Tuesday, June 19, 2018
Saturday, June 16, 2018
Monday, June 11, 2018
New York Times – "Hey, Hey, Hey, Hey! ‘Saved by the Bell’ Now a Restaurant"
"Called Saved by the Max and located in the same shopping center as a Target and a Best Buy, the diner is one of the latest venues designed to let fans have an “immersive experience” of their favorite TV shows and movies. Others have included the popular “Downton Abbey” exhibit, open on 57th Street in New York City through September and expected to travel after that, and the short-lived Rue La Rue Café, a “Golden Girls”-themed destination that opened and closed in Washington Heights last year.
The brainchild of three Chicago entrepreneurs — Derek Berry, Zack Eastman and Steve Harris, who all have experience as club promoters — Saved by the Max meticulously recreates the neon-lit cafe where the kids from Bayside High School in the fictional Los Angeles suburb of Palisades liked to hang after class."
"There is even a recreation of Principal Richard “the Big Bopper” Belding’s office: paneling, pennants and all."
"The West Hollywood edition is taking reservations through September 2019. Tickets, which include an appetizer and entree, cost $40. Some nights, visitors might get a cast member as a chaser."
"The upscale diner menu was created by Brian Fisher, a usually much more serious chef known for his cooking at the Michelin-starred Chicago restaurants Schwa and Entente. Dishes include Mac & Screech, a cheesy appetizer named for the nerdy goofball played by Dustin Diamond; A.C. Sliders, made with ginger-and-beer-braised pulled pork and saluting Bayside’s star athlete A.C. Slater (Mario Lopez); Tori’s Fried Chicken, which is Korean-spiced, served with a coconut milk waffle and named for Leanna Creel’s character; and the Kelly Kapowski, a Monte Cristo sandwich honoring Tiffani Thiessen’s breakout role as the prettiest girl in high school."
"Universal, which owns “Saved by the Bell,” did not commission the pop-up restaurant, but has enthusiastically sanctioned it and become a partner. Reviving classic entertainment properties, said Carol Nygren, senior vice president of Worldwide Live Entertainment, Universal Brand Development, “is always a popular trend, and being able to recreate scenes that play into fans’ memories of popular shows is so much fun.”"
Tuesday, June 5, 2018
Monday, June 4, 2018
November 16, 2018
Written by Gillian Flynn (Gone Girl) and Steve McQueen
Directed by Steve McQueen (12 Years a Slave)
Starring Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Robert Duvall, Liam Neeson
Eater – "The Happiest Hour Burger Is the Love Child of Shake Shack and In-N-Out"
Bon Appetit – "These Are the 5 Best Burgers in New York City. Full Stop."
New York Magazine – "The Happiest Hour"
Friday, June 1, 2018
Monday, May 28, 2018
The Ringer – "Victory Through Versatility: LeBron James Can Reach the Finals With Any Supporting Cast"
By Jonathan Tjarks
Wednesday, May 23, 2018
The Ringer – "Consider the Cactus: How Succulents Took Over Instagram—and Then the World"
"Houseplants, and succulents in particular, have become a kind of millennial comfort blanket, a low-stakes adult accessory that falls somewhere on the scale of responsibility between Neopet and actual pet. They’re indifferent ambassadors from the wild, a green spot on digitally overloaded lives. The e-commerce gods deliver them in two days’ time. They arrive fat and rubbery and game for whatever stylish container is on hand. They are Instagrammable proof that we’re not alone, and maybe that we’re also living a life worth Instagramming. They are biological mirrors for our generation’s own weathered mind-sets: muted, weird, independent survivalists whether they’re in a desert or on a desk."
Monday, May 21, 2018
Sunday, May 20, 2018
New York Times – "A New Atlanta, United by Soccer"
"As in much of the American South, the sports landscape in Atlanta is dominated by football, both professional and college. But for transplants like Riddle without a tie to an existing franchise or university, true sports love can be hard to find. The Braves’ long run of success in Major League Baseball in the 1990s and early 2000s is now a memory, and last year the team moved to the suburbs. The Hawks of the N.B.A. have rarely drawn well, and two N.H.L. hockey teams have come and gone.
Last year, Atlanta United eagerly stepped into that pro sports void, smashing attendance records, dominating M.L.S. merchandise sales and leading the league in scoring. Six months after it first kicked a ball, it became only the fourth team in league history to qualify for the playoffs in its inaugural season. This year, its upward trajectory has continued unabated: Attendance has continued to grow, to about 50,000 fans a game, and the team is again competing for the league’s best record."
"For a long time, “Atlanta was known for traffic, sprawl and the airport,” said Michael Tavani, 38, another transplant and entrepreneur who works downtown. “It wasn’t cool to be from Atlanta.”
But in the last five years, he said, he has sensed a growing pride in the city, especially among its younger residents. “This generation of people,” Tavani said, “want to create a special place.”"
"For years, M.L.S. clubs had looked to Europe for marketable names for the top end of their rosters, and their payrolls. But when Eales joined Atlanta United in November 2014, he suggested something different to Blank: He wanted to focus on signing talented, lesser-known players in their 20s, mostly from South America, with an eye on developing them for a few years and then selling them to bigger, richer clubs in Europe.
The strategy is the financial survival plan of the vast majority of the world’s clubs, but in M.L.S. — which had long preferred to spend its limited acquisition funds on more established, more well-known names — it qualified as revolutionary. Eales persuaded Blank, who would need to ante up millions of dollars to fulfill the vision, to see the moves not just as acquisitions, but as investments.
“With older players, there’s no upside because they are at the ends of their careers,” Eales said. “They’re 34, and maybe have two years left,” and have little resale value.
Signing a younger player to a multiyear contract, he argued, offered the potential that even the biggest purchases might pay for themselves one day. “You might get $20 million or $30 million,” Eales said. “And at the least, you might be able to get back what you paid the player.”"
Saturday, May 19, 2018
Saturday, May 12, 2018
Sunday, May 6, 2018
June 29, 2018
Written by Jay Longino
Directed by Charles Stone III
Starring Kyrie Irving, Lil Rel Howery, Shaquille O’Neal, Chris Webber, Reggie Miller, Nate Robinson, Lisa Leslie, Erica Ash, JB Smoove, Mike Epps, Tiffany Haddish, Nick Kroll
Vogue – "Rihanna on Body Image, Turning 30, and Staying Real—No Matter What"
"Still, making those kinds of pivotal lifestyle adjustments isn’t always easy—especially if, like Rihanna, you’ve been on the celebrity treadmill since you were a teenager. It’s even tougher now that she’s not only the face of her personal brand but also the CEO of a burgeoning global beauty-and-fashion empire. Pulling double duty as both badass rock star and savvy businesswoman across a working orbit that spans California (home base for her new lingerie collaborators) and Europe can take a physical toll on even the most intergalactic of superstars. Since giving up her apartment in SoHo, New York, last fall, Rihanna spends most of her time in either London or Los Angeles, though to hear her tell it, she basically lives on a plane. "
"And yet Rihanna’s most impressive body of work begins and ends with her music. While it’s been more than two years since she released Anti, she continues to dominate the pop charts, and she set yet another benchmark this March as the first female artist ever to surpass two billion streams on Apple Music. With her next record—her ninth—Rihanna is moving the needle on her creative output all over again: She plans to make a reggae album. Though it’s too soon to name a full list of collaborators, one early influence may be Supa Dups, the Jamaican-born record producer who has worked with such dancehall greats as Beenie Man, Sean Paul, and Elephant Man. If Rihanna had to name her favorite reggae artist of all time, though, it would have to be Bob Marley. (Descriptions of the Bob shrine she once built in her home are all over the internet.) “I’m gonna sound like a real tourist when I tell you my top Bob songs,” she says, pausing to scroll through a playlist on her iPhone before rattling off many of his most beloved hits: “Three Little Birds,” “No Woman, No Cry,” and “Redemption Song,” a Marley classic she has covered on tour. It may surprise you to learn that of all the tunes in the reggae icon’s catalog, “Buffalo Soldier” is the one that resonates with Rihanna on a deeply personal level. The song’s theme of upheaval and displacement is a familiar refrain for the singer, who was whisked away from Barbados to New York within months of being discovered by record producer Evan Rogers at the tender age of sixteen. Her risk-taking instincts and taste for danger have often earned her comparisons to Madonna, though in fact the similarities between Bob Marley and Rihanna ring truer, even beyond the obvious island connection. Like Marley, Rihanna is possessed of an unstudied yet wholly electrifying sense of cool. Her ability to continually recalibrate the mood of a generation in the way she sounds, looks, and moves through the world has unwittingly positioned her, just as it did him, at the global axis of popular culture."
"Fans will recognize a version of this mission statement from the lyrics of “Needed Me,” the hit single from Anti that has gone platinum five times over. In the video, Rihanna is a woman on a revenge mission who assassinates her former lover in the smoky back room of a Miami strip club. The singer has been criticized for glamorizing violence, though her defenders say that this subversive imaging speaks to the culture’s shifting power dynamics. It’s funny to think that Anti dropped long before the dawning of Trump, or #MeToo, when you consider the spirit of resistance that quietly pulses through the record. Even the apocalyptic set design and wardrobe for the tour—somewhere between Mad Max and Blade Runner—seemed to foreshadow darker days. The album received a lukewarm reception at the time of its release. Some critics wrote it off as scattershot and uneven, laden with pop songs that were anything but sweet. Others called it self-indulgent, made to please herself. In the end Anti defied all expectations, landing more number-one hits on Billboard’s dance-club-songs chart than any other album in its history. And though it was famously snubbed at the Grammys, Rihanna would end up scooping the prestigious Vanguard award (MTV’s equivalent to a lifetime-achievement award) at the VMAs."
TIME – "100 Most Influential People of 2018: Rihanna by Adele"
"... she has designed and conquered an entire lane of her own. The innovative and groundbreaking world of Rihanna that no one else will ever be safe in and get away with copying. She makes her own rules and bends ours. Whenever I’ve met her, she’s been the most gracious, loyal and funny goofball of an icon. She glows like when someone’s taken a picture with a flash and you’re dazed for a few minutes after. But it’s also very clear in that glow that she genuinely doesn’t give a f-ck; she’s fearless and full of all the right kind of attitude to be everything that she is and will be forever."
Wednesday, May 2, 2018
Thursday, April 26, 2018
Wednesday, April 25, 2018
Town & Country – "Jeff Bezos Is Renovating the Biggest House in Washington, D.C."
Washingtonian – "Here Are the Floor Plans for Jeff Bezos’s $23 Million DC Home"
"In 2016, the Amazon founder and Washington Post owner paid $23 million in cash for the former Textile Museum in Kalorama (yes, his neighbors are the Obamas and Kushner-Trumps). At 27,000 square feet, the mansion was already the biggest home in Washington before he began a $12 million renovation and expansion last year."
"Overseen by the Barnes Vanze architecture firm, the reno project covers 191 doors (many either custom mahogany or bronze), 25 bathrooms, 11 bedrooms, five living rooms/lounges, five staircases, three kitchens, two libraries/studies, two workout rooms, two elevators—and a huge ballroom."
"The mansion actually comprises two homes, the Pope and the Wood, which date back to the early 1900s and are joined by a connecting walkway."
Sunday, April 22, 2018
T Magazine – "New York City, 1981 - 1983: 36 Months That Changed the Culture"
"Of course, inhabitants of other great metropolises experience similar sensations, but the feeling is more intense in New York, in part because the city is both younger than and smaller than many other places that have at one point of another determined the global cultural agenda. How is it, then, that a town with millions fewer people than Tokyo, Mexico City, Beijing, Sao Paulo or Mumbai has been responsible for such a disproportionate amount of the aesthetic language and iconography of the modern age? Perhaps the answer is that this city – like this country – is composed significantly of migrants, and New York has always been the place to prove your mettle. Our fierce, collective ambition – our determination to be the "best," however you define the word – contributes not only to the city's thrum (and everyday brutalities), but is also responsible for the excessiveness of our output. Anyone who comes here knows that time is merciless and life is brief; one is always aware (sometimes consumingly so) of one's place in the race."
- T Magazine Editor Hanya Yanagihara
Saturday, April 21, 2018
Friday, April 20, 2018
Sunday, April 15, 2018
The Ringer – "Drake Is Too Big to Fail"
"Drake, née Aubrey Graham, was once a semi-famous child actor who could sort of rap and—get this—also sort of sing. He was not invented in a dorm room but he soundtracked countless nights in them. As Drake acquired listeners and sales, though, his reach extended far beyond indie sample flips and Cash Money posse cuts (what a time). He grew to dominate rap, R&B, and pop, using his popularity in one genre to capture market share in another. In the last two years he has leveraged his power to enter even more sectors, including grime, dancehall, and most recently bounce, via the preordained hit “Nice for What.”"
"Thanks to streaming and social media, Drake has entered a virtuous cycle of network effects that magnify his influence over time. When a new Drake song premieres, social media users drop any in-progress conversations about literature, global affairs, or Love & Hip-Hop to immediately critique his work, earning him additional exposure via various “trending” lists on social networks. On Spotify, Drake songs immediately receive prime placement on prominent playlists with millions of followers, granting him passive listens from users who may not be actual fans. My colleague Lindsay Zoladz, who we’re also going to say is a legal scholar, recently found that the January single “God’s Plan” appeared on six Spotify playlists, including the trend-setting Rap Caviar. “God’s Plan” is now in its 11th consecutive week atop the Billboard Hot 100, a record for Drake and a worrying streak for people who value a competitive creative marketplace ..."
"... Drake’s chart dominance alone is not grounds for antitrust enforcement. However, the artist also has a chilling tendency to hop on every hot track and claim it as his own. The most recent example is “Look Alive,” a song ostensibly by the young Memphis rapper BlocBoy JB but mostly by Drake (currently no. 5 on the Hot 100). There are plenty of previous cases, including Fetty Wap’s “My Way,” iLoveMakonnen’s “Tuesday,” and, if we’re being really real, DRAM’s “Cha Cha.” After a brief stint in the spotlight, these collaborators earn only a modicum of Drake’s popularity, though they do help him maintain his reign even longer. Even on his own label, OVO Sound, where Drake would have a financial interest in his labelmates’ success, artists often find themselves writing songs for the boss rather than themselves. Former Noisey writer Craig Jenkins (also a legal scholar) once mused that OVO was “Drake’s personal hit factory.”"
The Ringer – "‘Atlanta’: S2E7, ‘Champagne Papi’"
"The Recappables team discusses this week’s Drake-focused episode"
The Ringer – "Drake Is Everywhere and Nowhere in Another Surreal ‘Atlanta’ Jaunt"
New York Times – "When Superheroes Battle Evil, Why Does Washington Always Lose?"
"... But the city rarely matters in superhero movies.
“You see New York, and you see L.A.,” said Rick Prelinger, a film archivist and professor of film and digital media at the University of California, Santa Cruz. “Washington isn’t being pitched as the center of the world in the ways that it used to be.”
How is it that the heart of American democracy is often sidelined in the movies that dominate the box office? The reasons range from our perceptions of the city to the nature of comic books."
"A representative for Marvel Entertainment said that no one was available to discuss the question for this article, and DC Comics did not return a request for comment. But some film experts see an identity crisis. Outside of the government and the monuments, it’s hard for Hollywood to imagine what Washington looks like. And worse (at least for D.C. enthusiasts): Whatever it looks like may not be exciting enough for these movies.
“Although it’s a distinct region — not every city has trucks selling half-smokes — I think that Washington isn’t part of what a lot of people’s sense of their country is about,” said Mr. Prelinger, who became familiar with the city’s iconic sausage dish after living in the district for nearly two decades. He has since moved to California. “D.C. is dull.”"
"“Only Washington, D.C.,” she added, “thinks Washington, D.C., is the center of the universe.”"
ESPN The Magazine – "Luka Doncic Is No Darko Milicic"
By Mina Kimes
The Ringer's #1 prospect in their 2018 NBA Draft Guide:
"A basketball prodigy dominating the ACB and EuroLeague as a teenager who could become a game-changing NBA playmaker.
SHADES OF: James Harden, Jumbo Manu Ginobili, Tyreke Evans"
Thursday, April 12, 2018
The Ringer – "“Who Can Explain the Athletic Heart?”"
"But by the late ’90s, spooked by ESPN’s ascendancy, the editors at SI seemed to lose faith in their own formula. News stories in the front became less newsy, more focused on personalities. In short, they became more like feature stories. The magazine’s justification for this change, then and ever since, has been that the sports media landscape was changing, and that SI needed to be more “forward-looking.” As one editor explained it to me at the time, “When people get their issues in the mail now, they already know the score, they’ve already seen the highlights. We need to tell them what’s going to happen next.”
It all sounds very rational, except it overlooks one salient truth: Sports Illustrated readers have always known the score by the time their issue arrives. From the very first issue, dated Aug. 16, 1954, SI’s readers knew all about the result of the magazine’s first lead story, that Dr. Roger Bannister had defeated John Landy in the “Mile of the Century” at the Commonwealth Games, in the first race between two sub-four-minute milers.
SI’s news stories were never about telling you who won, it was about telling you why and how they won, the subtle differences that separated one world-class athlete or team from another, and the endless ways that people revealed their character through competition. Furthermore, what the magazine learned, again and again in the coming decades, was that a sports event being televised only increased interest in those stories. The more people saw of a sport, the more they wanted to read about it. And SI was there, to provide the best story, the deepest understanding, the telling picture, the last word. "