Here we are. Eating our sad tupperware lunches. Oh yeah, just to make it better? Eating lunch at your desk can expose you to more bacteria than a toilet seat.
Via 22 Words
Bird:” ‘Uhm Hello, this is the Ono family.”
Bird: “What’s wrong?”
Owner: “Abe-chan, you’re a little too early. Once the phone’s picked up, then properly say hello.”
Bird: “Okay, understood.”
Owner: “Do you really understand? I’m counting on you. Hello, this is the Ono family residence in Gifu.”
Bird: “Okay, I understand!”
Owner: “Got it.”Via TwistedSifter
Fed Up blows the lid off everything we thought we knew about food and weight loss, revealing a 30-year campaign by the food industry, aided by the U.S. government, to mislead and confuse the American public, resulting in one of the largest health epidemics in history.
Music by Kanaku & El TigreHouse of Nod created this scrapbook of snapshots from their journey to beautiful Peru. After watching the video I'm checking out travel deals to South America.
Cinematography and Editing by Robert Kolodny
Produced by Bennett Elliott
|A rare recording of “Motherless Child Blues,” owned by the collector Richard Nevins.|
In the world of early-20th-century African-American music and people obsessed by it, who can appear from one angle like a clique of pale and misanthropic scholar-gatherers and from another like a sizable chunk of the human population, there exist no ghosts more vexing than a couple of women identified on three ultrarare records made in 1930 and ’31 as Elvie Thomas and Geeshie Wiley. There are musicians as obscure as Wiley and Thomas, and musicians as great, but in none does the Venn diagram of greatness and lostness reveal such vast and bewildering co-extent. In the spring of 1930, in a damp and dimly lit studio, in a small Wisconsin village on the western shore of Lake Michigan, the duo recorded a batch of songs that for more than half a century have been numbered among the masterpieces of prewar American music, in particular two, Elvie’s “Motherless Child Blues” and Geeshie’s “Last Kind Words Blues,” twin Alps of their tiny oeuvre, inspiring essays and novels and films and cover versions, a classical arrangement.So begins an article by John Jeremiah Sullivan that held me from beginning to end. Over the years ethnomusicologists had uncovered little about these two women. Sullivan set out to see what he could find and his journey is a fascinating one.