Minutiae of my every day since 2004.
Lucas de Groot, a Dutch typeface designer living in Berlin, recently began receiving a flood of calls and e-mails from Pakistan that, he said, “seemed very urgent.” He soon discovered that Calibri, a font he’d designed almost fifteen years earlier, was playing a central role in a corruption scandal engulfing Nawaz Sharif, the Prime Minister of Pakistan. As part of an investigation launched by the country’s Supreme Court, the Prime Minister’s daughter had released a supposedly exculpatory document signed and dated February 2, 2006. The document, however, had been printed in Calibri, which was not widely available until 2007. Investigators deemed the document to have been falsified, and the term “fontgate” began trending on Twitter.
Now some entrepreneurs are taking the idea a step further, designing their physical spaces in the hopes of inspiring the maximum number of photos. They’re commissioning neon signs bearing modestly sly double entendres, painting elaborate murals of tropical wildlife, and embedding floor tiles with branded greetings — all in the hopes that their guests will post them.
To be sure, restaurateurs have always wanted their spaces to look attractive. But in the era before social media, a designer could concern herself primarily with the space’s effect on its occupants. How a room looked in photographs was, at best, a secondary concern. Ravi DeRossi, owner and primary designer of 16 bars and restaurants, including the pioneering New York craft cocktail bar Death & Company, says he has never used Instagram, preferring to design by instinct. “I want my places to feel transportive,” he says. Death & Company, which opened in 2007, exemplifies design in the pre-Instagram age: dark wood, dim lighting, and a muted color palette. The bar has a sophisticated interior, but it’s kryptonite for Instagram — good luck getting any likes on that underexposed shot of your $16 Dixieland Julep.
“In collective references to communication outlets and platforms, generally treat it as singular: The news media is a favorite target of politicians; Social media is playing a crucial role in the uprising. Avoid referring to news outlets simply as the media; that broad term could include movies, television, entertainment, etc. In referring to artistic techniques or materials, treat media as plural (in this sense, the singular is medium): Many different media were on display in the student exhibition.”—Excerpt from Allan M. Siegal. “The New York Times Manual of Style and Usage, 2015 Edition.”
When civilian boats voluntarily sailed through the English Channel to rescue the stranded soldiers off the bloodied beach of Dunkirk, France; I was almost brought to tears. After all, home brings a certain relief for most of us, and in this historical display of humanity and nationhood—two concepts that must necessarily, but do not always, go together—home came to hundreds of thousands of men, with gratitude to some yacht owners who braved the turbulent seas, with all the risk that this had entailed. The 1940s was a time when the world, led by the British, was at war against the strong Nazi forces.
Jesus, my deepest thanks is always reserved for you. You have always been faithful to your word, though I have not always been faithful to trust it. Thank you for the amazing grace you have extended to me. Thank you for hiding your most precious treasures in the most difficult and painful experiences. And thank you for all that you have done to teach me to walk by faith (2 Cor. 5:7) and put my greatest trust in things not seen (Heb. 11:1). I look forward to the day when the dim mirror of this age is removed and I finally get to see you face to face (1 Cor. 13:12). I know you long for that day, too ( John 17:24). May it be soon. — John Bloom, Dedication. In: Things Not Seen. Crossway Publications (2015).A blessed Sunday!




First, children hold a special place in the eyes of God. Even the rowdiest of kids brings a smile to God’s heart, and they should bring a smile to ours. Jesus, after all, beckoned the children to come to Him, and we may hardly be more like Christ than when we do the same.
“I TOLD YOU LAST NIGHT THAT I MIGHT BE GONE sometime, and you said, Where, and I said, To be with the Good Lord, and you said, Why, and I said, Because I’m old, and you said, I don’t think you’re old. And you put your hand in my hand and you said, You aren’t very old, as if that settled it. I told you you might have a very different life from mine, and from the life you’ve had with me, and that would be a wonderful thing, there are many ways to live a good life. And you said, Mama already told me that. And then you said, Don’t laugh! because you thought I was laughing at you. You reached up and put your fingers on my lips and gave me that look I never in my life saw on any other face besides your mother’s. It’s a kind of furious pride, very passionate and stern. I’m always a little surprised to find my eyebrows unsinged after I’ve suffered one of those looks. I will miss them.”—Excerpt from: Marilynne Robinson's “Gilead: A Novel.”I always read Miss Robinson with a sense of wonder, as if her statements were sacrosanct, not to be meddled with nor read with so many distractions around.

It is with deep sorrow that we announce the passing of Bess Kalb, twenty-four, of San Francisco, formerly of New York. The cause of death was botulism from a homemade strawberry-rhubarb jam that was prepared by one of her housemates. The housemate, Aviva Something, holds a degree in—I kid you not—modern culture and media. She certainly had no formal training in sterile canning and preservation. If the kitchen in this “co-op” where the jam was prepared looks anything like it did six months ago, there is compost decaying right there on the counter next to the sink. Bess is survived by her brother, who once looked up to her.

Crafted by Bottled Brain, copyright 2004