicycle for the mind.”
On the small size of teams actually building products:
Normally you will only see a handful of software engineers who are building an operating system. People think that it must be hundreds and hundreds working on an operating system. It really isn’t. It’s really just a small team of people. Think of it like the atelier of an artist.
Sculley was president of Pepsi before coming to Apple:
We did some research and we discovered that when people were going to serve soft drinks to a friend in their home, if they had Coca Cola in the fridge, they would go out to the kitchen, open the fridge, take out the Coke bottle, bring it out, put it on the table and pour a glass in front of their guests.
If it was a Pepsi, they would go out in to the kitchen, take it out of the fridge, open it, and pour it in a glass in the kitchen, and only bring the glass out. The point was people were embarrassed to have someone know that they were serving Pepsi. Maybe they would think it was Coke because Coke had a better perception. It was a better necktie. Steve was fascinated by that.
On why he should not have been hired as Apple’s CEO:
The reason why I said it was a mistake to have hired me as CEO was Steve always wanted to be CEO. It would have been much more honest if the board had said, “Let’s figure out a way for him to be CEO. You could focus on the stuff that you bring and he focuses on the stuff he brings.”
Remember, he was the chairman of the board, the largest shareholder and he ran the Macintosh division, so he was above me and below me.
After Jobs left, Sculley tried to run the company as Jobs would have:
All the design ideas were clearly Steve’s. The one who should really be given credit for all that stuff while I was there is really Steve. […] Unfortunately, I wasn’t as good at it as he was.
And finally, Sculley and Jobs probably haven’t spoken since Jobs left the company:
He won’t talk to me, so I don’t know.
Jobs is pulling a page from the Don Draper playbook here. In season two, Don tells mental hospital patient Peggy:
Peggy listen to me, get out of here and move forward. This never happened. It will shock you how much it never happened.
Maybe Jobs is still pissed at Sculley and holds a grudge or whatever, but it seems more likely that looking backwards is something that Jobs simply doesn’t do. Move forward, Steve.
My iPod now has about 2,000 songs, and it is a source of great pleasure to me. I am probably still more heavily weighted toward the music of my childhood than I am the new stuff. There’s still a lot of Stevie Wonder, a lot of Bob Dylan, a lot of Rolling Stones, a lot of R&B, a lot of Miles Davis and John Coltrane. Those are the old standards.
A lot of classical music. I’m not a big opera buff in terms of going to opera, but there are days where Maria Callas is exactly what I need.
Thanks to Reggie [Love, the president’s personal aide], my rap palate has greatly improved. Jay-Z used to be sort of what predominated, but now I’ve got a little Nas and a little Lil Wayne and some other stuff, but I would not claim to be an expert. Malia and Sasha are now getting old enough to where they start hipping me to things. Music is still a great source of joy and occasional solace in the midst of what can be some difficult days.
Roger Ebert recently sat down with Errol Morris to talk about his new movie, Tabloid, and a bunch of other stuff. The interview is presented as a series of eight YouTube videos. In this one, he talks about how he got started writing his blog for The NY Times and how that helped him get over his 30-year struggle with writer’s block:
He’s working on a seventeen-part article about a murder case for the blog. Seventeen parts!
The New Yorker has a trio of interesting articles in their most recent issue for the discerning web/technology lady or gentlemen. First is a lengthy profile of Mark Zuckerberg, the quite private CEO of Facebook who doesn’t believe in privacy.
Zuckerberg may seem like an over-sharer in the age of over-sharing. But that’s kind of the point. Zuckerberg’s business model depends on our shifting notions of privacy, revelation, and sheer self-display. The more that people are willing to put online, the more money his site can make from advertisers. Happily for him, and the prospects of his eventual fortune, his business interests align perfectly with his personal philosophy. In the bio section of his page, Zuckerberg writes simply, “I’m trying to make the world a more open place.”
Tavi has an eye for frumpy, “Grey Gardens”-inspired clothes and for arch accessories, and her taste in designers runs toward the cerebral. From the beginning, her blog had an element of mystery: is it for real? And how did a thirteen-year-old suburban kid develop such a singular look? Her readership quickly grew to fifty thousand daily viewers and won the ear of major designers.
And C, John Seabrook has a profile of James Dyson (sub. required), he of the unusual vacuum cleaners, unusual hand dryers, and the unusual air-circulating fan.
In the fall of 2002, the British inventor James Dyson entered the U.S. market with an upright vacuum cleaner, the Dyson DC07. Dyson was the product’s designer, engineer, manufacturer, and pitchman. The price was three hundred and ninety-nine dollars. Not only did the Dyson cost much more than most machines sold at retail but it was made almost entirely out of plastic. In the most perverse design decision of all, Dyson let you see the dirt as you collected it, in a clear plastic bin in the machine’s midsection.
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