#david punter

[gothicseverance]

Science and monsters coexist in the Gothic novel.

—Studies in Gothic Fiction

[elektramouthed]

 Monsters, as the displaced embodiment of tendencies that are repressed or, in Julia Kristeva’s sense of the term, ‘abjected’ within a specific culture not only establish the boundaries of the human, but may also challenge them. Hybrid forms that exceed and disrupt those systems of classification through which cultures organize experience, monsters problematize binary thinking and demand a rethinking of the boundaries and concepts of normality. Gothic texts repeatedly draw attention to the monster’s constructed nature, to the mechanisms of monster production, and reveal precisely how the other is constructed and positioned as both alien and inferior. In turn, this denaturalizes the human, showing the supposedly superior human to be, like the monster’s otherness, simply the product of an ongoing struggle in the discursive construction and reconstruction of power.

David Punter, Glennis Byron, from The Gothic

[novelhater]

finished the literature of terror volume one: the gothic tradition by david punter

i felt like 'ogre reading ulysses.jpg' reading this book which was initially depressing and then joyous.

this is probably because i just read the last of the wine, which features socrates prominently, but i've recently been thinking about (ruminating on; perhaps even brooding over) one of his arguments against the written word: that a conversation is alive while the written word is dead. and i do think the written word is on life support. you have to struggle and work hard to keep it going. it's often tempting to just lay down in the grave next to it and let the book cover/coffin lid fall shut.

but that's the devil talking.

(the devil likes convoluted metaphors. the devil likes rhetoric. let's kill rhetoric and return to plain speech. okay socrates you can exit my body at any time now.)

in the contextually appropriate spirit of the gothic, you must resuscitate! that! corpse! you have to give it cpr. (you have to kiss it on the mouth. with tongue.) and discovering that you have a new way of looking at a book or that something you previously thought about it might not be the full picture isn't indicative of your own inability or stupidity, but rather a sign that you have managed to to do that (kiss a dead body on the mouth). i think that's the exact opposite of inability and stupidity. so, yes, joyous.

this is me comforting myself, btw.

ogre reading ulysses but he's smiling through the tears.jpg

anyway all of this is to say reading this book made me want to go back and reread confessions of a justified sinner a second time. i think many of the points i made initially are sound but i also feel like i was missing contexts that both frustrate and strengthen my initial reactions. the tension between the interior unreality of robert and the exterior reality of the editor is a tension that is deeply rooted in the gothic, worthy of deeper exploration. and i think this splitting of internal and external realities ends up mocking both perspectives - thereby mocking both the gothic and realist modes of writing.

well that's a whole other post for a whole other day. it's several posts about several books i've already read for several different days, in fact. but this post is ostensibly about the literature of terror and i do have some comments.

i disagree with a number of the readings punter gives for specific novels. his reliance on freudian psychology would be embarrassing except that this book was written in the 70's. his reluctance to explore themes of homoeroticism in anything but the vaguest terms is likewise (understandably) dated. we forgive and forget.

his harsh criticisms of frankenstein i am less willing to dismiss. his primary gripe is the way shelley fails to fully condemn either frankenstein or the monster, something he describes as a deep and flawed contradiction rather than. the point? we shan't get into it. i am pinching my nose and pushing through.

ironically, he does spend time specifically talking about confessions of a justified sinner, but i got basically nothing out of this section. punter's primarily concerned with reading it as a narrative of literal schizophrenia, a reading i find not just boring but also irritating. this can't become a post anout my feelings re: mental illness in horror - we'll be here all day - so i have nothing to say about that.

i do have something to say about the fact that he seems to consider robert at least as much of a victim as george, if not more so (george is "merely" murdered, after all), particularly given the fact that he couldn't manage to entertain conflicting sympathies for frankenstein. the thing i have to say is: lol. lmao, even.

but i feel like the fact that i often disagree punter's readings actually makes me like this book even more. i find his general dissection of the gothic tradition's features, origins, and gradual evolution a really useful framework for contextualizing the genre and its spawn. and then i get to immediately put it to use for formulating arguments against him. :) like a textbook that comes with exercises!

the updated edition also acknowledges developments in academic discussion of the gothic that have occured since the book was first published and adds an appendix with lots of suggestions for further reading. which made my tbr stack creak and grown and weep under the heavy weight of its own fateful doom, but, like, shut up lol!

it's really a book you synthesize and apply to other books rather than taking its arguments at face value and accepting them as established fact. and it does a very good job in that regard. anyone with an interest in gothic lit should absolutely read it, although i recommend getting a copy from the library or just fucking stealing it. just steal it dude. download a car pdf. this thing retails at like $60 and cheap used copies seem hard to come by. and it's only volume one of two. what a joke. i think the government should mail this book to dark academia girlies for free and then if they read it they get credits for the reading prize shop that they can use on microplastics and stale candy. like at the bowling alley arcade.

sorry, for a second there i was unable to resist retreating into the rich internal world i've crafted for myself. *points to a loudly blaring claw machine with flashing neon lights* sublime landscapes everywhere for those with eyes to see.

[dipnotski]

David Punter – Metafor (2024)

David Punter’ın ‘Metafor’ kitabı, metafor kavramının edebiyat, dil, kültür ve düşünce üzerindeki etkisini derinlemesine inceliyor. Kitap, metaforun tarihsel kökenlerini ve farklı kültürlerdeki rolünü ele alırken; edebî teori, felsefe, psikanaliz ve postkolonyal çalışmalarla olan ilişkisini inceliyor ve bu incelemelerini hem Batı hem de Doğu edebiyatından örneklerle zenginleştiriyor. Eserde,…

[mychameleondays]

Bryan Ferry: These Foolish Things

Island 87266 IT

Released: 5 October 1973

[persephonethewanderer]

give us gothic literature recs!!!!

here you go anon!

FICTION:

wuthering heights, emily brontë

jane eyre, charlotte brontë

the bloody chamber, angela carter

mathilda, mary shelley

we have always lived in the castle, shirley jackson

the yellow wallpaper, charlotte perkins gilman

rebecca, daphne du maurier

carmilla, sheridan le fanu

dracula, bram stoker

frankenstein, mary shelley

the mill on the floss, george eliot

the orphan's tale, catherynne m. valente

the haunting of hill house, shirley jackson

my cousin rachel, daphne du maurier

the double, fyodor dostoyevsky

the grey woman, elizabeth gaskell

beloved, toni morrison

the fall of the house of usher, edgar allan poe

wise blood, flannery o'connor

white is for witching, helen oyeyemi

wide sargasso sea, jean rhys

our wives under the sea, julia armfield

valerie and her week of wonders, vítězslav nezval

salome, oscar wilde

deathless, catherynne m. valente

piranesi, susanne clarke

picnic at hanging rock, joan lindsay

NON FICTION:

decadent daughters and monstrous mothers: angela carter and european gothic, rebecca munford

the contested castle: gothic novels and the subversion of domestic ideology, kate ferguson ellis

gothic incest: gender, sexuality and transgression, jenny diplacidi

our vampires, ourselves, nina auerbach

the madwoman in the attic, sandra gilbert and susan gubar

a new companion to the gothic, david punter

daughters of the house: modes of the gothic in victorian fiction, alison milbank

women and the gothic, avril horner and sue zlosnik

fairy tale & gothic horror, laura hubner

female gothic histories, diana wallace

women and domestic space in contemporary gothic narratives, andrew hock soon ng

gothic and gender, donna heiland

perils of the night: a feminist study of 19th century gothic, eugenia c. delamotte

the female gothic: new directions, diana wallace and andrew smith

[saywhat-politics]

Ex-NFL punter Chris Kluwe arrested over protest at Huntington Beach City Council meeting

By Michael David Smith

Published February 19, 2025 04:16 PM

Former NFL punter Chris Kluwe was arrested over a protest at a city council meeting in Huntington Beach, California on Tuesday.

Kluwe was protesting Huntington Beach’s decision to display a plaque at its public library that uses the words, “Magical,” “Alluring,” “Galvanizing,” and “Adventurous” next to each other to spell out MAGA. All seven members of Huntington Beach’s City Council are Republicans.

Video from the city council meeting shows Kluwe criticizing the MAGA movement during the public discussion portion of the meeting, calling it “a Nazi movement” and then saying he would engage in civil disobedience. After Kluwe went to the front of the meeting where the city council sits, police handcuffed him and carried him out.

Kluwe was arrested on a charge of disrupting an assembly. He told the Orange County Register afterward that he was released after about four hours in custody.

[justinssportscorner]

Michael David Smith at NBC Sports:

Former NFL punter Chris Kluwe was arrested over a protest at a city council meeting in Huntington Beach, California on Tuesday. Kluwe was protesting Huntington Beach’s decision to display a plaque at its public library that uses the words, “Magical,” “Alluring,” “Galvanizing,” and “Adventurous” next to each other to spell out MAGA. All seven members of Huntington Beach’s City Council are Republicans. Video from the city council meeting shows Kluwe criticizing the MAGA movement during the public discussion portion of the meeting, calling it “a Nazi movement” and then saying he would engage in civil disobedience. After Kluwe went to the front of the meeting where the city council sits, police handcuffed him and carried him out. Kluwe was arrested on a charge of disrupting an assembly. He told the Orange County Register afterward that he was released after about four hours in custody.

God Bless Chris Kluwe for taking a stand against the tyrannical MAGA agenda.

See Also:

HuffPost: Ex-NFL Player Hauled Out Of City Meeting After Railing Against ‘Nazi’ MAGA Movement

The Present Age (Parker Molloy): Democrats Could Learn Something from Former NFL Punter Chris Kluwe

Daily Kos: Ex-NFL player arrested for protesting MAGA plaque in public library

The Advocate: Ex-NFL player Chris Kluwe slams MAGA for 'trying to erase trans people,' gets arrested

[stonergirlfilmcanon]

on the decolonial/postcolonial gothic

'introduction: decolonising gothic' by rebecca duncan in gothic studies vol 24 no 3 (2022, pp. 219-227)

'the gothic origins of anti-blackness: genre tropes in nineteenth-century moral panics and (abject) folk devils' by maisha wester in gothic studies vol 24 no 3 (2022, pp. 228-245)

'decolonial gothic' by sheri-marie harrison in the edinburgh companion to globalgothic (2023, pp. 23-37)

'jean rhys's wide sargasso sea (1966) - postcolonial gothic' by tabish khair in the gothic: a reader edited by simon bacon (2018, pp. 25-30)

'gothic tales of postcolonial england' by sarah ilott in new postcolonial british genres: shifting the boundaries (2015, pp. 54-94)

'arundhati roy and the house of history' by david punter in empire and the gothic: the politics of genre edited by a. smith and w. hughes (2002, pp. 192-207)

[rhysdarbinizedarby]

Rhys Darby returns to New Zealand for two huge milestones - Spy

Rhys Darby is back in New Zealand.

Why is Kiwi comedy star Rhys Darby back in New Zealand?

Rhys Darby is returning from his base in Los Angeles for a double celebration over the next few weeks - his 50th birthday and a special event to mark his 25 years working as a stand-up comic.

“I’m home for my 50th birthday celebrations,” he reveals to Spy.

Darby hits the big milestone on March 21 and says he, his wife and manager Rosie are planning on a shared party with their family and friends.

A week later, Darby will be in proud parent mode as his eldest son Finn’s band, Great Big Cow, will be performing at The Whammy Bar on Karangahape Rd on March 27.

“So, as a cool dad, I’ll be there of course, with my band manager suit on,” he says.

There will be fun and laughter to have on Waiheke Island the following week too. Popular island spot Wild Estate Vineyard in Onetangi has secured Darby for an exclusive one-off New Zealand show with an intimate audience of only 200 tickets.

Punters can be sure Darby’s will be giving the native birds on the island a squawk for their money with his famous bird calls from his 2021 TV stand-up show Mystic Time Bird.

“The show is called ‘25 Years’ - it is a celebration of my stand-up career,” say Darby.

“I’ve hand-picked the best material from my five comedy specials, and I’ve also added some new stuff,” he divulges. “It’s all killer, so the audience can expect me having a blast, and so I’m sure they will too.”

Wild Estate has become the go-to live venue on Waiheke for comedy and live gigs; last month, the Jordan Luck Band rocked the vineyard, and comedians Nick Rado, Tony Lyall, Paul Douglas and Ruby Esther have all had successful stand-up nights there too.

Darby has been home several times over the last few years, whether to film with his mate Taika Waititi in West Auckland for the second season of their hit HBO Max show Our Flag Means Death in late 2022, or his Kiwi road trip with David Hasselhoff called Hoff the Beaten Track last spring.

Darby finished the year with aplomb, hosting the 51st International Emmy Awards in New York in November.

The production company for his road trip show, Stripe Studios, made headlines last month with the New Zealand Herald’s Media Insider column, penned by Shayne Currie, reporting Stripe for unpaid bills. The production company also filmed a travel-style show with US comedian Iliza Shlesinger. Currie reported the Netflix comedy star is applying to have Stripe Studios (Comedy) Ltd liquidated. Stuff followed up this story, reporting Hasselhoff was also owed money from the production company.

Darby politely had no comment on the state of his and The Hoff’s road trip show, but sources say Darby played a big part in getting as many of its Kiwi crew as he could paid by Stripe.

However, Darby did share that Hollywood has been rather wet and dull so far this year. “I have a few top-secret TV and film projects in development, which I am really looking forward to.”

“What I can reveal is: I’ve been involved in Mukpuddy’s awesome adaptation of Badjelly the Witch,” he says.

“I think it’s going to be so so good!”

Source: NZ Herald

[gothicseverance]

The heroine’s experiences (...) are represented as a journey leading towards the assumption of some kind of agency and power in the patriarchal world, or alternatively as a search for an absent mother.

—The Gothic

Gif by @lousolversons 🖤

[elektramouthed]

 One of the most notable changes in more recent representations of Gothic monstrosity involves a shift in sympathies and perspectives. While Mary Wollstonecraft Shelley’s Frankenstein (qq.v.) was probably the first to invite sympathy for the monster, to allow him to speak and explain the origins of his monstrous behaviour, there is usually little attempt to do this in most eighteenth- and nineteenth-century Gothic. Modern criticism may rewrite such figures as the vampire (q.v.) as heroic rebels against conformity and repressive moral systems, but Stoker’s Dracula (qq.v.) actually offers little encouragement for readers to align themselves with this monstrous force. In recent Gothic, Fred Botting observes, however, monstrous figures are now much ‘less often terrifying objects of animosity expelled in the return to social and symbolic equilibrium’. Instead, they are ‘sites of identification, sympathy, and self-recognition. Excluded figures once represented as malevolent, disturbed, or deviant monsters are rendered more humane while the systems that exclude them assume terrifying, persecutory, and inhuman shapes’ (Botting 2002: 286).

David Punter, Glennis Byron, from The Gothic

[cleoenfaserum]

WITCHES

Is one letter away from bitches.

THE WITCHES OF Lancashire (1153)

'The Ride through the murky air' illustration by John Gilbert from the Lancashire Witches by William Harrison Ainsworth, 1848

source enchantedbook

Let's start off with a strong message with one of my favorite poems recited by the author herself:

1153-1link https://youtu.be/XIwdnkw6zZs

NOW WE CAN TALK ABOUT WITCHES...

RTR TV in association with Samlesbury Hall produced a short 26 minute film covering the sinister happenings surrounding the lesser known Samlesbury Witches and their subsequent trial. Filmed in and around the spectacular Pendle countryside and on location at the historical Samlesbury Hall.

1153-2link https://youtu.be/q2qJqzNT_hE

The Lancashire Witches is the only one of William Harrison Ainsworth's forty novels that has remained continuously in print since its first publication. It was serialised in the Sunday Times newspaper in 1848; a book edition appeared the following year, published by Henry Colburn. The novel is based on the true story of the Pendle witches, who were executed in 1612 for causing harm by witchcraft. Modern critics such as David Punter consider the book to be Ainsworth's best work.E. F. Bleiler rated the novel as "one of the major English novels about witchcraft". The Lancashire Witches - Wikipedia

Biographical background and publication

The subject of the Pendle witches was suggested to Ainsworth by antiquarian and long-time friend James Crossley, President of the Chetham Society. During 1846 and 1847 Ainsworth visited all of the major sites involved in the story, such as Pendle Hill and Malkin Tower, home of the Demdikes, one of the two families accused of witchcraft. He wrote the story in 1848, when it was serialised in the Sunday Times newspaper.

As was common practice at the time, the novel was published in a three-volume set known as a triple decker. The first edition was produced by Henry Colburn in 1849, with the subtitle "A Romance of Pendle Forest". Routledge published an illustrated edition in 1854, reissued in 1878. The twelve full-page illustrations were by John Gilbert.

The Witches of Pendle (TV Movie 1976) - IMDb

Suggest you follow the film with subtitles, will be helpful if you are not into English accent.

1153-3link https://youtu.be/FNi730q3Di0

The Project Gutenberg eBook of The Lancashire Witches, by William Harrison Ainsworth, Esq..

The Lancashire Witches is a highly fictionalised account of the activities of the notorious witches Demdike, Chattox and Alice Nutter who, together with others terrorised the district of Lancashire around Pendle Hill and the Forest of Bowland during the early seventeenth century. The witches named in the book were real enough, if not as witches then as people. Ainsworth, in his story brings in the dissolution of Whalley Abbey and the historic families of Assheton, Braddyll and Nowell and takes us through to the final trial and execution at Lancaster Castle in 1612. (Summary by Andy Minter)

1153-4LINK https://youtu.be/Md63zyti6Vg The Lancashire Witches Part 1/3 Full Audiobook by William Harrison AINSWORTH

1153-5LINK https://youtu.be/B35_ewp24mA The Lancashire Witches Part 2/3 Full Audiobook by William Harrison AINSWORTH

1153-6LINK https://youtu.be/Q8-zGZDKgf8 The Lancashire Witches Part 3/3 Full Audiobook by William Harrison AINSWORTH

[todays-just-a-daydream]

manchester evening news on an unlikely first public appearance of noel gallagher post-reunion: at a book launch speaking about hacienda days

He spoke on a panel that included Manchester music star Peter Hook who co-owned the Hacienda with New Order and Factory Records, former Hac manager Ang Matthews, Flesh club night promoter Paul Cons, DJs Graeme Park and Greg Wilson and Noel's fellow club "punters" fashion designers Ian Griffiths and Angela Murray and performer David Hoyle. Stone Roses legend Mani had also been due to attend, but had to withdraw due to sickness…

The event on Wednesday night marked the official launch of the Hacienda Threads book which has been compiled by Rebecca Hook. It features previously unseen images of ravers at the Whitworth Street West club as well as memories by a host of punters and famous faces who partied there…

Noel also said of Oasis' performance at the Hacienda (in 1994): "I guess when the band formed it felt like a rite of passage, we played there on the way up like The Smiths. I saw Happy Mondays, New Order and the great Primal Scream there."

Talking about his earlier experiences as a clubber at the Hacienda, he said: "I was the right age, I was 21 in '89 at the time I lived in Whitworth Street so it was the nearest place to my flat. Even at the time we knew it was special."

He added: "'88 and '89 were the two best years of my life, living on Whitworth Street, no one knew who I was."

He paid tribute to Factory Records and the people who helped to build the Hacienda. He said: "The thing about Manchester is it’s just small enough and just big enough. The reason why it [Hacienda] happened is Factory Records.”

"Not many [record companies] have built something for the people of their city. Thank god there were all those people to do it."

Noel added: "People don’t know what they want until you give it to them. It takes a few visionaries to make it happen. There’s visionary people in this town and thank God they had the balls to do it."

[krispyweiss]

Song Review: David Gilmour and the Roots - “Dark and Velvet Nights” (Fallon)

While it may be no surprise “Dark and Velvet Nights” finds David Gilmour rebuilding the Wall’s sound into a new sonic structure, Gilmour himself was shocking on “the Tonight Show Starring Jimmy Fallon.”

Gilmour dropped by the late-night program while playing U.S. dates in support of Luck and Strange. And at 78, he remains a smooth, intricate guitar player who has somehow managed to retain the essential elements of his singing voice.

Performing with the Roots and members of his touring ensemble, Gilmour proudly waved the Pink Floyd banner while forgoing a Pink Floyd song. With its tempo, female backgrounds and slide and lead guitar parts, “Dark and Velvet Nights” is clearly the result of Gilmour composing in Pink light, though his lyricist/wife Polly Samson writes much differently than one Roger Waters.

And this dark and velvet night that surrounds us/this dark and velvet night, I will wrap around us/it’s softer than words that are spoken/or painted as slogans and flung to the lions/written on slips as the punters wait smoking/a leap of faith, the odds sky-high/said goodbye to your place or mine, Gilmore and a cadre of female backing vocalists sing.

The performance is powerful - more so considering Gilmour was playing alongside unfamiliar musicians inside a television studio - and bests the album version with its authoritative presentation.

Grade card: David Gilmour and the Roots - “Dark and Velvet Nights” (Fallon) - B

11/8/23

[notwiselybuttoowell]

In Europe, Pringles has 34 active flavours in seven can sizes (one of which is called “David” for reasons no one can explain). Not all of these flavours are available in every European country – prawn cocktail only really sells in the UK and Ireland, while bacon is found in most places except Belgium, the Netherlands and strongholds of vegetarianism Austria, Denmark and Sweden. Salt and vinegar has spread everywhere except Norway and Italy. “They don’t have the habit of doing vinegar on their crisps; they just eat them plain with salt,” says Julie Merzougui, lead food designer at Kellanova. If an employee in Italy wanted to explore bringing salt and vinegar to the market, they could – they’d simply have to ask. As of yet, they haven’t.

Multiple times a year, Pringles releases limited-edition flavours known internally as “insanely accurate analogues” – Merzougui and Peremans come up with these for Europe. “People think we have the dream job,” Merzougui says (she has dark hair, round glasses and an easy laugh, a personality akin to an experimental flavour – perhaps a chorizo Pringle). Peremans, who has worked at the company for 26 years, has a salt and pepper beard and a Salt & Shake personality. He speaks quietly and pragmatically, but has a subtle playful streak: “My young son, he wants to become my successor.”

Like Lay’s, Pringles starts with data – in Asia, the company uses a Tinder-like tool with 200 consumers at a time, asking them to swipe left or right on potential flavours. Lucia Sudjalim, a senior Pringles developer in Asia, says she does a lot of “social media listening”, observing trends among influencers and bloggers. Kellanova also uses AI, which Merzougui says can predict trends up to 10 years in advance. Things aren’t always this sophisticated though – both Lay’s and Pringles also look at what’s on the shelves in countries they want to break into, copying flavours and identifying gaps to fill.

Yet just because the world wants a flavour doesn’t mean it’s made. In December 2020, scotch egg sales soared in the UK after Conservative ministers ruled the snack a “substantial meal” (providing punters with an excuse to be in the pub under Covid-19 lockdown rules). Peremans was challenged to make scotch egg Pringles and pulled it off; Merzougui says they tasted “really authentic”. Ultimately, however, the potential order volume was not high enough to justify a production run. (This, incidentally, is why it’s hard to get Salt & Pepper Pringles in the UK, even though they’re delicious.)

Another unreleased flavour was part of a collaboration with Nando’s that petered out for reasons Peremans is unsure about. Sometimes, logistics get in the way: the perfectly blended seasoning might clog the machines or create too much dust, causing sneezing fits in the factory. Belgian legislation mandates that every seasoning has to be put through a dust explosion test – it is set alight in controlled conditions to ensure it won’t blow up.

Inside the plant, manager Van Batenburg shows me giant cube-shaped bags of seasonings that arrive ready to be cascaded on to the crisps. At the end of his video presentation, he made a passing comment that rocked my world. We were talking about other crisp companies, big name competitors. “In essence,” he said, “they’re using the same seasoning houses we do.”

I leave Belgium with the names of three seasoning houses Pringles work with. At home, I discover that their websites are obscure – they speak of flavours and trends, but don’t even mention Pringles. I haven’t so much stumbled upon a conspiracy as been invited into it, but I am still shocked. After two months’ cajoling by the Pringles team, two representatives from a seasoning house agree to speak – but only on the condition of total anonymity, in line with their contractual obligations.

“It’s quite secretive,” food scientist Reuben admits via Zoom, wearing a pink shirt and a thoughtful expression (the only crisp I can compare him to is a Quaver). “Everyone has their own crown jewels that they protect.”

As a marketer, Peggy has always found the company’s secrecy “strange”. She speaks clearly, in a way that is reminiscent of a teacher or a steadfast multigrain snack. “It’s always been a bit of a puzzle to me … I was like, ‘Why aren’t we shouting about this?’ But I was told, ‘Oh, no, we have to keep it very quiet.’”

This is because – just as Van Batenburg hinted in Belgium – the seasoning house Reuben and Peggy work for provides flavours for Pringles and Lay’s, as well as other brands. When asked whether their clients know, Reuben says, “They do and they don’t.” “It’s just not really talked about,” Peggy adds. However, this doesn’t mean that a Salt & Vinegar Pringle is flavoured with the same seasoning as a Salt & Vinegar Lay’s. In fact, the seasoning house is strictly siloed to guarantee exclusivity. Reuben’s team work on the Pringles account; the team making flavours for PepsiCo is in an entirely different country. “So the recipe, if you will, of the Pringles salt and vinegar can’t be seen by the other team,” Reuben says.