I hit the Jordan Kaws 4s Lottery, Yeezy Mafia Rarity Chart, Miami AJ1s
Twitter: @mikefrank2020
Instagram: @Kickinit716
Sir Francis Dank
1 Pharrell, 3 Belugas, 1 Kaws and I hit on the Air Max 97 Kith raffle but didnt pick up because the ride was too far & on the same day as Yebras. I regret that now but it's not the worst month.
Eric Yahnkerâs âNoahâs Yachtâ at Zevitas Marcus.
Opening on Saturday, March 12th at Zevitas Marcus Gallery in Los Angeles, California is Eric Yahnkerâs solo show entitled âNoahâs Yacht.â
Yahnkerâs colored pencil works often mix current social subjects in with classic imagery allowing Yahnker to play with the social landscape and clearly make a statement of the ills therein.
âNoahâs Yachtâ is on display until April 30th, 2016.
Neil M. Perryâs âIn The Shadowplayâ at Antler PDX.
Currently showing at Antler Gallery in Portland, Oregon is artist Neil M. Perryâs solo show âIn The Shadowplay.â
With âIn The Shadowplayâ Neil is exploring current and historical socio-political issues via the medium of his emblematic snake and animal relationship paintings. Where previously the artist had employed color psychology to impart messages through his pieces, in his latest works he hash begun incorporating man-made patterns that carry with them a strong symbolism. Bright colors, swirling snakes, and rich fur blend together to create Neilâs striking signature style.
Gothamist: Whose idea was it to get you and Albert Maysles together to talk? They contacted us! I was enormously flattered. Iâm a huge film wonk, as is everybody on my crew, so it means a lot to us. When Albert Maysles calls up, thatâs the pope calling as far as weâre concerned, so weâre very excited that he would even know who we are, much less acknowledge us in this way. It feels good.
A lot of Mayslesâs most famous workâGrey Gardens especiallyâreally captures the weirdness of the early â70s, which was around the time you started your own career cooking in New York City. How did his work have an impact on you when you were younger? Well, I come from a family where film was really big. My parents were both serious film fans, and I probably saw most of the Janus film collection by the time I was twelve. My dad would come home with a film projectorâhe worked at Wilbyâs. Treasure of Sierra Madre I must have seen that by the time I was six.
I think he couldnât bear his sons not having seen any Kubrick. He couldnât wait. He took us out to see Dr. Strangelove a little too soon after the Cuban missile crisis for my taste, and probably at a younger age than most parenting organizations would recommend.
But film was a big deal, and the names Pennebaker and Maysles were names that we heard around the house. If there was a new Maysles brothers film out my dad would be recommending it. So these were names that meant something at the time. I saw Grey Gardens, I saw Salesmen, though itâs been many years. Gimme Shelter of course. Those things mattered.
What are you expecting, or hoping, the audience might take away from the conversation? Well any chance to highlight the technical aspects of how we tell stories on TV, Iâm very proud of. Iâm proud of the cinematographers and editors and post-production and colorists that work on the show. Our show is very different than a lot of the other travel shows for a number of reasons, and I think principally the sort of hand-crafted attention paid to things like color balances, individual editing styles, always pushing it with equipment, and sort of the language of sound of each individual episodeâwe talk about that a lot. We work really, really hard at it. And to be recognized for those things actually feels, in an unqualified way, good. To be recognized for that, by people who do it for a living, thatâs the good stuff.
Parts Unknown definitely feels like a different show from what youâve done in the past. Was there ever a conscious decision between you and the production team, or with CNN, to focus a little less on food and a little bit more on the people and places themselves? I think we just felt freer to wander in any place that interested us. We go in looking at the food, but weâre freer to wander away from anything resembling a format. These are personal essays.
Letâs put it this way: CNN has allowed us to be smarter. To either tighten the focus on one personâs story or one small area of one city or widen that focus to the whole history of a country. To be either completely food-centric like the coming Lyon show, or barely food-focused at all like the Congo episode. They made it very clear from the beginning that they were open to an hour of any story we wanted to tell, anywhere we wanted to tell them. And we felt very strongly that with CNN standing behind us, as they have solidly since the very beginning, that we had a lot to live up to. We didnât want to just turn out the same show. Weâve tried very hard to up our game every week.
And weâve handed them some very difficult material. We never would have been able to do Libya on another network. The DRC? No way. And I think the Japan showâwith all the hentai cultureâthat was some difficult fucking material we handed down and they didnât blink. I mean, no, they blinked. They blinked a lot. But in the end they stood by us and let us go with it.
And that makes a lot of sense. Each episode is a very direct, and I would say very focused, statement.Itâs the conversation we have most often when weâre sitting around, me and the cinematographers and producers. Weâre constantly pushing each other on whatâs the most fucked up thing we can do. What can we do that weâve never done before? Weâve been talking about shooting on 16 millimeter if we ever get the chance, and at some point weâre looking for the opportunity to tell an entire story backwards, like Memento.
If I fall in love with a film or a director, Iâm often the guy to come in and say âLook, Wong Kar-wai! We have to rip off that style, we have to get that look.â It doesnât matter if only one tiny percentile of our audience has ever seen these films weâre referencing. Weâre free to be inspired by films that we love.
You wrote after airing the Detroit episode that âOne only need to look at New Yorkâs Lower East Side or Meat District to see whatâs possibly coming down the pike for Detroit when it inevitably ârecoversâ.â Do you still think that? Do you see aspects of what Detroitâs going through as reminiscent of Manhattan?Well what will happen with Detroit I donât know, and how long will it take, that I also donât know. But Iâm pretty sure that as itâs quote-unquote rehabilitated in bits and pieces that it is more likely than not that the people who have been sticking it out there all along are not going to be living in those neighborhoods.
I mean the Lower East Side went from a drug supermarket to an expensive neighborhood. I think itâs something that we always have to be wary of. Itâs a subject of discussion in New Orleans, for instance. The influence of money and investment and hipness and artisanal coffee barsâthat means that more often than not that original residents who have been hanging on are pushed out.
Do you buy into the notion, then, that artists and loft-dwellers are going to refab parts of Detroit as a kind of cheaper Brooklyn redux? Itâs always part of a continuum. First come the artists, and then following the artists will be designers and the hip, wildly expensive boutiques, and then a couple of restaurants and then youâve got a different neighborhood. Iâm not even necessarily saying thatâs bad. But thatâs generally the way it is whether youâre talking about East Berlin or the Lower East Side.
The final episode of No Reservations featured Brooklyn. Could you ever picture a Parts Unknown episode that centers on New York City? Iâm looking at the Bronx now. Thereâs been very little attention paid there. Other than Arthur Avenue thereâs been very little attention paid to the Bronx as a borough. Queens is already pretty well acknowledged, at least, as a foodie paradise because of all the great Chinese and Korean places. That alone is enough to make it a kind of powerhouse of gastronomy.
And Brooklyn, you know, arguably weâre looking at the Brooklynization of the world at this point. Everywhere you go, whether youâre in Australia or England or Paris even, theyâre referencing Brooklyn in some way. But the Bronx, I think that would be a really interesting challenge. A full hour in the Bronx really appeals to me.
You said last month âpeople who cannot afford to eat at Le Bernardin eat at Le Bernardinâ and that young food lovers are saving up to eat at restaurants that are way beyond their price range. Do chefs think about this kind of younger, less reverent dining population? How is it changing the status quo? I think itâs improved the status quo. Le Bernardin completely redesigned the interior of the restaurant with this new customer very much in mind, looking to make things a little more comfortable and welcoming to a new client and yet keep the old ones happy. I think this is something that, particularly on the fine dining end, people are aware of and theyâre grateful for it. Itâs sort of awesome!
Thereâs no doubt about it that people in their 20s, people who used to spend their disposable income on cocaine or clubs or records or films or concerts, theyâre not doing those things as much. Theyâre thinking about food and restaurants as an entertainment or cultural form, and I think thatâs great. I think that the more people that know about food, care about food, appreciate food, the better for chefs and the better for the world.
I love how political cartoonists have found ways to keep the truth exposed while mending it to the digital word. Many have used Tumblr and many other sites to keep the political cartoon alive forever.
_LenGele.com is worth checking out. I have no personal connection to it or anything like that. _
I love how political cartoonists have found ways to keep the truth exposed while mending it to the digital word. Many have used Tumblr and many other sites to keep the political cartoon alive forever.
_LenGele.com is worth checking out. I have no personal connection to it or anything like that. _
Gothamist: Whose idea was it to get you and Albert Maysles together to talk? They contacted us! I was enormously flattered. Iâm a huge film wonk, as is everybody on my crew, so it means a lot to us. When Albert Maysles calls up, thatâs the pope calling as far as weâre concerned, so weâre very excited that he would even know who we are, much less acknowledge us in this way. It feels good.
A lot of Mayslesâs most famous workâGrey Gardens especiallyâreally captures the weirdness of the early â70s, which was around the time you started your own career cooking in New York City. How did his work have an impact on you when you were younger? Well, I come from a family where film was really big. My parents were both serious film fans, and I probably saw most of the Janus film collection by the time I was twelve. My dad would come home with a film projectorâhe worked at Wilbyâs. Treasure of Sierra Madre I must have seen that by the time I was six.
I think he couldnât bear his sons not having seen any Kubrick. He couldnât wait. He took us out to see Dr. Strangelove a little too soon after the Cuban missile crisis for my taste, and probably at a younger age than most parenting organizations would recommend.
But film was a big deal, and the names Pennebaker and Maysles were names that we heard around the house. If there was a new Maysles brothers film out my dad would be recommending it. So these were names that meant something at the time. I saw Grey Gardens, I saw Salesmen, though itâs been many years. Gimme Shelter of course. Those things mattered.
What are you expecting, or hoping, the audience might take away from the conversation? Well any chance to highlight the technical aspects of how we tell stories on TV, Iâm very proud of. Iâm proud of the cinematographers and editors and post-production and colorists that work on the show. Our show is very different than a lot of the other travel shows for a number of reasons, and I think principally the sort of hand-crafted attention paid to things like color balances, individual editing styles, always pushing it with equipment, and sort of the language of sound of each individual episodeâwe talk about that a lot. We work really, really hard at it. And to be recognized for those things actually feels, in an unqualified way, good. To be recognized for that, by people who do it for a living, thatâs the good stuff.
Parts Unknown definitely feels like a different show from what youâve done in the past. Was there ever a conscious decision between you and the production team, or with CNN, to focus a little less on food and a little bit more on the people and places themselves? I think we just felt freer to wander in any place that interested us. We go in looking at the food, but weâre freer to wander away from anything resembling a format. These are personal essays.
Letâs put it this way: CNN has allowed us to be smarter. To either tighten the focus on one personâs story or one small area of one city or widen that focus to the whole history of a country. To be either completely food-centric like the coming Lyon show, or barely food-focused at all like the Congo episode. They made it very clear from the beginning that they were open to an hour of any story we wanted to tell, anywhere we wanted to tell them. And we felt very strongly that with CNN standing behind us, as they have solidly since the very beginning, that we had a lot to live up to. We didnât want to just turn out the same show. Weâve tried very hard to up our game every week.
And weâve handed them some very difficult material. We never would have been able to do Libya on another network. The DRC? No way. And I think the Japan showâwith all the hentai cultureâthat was some difficult fucking material we handed down and they didnât blink. I mean, no, they blinked. They blinked a lot. But in the end they stood by us and let us go with it.
And that makes a lot of sense. Each episode is a very direct, and I would say very focused, statement.Itâs the conversation we have most often when weâre sitting around, me and the cinematographers and producers. Weâre constantly pushing each other on whatâs the most fucked up thing we can do. What can we do that weâve never done before? Weâve been talking about shooting on 16 millimeter if we ever get the chance, and at some point weâre looking for the opportunity to tell an entire story backwards, like Memento.
If I fall in love with a film or a director, Iâm often the guy to come in and say âLook, Wong Kar-wai! We have to rip off that style, we have to get that look.â It doesnât matter if only one tiny percentile of our audience has ever seen these films weâre referencing. Weâre free to be inspired by films that we love.
You wrote after airing the Detroit episode that âOne only need to look at New Yorkâs Lower East Side or Meat District to see whatâs possibly coming down the pike for Detroit when it inevitably ârecoversâ.â Do you still think that? Do you see aspects of what Detroitâs going through as reminiscent of Manhattan?Well what will happen with Detroit I donât know, and how long will it take, that I also donât know. But Iâm pretty sure that as itâs quote-unquote rehabilitated in bits and pieces that it is more likely than not that the people who have been sticking it out there all along are not going to be living in those neighborhoods.
I mean the Lower East Side went from a drug supermarket to an expensive neighborhood. I think itâs something that we always have to be wary of. Itâs a subject of discussion in New Orleans, for instance. The influence of money and investment and hipness and artisanal coffee barsâthat means that more often than not that original residents who have been hanging on are pushed out.
Do you buy into the notion, then, that artists and loft-dwellers are going to refab parts of Detroit as a kind of cheaper Brooklyn redux? Itâs always part of a continuum. First come the artists, and then following the artists will be designers and the hip, wildly expensive boutiques, and then a couple of restaurants and then youâve got a different neighborhood. Iâm not even necessarily saying thatâs bad. But thatâs generally the way it is whether youâre talking about East Berlin or the Lower East Side.
The final episode of No Reservations featured Brooklyn. Could you ever picture a Parts Unknown episode that centers on New York City? Iâm looking at the Bronx now. Thereâs been very little attention paid there. Other than Arthur Avenue thereâs been very little attention paid to the Bronx as a borough. Queens is already pretty well acknowledged, at least, as a foodie paradise because of all the great Chinese and Korean places. That alone is enough to make it a kind of powerhouse of gastronomy.
And Brooklyn, you know, arguably weâre looking at the Brooklynization of the world at this point. Everywhere you go, whether youâre in Australia or England or Paris even, theyâre referencing Brooklyn in some way. But the Bronx, I think that would be a really interesting challenge. A full hour in the Bronx really appeals to me.
You said last month âpeople who cannot afford to eat at Le Bernardin eat at Le Bernardinâ and that young food lovers are saving up to eat at restaurants that are way beyond their price range. Do chefs think about this kind of younger, less reverent dining population? How is it changing the status quo? I think itâs improved the status quo. Le Bernardin completely redesigned the interior of the restaurant with this new customer very much in mind, looking to make things a little more comfortable and welcoming to a new client and yet keep the old ones happy. I think this is something that, particularly on the fine dining end, people are aware of and theyâre grateful for it. Itâs sort of awesome!
Thereâs no doubt about it that people in their 20s, people who used to spend their disposable income on cocaine or clubs or records or films or concerts, theyâre not doing those things as much. Theyâre thinking about food and restaurants as an entertainment or cultural form, and I think thatâs great. I think that the more people that know about food, care about food, appreciate food, the better for chefs and the better for the world.
The American Legislative Exchange Council â or ALEC - has been described as a dating service that pairs conservative politicians with big corporations such as General Electric, Coca-Cola, McDonaldâs and Walmart to set a âblueprintâ for conservative legislation. But since the killing of Trayvon Martin, ALEC has lost many corporate members because of its gun law policy. On the next Fresh Air we talk with journalist Ed Pilkington who writes about ALEC for The Guardian.
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