https://www.settleceramics.com/listing/646694783/oil-bottle-brushed-blue

peg & awl / 90

https://pegandawlbuilt.com/products/chalkboard-pad?variant=210781065 https://pegandawlbuilt.com/products/reclaimed-oak-trencher-plate?variant=1129669052 https://pegandawlbuilt.com/collections/all-black-1/products/blackened-apothecary-caddy?variant=5824083034150

https://www.instagram.com/p/_fOY3oS1Qh/

https://www.yaochengdesign.com/shop/art-print/ http://www.angelavenarchik.com/ https://farmtowndenim.com/ https://www.jennysibthorp.com/ https://studiogiverny.com/collections/all

https://www.hedleyandbennett.com/collections/products/products/ms-marlin-womens-chef-coat http://www.animalsleepstories.com/main/art/archive/newprints/ http://www.hannahbeatricequinn.com/shop-1/doug-fir-brushes

https://vimeo.com/ondemand/ohlucy/93943100

https://www.anthropologie.com/shop/dog-a-day-dish-towel

http://www.grubstreet.com/2018/01/tamar-adler-grub-street-diet.html

I thawed two lamb shanks last night and salt them this morning without a plan. It starts snowing in early afternoon and a plan crystallizes. I put them in a pot just big enough to fit them and add two cups of chicken broth left from the chicken I poached on Friday. I add water to make up enough liquid to just barely cover the shanks, some thyme sprigs, and a whole unpeeled garlic clove. Once it comes to a boil, I lower it to a bare simmer I remove them from the broth, submit a piece for approval to my son, and then, with him banging a carrot against his high chair, chop a potato, two carrots, a branch of celery, and a head of Napa cabbage. The first three I cook all together at a vigorous simmer directly in the broth. The cabbage I sauté in a lot of olive oil with a small handful of fresh rosemary and lemon zest. When everything is done, I combine it in a little pot and let it sit until just now when, without reheating, because these ingredients taste so good lukewarm, I serve us lamb stew.

http://whatimadeheatherfordinner.stevealbinicooks.com/ https://www.bonappetit.com/recipes/article/the-steve-albini-approved-midyett-rub-will-change-how-you-cook-meat

https://www.seriouseats.com/2015/01/best-easy-all-purpose-fresh-pasta-dough-recipe-instructions.html https://smittenkitchen.com/2008/02/seven-yolk-pasta-dough/

https://www.willflyforfood.net/2018/04/24/9-creative-art-parks-museums-to-visit-in-taiwan/ https://journalistontherun.com/2018/07/15/fun-things-to-do-in-taipei/

https://www.youtube.com/watch?v=f4XarVR5Wjo

https://www.worldmarket.com/product/blue-fish-terracotta-pizza-oven.do?sortby=ourPicks

https://hillmangradnetwork.com/resources/

https://www.gq.com/story/buzz-bissinger-shopaholic-gucci-addiction/amp

I am also a writer. I crave stimulation. I need it to create, to survive.

assistant day 9/17

https://www.avclub.com/tag/bestcasts

https://www.reddit.com/r/Screenwriting/comments/9ft0so/dont_just_ask_people_to_read_your_script_and_give/

http://www.vulture.com/2018/09/american-vandal-recap-season-2-episode-1-the-brownout.html

But life is stern and life is earnest, and we must face difficult truths

https://www.newyorker.com/magazine/2002/02/11/the-real-heroes-are-dead

“What’s really difficult for me is that I know he had a choice,” Susan says. “He chose to go back in there. I know he would never have left until everyone was safe, until his mission was accomplished. That was his nature. That was the man I loved. So I can understand why he went back. What I can’t understand is why I was left behind.”

https://www.nytimes.com/2018/09/14/magazine/maya-rudolph-snl-amazon-forever.html

Rudolph joined “S.N.L.” at the tail end of the 1999-2000 season, and it swiftly took over her life. “It was literally my everything,” she recalled. “My baby and my husband all at once. I cared about it more than my laundry or my food, which — neither were being well taken care of. I gave all my energy to that show. Plus you’re creating a new show every week, so it was just really intense — in a good way. In a way that I liked.”

The show was a place where trying out identities was not only allowed but also rewarded with applause. She curated an ever-diversifying portfolio of esteemed, wealthy black women: a room-dominating, lusty-voiced Oprah; a monotonous, pageant-calm Beyoncé; a cream-clad Whitney Houston who lived so fast she practically cast sparks; an elderly Maya Angelou whose vowels were poems.

Although they are not married, Rudolph refers to Anderson as “my husband” in conversation, as when a maître d’ told her that a man once introduced himself to the restaurant’s staff as “the unofficial mayor of the Valley” and Rudolph instantly blurted, “I hope it wasn’t my husband.” She said it felt “ooky” to keep referring to her long-term partner as her “boyfriend” after the birth of their daughter (they now have four children); she likes “husband” because “people know what that means. It means he’s the father of my child, and I live with him, and we are a couple, and we are not going anywhere.”

“His impression of me is the most upsetting impression I’ve heard,” she said, hunching her shoulders. In a voice that sounded like an irritated version of her own, but colored with Armisen’s intonation, she looked askance and asked: “ ‘Why am I cold?’ ” Everyone, she said, tells her the impression is valid. “Literally, I have more fun working with him than, like, most things in life.” While Armisen and Rudolph’s close friendship inspired them to collaborate again, the result is surprisingly macabre. “Forever” is saturated with death.

After her mother’s death, strangers started stopping Rudolph to share their emotional reactions with her, “about things,” she said, “that were really kind of intense, sometimes. Complete strangers would just be like: ‘I felt like she was this angel!’ And you’re like: ‘I’m 16. Why are you telling me about my dead mother?’ ” It happened so often that Rudolph wondered if she were drawing them out. “Honestly, I used to think — I was like, Do I have, like, a power?”

This is the thorny part of finding yourself in the public role of people’s fantasy friend: Your friends are everywhere, and they’d love to see you.

do i access the dark web when i type out nonsense cause my fingers are in the wrong place but it's really the right place

http://www.more.com:80/reinvention-money/second-acts/second-act-from-rebel-to-reverend?page=2

“There’s something powerful about being a late bloomer,” she says. “There’s so much built-up potential, like in a fire hose.”

also ethan hunt teaches us the very real lesson that of all of your chores, drop off laundry last because it might just save your life

https://www.thecut.com/tags/i-think-about-this-a-lot/

all it takes for me to believe two people are mother/daughter or sisters is that they have the same highlights

http://kogonada.com/archive

https://tv.avclub.com/the-americans-est-men-1798182795

https://www.target.com/p/loring-secretary-desk-project-62-153/-/A-52651770?preselect=50185225#lnk=sametab

hello if you are any sort of publication and you tweet an article without @-ing the author stop publishing

https://www.newyorker.com/culture/culture-desk/the-cringey-teen-spirit-of-eighth-grade

In a recent interview with Rookie, Elsie Fisher noted that, before getting the role of Kayla, she had stopped acting for a while, because she was “a teen-ager with a lot of acne and roles for teen-agers are disingenuous a lot of the time, and if they want to hire an actor to play a teen-ager, they’re not gonna hire a teen-ager with a lot of acne.” “Eighth Grade” revels in the rough, pimply particularities of middle school: the too-large backpacks on still-developing, still-childlike bodies; the unpracticed rituals of grooming; the bulges of baby fat rising above a tight waistband; the panic of early sexual interactions; the painful but necessary separation from your suddenly extremely embarrassing parents. But the movie also portrays, more broadly, the essential contradiction within the language of individual self-affirmation that surrounds us at fourteen or at forty. In order for “everything to work out,” one needs not just to be oneself but to be one’s best self. This requires constant work and upkeep, which must be privately pursued and publicly disavowed.

In his review, my colleague Richard Brody suggested that, unlike Greta Gerwig’s recent “Lady Bird,” whose teen protagonist has a “vigorous and complicated cultural life,” Kayla in “Eighth Grade” is something of a thin character, as the movie fails to give her substance or curiosity or interests. This is true enough. Kayla is ordinary, basic—not especially aspirational or cultured. She listens to Top Forty-style music, wears mall garb, is not much of a reader or an artist. Like the rest of the kids in her class, she doesn’t seem to care about the political implications of the drill they are all made to sit through. But her lack of defining characteristics that might suggest a future artistic trajectory, is, I think, part of the movie’s point. For all her relative blankness, Kayla is emotionally sensitive, and the intricacies and pressures of the social world to which she silently bears witness affect her deeply. These are her interests and her passions, as limited and reduced as they are, and this rings true.

"Neither time nor history are neutral. If we don't have eyes to see pain, we perpetuate the invisibility of the minority experience." p. 131 I'll never forget "American Beats Out Kwan," the MSNBC headline that covered underdog Tara Lipinski's gold medal figure skating performance in the 1998 Olympics. It happened. I was still wearing a Team USA jacket when it did. (Okay, I wasn't, I was 12 and wasn't allowed to spend $250 on a jacket. Especially with shipping? You're kidding.) I had just watched athletes not much older than I compete at the highest level representing their country of origin and mine, and to celebrate, a zealous editor let a zealous journalist (at 13 I had my own athletic dreams with the backup plan of pursuing sports journalism) run this headline. Kwan was crushed. I was crushed.

i finally ran my car through a car wash yesterday and now i can't find it in any parking lot they're all so clean