You can see pictures of their beautiful copper still below. I did manage to get a little sample of the Due North rum, and it's no joke—a good sipping rum made with fair-trade sugar can harvested on small family farms in the Himalayan foothills. I'm telling you, this shit is ARTISANAL. Though they aren't open to the public quite yet, they're working on getting the paperwork in order to open a tasting room in the near future. Yet another reason to scam free bus fare to Red Hook out of those IKEA buses.
Apollo is a wheat beer that’s brewed with a traditional strain of Bavarian yeast and a decidedly light touch of understated German hops. It clocks in with just 11 IBUs (that’s International Bittering Units), a far cry from the heavily hopped Imperial IPAs that have routinely surpassed 100 IBUs in recent years.
Janáček was adept with the melody of natural speech; according to Benjamin Folkman's program notes, the composer would wander the streets, making musical notations to describe the cadences he overheard, Henry Higgins-like. Focused on uneasy, upset characters, the score then adds anxiety to the story, doubled by Anthony Ward's sets, which usually feature a canted wall of windows, oppressive in their tilt and their facilitation of angular lighting.
I continue to be bothered by almost every single thing M.I.A. does, from her childish and relatively toothless middle-finger flashing at the super bowl (and the fact that she performed at the super bowl at all, really, let alone as cheerleader on one of the more hilariously terrible Madonna songs ever) to her continued insistence on writing like a not particularly smart 13-year-old any time she gets anywhere near the internet. But to be fair, I'm seriously feeling the teaser clip she posted online via Twitter yesterday. The track's called Come Walk With Me" and it sounds like a half-dozen potentially huge mainstream pop hits pasted together and then fucked with in pretty much the same way she's fucked with everything she's ever touched. Her success here comes from the strength of the material she's fucking with. And now everyone should go back and play the video again, this time paying special attention to the dancers. Someone get those kids on Ellen already.
Follow Mike Conklin on Twitter @LMagMusic.
In 2011, Samson, one of the original co-founders of Le Tigre (with Kathleen Hanna), wrote an op-ed for the Huffington Post explaining how an "emotional crisis" in searching for an apartment led her to a series of epiphanies on creativity, the economy, queerness and Occupy Wall Street. The conclusion that she came to? Fame as a "tattooed gender outlaw" has actually made Samson poorer, and even "successful" creatives are not exempt from struggling in tough economic times—all the more "reason to come together" through Occupy.
“I want to say, to the small group in the House of Representatives moving to stop this bill. Stop it. Pass this bill,” Schumer said, according to the Daily News.
Here, see it with your own eyes:
Earlier this week, The Atlantic’s Jessica Misener highlighted an important and under-recognized aspect of Jack White’s music over the years—his control issues with women. Certainly, Misener had a large catalog of Jack White weirdness to reference—all the anecdotes of Jack White’s black magical, transformative effects on the women around him point to someone with a bit of an ego problem. No contesting that. However, Misener’s argument that Blunderbuss serves as an exercise in vitriol towards women is a severely shortsighted one. As I see it, Blunderbuss is a moment of self-recognition and reckoning. If there’s bitterness, it's also directed inwards at Jack White’s own efforts to control them.
So. "Jungle Fever" is the name which the local print-tees-and-lackluster-plaids outfitter Brooklyn Industries has settled on for their 2012 Summer Collection. The new and newly emphasized shorts and cardigans are modeled by a white woman and an African-American man, looking all angsty, presumably because of society's cruel censure of their taboo desire to miscegenate sweatily and repeatedly.
Does this collection's "narrative" purport to explain why this particular provocation is actually progressive? The answer, as ever in the world of fashion, is a resounding "Yes!"
If you're not near a window (dang, that's terrible), check out live coverage of the Enterprise arriving in the city on CNN here.
The Five-Year Engagement: The first five or six years of Judd Apatow-produced comedies, often starring and/or written by his stable of Freaks and Geeks performers, were largely coming-of-age stories set in different age brackets, from the actual teenagers of Superbad to the slacker twentysomethings in Knocked Up and Forgetting Sarah Marshall to the genuinely middle-aged 40-Year-Old Virgin. Rather than moving up to immature fiftysomethings or back down to Freaks and Geeks territory, Apatow makes a lateral play into semi-maturity with The Five-Year Engagement via his reliable house team of Jason Segel and Nicholas Stoller. Though we get momentary flashbacks to their meet-cute, we join Tom (Segel) and Violet (Emily Blunt) already in love, both with stable jobs—he's a cook and she's an academic—and completely lacking the commitment issues that would prevent them from getting engaged. They're sweet and relaxed, and not in that what-day-is-it manner of the proto-slackers of Knocked Up—though not so unconventional as to truly alienate the audience members looking to go awwww at key moments (Tom's ruby/non-diamond engagement ring for Violet still must be lined with tiny antique diamonds, as if to reassure the awwww crowd that he's not some kind of anti-diamond monster). In fact, the Knocked Up situation seems to play out offscreen in the lives of two supporting characters less together than Tom or Violet.
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