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Finding Corporate Magicians in New York
Finding corporate magicians in New York has never been easier, thanks to Conjurors Online. This platform allows you to hire a magician who can wow your team or impress clients at your event. By providing a convenient way to get quotes and book securely, Conjurors Online ensures a hassle-free experience. You can expect jaw-dropping magic and mentalism tailored for corporate settings. Whether you need a captivating corporate magic show or a skilled mentalist, Conjurors Online has you covered.
Visit us today to find best corporate magicians in New York today!
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Adding Laughter and Magic to Your NYC Events: Hire Comedy Artists and Magicians
Are you planning a special event in the heart of New York City and looking for a unique way to entertain your guests? Consider adding a touch of laughter and wonder to your occasion by hiring comedy artists for in-person events and magicians for virtual gatherings. New York City is not only a cultural hub but also a hotspot for top-tier entertainment, making it the perfect place to find the finest comedy and magic talent. Here's how you can make your event memorable by bringing in these talented performers.
Hire Comedy Artists for Events in NYC:
New York City has a thriving comedy scene, with a plethora of talented comedians ready to make your event the talk of the town. Whether you're organizing a corporate event, a private party, a wedding reception, or any other gathering, comedy artists can provide the much-needed entertainment and laughter that will leave your guests in splits.
Diverse Styles: NYC boasts a diverse range of comedy styles and performers. You can choose from stand-up comedians, improvisational comedians, sketch comedians, and even comedy troupes, each with its unique charm.
Customizable Acts: Comedy artists are versatile and can tailor their acts to suit your event's theme and audience. They can add a touch of humor to your company's annual meeting, provide hilarious anecdotes at a birthday party, or offer a full comedy show for your guests.
Memorable Experiences: A good laugh can make any event unforgettable. Comedy artists inject energy and excitement into the atmosphere, leaving your guests with cherished memories.
Magicians for Virtual Events in NYC:
In today's digital age, virtual events have become increasingly popular, and what better way to captivate your online audience than with the mesmerizing skills of a magician? NYC has no shortage of talented magicians ready to perform their incredible acts via livestream, making your virtual event truly magical.
Interactive Shows: Magicians can create interactive virtual experiences where your guests can participate and be part of the magic. This level of engagement is hard to achieve in other virtual entertainment options.
Versatile Performers: Whether you're hosting a corporate webinar, a virtual gala, a team-building event, or even a family gathering, magicians can customize their acts to suit the occasion and audience.
Surprise and Wonder: Magic brings an element of surprise and wonder to virtual events, making them more engaging and entertaining. It's a great way to break the monotony of endless Zoom meetings.
Booking the Best Talent:
To ensure that you hire the best comedy artists and magicians in NYC for your event, consider working with reputable entertainment agencies. These agencies can help you select the right performers based on your event's goals, budget, and theme.
In the city that never sleeps, events deserve the best entertainment, and comedy artists and magicians can certainly deliver. So, when planning your next event in New York City, think beyond the ordinary and bring in the extraordinary with laughter and magic.
Your guests will thank you for making their experience in the Big Apple truly memorable.
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PROFILE: Kirishima Sayuki
Name: Kirishima Sayuki
Gender: Female
Age: 17-18
Nationality: Japanese-American
Family: Kirishima Tokiomi (Father), Kirishima Nia (Mother)
Professional Status
Classification: Human
Kirishima Sayuki, is a character who first appears in A Certain Magical Index: Rebirth Testament, and then gets a expanded role in A Certain Irregular Mental Academy. She is a mercenary and a victim of the New York Cataclysm. An orphan as a result of the Great War between America and Syria that was indirectly caused by Kihara Eiichiro. She travels the world, seeking to find the cause behind the war and to kill the real people behind it.
In Rebirth Testament, she makes her first appearance in the Inquisitorial Invasion Arc where she is hired by Grand Pope Biscas T. Benedict to aid the Fallen Roman Catholic forces in eliminating certain members of the perceived 'Kamijou Faction.' Here, she is assigned to assassinate Bowen Chunno and those around him, because of his nature as an Unknown Element.
In Mental Academy, she is later revealed to be a member of the international dark side group known as IDEAL, having been recruited by the Ouroboros Society where she learns of the truth of the New York Disaster and the identity of who caused it. Here, she becomes dead-set on killing Eiichiro as an act of vengeance. Her preferred method of assassination is through silence, however when the situation calls for it she can also go close combat.
She is the only member in IDEAL that has extensive knowledge in both magic and science. Capable of using both in tandem with one another for highly unpredictable assassinations and subterfuges that could easily take out all of her opponents with ease.
Personality
Initially, Sayuki had an immense hatred for Eiichiro. As she was affected by the New York Cataclysm and her life was ruined because of it, blaming Eiichiro for the misfortune that she had to go through during her childhood. When in battle she is cold, efficient, ruthless and logical. She is a brooding and conflicted person who is traumatized by the war between America and Syria and is often haunted with the cries of her dead friends and parents as she watches them get killed, with some even dying from illness that were too late to be cured. She was described to be a person who never smiles, she is often seen with a brooding face, or a depressed expression.
In order to pursue her dream of killing Kihara Eiichiro, she polished in her combat skills and studied everything she can in espers and magicians to combat him when the time comes to confront him. The death of Kihara Eiichiro is what drives her throughout most of her life, wanting revenge and killing him for the suffering she has caused her. Despite that, she has a close connection with her fellow members at IDEAL due to her past of having her friends killed by causes out of her control. As such she is very over-protective of them, and is willing to sacrifice herself should she be given the chance to do so.
When outside of combat, she has shown to be the silent type. Not speaking unless required to, and would mainly answer in one sentence. She is a woman of a few words, as described by Olivia. Her robotic lifestyle even translates to her daily life, buying things that are only necessary and avoids anything detrimental to her health or social lifestyle.
Powers and Abilities
As a mercenary, Sayuki is extremely skilled in close combat and has mastered the use of different types of weapons like handguns, missile launchers, etc. After barely surviving her first job, she was taught by her mentor, Osamu, how to actually fight and survive in war zones as a mercenary. Eventually, she gained experience handling all sorts of weapons along with tactics on how to use them effectively. Not only that, as an ex-member of the Japanese Military, Sayuki is trained in their style of combat and arresting techniques, plus she also has experience and knowledge on how to engage espers and magicians, as well as understand their fundamental abilities and spells to search for a weakness.
Sayuki specializes in all-kinds of ranged combat, but she is also competent in basic hand-to-hand combat. She is also a professional sniper, capable of sniping a target from 3km away. She knows how the underworld works, and as such she prefers to kill targets with a shot to their heads where people can see in order for her to be ensured that not only are the targets dead physically but also socially, preventing body doubles to take advantage of the situation and claim that the target is still alive.
Genius Level Intelligence
Sayuki is a brilliant, virtually peerless, detective, strategist, scientist, tactician, and commander. She is widely regarded as one of the keenest analytical minds anyone has ever known. Given her lack of any esper powers or highly complex magic spells, she often uses cunning and planning to outwit her foes, rather than simply fighting them head-on.
She has studied Biology, Technology, Mathematics, Physics, Mythology, Geography and History. A testament to her genius level intelligence is that Sayuki was able to master Criminal Science, Forensic Sciences, Computer Sciences, Chemistry, and Engineering by the time she was 8 years old. She had mastered Diverse Environmental Training, Security Systems, and illusion/sleight of hand by the time she was 10. Gained even more proficient skills in Biology, Physics, Advanced Chemistry, and Technology by the time she was 12, and has also learned Medical Sciences and Expanded Computer and Engineering Sciences before then as well. She is also multilingual in that she has shown to speak multiple languages fluently from around the world due to her status as a mercenary and travelling all around the world.
Having experience in Mechanical Engineering, Sayuki is capable of designing and creating mechanical apparatus and machines that almost equal that of Academy City, described to be at least 8 years apart. Which was displayed when she, along with Kihara Chinatsu was able to create a highly powerful armor known as the "Eradicator" which was fitted with the Level 5 Program Software. Showcasing that she at least has enough mechanical skills to assist the extremely talented Chinatsu.
Using her knowledge of Chemistry, Engineering, and Biology, Sayuki was able to produce synthetic skin. Synthetic Skin that allows Sayuki to replicate the faces of female individuals by taking photos of them and with Chinatsu's help, render them. Posing as other people and tricking her targets into engineering their own downfall. While posing as other individuals, she has shown to use her knowledge of psychology and in ventriloquism to replicate almost any voice that she hears from other people. This is however only be limited to people with higher pitched voices as she has never been shown to copy deeper voices. The synthetic skin has a severe flaw in that it can only last up to 99 minutes in the light as they are photosensitive and would dissolve back to it's prior state when stuck in the light for 99 minutes.
Anti-Magic Tactics
Sayuki has the mindset of a skilled assassin, and rather than facing another magician in a direct duel of abilities, such as in a battle between their Spiritual Items; she makes use of various plans, traps, and schemes that utilize both magic and modern weaponry in order to take out her targets. She preys on the weak point of magicians' magic spells by having knowledge on the spell's origination and basis. She follows the methodology that the attack the enemy does not expect is a shortcut for all battles; and preys on the fact that they constantly stay on alert to the slightest trace of magic.
Magicians generally only hone their skills, counter measures towards other magical threats; ignoring any attack that is purely physical, and void of magic. They view the sharpest knives and strongest bullets as secondary menaces they have no need to fear. Before such an attack actually pierces their flesh, they are confident in their illusions, paralysis methods; and defensive barriers being more than capable to negate such attacks. Some magicians despise technology and science, underestimating what a human without magic or esper powers can accomplish, which makes some of them weak to non-magical attacks. When faced with a magician's headquarters, she expects magical security systems like magical furnaces, spirits and apparitions, and a large barrier; Sayuki would not go through that and instead would blow up the entire headquarters instead of mounting a direct offensive against the defenses inside.
Not only is Sayuki able to dispatch most magicians with her magical runes and traps, as well as modern weaponry, but even in some special cases she calls "formidable enemies", she is still able to once again follow the methodology that technology is a blind spot to most magicians to easily overcome many of them by night vision and a heat sensor scope. However not all magicians underestimate the usage of modern technology and science, against these type of magicians who apply technology or scientists who apply magic to their technology, she tends to use magical runes as her main weapon. Even facing such an opponent, she is extremely adept at forming strategies and analyzing enemy movements and their magic, performing well even under tremendous stress from active combat.
Rune Pattern Magic
With the help of the skilled Magic Users in IDEAL, Sayuki acquired a method of casting magic through the usage of Runes. Runes (ルーン文字 Rūn Mojii, Runic Letters) are the letters in a set of related alphabets known as runic alphabets, which were used to write various Germanic languages before the adoption of the Latin alphabet. Sayuki uses runes placed on cards to activate various things such as: create a field that no one can enter, casting elemental spells, producing strong ultra-violet rays, hiding her presence, creating illusionary bodies and even increasing the effectiveness of weapons and her physical capabilities. She primarily places the cards around a specific area and chants in Notarikon Codes to increase the speed of her magic casting prowess.
When in battle, she likes to place the laminated runic cards around the strategic places in which she can expect the battlefields to be taken place. While she can use individual runes to cast spells, such as Kenzas to cast fire spells, or Laguz to cast water based elemental spells. She can create multiple spells, attacks and use different techniques by combining the different runes that are placed in multiple places that are near her. Such as combining Teiwaz and Kenzas to provide her modern weaponry with the ability to project fire-based elemental rounds. Sayuki also analyzed the patterns and laws behind different runes from all over the world. She then combined and condensed them, refining them into single attack patterns which she can use, and constructing completely new spells in the process.
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Baby birthday party planner near me
The last thing you want is to get them all excited when they're tired or you'll soon end up with a cranky baby. Discover the best places for childrens birthday parties in New York & throw a kids party to remember with this guide to kids birthday parties in NYC. The party itself doesn't have to be very long- an hour-and-a-half is probably plenty-but remember to schedule it around nap times. says, 'She organized my 40th birthday party out of town with a large group, as well as my baby shower. says, 'I hired these wonderful ladies to help me decorate my daughter's 16 Years of Slumber Party.' See more. Let them do all the work and provide the fun while you relax and enjoy your childs. Anyway, this is your baby's day to be the centre of attention! Every Event Should Be Perfect Its Your Party ATL is your 1 Leading party planner located in Atlanta Ga We specialize in Birthday parties, Baby Showers. Top 10 Party Planners near Wilmington, DE. Celebrate your kids birthday party in Oklahoma City at Artsy Rose Academy. You might want to invite one or two friends from your antenatal classes who can bring their own babies but I would suggest no more than one or two other babies, otherwise it could get too hectic. Cub Scout activities are centered around earning badges that are specific to each grade level. I recommend keeping numbers small so you don't overwhelm your little one, perhaps just family and a few close friends. Learn how your child will advance through Cub Scouts. So you can afford to keep things a lot more simple than most kids parties. Rivera Events provides Party & Event Services in Miami including Catering, Wait Staff, Entertainment & Rentals for Weddings, Corporate Events & Kid Parties. You're really throwing a party to give your family and friends an opportunity to get together and share such a special occasion. We have something for everyone including costume characters, clowns, magicians, popcorn, cotton candy. Party & Event Planning, Bartenders Melindas Childrens Parties Inc. 22 years of NJ party entertainment experience For the last 22 years, Parties for Peanuts has been the premier children's entertainment company in Northern NJ. Please contact us for bookings or with any questions and to find out when Virtual Adventures is coming to your area.Remember that planning a first birthday party for a baby is quite different to planning other kids birthday parties, in that a one year old isn't going to expect very much! Best kids party planner Near Me in New York, NY PrimeTime Hospitality. We currently service the DMV (DC, Maryland and Northern Virginia) area. Rental includes state of the art Virtual Reality Gaming equipment, system delivery, setup, and a technician for the duration of the event. Looking to plan the perfect party for your children No matter the concept, let the planners and organizers at LC Events, formally known as B. Perfect for birthdays, holidays, nightclubs, bar and bat mitzvahs. Book best birthday party organiser online for kids’ or adults’ birthday parties. If you are thinking to plan your baby’s 1st Birthday party, summer pool party, girls theme party, get-together party, and not only-but also another theme. Our experienced technicians will set up the equipment and help facilitate an exciting and enjoyable Virtual Reality experience for people of all ages. What does it take to host the birthday party of your childs dreams The Party Muse is an eight-year-old luxury event planning company specializing in. To begin with, our fantastic birthday party organizer team experts with our best birthday party ideas. Our established relationships with local vendors will help you assure quality and value. Services can include venue search, invitations, vendor selection, menu creation, decoration/floral, rental needs, entertainment, and even party favors. Perfect for birthdays, fundraisers, communions, graduations, summer camps, and church events. An Atlanta Event Planner will assist you throughout the planning process. Raise the bar and be the talk of the town by providing an exciting cutting-edge opportunity to family, friends, and party planners. To easily find a local Dominos Pizza restaurant or when searching for pizza near me, please visit our localized mapping website featuring nearby Dominos. Virtual Adventures is a virtual reality party rental company that offers the latest in VR entertainment technology to make any event, birthday or corporate gathering adventurous and unforgettable. Virtual Adventures… Experience Virtual Reality at it’s best!
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'Fine print': Antenor invading Tereza Cristina's party; see summaries
The boy cause problems (photo: TV Globo / Reproduo)
THE Featured in the world of soap operas this Tuesday (4/14) stay with the plot of Fine print. The 21h production will present a very difficult night for Tereza Cristina (Christiane Torloni). After having to deal with threats of ris (Eva Wilma) during the vow renewal party, the woman will now have to face Antenor (Caio Castro), who also invaded your home and can cause quite a shame.
* Abstracts are the responsibility of broadcasters and changes may occur due to editing decisions.
Malhao – Live the Difference
Indicative rating 12 years
Keyla thinks about canceling Tonico's party. Marta accuses Lica of cheating, and Leide defends herself. Keyla, Lica, Ben, Ellen and Tina make a joint effort with friends at the diner. MB feels jealous of Felipe with Lica. Ellen tries to cover up the surprise when Jota reveals her virtual nickname. Ben asks Guto to teach her how to play the piano. Fio confesses to Anderson that he likes Ellen. Roney gets angry when he sees the cafeteria being renovated, but Keyla and Lica reassure him. Keyla and Tato are tense when K2 questions Tonico's paternity.
New world
Indicative rating 12 years
Avilez asks Thomas to attempt against Pedro's life. Pedro has fun with Dulcina on the Santa Cruz farm. Leopoldina distributes food to the people. Francisco affirms that to ally with Pedro against the Portuguese Court. Piat encourages Anna not to marry Thomas. Leopoldina complains about her marriage to Anna. Diara asks Wolfgang to hire someone to teach him good manners. Pedro chased by Jacinto and his henchmen, when Joaquim appears. Pedro approaches Joaquim. Leopoldina is embarrassed to see Dulcina on the street. Sebastio tells Thomas that Pedro was saved by an Indian. Germana and Licurgo sell Elvira to Wolfgang.
Totally awesome
Indicative rating 12 years
Gilda is surprised by the state of Eliza. Dino threatens to arrest Eliza. Arthur insists that Eliza accept his invitation to be a model. Z Pedro warns Carolina that the contract of the bet is informal. Carolina tells Dorinha that the pregnancy test was negative. Dino asks Gilda to retrieve the necklace. Guided by Cassandra, Hugo calls Felipe Cabral, posing as Max, and states that a peasant woman can be the Totally Awesome Girl. Florisval catches Jonatas selling candy and threatens to tell Rosngela.
Fine print
Indicative rating 12 years
Tereza Cristina blames Vanessa for the arrival of ris. Cr realizes that Antenor is drunk. Everyone is surprised by Tereza Cristina's disappearance from the party. Iris threatens to reveal Tereza Cristina's secret if she doesn't help her financially. Quinzinho takes the voucher for Griselda's lottery game to play. Wallace loses point in the fight, and Teodora worries. Tereza Cristina comes back to the party and everyone is surprised at her closeness to her. Wallace passes out during the fight. Quinz celebrates Wallace's defeat. Ren and Tereza Cristina renew their vows. Tereza Cristina v Antenor.
The adventures of Poliana
Indicative rating 10 years
Vernica tells Gleyce that she got new people interested in the social project for rehabilitating young people in crime. Gleyce discovers that the land that would be the headquarters of the CLP in reality of the city hall. Filipa accuses Eric and Hugo of being responsible for the channel “Vou Te Zuar”. Poliana suggests that Pendleton create an application for the Game of Content. Luisa and Glria arrive home and find Antnio lying on the floor. Joana fights with Srgio for thinking that her husband is lying to her, and under pressure, he tells the truth. Waldineusa presses Waldisney to break up with Nancy. Roger puts Hagar invisibly at Pendleton's house to keep an eye on him. Poliana sees that a former magician from the Troupe Vagalume will perform in the city and is excited. Marcelo and Iure go to Pendleton's house and ask if he has anything to do with Sophie's strange behavior. Marcelo demands that Pendleton show him his lab.
My heart
Indicative rating 10 years
Isabela is unable to prevent Ana and Fernando from getting married, so she tries to spoil the party by adding vinegar to the champagne. Nicolas approaches Jennifer and Johnny to wish them happy. Lnin comments to Fanny that it is possible that he will receive a scholarship abroad, but that he will not accept it, as he does not want to part with it. Lnin realizes that something is not right with Fanny, she finally says that he should not miss this opportunity, especially since she is not in love with him as she believed. Lnin kisses Fanny goodbye. Isabela discovered by Yolanda and Fernando says he feels sorry for her, as he cannot bear the happiness of others. Fanny tells Ana that she broke up with Lnin and that she feels really bad about it. She also confesses that she feels very confused, because she doesn't know if Leon really loves her, and she also doesn't feel prepared for the responsibility of being like a mother to Mauricio. Diego suspects that there is something that Fernando and Ana don't know when they hear Yolanda say to Diego Nicolas … “poor you”. Ana tells Fernando that it would be wonderful if the love they feel materialized in a baby. Mauricio sets up a plan for Fanny to come to his house and meet with Leon. Fanny tells Leon that she is confused, but Leon kisses her and she responds. Diego is willing to discover what hides Yolanda and Isabela. Nicolas asks Diego when he will settle in life, he replies that he cannot marry without love.
Cmplices of a rescue
Free indicative rating
The faithful of the evangelical church are disgusted to learn that Pastor Augusto is dating Professor Flvia. The sisters agree to call an assembly to decide whether the pastor stays or leaves the church. Isabela imagines what it would be like if she were to marry To. Manuela, who is actually Isabela, dislikes To not to go out with him. Everything since Omar told her that if they stayed together she would have to look after him for a lifetime. I don’t know that. Rebeca overhears the conversation and asks why Manuela lied.
Betty the ugly in New York
The broadcaster SBT requested the classification for 10 years and awaits a final decision by the Ministry of Justice and Public Security
On the way back from the trip, Armando asks Betty why he didn't want to be with him on his birthday night. She refuses to say why but says it was not his fault. Betty and Armando take refuge in a cabin to spend the night after the car has broken down on the road. Wet and cold, they need to be close to keep warm. Betty reveals to Armando the trauma she had on her first time and says it was because of a bet. Armando is moved to hear his story. Marcela worries about not having news from Armando and Betty. Demtrio and Jlia are also apprehensive. Patrcia and Marcela arrive at Betty's house. Jenny accuses Sofia of changing her creams, but has no evidence. Sofia doesn't lose her temper and tells Smith and send Jenny to take a course to control her anger. Sandra goes to Bar Billar and catches Wilson with Pantera. She imagines kissing Wilson.
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Virtual Reality Before There Was Virtual Reality
Eric Drysdale opened his silver travel case and, like a magician, unpacked the objects necessary to enter another dimension. Mr. Drysdale was in the Williamsburg section of Brooklyn, in the back room of City Reliquary, a storefront museum devoted to the history of New York’s five boroughs.
He was preparing to host his traveling show, “Midcentury Stereopanorama,” for which the audience, arriving shortly, had paid $15 and been promised the chance to “see the 1950s in Astonishing 3-D!”
An Emmy-winning comedy writer who has worked for “The Daily Show” and “The Colbert Report,” Mr. Drysdale has spent 25 years collecting 3-D photographs along with the antique equipment to make and view them.
He set a camera, several small boxes of Kodachrome slides and a dozen binocular-like viewers on a large table and explained his motivation behind the public viewing.
“I had a feeling that I had something extraordinary, something that people couldn’t or didn’t see,” Mr. Drysdale said. “It was going to waste seen by only me.”
Publishing a book or digitizing the photos and sticking them on the web, he said, wouldn’t fully capture their strange, transporting effect — the way, through 3-D magic, a scene from the past can appear “shockingly present.” He wanted to share the photos in the same way he had experienced them.
In 1994, while cleaning out his wife’s grandmother’s Upper East Side apartment, Mr. Drysdale, 50, found a stereoscopic camera, a 3-D viewer and about 200 images of his wife’s family from the 1940s, including an incredible photo of her great-grandmother — “fresh from the shtetl” — on an outing to a Miami zoo. Five parrots perched on her shoulders and head.
He was amazed by the technological wizardry of 3-D photography but also by its obscurity. He had found the virtual reality of its day, yet no one his own age had ever heard of it.
The technology was introduced commercially in 1947 by the David White Company of Milwaukee, maker of the Stereo Realist camera, which had two lenses, placed about eye-width apart, to replicate the way the human brain sees three-dimensional space.
The camera used slide film, and a special hand-held viewer was required for maximum wow.
The camera’s high cost at the time ($162) kept it out of most American households, Mr. Drysdale said, though 3-D photography caught on with Hollywood stars including Humphrey Bogart and Harold Lloyd. Coffin salesmen were also fans, if the David White newsletter is to be believed (3-D images offered a scale representation of products too big to take on a sales call).
Mr. Drysdale owns about 30,000 images, of which he considers 3,000 or so his “good ones.”
For “Midcentury Stereopanorama,” which he presents for hire in public or in private homes, he has curated a cross-section of American life at mid-20th century, grouped into categories like “Road Trip USA,” “Jewish Celebrations” and “Department Store 1955.”
Given the site for this showing, he sprinkled in more New York content than usual.
When the 12 audience members arrived — Mr. Drysdale’s crowds are limited by his number of viewers — he instructed them to gather around the table while he presented an introductory slide show.
The intimate crowd and the glow of the projector screen created the impression of time-traveling back to a suburban basement rec room, even before Mr. Drysdale finished his history lesson and handed each attendee a box of slides.
One expected to have a quaint experience not unlike looking through a child’s View-Master. But with the press of a button, you were suddenly plunged into another world and almost overwhelmed by visual detail.
In a photo of five boys gathered around a dining table for a birthday party, one boy had a comic book opened, and you could see under the page fold. Another photo had been taken inside a machine shop, and every tool on every workbench — even the metal chain hanging from a bare ceiling light bulb — stood out with amazing, reach-out-and-touch-this clarity.
Ida Kreutzer, a professional photographer, was so captivated by one image that she took out her iPhone at one point and tried to capture it through the viewer. Asked later, Ms. Kreutzer said it was a photo of two women in water, one of them sitting on a diving board. Written on the diving board were the words: “No dreams.”
“It invited a whole bunch of questions to be asked that will never be answered,” she said.
The hyper-reality of these dreamy visual landscapes created sadness in some of the attendees after awhile.
“Especially because a lot of those worlds don’t exist anymore,” said David Frackman, a computer programmer who wrote a master’s thesis on projected 3-D environments and was curious about stereoscopy. “I realized, ‘Oh, all of these people are probably dead.’”
Still, Mr. Frackman said he enjoyed seeing an America filled with home bars, beauty queens and bustling department stores, a country different from the present in ways both obvious and hard to put a finger on.
“There was this really weird slide in the road-trip collection of these people, a couple I assume,” he said. “They’re sitting in front of a fire on this little rocky beach, probably eating canned stew or something.”
Virtually nothing about the scene, he noted, was remarkable. “But it’s something that just wouldn’t be done now,” he said. “You wouldn’t pull over by a random shore and happen to have your camping set with you.”
After looking at thousands of such scenes, Mr. Drysdale well understood the feeling.
“There’s something different about this technology,” he said. “It’s not comparable to looking at a vintage photograph. Because it’s so uncanny in capturing a moment.”
Before the slides were passed around, Mr. Drysdale had dimmed the lights and cautioned the audience to take breaks because the experience can get tiring on the eyes, if not the soul.
“Not everybody can handle it,” Mr. Drysdale said. “Some people can’t get enough.”
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Jonathan Gold, the restaurant critic whose curious, far-ranging, relentless explorations of his native Los Angeles helped his readers understand dozens of cuisines and helped the city understand itself.
The cause was pancreatic cancer, said Margy Rochlin, a close friend.
In more than a thousand reviews published since the 1980s, Gold chronicled his city’s pupuserias, bistros, diners, nomadic taco trucks, soot-caked outdoor rib and brisket smokers, sweaty indoor xiao long bao steamers, postmodern pizzerias, vintage delicatessens, strictly omakase sushi-yas, Roman gelaterias, Korean porridge parlors, Lanzhou hand-pullled noodle vendors, Iranian tongue-sandwich shops, vegan hot dog griddles, cloistered French-leaning hyper-seasonal tasting counters and wood-paneled Hollywood grills with chicken potpie and martinis on every other table.
Unlike some critics, Gold never saw expensive, rarefied restaurants as the peak of the terrain he surveyed, although he reviewed his share of them. Shiki Beverly Hills, Noma and Alinea all took turns under his critical loupe. He was in his element, though, when he championed small, family-run establishments where publicists and wine lists were unheard-of and English was often a second language, if it was spoken at all.
“Before Tony Bourdain, before reality TV and ‘Parts Unknown’ and people really being into ethnic food in a serious way, it was Jonathan who got it, completely,” writer and editor Ruth Reichl said. “He really got that food was a gateway into the people, and that food could really define a community. He was really writing about the people more than the food.”
Gold wrote about restaurants for Gourmet, California and Los Angeles magazines, but the bulk of his reviews appeared in two newspapers: LA Weekly, where in 2007 he won the Pulitzer Prize for criticism, and the Los Angeles Times, where he had been the chief critic since 2012, treating the restaurants of famous and obscure chefs as if he saw no distinction between them. Each publication hired him twice, with long breaks between tours of duty.
He became the subject of a documentary called “City of Gold,” a role model imitated painstakingly and largely in vain by a generation of food writers, a living street atlas of Southern California, the inspiration for a rap tribute in which his list of “99 Essential LA Restaurants” was declaimed over the beat of Jay-Z’s “99 Problems,” and a verb. When actor Mindy Kaling asked Twitter for a pizza recommendation, she added: “Don’t Jonathan Gold me and tell me to go to the San Gabriel Valley.”
He may not have eaten everything in Los Angeles, but nobody came closer. He rarely went to the subject of one of his reviews without stopping to try four or five other places along the way. He once estimated that in the hunt for interesting new things to eat and write about, he put 20,000 miles on his green Dodge Ram 1500 pickup truck each year. While driving, he liked listening to opera.
If a new group of immigrants turned up in Los Angeles County, chances were good he had already studied the benchmark dishes of their cuisine in one or more of the 3,000 to 5,000 cookbooks he owned. If a restaurant opened, he probably knew the names and specialties of the last five restaurants at that address. In a 2006 review of a Beverly Hills steakhouse, he recalled going to the same location to eat patty melts with his mother and to drink warm beer that a sympathetic waitress poured into teacups after hours when he was a young punk rocker, all in the first paragraph.
“LA always seemed better when he wrote about it,” film critic John Powers, a friend of Gold’s, said. “You just thought, There’s so much stuff here.”
He made a subspecialty of one street in particular. Reichl, who hired him at the Times and Gourmet, recalls his telling her in the 1980s that he had eaten every taco on Pico Boulevard. It was not just tacos. Eventually he wrote about his fascination with the street in a 1998 article that began, “For a while in my early 20s, I had only one clearly articulated ambition: to eat at least once at every restaurant on Pico Boulevard, starting with the fried yucca dish served at a pupuseria near the downtown end and working methodically westward toward the chili fries at Tom’s No. 5 near the beach. It seemed a reasonable enough alternative to graduate school.”
In 2016, Ecco Press bought his proposal for a memoir, which Gold called “a culinary coming of age book, I guess.” It was to be called “Breakfast on Pico.”
Jonathan Gold was born July 28, 1960, in South Los Angeles, where he was raised. His mother, Judith, was a school librarian who had been a magician’s assistant. Irwin Gold, his father, was a probation officer assigned to supervise Roman Polanski and Charles Manson, among other offenders. Jonathan later recalled eating Rice-A-Roni every Tuesday night and spending much of his childhood in his room, playing the cello. When he was old enough to fall under the influence of new wave, he plugged in his instrument and sawed away at it in the short-lived local band Overman.
With cello proficiency in his favor, he attended the University of California, Los Angeles. Although he got his degree in music history, in 1982, he had a sideline in art; he took a class with and worked as an assistant for guerrilla performance artist Chris Burden. For a brief time, Gold thought of himself as a performance artist, too. “A naked performance artist, to be specific,” he told an interviewer. His materials for one piece were two bottles of Glade air freshener, a pile of supermarket broiler chickens, a live chicken at the end of a rope and a machete wielded by Gold, who wore only a blindfold. The chicken survived and may have come out of the ordeal in better spirits than Gold, who later said, “The few minutes after an art performance are some of the most depressing in the world.”
While he was in college, Gold walked into the office of LA Weekly, an alternative paper, where he was soon reading proofs and pitching big, doomed ideas about the zeitgeist. For a time in the 1980s, he was the newspaper’s music editor, and by the 1990s he was better known as a music journalist than a food writer, contributing long articles to Spin, Details and other magazines. While reporting a Rolling Stone article about the emergence of gangsta rap, Dr. Dre and Snoop Dogg gave him a nickname: Nervous Cuz.
The music scene changes at a pace that can wear out a middle-aged writer, but food writers tend to improve as they get more meals under their belt. In 1986, Gold had started a column for LA Weekly about the kinds of places where he liked to eat. It was called Counter Intelligence. Week by week, year by year, he built a reputation for finding restaurants that were virtually unknown outside the neighborhoods of immigrants who were often the only customers until he walked in.
In his peregrinations, he came to appreciate how Los Angeles’s far-flung neighborhoods allowed small, distinct cultures to flourish without bumping into each other.
“In New York, because it is so condensed, you’re very aware of who’s around,” he once said, “whereas in Los Angeles, if you open a Korean restaurant, there’s a good chance you’ll only serve to Koreans. That sort of isolation is not necessarily good for politics or civil life, but it is really good for food.”
Far from a stunt eater, he nevertheless understood that a writer trying to persuade unseen strangers to read about a restaurant one or two counties away cannot afford to dismiss the persuasive power of chopped goats’ brains, pigs’ blood soup or an octopus leg separated from the rest of a living octopus so recently that it twirls itself around the nearest pair of chopsticks.
These delicacies and others were described in language that was anachronistic in its rolling, deliberate gait but exquisitely contemporary in its allusions. He could pack infinitesimal shadings of nuance into a rhetorical question.
The hallmark of his style, though, was the second-person voice. He used it prodigiously. Taken literally, he seemed to be saying that you, personally, had visited a great number of restaurants and consumed a wide variety of animal parts that, taken together, nobody but Gold had ever visited and consumed.
In “City of Gold,” Sue Horton, an editor at Reuters, says of his use of the second person, “He’s forming a bond with the reader: You and I are people who eat deer penis.”
His prose was apparently as agonizing to produce as it was pleasurable to read. For a time he saw a therapist for writer’s block until it was mutually agreed that somebody as prolific as Gold could not be described as blocked. Editors were driven to despair by his habit of taking deadlines seriously only once they were safely in the past. Powers, who edited him at LA Weekly, called him “the Usain Bolt of being slow.”
Like many restaurant critics, he tried to keep his image out of circulation for years. Anybody who had seen him was unlikely to forget him, though. He was more than 6 feet tall, with wispy ripples of shoulder-length strawberry blond hair that in recent years had tended to avoid the top of his scalp. His chin was capacious. When he turned up at a Peruvian stall in a food court a few years ago, the chef, Ricardo Zarate, wondered why so many pictures were being take by a man who “looked like George Washington.” He figured it out a few weeks later when Gold’s review was published.
Informally, the incognito phase ended when a photograph of Gold celebrating his Pulitzer win in a pink, Champagne-basted shirt got around. Officially, it was finished when he allowed LA Weekly to publish his photograph shortly before the release of “City of Gold” in 2015.
Between his amiability and his longevity on the job, he accumulated friends in the restaurant business. Some of his disclosures could make interesting reading. When he reviewed David Chang’s new restaurant in Los Angeles, Majordomo, his thoughts on the cooking took up only slightly more space than his partial history of his dealings with Chang.
In his first term at LA Weekly he met Laurie Ochoa, an intern and now an editor, whom he married in 1990. They went to restaurants together and contrived to work together, moving in tandem from one publication to another: the Los Angeles Times, Gourmet, LA Weekly again, the Times again.
She survives him, along with their children, Isabel and Leon, and Gold’s brother, Mark, the associate director of the Institute of the Environment and Sustainability at UCLA.
Many claims have been made for Gold’s criticism, but he saw his work in modest terms. He wanted to make Los Angeles smaller.
“I’m not a cultural anthropologist,” he once said. “I write about taco stands and fancy French restaurants to try to get people less afraid of their neighbors and to live in their entire city instead of sticking to their one part of town.”
This article originally appeared in The New York Times.
PETE WELLS © 2018 The New York Times
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Tips for Hiring the Perfect Professional Magician for Your Event in NYC
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Entertainment: Jonathan Gold, food critic who celebrated la's Cornucopia, dies at 57
Jonathan Gold, the restaurant critic whose curious, far-ranging, relentless explorations of his native Los Angeles helped his readers understand dozens of cuisines and helped the city understand itself.
The cause was pancreatic cancer, said Margy Rochlin, a close friend.
In more than a thousand reviews published since the 1980s, Gold chronicled his city’s pupuserias, bistros, diners, nomadic taco trucks, soot-caked outdoor rib and brisket smokers, sweaty indoor xiao long bao steamers, postmodern pizzerias, vintage delicatessens, strictly omakase sushi-yas, Roman gelaterias, Korean porridge parlors, Lanzhou hand-pullled noodle vendors, Iranian tongue-sandwich shops, vegan hot dog griddles, cloistered French-leaning hyper-seasonal tasting counters and wood-paneled Hollywood grills with chicken potpie and martinis on every other table.
Unlike some critics, Gold never saw expensive, rarefied restaurants as the peak of the terrain he surveyed, although he reviewed his share of them. Shiki Beverly Hills, Noma and Alinea all took turns under his critical loupe. He was in his element, though, when he championed small, family-run establishments where publicists and wine lists were unheard-of and English was often a second language, if it was spoken at all.
“Before Tony Bourdain, before reality TV and ‘Parts Unknown’ and people really being into ethnic food in a serious way, it was Jonathan who got it, completely,” writer and editor Ruth Reichl said. “He really got that food was a gateway into the people, and that food could really define a community. He was really writing about the people more than the food.”
Gold wrote about restaurants for Gourmet, California and Los Angeles magazines, but the bulk of his reviews appeared in two newspapers: LA Weekly, where in 2007 he won the Pulitzer Prize for criticism, and the Los Angeles Times, where he had been the chief critic since 2012, treating the restaurants of famous and obscure chefs as if he saw no distinction between them. Each publication hired him twice, with long breaks between tours of duty.
He became the subject of a documentary called “City of Gold,” a role model imitated painstakingly and largely in vain by a generation of food writers, a living street atlas of Southern California, the inspiration for a rap tribute in which his list of “99 Essential LA Restaurants” was declaimed over the beat of Jay-Z’s “99 Problems,” and a verb. When actor Mindy Kaling asked Twitter for a pizza recommendation, she added: “Don’t Jonathan Gold me and tell me to go to the San Gabriel Valley.”
He may not have eaten everything in Los Angeles, but nobody came closer. He rarely went to the subject of one of his reviews without stopping to try four or five other places along the way. He once estimated that in the hunt for interesting new things to eat and write about, he put 20,000 miles on his green Dodge Ram 1500 pickup truck each year. While driving, he liked listening to opera.
If a new group of immigrants turned up in Los Angeles County, chances were good he had already studied the benchmark dishes of their cuisine in one or more of the 3,000 to 5,000 cookbooks he owned. If a restaurant opened, he probably knew the names and specialties of the last five restaurants at that address. In a 2006 review of a Beverly Hills steakhouse, he recalled going to the same location to eat patty melts with his mother and to drink warm beer that a sympathetic waitress poured into teacups after hours when he was a young punk rocker, all in the first paragraph.
“LA always seemed better when he wrote about it,” film critic John Powers, a friend of Gold’s, said. “You just thought, There’s so much stuff here.”
He made a subspecialty of one street in particular. Reichl, who hired him at the Times and Gourmet, recalls his telling her in the 1980s that he had eaten every taco on Pico Boulevard. It was not just tacos. Eventually he wrote about his fascination with the street in a 1998 article that began, “For a while in my early 20s, I had only one clearly articulated ambition: to eat at least once at every restaurant on Pico Boulevard, starting with the fried yucca dish served at a pupuseria near the downtown end and working methodically westward toward the chili fries at Tom’s No. 5 near the beach. It seemed a reasonable enough alternative to graduate school.”
In 2016, Ecco Press bought his proposal for a memoir, which Gold called “a culinary coming of age book, I guess.” It was to be called “Breakfast on Pico.”
Jonathan Gold was born July 28, 1960, in South Los Angeles, where he was raised. His mother, Judith, was a school librarian who had been a magician’s assistant. Irwin Gold, his father, was a probation officer assigned to supervise Roman Polanski and Charles Manson, among other offenders. Jonathan later recalled eating Rice-A-Roni every Tuesday night and spending much of his childhood in his room, playing the cello. When he was old enough to fall under the influence of new wave, he plugged in his instrument and sawed away at it in the short-lived local band Overman.
With cello proficiency in his favor, he attended the University of California, Los Angeles. Although he got his degree in music history, in 1982, he had a sideline in art; he took a class with and worked as an assistant for guerrilla performance artist Chris Burden. For a brief time, Gold thought of himself as a performance artist, too. “A naked performance artist, to be specific,” he told an interviewer. His materials for one piece were two bottles of Glade air freshener, a pile of supermarket broiler chickens, a live chicken at the end of a rope and a machete wielded by Gold, who wore only a blindfold. The chicken survived and may have come out of the ordeal in better spirits than Gold, who later said, “The few minutes after an art performance are some of the most depressing in the world.”
While he was in college, Gold walked into the office of LA Weekly, an alternative paper, where he was soon reading proofs and pitching big, doomed ideas about the zeitgeist. For a time in the 1980s, he was the newspaper’s music editor, and by the 1990s he was better known as a music journalist than a food writer, contributing long articles to Spin, Details and other magazines. While reporting a Rolling Stone article about the emergence of gangsta rap, Dr. Dre and Snoop Dogg gave him a nickname: Nervous Cuz.
The music scene changes at a pace that can wear out a middle-aged writer, but food writers tend to improve as they get more meals under their belt. In 1986, Gold had started a column for LA Weekly about the kinds of places where he liked to eat. It was called Counter Intelligence. Week by week, year by year, he built a reputation for finding restaurants that were virtually unknown outside the neighborhoods of immigrants who were often the only customers until he walked in.
In his peregrinations, he came to appreciate how Los Angeles’s far-flung neighborhoods allowed small, distinct cultures to flourish without bumping into each other.
“In New York, because it is so condensed, you’re very aware of who’s around,” he once said, “whereas in Los Angeles, if you open a Korean restaurant, there’s a good chance you’ll only serve to Koreans. That sort of isolation is not necessarily good for politics or civil life, but it is really good for food.”
Far from a stunt eater, he nevertheless understood that a writer trying to persuade unseen strangers to read about a restaurant one or two counties away cannot afford to dismiss the persuasive power of chopped goats’ brains, pigs’ blood soup or an octopus leg separated from the rest of a living octopus so recently that it twirls itself around the nearest pair of chopsticks.
These delicacies and others were described in language that was anachronistic in its rolling, deliberate gait but exquisitely contemporary in its allusions. He could pack infinitesimal shadings of nuance into a rhetorical question.
The hallmark of his style, though, was the second-person voice. He used it prodigiously. Taken literally, he seemed to be saying that you, personally, had visited a great number of restaurants and consumed a wide variety of animal parts that, taken together, nobody but Gold had ever visited and consumed.
In “City of Gold,” Sue Horton, an editor at Reuters, says of his use of the second person, “He’s forming a bond with the reader: You and I are people who eat deer penis.”
His prose was apparently as agonizing to produce as it was pleasurable to read. For a time he saw a therapist for writer’s block until it was mutually agreed that somebody as prolific as Gold could not be described as blocked. Editors were driven to despair by his habit of taking deadlines seriously only once they were safely in the past. Powers, who edited him at LA Weekly, called him “the Usain Bolt of being slow.”
Like many restaurant critics, he tried to keep his image out of circulation for years. Anybody who had seen him was unlikely to forget him, though. He was more than 6 feet tall, with wispy ripples of shoulder-length strawberry blond hair that in recent years had tended to avoid the top of his scalp. His chin was capacious. When he turned up at a Peruvian stall in a food court a few years ago, the chef, Ricardo Zarate, wondered why so many pictures were being take by a man who “looked like George Washington.” He figured it out a few weeks later when Gold’s review was published.
Informally, the incognito phase ended when a photograph of Gold celebrating his Pulitzer win in a pink, Champagne-basted shirt got around. Officially, it was finished when he allowed LA Weekly to publish his photograph shortly before the release of “City of Gold” in 2015.
Between his amiability and his longevity on the job, he accumulated friends in the restaurant business. Some of his disclosures could make interesting reading. When he reviewed David Chang’s new restaurant in Los Angeles, Majordomo, his thoughts on the cooking took up only slightly more space than his partial history of his dealings with Chang.
In his first term at LA Weekly he met Laurie Ochoa, an intern and now an editor, whom he married in 1990. They went to restaurants together and contrived to work together, moving in tandem from one publication to another: the Los Angeles Times, Gourmet, LA Weekly again, the Times again.
She survives him, along with their children, Isabel and Leon, and Gold’s brother, Mark, the associate director of the Institute of the Environment and Sustainability at UCLA.
Many claims have been made for Gold’s criticism, but he saw his work in modest terms. He wanted to make Los Angeles smaller.
“I’m not a cultural anthropologist,” he once said. “I write about taco stands and fancy French restaurants to try to get people less afraid of their neighbors and to live in their entire city instead of sticking to their one part of town.”
This article originally appeared in The New York Times.
PETE WELLS © 2018 The New York Times
source https://www.newssplashy.com/2018/07/entertainment-jonathan-gold-food-critic_22.html
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Jonathan Gold, the restaurant critic whose curious, far-ranging, relentless explorations of his native Los Angeles helped his readers understand dozens of cuisines and helped the city understand itself.
The cause was pancreatic cancer, said Margy Rochlin, a close friend.
In more than a thousand reviews published since the 1980s, Gold chronicled his city’s pupuserias, bistros, diners, nomadic taco trucks, soot-caked outdoor rib and brisket smokers, sweaty indoor xiao long bao steamers, postmodern pizzerias, vintage delicatessens, strictly omakase sushi-yas, Roman gelaterias, Korean porridge parlors, Lanzhou hand-pullled noodle vendors, Iranian tongue-sandwich shops, vegan hot dog griddles, cloistered French-leaning hyper-seasonal tasting counters and wood-paneled Hollywood grills with chicken potpie and martinis on every other table.
Unlike some critics, Gold never saw expensive, rarefied restaurants as the peak of the terrain he surveyed, although he reviewed his share of them. Shiki Beverly Hills, Noma and Alinea all took turns under his critical loupe. He was in his element, though, when he championed small, family-run establishments where publicists and wine lists were unheard-of and English was often a second language, if it was spoken at all.
“Before Tony Bourdain, before reality TV and ‘Parts Unknown’ and people really being into ethnic food in a serious way, it was Jonathan who got it, completely,” writer and editor Ruth Reichl said. “He really got that food was a gateway into the people, and that food could really define a community. He was really writing about the people more than the food.”
Gold wrote about restaurants for Gourmet, California and Los Angeles magazines, but the bulk of his reviews appeared in two newspapers: LA Weekly, where in 2007 he won the Pulitzer Prize for criticism, and the Los Angeles Times, where he had been the chief critic since 2012, treating the restaurants of famous and obscure chefs as if he saw no distinction between them. Each publication hired him twice, with long breaks between tours of duty.
He became the subject of a documentary called “City of Gold,” a role model imitated painstakingly and largely in vain by a generation of food writers, a living street atlas of Southern California, the inspiration for a rap tribute in which his list of “99 Essential LA Restaurants” was declaimed over the beat of Jay-Z’s “99 Problems,” and a verb. When actor Mindy Kaling asked Twitter for a pizza recommendation, she added: “Don’t Jonathan Gold me and tell me to go to the San Gabriel Valley.”
He may not have eaten everything in Los Angeles, but nobody came closer. He rarely went to the subject of one of his reviews without stopping to try four or five other places along the way. He once estimated that in the hunt for interesting new things to eat and write about, he put 20,000 miles on his green Dodge Ram 1500 pickup truck each year. While driving, he liked listening to opera.
If a new group of immigrants turned up in Los Angeles County, chances were good he had already studied the benchmark dishes of their cuisine in one or more of the 3,000 to 5,000 cookbooks he owned. If a restaurant opened, he probably knew the names and specialties of the last five restaurants at that address. In a 2006 review of a Beverly Hills steakhouse, he recalled going to the same location to eat patty melts with his mother and to drink warm beer that a sympathetic waitress poured into teacups after hours when he was a young punk rocker, all in the first paragraph.
“LA always seemed better when he wrote about it,” film critic John Powers, a friend of Gold’s, said. “You just thought, There’s so much stuff here.”
He made a subspecialty of one street in particular. Reichl, who hired him at the Times and Gourmet, recalls his telling her in the 1980s that he had eaten every taco on Pico Boulevard. It was not just tacos. Eventually he wrote about his fascination with the street in a 1998 article that began, “For a while in my early 20s, I had only one clearly articulated ambition: to eat at least once at every restaurant on Pico Boulevard, starting with the fried yucca dish served at a pupuseria near the downtown end and working methodically westward toward the chili fries at Tom’s No. 5 near the beach. It seemed a reasonable enough alternative to graduate school.”
In 2016, Ecco Press bought his proposal for a memoir, which Gold called “a culinary coming of age book, I guess.” It was to be called “Breakfast on Pico.”
Jonathan Gold was born July 28, 1960, in South Los Angeles, where he was raised. His mother, Judith, was a school librarian who had been a magician’s assistant. Irwin Gold, his father, was a probation officer assigned to supervise Roman Polanski and Charles Manson, among other offenders. Jonathan later recalled eating Rice-A-Roni every Tuesday night and spending much of his childhood in his room, playing the cello. When he was old enough to fall under the influence of new wave, he plugged in his instrument and sawed away at it in the short-lived local band Overman.
With cello proficiency in his favor, he attended the University of California, Los Angeles. Although he got his degree in music history, in 1982, he had a sideline in art; he took a class with and worked as an assistant for guerrilla performance artist Chris Burden. For a brief time, Gold thought of himself as a performance artist, too. “A naked performance artist, to be specific,” he told an interviewer. His materials for one piece were two bottles of Glade air freshener, a pile of supermarket broiler chickens, a live chicken at the end of a rope and a machete wielded by Gold, who wore only a blindfold. The chicken survived and may have come out of the ordeal in better spirits than Gold, who later said, “The few minutes after an art performance are some of the most depressing in the world.”
While he was in college, Gold walked into the office of LA Weekly, an alternative paper, where he was soon reading proofs and pitching big, doomed ideas about the zeitgeist. For a time in the 1980s, he was the newspaper’s music editor, and by the 1990s he was better known as a music journalist than a food writer, contributing long articles to Spin, Details and other magazines. While reporting a Rolling Stone article about the emergence of gangsta rap, Dr. Dre and Snoop Dogg gave him a nickname: Nervous Cuz.
The music scene changes at a pace that can wear out a middle-aged writer, but food writers tend to improve as they get more meals under their belt. In 1986, Gold had started a column for LA Weekly about the kinds of places where he liked to eat. It was called Counter Intelligence. Week by week, year by year, he built a reputation for finding restaurants that were virtually unknown outside the neighborhoods of immigrants who were often the only customers until he walked in.
In his peregrinations, he came to appreciate how Los Angeles’s far-flung neighborhoods allowed small, distinct cultures to flourish without bumping into each other.
“In New York, because it is so condensed, you’re very aware of who’s around,” he once said, “whereas in Los Angeles, if you open a Korean restaurant, there’s a good chance you’ll only serve to Koreans. That sort of isolation is not necessarily good for politics or civil life, but it is really good for food.”
Far from a stunt eater, he nevertheless understood that a writer trying to persuade unseen strangers to read about a restaurant one or two counties away cannot afford to dismiss the persuasive power of chopped goats’ brains, pigs’ blood soup or an octopus leg separated from the rest of a living octopus so recently that it twirls itself around the nearest pair of chopsticks.
These delicacies and others were described in language that was anachronistic in its rolling, deliberate gait but exquisitely contemporary in its allusions. He could pack infinitesimal shadings of nuance into a rhetorical question.
The hallmark of his style, though, was the second-person voice. He used it prodigiously. Taken literally, he seemed to be saying that you, personally, had visited a great number of restaurants and consumed a wide variety of animal parts that, taken together, nobody but Gold had ever visited and consumed.
In “City of Gold,” Sue Horton, an editor at Reuters, says of his use of the second person, “He’s forming a bond with the reader: You and I are people who eat deer penis.”
His prose was apparently as agonizing to produce as it was pleasurable to read. For a time he saw a therapist for writer’s block until it was mutually agreed that somebody as prolific as Gold could not be described as blocked. Editors were driven to despair by his habit of taking deadlines seriously only once they were safely in the past. Powers, who edited him at LA Weekly, called him “the Usain Bolt of being slow.”
Like many restaurant critics, he tried to keep his image out of circulation for years. Anybody who had seen him was unlikely to forget him, though. He was more than 6 feet tall, with wispy ripples of shoulder-length strawberry blond hair that in recent years had tended to avoid the top of his scalp. His chin was capacious. When he turned up at a Peruvian stall in a food court a few years ago, the chef, Ricardo Zarate, wondered why so many pictures were being take by a man who “looked like George Washington.” He figured it out a few weeks later when Gold’s review was published.
Informally, the incognito phase ended when a photograph of Gold celebrating his Pulitzer win in a pink, Champagne-basted shirt got around. Officially, it was finished when he allowed LA Weekly to publish his photograph shortly before the release of “City of Gold” in 2015.
Between his amiability and his longevity on the job, he accumulated friends in the restaurant business. Some of his disclosures could make interesting reading. When he reviewed David Chang’s new restaurant in Los Angeles, Majordomo, his thoughts on the cooking took up only slightly more space than his partial history of his dealings with Chang.
In his first term at LA Weekly he met Laurie Ochoa, an intern and now an editor, whom he married in 1990. They went to restaurants together and contrived to work together, moving in tandem from one publication to another: the Los Angeles Times, Gourmet, LA Weekly again, the Times again.
She survives him, along with their children, Isabel and Leon, and Gold’s brother, Mark, the associate director of the Institute of the Environment and Sustainability at UCLA.
Many claims have been made for Gold’s criticism, but he saw his work in modest terms. He wanted to make Los Angeles smaller.
“I’m not a cultural anthropologist,” he once said. “I write about taco stands and fancy French restaurants to try to get people less afraid of their neighbors and to live in their entire city instead of sticking to their one part of town.”
This article originally appeared in The New York Times.
PETE WELLS © 2018 The New York Times
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Entertainment: Jonathan Gold, food critic who celebrated la's Cornucopia, dies at 57
Jonathan Gold, the restaurant critic whose curious, far-ranging, relentless explorations of his native Los Angeles helped his readers understand dozens of cuisines and helped the city understand itself.
The cause was pancreatic cancer, said Margy Rochlin, a close friend.
In more than a thousand reviews published since the 1980s, Gold chronicled his city’s pupuserias, bistros, diners, nomadic taco trucks, soot-caked outdoor rib and brisket smokers, sweaty indoor xiao long bao steamers, postmodern pizzerias, vintage delicatessens, strictly omakase sushi-yas, Roman gelaterias, Korean porridge parlors, Lanzhou hand-pullled noodle vendors, Iranian tongue-sandwich shops, vegan hot dog griddles, cloistered French-leaning hyper-seasonal tasting counters and wood-paneled Hollywood grills with chicken potpie and martinis on every other table.
Unlike some critics, Gold never saw expensive, rarefied restaurants as the peak of the terrain he surveyed, although he reviewed his share of them. Shiki Beverly Hills, Noma and Alinea all took turns under his critical loupe. He was in his element, though, when he championed small, family-run establishments where publicists and wine lists were unheard-of and English was often a second language, if it was spoken at all.
“Before Tony Bourdain, before reality TV and ‘Parts Unknown’ and people really being into ethnic food in a serious way, it was Jonathan who got it, completely,” writer and editor Ruth Reichl said. “He really got that food was a gateway into the people, and that food could really define a community. He was really writing about the people more than the food.”
Gold wrote about restaurants for Gourmet, California and Los Angeles magazines, but the bulk of his reviews appeared in two newspapers: LA Weekly, where in 2007 he won the Pulitzer Prize for criticism, and the Los Angeles Times, where he had been the chief critic since 2012, treating the restaurants of famous and obscure chefs as if he saw no distinction between them. Each publication hired him twice, with long breaks between tours of duty.
He became the subject of a documentary called “City of Gold,” a role model imitated painstakingly and largely in vain by a generation of food writers, a living street atlas of Southern California, the inspiration for a rap tribute in which his list of “99 Essential LA Restaurants” was declaimed over the beat of Jay-Z’s “99 Problems,” and a verb. When actor Mindy Kaling asked Twitter for a pizza recommendation, she added: “Don’t Jonathan Gold me and tell me to go to the San Gabriel Valley.”
He may not have eaten everything in Los Angeles, but nobody came closer. He rarely went to the subject of one of his reviews without stopping to try four or five other places along the way. He once estimated that in the hunt for interesting new things to eat and write about, he put 20,000 miles on his green Dodge Ram 1500 pickup truck each year. While driving, he liked listening to opera.
If a new group of immigrants turned up in Los Angeles County, chances were good he had already studied the benchmark dishes of their cuisine in one or more of the 3,000 to 5,000 cookbooks he owned. If a restaurant opened, he probably knew the names and specialties of the last five restaurants at that address. In a 2006 review of a Beverly Hills steakhouse, he recalled going to the same location to eat patty melts with his mother and to drink warm beer that a sympathetic waitress poured into teacups after hours when he was a young punk rocker, all in the first paragraph.
“LA always seemed better when he wrote about it,” film critic John Powers, a friend of Gold’s, said. “You just thought, There’s so much stuff here.”
He made a subspecialty of one street in particular. Reichl, who hired him at the Times and Gourmet, recalls his telling her in the 1980s that he had eaten every taco on Pico Boulevard. It was not just tacos. Eventually he wrote about his fascination with the street in a 1998 article that began, “For a while in my early 20s, I had only one clearly articulated ambition: to eat at least once at every restaurant on Pico Boulevard, starting with the fried yucca dish served at a pupuseria near the downtown end and working methodically westward toward the chili fries at Tom’s No. 5 near the beach. It seemed a reasonable enough alternative to graduate school.”
In 2016, Ecco Press bought his proposal for a memoir, which Gold called “a culinary coming of age book, I guess.” It was to be called “Breakfast on Pico.”
Jonathan Gold was born July 28, 1960, in South Los Angeles, where he was raised. His mother, Judith, was a school librarian who had been a magician’s assistant. Irwin Gold, his father, was a probation officer assigned to supervise Roman Polanski and Charles Manson, among other offenders. Jonathan later recalled eating Rice-A-Roni every Tuesday night and spending much of his childhood in his room, playing the cello. When he was old enough to fall under the influence of new wave, he plugged in his instrument and sawed away at it in the short-lived local band Overman.
With cello proficiency in his favor, he attended the University of California, Los Angeles. Although he got his degree in music history, in 1982, he had a sideline in art; he took a class with and worked as an assistant for guerrilla performance artist Chris Burden. For a brief time, Gold thought of himself as a performance artist, too. “A naked performance artist, to be specific,” he told an interviewer. His materials for one piece were two bottles of Glade air freshener, a pile of supermarket broiler chickens, a live chicken at the end of a rope and a machete wielded by Gold, who wore only a blindfold. The chicken survived and may have come out of the ordeal in better spirits than Gold, who later said, “The few minutes after an art performance are some of the most depressing in the world.”
While he was in college, Gold walked into the office of LA Weekly, an alternative paper, where he was soon reading proofs and pitching big, doomed ideas about the zeitgeist. For a time in the 1980s, he was the newspaper’s music editor, and by the 1990s he was better known as a music journalist than a food writer, contributing long articles to Spin, Details and other magazines. While reporting a Rolling Stone article about the emergence of gangsta rap, Dr. Dre and Snoop Dogg gave him a nickname: Nervous Cuz.
The music scene changes at a pace that can wear out a middle-aged writer, but food writers tend to improve as they get more meals under their belt. In 1986, Gold had started a column for LA Weekly about the kinds of places where he liked to eat. It was called Counter Intelligence. Week by week, year by year, he built a reputation for finding restaurants that were virtually unknown outside the neighborhoods of immigrants who were often the only customers until he walked in.
In his peregrinations, he came to appreciate how Los Angeles’s far-flung neighborhoods allowed small, distinct cultures to flourish without bumping into each other.
“In New York, because it is so condensed, you’re very aware of who’s around,” he once said, “whereas in Los Angeles, if you open a Korean restaurant, there’s a good chance you’ll only serve to Koreans. That sort of isolation is not necessarily good for politics or civil life, but it is really good for food.”
Far from a stunt eater, he nevertheless understood that a writer trying to persuade unseen strangers to read about a restaurant one or two counties away cannot afford to dismiss the persuasive power of chopped goats’ brains, pigs’ blood soup or an octopus leg separated from the rest of a living octopus so recently that it twirls itself around the nearest pair of chopsticks.
These delicacies and others were described in language that was anachronistic in its rolling, deliberate gait but exquisitely contemporary in its allusions. He could pack infinitesimal shadings of nuance into a rhetorical question.
The hallmark of his style, though, was the second-person voice. He used it prodigiously. Taken literally, he seemed to be saying that you, personally, had visited a great number of restaurants and consumed a wide variety of animal parts that, taken together, nobody but Gold had ever visited and consumed.
In “City of Gold,” Sue Horton, an editor at Reuters, says of his use of the second person, “He’s forming a bond with the reader: You and I are people who eat deer penis.”
His prose was apparently as agonizing to produce as it was pleasurable to read. For a time he saw a therapist for writer’s block until it was mutually agreed that somebody as prolific as Gold could not be described as blocked. Editors were driven to despair by his habit of taking deadlines seriously only once they were safely in the past. Powers, who edited him at LA Weekly, called him “the Usain Bolt of being slow.”
Like many restaurant critics, he tried to keep his image out of circulation for years. Anybody who had seen him was unlikely to forget him, though. He was more than 6 feet tall, with wispy ripples of shoulder-length strawberry blond hair that in recent years had tended to avoid the top of his scalp. His chin was capacious. When he turned up at a Peruvian stall in a food court a few years ago, the chef, Ricardo Zarate, wondered why so many pictures were being take by a man who “looked like George Washington.” He figured it out a few weeks later when Gold’s review was published.
Informally, the incognito phase ended when a photograph of Gold celebrating his Pulitzer win in a pink, Champagne-basted shirt got around. Officially, it was finished when he allowed LA Weekly to publish his photograph shortly before the release of “City of Gold” in 2015.
Between his amiability and his longevity on the job, he accumulated friends in the restaurant business. Some of his disclosures could make interesting reading. When he reviewed David Chang’s new restaurant in Los Angeles, Majordomo, his thoughts on the cooking took up only slightly more space than his partial history of his dealings with Chang.
In his first term at LA Weekly he met Laurie Ochoa, an intern and now an editor, whom he married in 1990. They went to restaurants together and contrived to work together, moving in tandem from one publication to another: the Los Angeles Times, Gourmet, LA Weekly again, the Times again.
She survives him, along with their children, Isabel and Leon, and Gold’s brother, Mark, the associate director of the Institute of the Environment and Sustainability at UCLA.
Many claims have been made for Gold’s criticism, but he saw his work in modest terms. He wanted to make Los Angeles smaller.
“I’m not a cultural anthropologist,” he once said. “I write about taco stands and fancy French restaurants to try to get people less afraid of their neighbors and to live in their entire city instead of sticking to their one part of town.”
This article originally appeared in The New York Times.
PETE WELLS © 2018 The New York Times
source https://www.newssplashy.com/2018/07/entertainment-jonathan-gold-food-critic.html
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