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Fine for the Whole Family

Lynne Gilbert / Getty Images

Was I a picky eater as a child? Yes. But now my parents are pickier.

Selecting an appropriate restaurant for a visit from my folks has made for a decade-long challenge. In theory, I should have no shortage of options — New York City is fairly renowned for its culinary variety — but the city itself is short on a few of my parents’ preferences.

Over countless attempts and hundreds of plates, I’ve learned that the right atmosphere requires a delicate ambience of peace and quiet. (We don’t have that here.) There should be ample space. (We don’t have that, either.) Waitstaff should be more talented than necessary, with a cast-iron sense of humor that can withstand my dad’s idea of fun. (It’s the kind of fun that happens after we’ve left: he’ll rib a server with theatrical just-kidding complaints for two hours, then tip big.) It shouldn’t be crowded but it shouldn’t be empty. The bringer of cheese for the pasta should probably just leave the cheese. Dad won’t eat anything spicy. Mom won’t eat anything raw. Mom will always ask if the table is okay, which always sounds like the table isn’t okay, but when I ask her if she thinks the table is okay, she makes this face like, “Bail me out.”

Have we all become people who shouldn’t be taken anywhere? Probably. I’ve gotten used to my perennial failure to find places that thrive at this impossible nexus of enchantments. I doubt there is a food solution that will always make everyone in this particular triangle of our family totally happy. But for a while there, our solution was Olive Garden.

Olive Garden was our go-to when I was in college. There, everyone was happy — or if we weren’t, everyone was fine. My dad would order Shrimp Scampi; I would order Chicken Marsala; my mom would make their Famous House Salad more famous. We’d eat all the breadsticks, request our first refill, then wrap the second batch to go. I’d reheat them one at a time in my dorm room microwave, wrapping each in a paper towel that would soak up five finger-pressed blots of oil I wouldn’t have to clean. That was where I set the bar those days — that’s all it took to make for a singular restaurant experience with my family. Would there be leftovers? Great. Olive Garden was fine, and fine was good.

In “Dear Olive Garden, Never Change,” the latest installment in Eater‘s Death of Chains series on the slow decline of middlebrow chain restaurants, Helen Rosner reminds me that this anodyne fine-for-the-whole-family feel is completely by design. “One of the things I love about the Olive Garden,” Rosner writes, “is its nowhereness. I love that I can walk in the door of an Olive Garden in Michigan City, Indiana, and feel like I’m in the same room I enter when I step into an Olive Garden in Queens or Rhode Island or the middle of Los Angeles. There is only one Olive Garden, but it has a thousand doors.”

After three years at Vox Media as Eater‘s Features Editor turned Executive Editor turned Editor-at-Large, Rosner recently announced her departure from “the best goddamn food publication in the world.” She tweeted mysteriously to watch this space for updates, noting only that she is moving on “to crush some new things.” If they’re anything like her greatest hits thus far — on glorified vending machines, Tina Fey’s sheetcakingchicken tendersTrump’s ketchup-covered crime scenes, and takedowns of chocolatiers who may not always have had beards — her readers will be sure to bring their bottomless appetites to her next endeavor.

I feel an intense affinity for Olive Garden, which — like the lack of olives on its menu — is by design. The restaurant was built for affinity, constructed from the foundations to the faux-finished rafters to create a sense of connection, of vague familiarity, to bring to mind some half-lost memory of old-world simplicity and ease. Even if you’ve never been to the Olive Garden before, you’re supposed to feel like you have. You know the next song that’s going to play. You know how the chairs roll against the carpet. You know where the bathrooms are. Its product is nominally pasta and wine, but what Olive Garden is actually selling is Olive Garden, a room of comfort and familiarity, a place to return to over and over.

In that way, it’s just like any other chain restaurant. For any individual mid-range restaurant, return customers have always been an easy majority of the clientele, and chain-wide, it’s overwhelmingly the case: If you’ve been to one Olive Garden, odds are very high you’ve been to two or more. If the restaurant is doing it right, though, all the Olive Gardens of your life will blur together into one Olive Garden, one host stand, one bar, one catacomb of dining alcoves warmly decorated in Toscana-lite. Each Olive Garden is a little bit different, but their souls are all the same.

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Mayonnaise, Disrupted

Longreads Pick
Source: The Atlantic
Published: Oct 2, 2017
Length: 19 minutes (4,872 words)

An Expat by Any Other Name (Is Sometimes a Digital Nomad)

Working from Koh Lanta, Thailand. Photo by AdrienBe.

The rise of contemporary startup culture has already reshaped cities like San Francisco and Seattle. But as more and more tech enclaves sprout around the world, we need to pay more attention to the ways tech workers change communities and landscapes in developing countries too. Jessa Crispin does just that in her Outline piece on Roam Co-Living, a startup that caters to other so-called digital nomads who wish to spend long stretches of time (and non-trivial amounts of money) in places like Bali and Costa Rica. She asks important questions about the possibility of experiencing authenticity in perfectly manicured expat bubbles — and about the fundamental power imbalance between affluent Western visitors and local communities.

More than 230 million people live in a different country from the one in which they were born, far more than at any other time in history. We come up with different words for the same experience, based on whether these people are undesirable (brown, poor, Muslim) or desirable (white, upper-middle class, European). The undesirables are migrants or refugees, the desirables are expats or cosmopolitans.

The difference is in the level of choice, whether the person is fleeing war or abject poverty, or simply boredom and Brooklyn. Western migrants are often portrayed as being desirable because they come with money, but they come with other baggage, too. If you place a large population of transient workers with a lot of disposable income in an urban area, that area will inevitably change. Businesses with English-speaking workers that cater to the affluent class, like boutiques and coffee shops and juice bars, will flourish while businesses that cater to long-term residents, like hardware stores and shoe repair shops, will be priced out and disappear as property values rise.

I asked [Roam founder and CEO Bruno] Haid if he feels responsible at all to the neighborhoods he builds his properties in. He said he wants neighborhoods to retain their authentic nature and not become homogenized. “In a place like London,” he said, “we try to have partnerships with businesses that have been around for 25, 30 years and include them in our city guides. We have Paul the pie man, whose bakery has been around for a long time, he comes in once a month and he teaches pie making classes. So we try to integrate this. We try to give people a unique local experience.”

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These Truckers Work Alongside the Coders Trying to Eliminate Their Jobs

Longreads Pick

“We basically have people from two worlds, neither of which has ever talked to each other.” At Starsky Robotics, a driverless trucking startup in San Francisco, truck drivers and software engineers work side by side.

Published: Jun 22, 2017
Length: 13 minutes (3,391 words)

Why Don’t We Work Less?

workers working
(Getty Images/Oli Scarff)

At a recent conference in Detroit, billionaire Jack Ma, founder of the online marketplace Alibaba, told CNBC that, thanks to advances in artificial intelligence, people will soon work less.

“I think in the next 30 years, people only work four hours a day and maybe four days a week,” Ma said. “My grandfather worked 16 hours a day in the farmland and [thought he was] very busy. We work eight hours, five days a week and think we are very busy.”

People have been making this prediction for generations. Economist John Maynard Keynes posited, in an essay published a year after the 1929 Wall Street crash, that his grandchildren would work 15-hour weeks, with five-day weekends. In 2015, NPR caught up with some of his descendants and discovered Keynes — who, according to his grand-nephew died “from working too hard” — was wrong. His grand-nephew reported working over 100 hours a week as a professor, and his grand-niece, a self-employed psychotherapist, said she has to write in her agenda “not working” to remind herself to take breaks.
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In Silicon Valley, Transportation Innovation Is a Flat Circle

A customer on one of Leap Transit's luxury buses in March 2015. The company would file for bankruptcy six months later. (Josh Edelson/AFP/Getty Images)

Ride-sharing app Lyft has a new service available in Chicago and San Francisco that they’re calling a “shuttle.” According to Lifehacker, it works like this:

Lyfts can add up fast and Lyft Line, while less expensive, can take you out of your way and make your travel time much longer.

Lyft Shuttle addresses both those issues by having you walk to a nearby pick up spot, get in a shared car that follows a pre-designated route, and drops you (and everyone else) off at the same stop. So, basically, you share a ride with other people (most of the time) so your ride price is lower, but you know exactly how long the ride will take because you’re on a pre-designated route.

Sounds… familiar. Wait a second.

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A Sociology of the Smartphone

Photo by Alexander Koerner/Getty Images

Adam Greenfield | Radical Technologies: The Design of Everyday Life | Verso | June 2017 | 27 minutes (7,433 words) 

 

Below is an excerpt from Radical Technologies, by Adam Greenfield. This story is recommended by Longreads contributing editor Dana Snitzky.

* * *

They are the last thing we look at before sleep each night, and the first thing we reach for upon waking.

The smartphone is the signature artifact of our age. Less than a decade old, this protean object has become the universal, all-but-indispensable mediator of everyday life. Very few manufactured objects have ever been as ubiquitous as these glowing slabs of polycarbonate.

For many of us, they are the last thing we look at before sleep each night, and the first thing we reach for upon waking. We use them to meet people, to communicate, to entertain ourselves, and to find our way around. We buy and sell things with them. We rely on them to document the places we go, the things we do and the company we keep; we count on them to fill the dead spaces, the still moments and silences that used to occupy so much of our lives.

They have altered the texture of everyday life just about everywhere, digesting many longstanding spaces and rituals in their entirety, and transforming others beyond recognition. At this juncture in history, it simply isn’t possible to understand the ways in which we know and use the world around us without having some sense for the way the smartphone works, and the various infrastructures it depends on.

For all its ubiquity, though, the smartphone is not a simple thing. We use it so often that we don’t see it clearly; it appeared in our lives so suddenly and totally that the scale and force of the changes it has occasioned have largely receded from conscious awareness. In order to truly take the measure of these changes, we need to take a step or two back, to the very last historical moment in which we negotiated the world without smartphone in hand. Read more…

We Need to Talk About Uber: A Timeline of the Company’s Growing List of Problems

Uber CEO Travis Kalanick (Photo by Wang K'aichicn/VCG/VCG via Getty Images)

In a piece for the Financial Times titled “Fire Travis Kalanick,” Kadhim Shubber wrote of the founder of Uber: “One day we will look back at what will hopefully be the smouldering wreckage of Kalanick’s career and ask how a person so lacking in basic human and corporate ethics was allowed to run a company for so long.”

Founded in 2009, Uber was able to portray itself as an underdog “disruptor” into 2012, galvanizing support to beat back city lawmakers in Boston and Washington, D.C. who sought to impose regulations.

But then their practice of surge pricing during crises came under fire when ride prices doubled in New York City after Hurricane Sandy devastated the metropolis in 2012. When surge pricing reached nearly eight times the fare during a snowstorm in 2013, riders got angry.

At first, few reporters took to criticizing the company. When they did, Uber’s public relations machine responded by trashing those reporters in other outlets. When reports of assaults and misconduct by Uber drivers started to roll in, the company responded by claiming they were not responsible for the incidents because the drivers are “independent contractors.”

And since 2013, the missteps and scandals have only continued to pile up. Here is a not comprehensive timeline of all of the trouble Uber has gotten into to date:

January 2014: Pando reported that an Uber driver suspended after assaulting a passenger in San Francisco had a criminal record, including a felony conviction involving prison time. Uber has no explanation for why the driver cleared the background checks that California mandated they run. That same month, outlets nationwide report on the company getting hit with its first wrongful death suit stemming from a driver killing a 6-year-old girl in a San Francisco crash on New Year’s Eve. That driver also had a criminal record that included a conviction for reckless driving. Read more…

The Internet Won’t Prioritize Quality Without an Intervention

FABRICE COFFRINI/AFP/Getty Images

In an interview with The New York Times, Twitter co-founder Evan Williams admits to David Streitfeld that he thinks the internet is broken — and apologizes for the role Twitter played in the ascendency of Donald Trump.

President Trump has said he believes Twitter put him in the White House. Recently, Mr. Williams heard the claim for the first time. He mulled it over for a bit, sitting in his Medium office, which is noteworthy only for not having a desk.

“It’s a very bad thing, Twitter’s role in that,” he said finally. “If it’s true that he wouldn’t be president if it weren’t for Twitter, then yeah, I’m sorry.”

Trump’s campaign slogan may as well have been Extremity First, a strategy his supporters considered the conscious technique of a mastermind playing 4D chess with the media. What the internet is missing, Williams argues, is an ethical framework, a new business model that will introduce a market correction to what the internet perceives as user demand for extremism:

The trouble with the internet, Mr. Williams says, is that it rewards extremes. Say you’re driving down the road and see a car crash. Of course you look. Everyone looks. The internet interprets behavior like this to mean everyone is asking for car crashes, so it tries to supply them.

His goal is to break this pattern. “If I learn that every time I drive down this road I’m going to see more and more car crashes,” he says, “I’m going to take a different road.”

But a new road may have other problems. It may, for instance, be a dead end.

Mr. Williams isn’t the only one trying to fix this mess, of course. If he and others can’t find a path forward, if they can’t solve what he calls “the architecture of content creation, distribution and monetization on the internet,” there are unsettling implications for the future of news and ideas. Maybe it will be all car crashes, all the time. Twitter already feels like that.

Williams has been attempting to course-correct with Medium, a publishing platform conceived to intervene on this vicious cycle of misinterpreted rubbernecking with an ad-free, subscription-based business model. Medium’s successes have been tempered and debatable, while its missteps, like so many of the internet’s favorite car wrecks, have been more memorable. (Williams announced layoffs in a blog post before all the sunsetting employees were informed, shocking investors and publishing partners alike; when Williams introduced the $5 subscription model, Bryan Clark published an op-ed titled Ev Williams has lost his goddamn mind.)

While the need for an intervention is readily apparent, the question of how to make publishing sustainable — in spite of, or by somehow newly leveraging, the internet’s existing mosaic of incentives — continues to pose considerable challenges to the viability of new approaches to funding. As fellow Twitter cofounder Biz Stone has said in response to Williams’ statement that he wants to make publishing profitable: “Yeah, so does everyone else.”

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How ‘International Airbnb Style’ Became the Dominant Aesthetic of Our Time

You’ve seen this room before: bright walls; a coffee table or shelves made out of reclaimed wood; some fabric — a rug, curtains — featuring an abstract geometric pattern; a knockoff mid-century chair. Is it your local coffee shop or craft brewery? A co-working space? Your living room? At The Verge, Kyle Chayka looks at the recent ascendancy of “Airspace” aesthetics — a style of vaguely quirky, easily reproducible minimalism that we now find in Airbnbs across the planet.

In 2011, a New York artist and designer named Laurel Schwulst started perusing Airbnb listings across the world in part to find design inspiration for her own apartment. “I viewed it almost as Google Street View for inside homes,” she says. Schwulst began saving images that appealed to her and posting them on a Tumblr called “Modern Life Space.” But she had a creeping feeling something was happening across the platform. “The Airbnb experience is supposed to be about real people and authenticity,” Schwulst says. “But so many of them were similar,” whether in Brooklyn, Osaka, Rio de Janeiro, Seoul, or Santiago.

There was the prevalence of mass-produced but tasteful furniture, for one. “It’s kind of an extension of Ikea showrooms,” she says. But the similarities went beyond mass-production. The ideal Airbnb is both unfamiliar and completely recognizable: a sprinkling of specific cultural symbols of a place mixed with comprehensible devices, furniture, and decoration. “It’s funny how you want these really generic things but also want authenticity, too,” Schwulst says.

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