Choice Quote: Brief Interviews with Hideous Men

June 23, 2010

She might be what’s called a granola cruncher, a hippie.


MUSIC video: Those crazy OK GO guys

June 23, 2010

Dan vs. Animal

*even I laughed a lot at this*


CELEBS: That f-ing biological clock

June 23, 2010

Can we PLEASE leave Renee Zellweger alone?

Here’s US Weekly pitting the two women against each other in their “quest” for Bradley Cooper:

I realize I’m writing about it hear but no publicists will even deal with my site because I don’t get enough readers and apparently I’m not a very good critic/ writer.

Showbiz Spy announces engagement of Renee Zellweger and Bradley Cooper [both have had very brief marriages to Kenny Chesney and Jennifer Esposito respectively].

Showbiz Spy says:

Renee knows her biological clock is ticking and she’s desperate to settle down and have a family. She has told Bradley in no uncertain terms that if he doesn’t agree to raise a child with her, she sees no future for them as a couple. Renee is even prepared to adopt if she isn’t able to get pregnant.

Why does anyone have to be married or get married to have a child [see Halle Berry, Madonna and Sandra Bullock]? I’m SO tired of the biological clock. I’ve NEVER heard it ticking and I’m 37 or so.

Also, Renee is an extremely talented actress and I’m tired of her being portrayed as desperate to marry and also people saying poor Renee– why is she single? why can’t she make any relationship work? People might be jealous of her dating record– Jim Carrey, Jack White, John Krasinski, Paul McCartney [oh and read this 2007 Daily Mail piece about a desperate Renee], MSNBC’s Dan Abrams etc.

Or perhaps, Renee just hasn’t found her match yet.


FILM: Green Hornet Trailer

June 23, 2010

Michel Gondry always scores for me [Eternal Sunshine of the Spotless Mind is one of my top 10 favorite films].

Great casting: Seth Rogen and Cameron Diaz.

However, I’m not a comic book reader. When I was younger I liked watching Wonder Woman with Lynda Carter on TV. I know that making films about comic book heroes has been popular [Iron Man, Spiderman, Batman, Daredevil, Elektra, Jonah Hex, etc.].

Why is the guy almost always a wealthy son of a mogul whose father then dies leaving him the company and the fortune? And the guy always has a funky basement with all kinds of toys in it.

Here’s the trailer:


Choice Quote: Cameron Diaz

June 22, 2010

from interview in June’s PLAYBOY:


A long time ago a girlfriend and I said, one, a woman should never be in a broken-down car without her AAA card, and two, she should never be alone without a dildo.

read more at Feminista Files


INTERVIEW: singer/songwriter Dot Allison

June 22, 2010

Born in 1969, Scottish singer/ songwriter Dot Allison began her music career by fronting the band One Dove in the early 1990s. Allison released her debut album, Afterglow, in 1999. In 2002 We Are Science got released.

In addition to solo ventures, Allison’s career has concentrated on collaborative efforts. She also has recently forayed into writing music for film. She contributed Colour Me to Forgetting Sarah Marshall and has worked on the soundtrack for Triangle.

Recently, I had the pleasure to interview the talented and enchanting Dot Allison.

Amy Steele [AS]: You’ve been a solo artist for a decade. What do you like best about working on your own?

Dot Allison [DA]: Not having to deal with band politics. Also I am quite shy in some ways and found it quite hard to be heard in some environments with certain big personalities so those were aspects of being in a band I don’t miss. But I do miss the ‘gang of pals’ thing.

AS:What do you find to be your greatest challenges in writing music?

DA: Self discipline. I can really excel when I am very strict with myself but my default setting is one where I need to really focus on that side of things

AS: How do you like writing songs for others, such as Babyshambles.
How does it differ from your solo work?

DA: I was a very interesting experience and as Peter is a bit of a one-off, it is always a bit unpredictable but worth it. We really clicked as writers which was apparent early on. It is different from my solo work as it’s a democracy creatively and I am a different person to each person I write with as we all draw different strengths from each other.

AS: On Room 7 ½, you have collaborations with Paul Weller and Pete Doherty. Why did you choose to collaborate with them?
What do you feel these collaborations bring to the songs?

DA: Actually to be honest they both asked me, but as it felt like the sessions worked out I chose to use some of the resulting music.

I think Peter and I are a little juxtaposed in our vibes and sounds and for that reason among others the collaboration between us interests me. I always loved the jarring juxtaposition of Some Velvet Morning (Nancy N. Lees’s version) and felt it is a similar dynamic with the ‘boot on the other foot’ in that my character is pretty dark on that song.

I thought the richness and wealth of artistry with someone like Paul has in his musicality and his voice is almost another contrast all together where I sound more naive and fragile against his rich matured voice and presence. He is an amazing writer and owned his solo LPs so when he asked me to work with him it made creative sense to me immediately. I was honored.

AS: What was it like to co-produce this release with Rob Ellis?

DA: Great fun and very enlightening again. I was quite obsessed with some of Polly Harvey’s work with Rob and Mick Harvey and I was made up to be able to work with both Rob & Mick on this LP.

AS: How has your songwriting changed over the years?

DA: I think I am more disciplined around my lyricism which has evolved over time and am far more confident than I used to be too

AS: What do you like best about Room 7 ½?

DA: It’s an honest record that is not trying to follow trends I think.. It’s it’s own vibe perhaps?

AS: What was the genesis for “Cry,” “Fall to Me,” and “Love’s Got Me Crazy?” [three of my favorite songs on Room 7 ½]

DA: Oh thank you. Cry was an electronic track that I fell for the acoustic version of and then once Rob and Mick got involved it sort of became a different creature again.

Love’s Got Me Crazy was a song Paul asked me to co write on and I asked if I could put it on my LP!

Fall To Me was a piano track that everyone loved and Rob treated. I wanted to write something filmic and emotive and that was the result.

AS: How do you remain inspired to write and record music?

DA: Just being alive maybe. Life always throws things at us and as long as it does that I think my way of processing some of it is or will be through creativity. I used to write poems when I felt low and creating something was like a cure. It turned apparent negatives into something positive and I think my music has a bit of that in it. But it’s really a celebration of life.

AS: The music industry is still quite male-dominated. What type of barriers have you had as a female artist?

DA: Lots probably, and mainly people’s unconscious stuff, it’s very hard to quantify! But as long as women are objectified in the media and in life, I think we face barriers men simply don’t to the same degree.

AS: You have such a lovely voice. What type of training have you had?

DA: Thanks again! Not much really. I went to voice lessons with Tona De Bret for a year or so on and off. She was famously sent Johnny Rotten as a pupil. But I just learned about exercises that take pressure off the throat and to warm up for sessions and try to create a bit of vocal ‘memory’ by singing regularly.

AS: When did you realize you could have a career as a singer/songwriter?

DA: In the second year of my Biochemistry degree!

AS: How do define a good song?

DA: One that moves me emotionally in some way.

AS: When do you know that you are finished with a song?

DA: Good question! That changes by the day. A song I thought was finished years ago I can now think needs lots done to it. I think working with a team is good to help you see the end point.

Dot Allison’s Room 7 1/2 will be released on June 21.

pre-order at Amazon: Room 7 1/2


TV: Hell’s Kitchen– interviews with Boston chefs Benjamin Knack and Jason Santos

June 22, 2010

On Friday, I spoke with the two Hell’s Kitchen contestants from Boston– Executive Chef Jason Santos [Gargoyles on the Square] and Executive Chef Benjamin Knack [Sel de la Terre]. Both guys shared candid, refreshing thoughts on Hell’s Kitchen [and more]. And bonus for a reporter: both guys are verbose. Ben gets a few more bonus points because he described many vegetarian dishes for me that made my mouth water. I learned so much about the restaurant business, kitchens, staffing, cooking styles, flavors and of course being on Hell’s Kitchen.

Amy Steele [AS]: Why did you decide to take part in Hell’s Kitchen?

Chef Jason Santos

Jason Santos [JS]: I don’t really have a phenomenal answer except that I’ve always worked in small restaurants that don’t really have a lot of money for PR. So I figured if I could get on the show, I could get to that national level that I feel like I should be at. I also did it because I’ve admired Gordon Ramsay for a really long time. I was really psyched to work next to him. I got to cook with him every day.

Chef Benjamin Knack

Benjamin Knack [BK]: It started about five or six years ago. I’ve always been a big fan of Gordon Ramsay. I wanted to get the chance with Gordon. I worked in really physical kitchens with a bunch of French chefs and Italian chefs, who were very very physical — scream, yell, throw stuff, grab you, kind of push you around the kitchen. So when I heard about Hell’s Kitchen, I said “I can handle that as long as I don’t get kicked out of the kitchen.” I love Gordon Ramsay and I wanted the challenge of him trying to throw me out of the kitchen.

AS: What did you know about Gordon Ramsay before and what did you learn from him on the show?

JS: I have ten of his books. I feel that we have very similar personalities. The one thing I love about Chef Gordon Ramsay is that he is the most charismatic and witty person I have ever met. And I sort of pride myself on my wit. His standards are unbelievable. He’s got 14 Michelin stars. Just to be at that level. How do you even get to that level? I’ve always admired that about him. I love his personality on television. I know he can be abrasive but I love it.

BK: Gordon worked in restaurants that I wish I could’ve worked at, that are in books that I’ve read. When Gordon came out with his own restaurants it was about flavors, amazing sauces, amazing purees, perfect vegetables and things cooked perfectly. I’m a very technical chef. I don’t do things that are floating on your plate. I don’t have an apple that tastes like a chicken. I do basic French techniques and I think Gordon does a great job. He’s always been an idol of mine.

AS: What did you expect when you arrived on the show/ during the competition?

JS: Andy Husbands from Tremont 647 was on the show last year and I worked for him for seven years. We tried out together and we made the show different seasons. I told him I didn’t make the show because I didn’t want him to come back and tell me this is how it’s done. I wanted to go in with zero expectations. I didn’t want to know anything. If I prepare, I normally don’t do as well. It’s a TV show first and foremost. It’s about the editing. I never even cooked to make the show. There are eight million people watching each episode. You can only get edited to a certain point. It is what it is. I saw it as sort of a game.

BK: I want to be in the moment. So I decided not to watch the show, not to study for it, not to have a strategy going into it– go there, live the moment, experience it. If you live life like that, for the most part you usually win. You get the most out of it if you are living life and not going through the motions. My expectations of Hell’s Kitchen: I thought it would be like a regular kitchen, prep and cook and work all night and Gordon’s going to yell and scream at you. But it’s ‘tomorrow’s a challenge:’ get ready for egg cooking. I was in for a rude surprise for what it was like. I thought it would be more like cooking school or cooking camp. So my expectations were thrown out the window after the first few days. You are always in a loop. You never know what’s going on.

AS: How is it working with people from all different backgrounds? Or are you used to it having worked in the business so long?

JS: A little bit of both. You have some people who are really good cooks and some people who are really bad cooks and when you put in all these alphas and when they’re all competing for $250K, interesting things happen. When I hire people, I usually get to choose the level of culinary knowledge. So if I have room for someone more entry level and I can train them, that’s great. Or if I only want to hire someone with a lot of experience I can do that as well. Whereas in Hell’s Kitchen, you have some people who have never cooked on a line before. But that makes for good TV. If you bring together a bunch of people from different ethnic backgrounds, life experience backgrounds, culinary backgrounds and throw them together and say, “Go!,” it makes for great TV.

BK: Top top-end restaurants, they call it competitive kitchens. We want to be better than the kitchen next to us. Legal Seafoods just wants to make money. We want to cook for 300 people like we’re cooking for 120 people [the quality]. We have people in culinary school, people who’ve never cooked before and are in bands, people who work at Sel [de la Terre] during the day and Sonsie at night. We have people at all different levels and experience so it’s very realistic for me. I’m very used to it. We might be the same age but where I am in my life is my life. Where you are in your life is your life. My job as a chef is to make you as successful as possible and share all my knowledge. I like diversity. I grew up in Queens. And that’s all experience, monetary backgrounds and race. Everyone has their different tricks and you can really absorb that and grow together.

AS: What did you learn on the show?

JS: I learned a lot. The cool thing about Hell’s Kitchen is when you’re in the kitchen, you’re IN the kitchen. It was like a job. You’d wake up in the morning, go prep all day and do dinner service at night. My cooking style is not known for being simple. Hell’s Kitchen has really simple food: really fresh ingredients, just a few items per plate. That’s what I tell people: you have the Gordon side, which is extremely real and then you have the TV side. You cooked it good, you cooked it good. If he calls you out, he was right. I thought that was really cool. And just to cook next to him and watch him. He’s definitely a teacher. He’d show you how to do it his way.

BK: Gordon shares techniques: timing, communications, cooking. He’d pull me aside and say, “That looks great. But here’s a way to do it better.” That’s much better than him just saying something looks great. Gordon’s one of the best chefs in the world. When he works with you on something, that’s amazing. He’s sharing his knowledge. During the show he’s 100% genuine. He may scream and yell when something’s wrong and he’s really pissed. When he says something’s good, he really means it. When he shares something with you, he’s really open, really caring. He’s very passionate about the ingredients. You don’t see us break down the kitchen. You don’t see us prep. I prep really hard. I work very hard to get my station set up. A lot of places that aren’t like the kitchen ARE like the kitchen. When you lose a challenge, you do things that people do every day. Cleaning up the water—you can be there and bitch and moan or you can go with the attitude that you don’t do this every day and actually appreciate losing a challenge.

AS: What was the greatest challenge?

JS: Being away from everything. Full blown sequestering: no email, no phone, no magazines, no radio, no pens and papers. Nothing. We did a photo shoot the first day we were there and while we were waiting, I was flipping through a magazine and as a joke I ripped out a picture of Paris Hilton, smuggled it back to the dorm and put it on my nightstand. I woke up the next morning and it was gone. You go together and you leave together. So to be away for two months is challenging.

BK: Being without my family. I never spend a day away from my wife or my daughter. A lot of chefs work and then go away. Since my daughter was born, I’ve spent every day with her. It’s all about the family. We cook dinner together. Ella breads the fish, she mixes salads and she makes eggs for us. [note: Ella is two and favors using the blue heat-resistant spoon to do her cooking.] We do all the things that most people don’t appreciate. We do things together as a family and we appreciate everything we do. When I was away, I missed all those things. I’m not talking to my wife. I’m not seeing my daughter. The biggest challenge was getting over not being able to see them.

AS: Best part of HK?

JS: To win a reward. And you only see five minutes on television. The little breaks kept me sane. The first episode we did a helicopter ride. I’ve always wanted to go up in a helicopter and I got to do that—flying over L.A. sitting next to Gordon Ramsay was amazing.

BK:
Working together with everybody. Being part of the production and not just being part of the show—interacting with the sous chefs, interacting with Gordon, interacting with production. Experiencing everything, not just the TV part. The whole is more important than the means. It was definitely life changing. Gordon puts his heart and effort into it.

AS: When I was talking to people via Twitter during the last episode, we wondered why more people didn’t know how to make risotto when it’s on the menu every year.

JS: There’s 563 ½ ways to make risotto. So you can practice all day long. I’ve been making risotto for 15 years and I’ve never made it the way Gordon makes it. Some people like risotto really thick. Some people like it really thin. You certainly can’t practice something you haven’t been shown how to do. We were given a recipe book and we had to remember 12 items for the menu—not only what they were but each individual ingredient to make each item. Basically it was, “Here’s a book and a photo, go make it.”

BK: It’s more complex than it looks on TV. Making risotto for Gordon Ramsay, a Michelin-rated chef is slightly different quality. Every chef has a different technique so it is different. When you work in someone else’s kitchen and they say the wall’s blue and it’s red, the wall is blue. It’s however that chef wants it. You learn that chef’s palate and technique as you work in that kitchen.

AS: How different is it to work when every move is scrutinized, names are called, and people are undermined?

JS: I can’t believe I’ve made it this far and haven’t gotten yelled at yet. [Hell’s Kitchen] is brigade style and very few kitchens still use that. Brigade style is that if you’re doing vegetables, you’re just doing vegetables. That’s all you cook all night long. So now you have to time the fish guy who serving it, with the meat guy . . . So whatever you’re doing that’s all you need to worry about.

AS: What was your signature dish?

JS: Grilled Hangar Steak, corn & queso fresco salad, black truffle demi-glace, nasturtiums [funky flower, very peppery, similar to arugula]

[note: nasturtiums were Isabella Stewart Gardner’s favorite flowers that she hung annually in the museum courtyard]

BK: Butter poached lobster with lobster agnolloti, English peas and truffle foam.

AS: How will you apply your Hell’s Kitchen exp to your career?

JS: It’s like anything. If I read a cookbook, I apply it to my cooking. Whatever we served in Hell’s Kitchen, I took some of the things I loved and put my own tweak on them.

BK: I keep things simpler. Gordon’s about simple, quality techniques. On set they call me Gordon Jr. because I always say hello to everyone and talk to everyone. Just continuing to push for perfection. And when times are tough, pushing my staff and pushing myself.

AS: Do you think you have to be omnivorous to be a good chef?

JS: Yeah, I don’t know. I’m sort of tough on vegetarians. I always have at least one plate that’s vegetarian that’s really creative. We put a lot of effort into it. Some restaurants just serve vegetables on a plate. The more restrictions you have, the less a chef can shine.

BK: No I don’t think so. For a good chef, you have to cook to your strengths. You have to find the right venue. I’m only a chef if I’m in the position as a chef. Otherwise I’m a cook. Before service, I walk the line and taste everything.

Hell’s Kitchen airs at 8pm Tuesdays on FOX.

Both chefs have Hell’s Kitchen viewing events at their respective restaurants every Tuesday to discuss the show and answer questions.
See websites for additional information.

Info on the chefs:

Chef Jason Santos
Executive Chef at Gargoyles on the Square in Somerville, Mass.
Facebook
Jason’s twitter

Chef Benjamin Knack
Executive Chef at Sel de la Terre, Longwharf, in Boston, Mass.
Facebook
Sel de la Terre twitter
Ben’s twitter


Bitch is the New Black: book review

June 22, 2010

Title: Bitch is the New Black
Author: Helena Andrews
ISBN: 978-0061778827
Hardcover: 256 pages
Publisher: Harper; 1 edition (June 1, 2010)
Category: memoir
Review source: publisher
Rating: 4/5

I’m a bitch. I’m white. I’m a WASP from Boston. Mostly I’m jealous when I keep reading memoirs such as Bitch is the New Black– about the challenges of being a single professional [although many would think that’s a stretch for me as I’m not that successful]. Why haven’t I yet written a memoir about all the miserable men in my life? When I read a memoir such as Bitch is the New Black by Helena Andrews it motivates me to get writing. Oh and if you aren’t already jealous of Washington D.C.-based reporter/writer Helena Andrews, Bitch is the New Black has already been optioned by Grey’s Anatomy and Private Practice producer/writer Shondra Rhimes.

You certainly don’t have to be black to relate to this memoir. How ridiculous would that be? Helena writes about when the Congressional Black Caucus meets in D.C. [The CBC is to single-black-chick Washington as Fleet Week is to single-white-gal New York. Seamen? How ‘bout degreed men!]—to her lesbian mother—walking her “racist” dog through the sketchier areas of DC [The dregs of LeDroit Park hang around the busted-up concrete slabs that make for a sidewalk outside. I won’t assume these men push “product” for a living, but, well, they wear puffy black coats in summertime.]—how being an educated black woman can often be a huge roadblock to establishing a serious long-term relationship to a guy—why work can be more rewarding than dating—to her best friend’s decision to only date white men–and other much more observant and timeless topics.

I’d spent the last thirty days doing everything to prove myself worthy of calling this jackass my boyfriend. When Dex called me at 3:00 a.m. wanting to talk about nothing in particular [but really everything indefinable], I answered the phone [which had been waiting impatiently beneath my pillow]. When Dex wanted dinner, I cooked as if I hadn’t ordered the No. 17 from Sala Thai for the last six days in a row. When his number showed up on my BlackBerry in the middle of a Tuesday [ice cream at the Lincoln Memorial!], I slapped an end quote on the ass of another boring story and ran outside to meet him. I even had an “in case of Dex” bag under my desk at work [mascara, thongs, Burt’s Bees, invisible solid]. I washed his dishes when mine nurtured micro universes at home. I did his laundry while going pantyless by necessity. I gently lectured him on fiscal responsibility while waiting in line at ACE Check Cashing and Pay Day Loans.

All jealousies aside, Bitch is the New Black provides yet another stand-out memoir by a strong, opinionated, independent woman who has achieved monumental professional success but by society’s standards hasn’t yet hit her stride on the personal front. And does that matter at 30? Sure, even the most intelligent women resort to embarrassing ridiculous and oft-demeaning behavior around men. Try getting to 40 and realizing that BOTH one’s personal and professional lives are hot messes. Andrews’s writing is bright, refreshing and Bitch is the New Black is chocked full of entertaining anecdotes and vivid descriptions. Definitely add it to your reading list.


Choice Quote: Noel Gallagher on the World Cup

June 21, 2010

On England manager Fabio Cappello following the team’s match against Algeria on Friday:
Before tonight everyone really respected him, but he’s kind of turned into some kind of silly wizard.

On England’s chances in their next game on Wednesday:
If they couldn’t beat Algeria tonight I cant see them beating Slovenia. Slovenia are going to need to draw that game to go through, so they’ve got something to play for, it’s all over.

Gallagher’s team is Manchester City.

This might be England anthem this year [also appropriate in 2002]:

source: Spinner


MUSIC: Arcade Fire release #3 Due August 3

June 21, 2010

information from Spinner

Montreal’s Arcade Fire to follow-up NEON BIBLE with THE SUBURBS, the band,s third release.

Tracklist [which never interests me, but some people like to see]:

‘The Suburbs’
‘Ready to Start’
‘Modern Man’
‘Rococo’
‘Empty Room’
‘City With No Children’
‘Half Light I’
‘Half Light II (No Celebration)’
‘Suburban War’
‘Month of May’
‘Wasted Hours’
‘Deep Blue’
‘We Used to Wait’
‘Sprawl I (Flatland)’
‘Sprawl II (Mountains Beyond Mountains)’
‘The Suburbs (continued)’


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