Search Results for: innovation

The Rotten and the Sublime: A Reading List on Fermentation

Fermented products occupy a strange spot in contemporary food culture, being at once some of the most enduring staples of our diets — and some of the most faddish. From the fizzy kick of kimchi to avant-garde culinary experimentation in Copenhagen, here are five stories about our fascination with (and, sure, addiction to) deliciously rotten food.

1. “Why Bakers Love Their Mothers.” (Dana Goodyear, Food & Wine, November 2013)

Some of the oldest sourdough starters, dubbed mothers — “the bubbling, breathing slick of wild yeast and Lactobacillus bacteria that feed on flour and water” — date from the 19th century and are passed, like a heirloom, from one generation to the next. In this piece, Goodyear lingers on the moving emotional connections bakers develop with the bacteria in their kitchens.

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When Mary Martin Was the Boy Who Wouldn’t Grow Up

Ben Yagoda | Longreads | December 2014 | 12 minutes (3,094 words)

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One day early in 1954, Mary Martin and her husband, Richard Halliday, were driving on the Merritt Parkway, near their home in Norwalk, Connecticut. On the car radio came Frank Sinatra’s new hit, “Young at Heart.” It was perfect! That is, the song had the exact sentiment and feel they wanted for the pet project they’d long been planning, a musical version of J.M. Barrie’s 1904 play Peter Pan (original subtitle: “The Boy Who Wouldn’t Grow Up”). Right on the spot, they decided they’d hire whoever had written the song to compose the score for their production.

It turned out that the words were by a young New Yorker, Carolyn Leigh, and the music by the veteran West Coast jazzman Johnny Richards. The next morning the phone rang in Leigh’s apartment, and a man who identified himself as Richard Halliday said that he and Martin wanted her to write the lyrics for Peter Pan. “Naturally, I thought somebody was kidding,” Leigh told a reporter. “That sort of thing just doesn’t happen. So I arranged to call him back at his office, and I did and it was him all right.”

Leigh told Halliday she had a new partner, a young composer named Morris “Moose” Charlap, and in short order the two had a meeting with Martin, Halliday, and Jerome Robbins, who was to direct and choreograph the show. Leigh, who at that point had only seen one musical in her life, recounted years later, “I remember singing a line to Jerry, ‘If I can live a life of crime, and still be home by dinnertime,’ and we got a nod of approval from him.”

She and Charlap went on to write the score (with a little help from some songwriting veterans), and on October 20, 1954, Peter Pan—with Martin as Peter—opened on Broadway to enraptured audiences and rave reviews. Several months later, NBC broadcast the production live on television. It was an even bigger sensation, attracting 65 million viewers—still the fourth biggest audience of all time for a scripted TV show. Read more…

The Rise and Fall of John DeLorean

Suzanne Snider | Tokion | June/July 2006 | 12 minutes (2,918 words)

This story by Suzanne Snider—which details the fantastical rise and fall of John DeLorean, a former titan of the American automotive industry—first appeared in the June/July 2006 issue of Tokion. Snider is the founder/director of Oral History Summer School, and she is currently completing a nonfiction book about rival communes on adjacent land. Our thanks to Snider for allowing us to feature it on Longreads.  Read more…

We Keep Testing, and Nothing Changes

It is worth noting that American students have never received high scores on international tests. On the first such test, a test of mathematics in 1964, senior year students in the US scored last of twelve nations, and eighth-grade students scored next to last. But in the following fifty years, the US outperformed the other eleven nations by every measure, whether economic productivity, military might, technological innovation, or democratic institutions. This raises the question of whether the scores of fifteen-year-old students on international tests predict anything of importance or whether they reflect that our students lack motivation to do their best when taking a test that doesn’t count toward their grade or graduation. …

Obama and Duncan used the latest international test scores as proof that more testing, more rigor, was needed. The Obama administration, acting out the script of “A Nation at Risk,” repeatedly treats our scores on these tests as a harbinger of economic doom, rather than as evidence that more testing does not produce higher test scores. Now, a dozen years after the passage of George W. Bush’s NCLB, it is clear that testing every child every year does not produce better education, nor does it raise our standing on the greatly overvalued international tests.

Diane Ravitch, in The New York Review of Books, on the politics of education reform and testing in America, and a review of Yong Zhao’s book on China’s history of testing: Who’s Afraid of the Big Bad Dragon: Why China Has the Best (and Worst) Education System in the World.

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Photo: rzganoza, Flickr

What Keeps Anthony Bourdain Excited About Making His Show

Bourdain’s shows have grown more visually complex and cinematic over the years, using intricate editing and atmospheric slo-mo shots to add mystery and gravitas. Episodes are often directly inspired by Bourdain’s film passions. A season 2 trip into Tokyo’s nightlife underbelly–complete with segments on bondage and S&M–was informed by the work of Tokyo Fist director Shinya Tsukamoto, while the Shanghai episode currently unspooling on-screen tapped Hong Kong’s Wong Kar-wai as its key reference point. Bourdain usually picks the influences, but it’s up to the team to execute that vision. “Before we go out on a shoot, Tony will give us a homework assignment, which is about a dozen esoteric films,” says Brigden. “We become obsessed with those filmmakers. We live and breathe them.”

Bourdain is more than just Parts Unknown’s host, head writer, and executive producer; he is its creative engine, picking locations, teasing out themes, obsessing over narrative structure, and guiding its overall artistic vision. At one point while watching a meditative, beautifully shot Shanghai montage, he’s distracted by some incongruously funky background music. “I wish there was no bass,” he says to Brigden and Andrukanis. “It shouldn’t be danceable. It should be wistful.” It’s a small detail in a short segment from a single show, but it’s easy to see how that one tweak will transform the mood of the scene–and maybe even the whole episode.

That quest for excellence is a big part of what’s kept Bourdain excited about making a show with the same basic format for the past 14 years. He can be intense, but he constantly pushes the crew to reach toward the new. “We literally sit down and try to figure out, ‘What’s the most fucked-up thing we can do?’ ” he says, taking a swig from his industrial-size cup of light-and-sweet deli coffee. “ ’What haven’t we done that we can try?’ ”

— Anthony Bourdain, profiled this week in Fast Company. Says a producer who has worked with Bourdain for a long time: “He is fun, funny, smart, sardonic, and a pain in the fucking ass sometimes. But it’s a very collaborative process. He is challenging in all the best ways. He can outtalk, outwit, outhumor anybody who’s trying to argue with him, and sometimes that gets your ire up. But ultimately you take that ire and channel it into the show.”

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Photo: YouTube

The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

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The Hidden Truth About the Cold War Roomba

Over at Paleofuture, Matt Novak looks back at the 1959 Cold War cultural exhibitions hosted by both the United States and the Soviet Union. For the United States, the Moscow exhibition was a chance to show off the newest products and technology from companies like IBM, Sears and Kodak—and perhaps the most important innovation of all when it came to highlighting America’s high-tech future:

Today the autonomous robot vacuum cleaner is passé. Or at the very least, no longer representative of something terribly futuristic. iRobot, the Boston-based company that makes the Roomba, has been churning those things out for over a decade. But in 1959, there was nothing more techno-utopian. The Exhibition had one, thanks to RCA/Whirlpool and a little bit of trickery.

The Exhibition had four demonstration kitchens, but the RCA/Whirlpool Miracle Kitchen was by far the most futuristic. It promised super-fast meal preparation, push-button everything, and automatic robot cleaners. There were even large TV monitors for monitoring different parts of the home, which reportedly impressed Khrushchev. But not everything worked exactly as the exhibitors claimed.

“They had a two-way mirror with a person sitting behind it that could see the room,” Joe Maxwell told me over the phone in his light southern drawl. “And they radio-controlled the vacuum cleaner and the dishwasher.”

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Photo: Library of Congress, via Shorpy

The Power of Two

Longreads Pick

An excerpt from Shenk’s forthcoming book, Powers of Two, exploring creativity in pairs, and what made John Lennon and Paul McCartney’s collaboration so powerful.

Source: The Atlantic
Published: Jun 30, 2014
Length: 15 minutes (3,985 words)

The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

Sign up to receive this list free every Friday in your inbox.

* * *

Read more…

The Disruption Machine

Longreads Pick

Jill Lepore’s critical look at the language of innovation in tech:

Clay Christensen has compared the theory of disruptive innovation to a theory of nature: the theory of evolution. But among the many differences between disruption and evolution is that the advocates of disruption have an affinity for circular arguments. If an established company doesn’t disrupt, it will fail, and if it fails it must be because it didn’t disrupt. When a startup fails, that’s a success, since epidemic failure is a hallmark of disruptive innovation. (“Stop being afraid of failure and start embracing it,” the organizers of FailCon, an annual conference, implore, suggesting that, in the era of disruption, innovators face unprecedented challenges. For instance: maybe you made the wrong hires?) When an established company succeeds, that’s only because it hasn’t yet failed. And, when any of these things happen, all of them are only further evidence of disruption.

Source: The New Yorker
Published: Jun 18, 2014
Length: 24 minutes (6,015 words)