This past week I have been supervising the hand-out of new 1:1 technology to our students. It isn’t the first time I’ve done this, but this year I wanted to take a particularly strong hands-on role with the roll-out or deployment, as we call it, of devices. I did several introductions to high school students, and when it came to our elementary students, I enjoyed seeing how quickly fifth graders took back to their iPads.
But most fascinating was watching the third graders.
We use iPads and students use the on-screen keyboard. Our early forays into using iPads at the middle school level taught me that students, with daily use, could quickly become quite proficient at typing with the on-screen keyboard (at landscape mode) at a speed that impressed me. I never attempted to measure the speed, but it was impressive enough at the time to inspire me to think that I’d never seen students on borrowed laptops type that fast in the 8th grade.
So today our third graders, who had plenty of iPad experience in the 2nd grade using individual iPads that stayed in the classroom, got a spiel from me and my associates on caring for the iPad. Rules on how to take care of it. And then we all signed into our accounts and kicked the tires on the devices.
And there they were: eighteen kids, spread around a media center, looking for the symbols on the keyboard they needed to type in order to login to their accounts. Last year they’d used Seesaw. This year it would be Google Drive and Schoology. There were a few students who were pros. I knew they must have devices at home. The QWERTY keyboard was nothing new.
But for so many, it was something new, that keyboard, hunting, and pecking for the right symbols. “Which one is my password?” “Is this an e-mail address?” “How will I ever remember this?”
It’s easy for some of us to remember a long string if we know the formula.
Their user accounts look like an e-mail address, complete with an @ symbol. We explained the formula. The number. The last name. The first initial. The @ symbol. Then our division’s geographical domain name. You could see the smiles on some faces as a once unintelligible string of symbols started to make sense. But I was far more interested in watching them type.
Some students had no real clue where the right letters were. Some needed help adjusting the keyboard to display numbers. No one was yet an expert.
Yet, the day before, watching 5th graders, they input those addresses faster than I could compute. They knew where all the letters were. They were masters of the on-screen keyboard.
Did we teach them? Not directly. We don’t use any kind of typing program. It’s only through daily use (or we could say daily practice) that they master the keyboard.
“Third graders. Behold. Today as I watch you all type these new addresses in, you all are a bit slow. The addresses seem very long. This is all brand new. By the time you’re in the fifth grade, you’ll be speed demons. Trust me. All it takes is some practice.”
As an educator, and a former music student, I should have expected as much. Play your scales enough and you’ve mastered them. The keyboard, virtual or real, wasn’t terribly different. But the powerful reminder was that there are things we’ll do over and over that will just come with time. Mastery takes practice. Seeing a fifth grader assimilate to their daily device in just a few minutes helped reinforce the power of the 1:1 program, that students would come to use this tool as a daily amplifier of their potential. Maybe not yet with the finesse a top chef has with their knives, these students are well on their way to bending these tools to help them ask questions, dream in different and interesting ways, and write what they will through taps on glass.
Sometimes our jobs are as simple as providing the opportunities for experience, for practice. We can always get better, and we will.
There aren’t a lot of secrets to making good sorbet: a mixture of fruit, sugar, and… whatever else. Good sorbets come from good fruit. It’s simple, so quality matters.
While I’m interested in trying sorbets from non-traditional ingredients, this guide focuses on using fruit.
1 lb. fruit (in this case I used .5 lb strawberries and .5 lb red raspberries)
1.25 cups sugar
Put everything into a blender and mix. Then take the mixture and strain out the seeds of the fruit. I strain out 80% or so of the seeds and do not strain the last bit, just to have a little “authenticity” to the mixture.
Cool down the mixture in the refrigerator. Then pour the mixture into an ice cream maker until solid.
Using a little alcohol helps with a texture I like; you shouldn’t taste it.
Use this basic recipe to create your own sorbet creations.
One of my favorite cookbook authors is Patricia Wells (and the other has to be Dorie Greenspan). In her book, Salad as a Meal, she focuses on interesting salads and this recipe was included, although, technically, it’s an open-faced sandwich.
Grill or toast a piece of excellent sourdough bread. I like Billy Bread.
She calls for making a creamy dressing, and calls for not going with mayonnaise, despite that recipe being a page away from this dressing. She calls for mixing yogurt with lemon juice, then lemon salt (lemon zest mixed with salt). I added chives and piment d’espelette to that. It’s creamy without a lot of guilt.
With the dressing, mix good quality chopped tomatoes, lettuce, and crumbles of freshly-crisped bacon. Top it all onto the bread. Easy.
You can be American and pick it up, crunching into it, recognizing familiar flavors. Or, be more French, and use a fork and knife. Makes an excellent first course.
In this post I am going to discuss how I was inspired by videos I saw, and how I used those ideas to create my own. I made two videos in July-August, 2019, for the convocation exercises at Goochland County Public Schools.
Tools: iPhone 8 (set at 24fps/4K), iPad Pro, two lights, green screen; Canon 7D Editing: Final Cut Pro X on MacBook Pro
Earlier this summer I experienced videos produced by Apple. One was a video of students sharing anecdotes about teachers. The flavor of the video was humorous and uplifting, and the students were shot against a lit, white backdrop, seated on a plain stool. All the focus was placed on the students and the shot reminded me a lot of Apple’s famous media campaign of Switchers, shot against a white background. (In the Switchers commercials, the talent was standing).
I produced a video of students talking around the topics of creativity and learning. None of the recordings were rehearsed or written out. In some cases, after hearing what students shared, I re-stated their responses in a more concise way and had them repeat that. Students stood against the backdrop of a green screen.
In another video Apple produced, they captured the perspectives of teachers. Again, the feeling was uplifting and the stories captured helped convey a positive feeling about teaching and learning. In this video, also against a light background, the talent was treated with some kind of filter. I can best describe the filter used as squiggly lines in a limited tonal palette. It looked very creative and I hadn’t seen this effect used before, nor was the filter used something I could easily identify. The video also included moving text effects, as if the words were being written out in beautiful cursive.
In my video capturing teacher voices, I wanted to hear why teachers liked working in our school division. The stories were not rehearsed or written out. I had subjects sit in a low-backed chair.
In both videos, I had a second camera person capture the shots with an iPad Pro for secondary shots. Audio was used from the iPhone recording.
Emulating Another Video Production—Why?
I’ve done a lot of video projects. Less than a year ago I captured student voices against backdrops at the school; a brick wall, outside, against the backdrop of the football field, in the school’s learning commons. The shots did as much to convey the school as they did diverse student opinions. The shots, however, felt somewhat naive, with both background and the subject being in good focus. In hindsight, I would have liked to have used a different aperture setting to blur the background somewhat. The picture below captures the major aesthetic of my video: the comic filter is used to manipulate the talent and the background is white, but not bright white. This allowed contrast with, in this case, the teacher’s outfit.
When I saw the videos produced by Apple, I realized how in their removal of any backdrop or distraction, the words and ideas conveyed by the talent was very clear and direct. The videos also made an impression on me in how they were different than most I’ve seen with people talking. The teacher video was creative in an interesting way. For better or worse, I tried emulating some of these ideas, to carry some of their strengths in our own work. Focus on the honest words of real people and take away distractions.
My videos helped put the emphasis on the people and their words even though they are bound by the location where they work or attend school. Using an improvised green screen, you can see shadows in the screenshot below. I used the selection of multiple parts of this green screen using Final Cut’s keyer effect.
Without having a pristine white backdrop and excellent lighting for capturing our voices, we used a green screen. In one video I replaced the background with an off-white backdrop; in the other, I replaced the background with a nearly black gradient from dark gray to black. Comments were that both were interesting. The student video used the black background; the teacher video used white.
I used a two light setup on the talent. A soft professional video light lit the scene and a smaller spot light lit the face of the talent from the side.
To produce the filtered look I had remembered from the Apple video, I played around with a lot of different settings within Final Cut Pro. None of them came close to the effect I was after, however I decided that a combination of the halftone filter and the comic effects gave an interesting enough change to the appearance of the talent. At full opacity, these effects were too artificial. But when the blending level was set between 25-35%, the effect was subtle enough to convey that “artsy” look without making things appear silly.
Without any halftone filter, I used the comic effects on the student video as well. Students appeared against a mostly dark background, using a subtle gradient.
Talking heads the whole time might make for a boring video. In the introduction to my student video, I used the secondary footage shot with the iPad and Canon cameras to show the filming taking place in situ, with the green screen unaltered. This served as an introduction to show that we’d pulled in students to share their stories.
In the teacher video, I started with text effects in the video and music to help set the stage. The video was designed to help viewers gain perspective that together, we are all focused on the same thing. The introduction of the first teacher when it happens is a little bit of a surprise after 1.5 minutes of moving text.
The video ends with teachers talking about our Core Values. To segue between the teacher “interviews” and the perspectives on core values, we used drone footage taken above our different schools, some capturing students and moving buses over the past school year. This helped, I thought, ground the diverse perspectives and show they come from across our five schools.
Mistakes and Lessons Learned
The audio from the iPhone was tainted by the sound of the video light. I used digital audio filters and settings within Final Cut to improve the sound, but use of a better quality microphone system would have been ideal. Without someone to hold a boom mike over the talent, the placement of a digital stereo microphone (such as the kind by Zoom that records to compact flash or SD card) would have been adequate, off screen. Finally, use of an all iPhone setup with a clip-on microphone to Bluetooth would have worked too, although you would have seen that in the video.
Using the backup cameras (iPad Pro and Canon 7D) at different resolutions and frame rates was not ideal. While the sound from the Canon, without an extra mike was not bad, it is a difficult camera to use for video because there is no auto-focus. (In this case, having shots that didn’t really move made the process easier.) The iPad’s camera was not nearly as good, nor could it shoot at the same settings as the iPhone camera. Ideally, using two iPhones would have been superior.
Mixing video footage from the different sources was relatively easy to do in Final Cut Pro.
The geek in me appreciates gadgetry. I have bought a lot of Apple equipment (my first, which my parents bought me, was the Apple //e, with a green monitor, and the DuoDisk drive for writing to two floppies at once). And the one thing I was on the fence about, what today seems, is the most popular Apple gadget after their phones, were the AirPods.
The AirPods seem like a risky investment. They look like the (free) wired headphones that came with your iPhone. So why do they command such a high price?
Losing the wires is magical, but there were wireless headphones before the AirPods. I’m willing to say that I think wearing AirPods is a cultural statement, at least for teenagers, it’s a status symbol. The white things hanging from inside your ears are iconic and wearing them shows you want the best in high tech. The price tag, no doubt, is commanded in part because of the technology in those things. While they appear at first glance like the regular earphones minus the cord, there’s a lot of tech required for charging, for working in sync, for stereo. (My first wireless earphones, from Beats, used a cord to connect the two sides, which made the wireless implementation technically easier.) And when I finally succumbed to the purchase of my own pair, I was pleasantly surprised of the sound quality.
They sounded good!
I’ve used mine for music listening, but more often, they’re really nice for use with, say, my iPad, when I’m watching YouTube or a video streaming service. No wires. I can walk around, carry the iPad or iPhone with me, and the music is with me too. And since I’m whole-hog into that Apple ecosystem, to be able to put them in and take a walk (you can run if you like) without a phone, using the connection between the AirPods and my Apple Watch—the first time I did that, it did feel magical. There’s music in my ears. No wires, no “thing” to hold. (Perhaps the Walkmans of the 1980s and the iPods of the early 2000s programmed us that music on the go has to come from some kind of box we hold.)
I wanted more.
I’ve tried a lot of different “things” to listen to music: beyond speakers, I’ve tried in-ear earphones, noise canceling headphones, over the ear headphones, and of course the class of devices like Apple’s, which I think we’re calling ear buds. This is the time for the disclaimer: I want high fidelity when I listen to music. I’ve experienced it and it became a requirement. I went to music school. I just want good sound.
But everyone knew, you couldn’t get good sound on the go.
Getting great sound from something that goes into your ear is possible, but those things are expensive. I’m not willing to pay over $1000 for something that I’m going to have to deep clean with a pick later. While still pricy, good over the ear headphones, such as my Sennheiser 650HDs, are really good, but they require some juice. They’re really at their best with an amplifier that can drive the resistance they pose with their drivers. Plugged directly into my phone, they’re flat and can’t get very loud.
Plugged into a home amplifier, I appreciate their open design; your ears don’t get sweaty, because they’re open; it also means that sound escapes, which at least a few times, made it seem like I wasn’t blowing my eardrums when I had the volume too loud.
Wouldn’t it be cool, I thought, to listen with these?
In the house this is very feasible but then you’re tethered to one chair, close to the amplifier. And then the music source needs to be close-by, too.
My Current Solution
Another disclaimer: this solution isn’t for everyone, and I do realize it’s kind of crazy right now. Remember, a few months ago I was using Apple’s AirPods.
So the product I’m using now (which has since been bettered with an upgraded design, called the Cobalt) is the AudioQuest Dragonfly (Red). Your friends will think you have a race car-red colored USB stick. But it isn’t a USB stick. It’s a miniaturized digital to analogue converter (DAC) and headphone amplifier. And despite all of that technology sounding dicey, fitting into a USB stick-sized thing, it sounds awesome.
And it drives my big Sennheiser cans.
So, with my computer, you plug in the DragonFly into a USB port and you have better sounding audio. Plug in your headphones and you’re good to go. You can use any headphone, really, from a truly portable one to the 300 ohm monsters too.
But wait—there’s more. The DragonFly can be used with a cell phone!
Except, look at that photo. With my Sennheiser 580s, I had to buy an adapter to go from the 1/4 inch plug to the 1/8 inch plug, which is heavy. Then that goes into the DragonFly, which seems dwarfed in the photo with Apple’s version 3 of their Lightening to USB Camera adapter. I have to connect all that malarkey to my phone to enjoy the bigger headphones.
Well, while there’s a big path there from music to your ears, it does sound good. And if anyone sees me with this contraption of wires walking outside, they know I’m pretty darn serious about my audio. (For the record, I do take this outside, but not for walking; I’ll use it sitting on the patio.)
For those of you with a USB-C equipped phone, such as one not from Apple, AudioQuest is making a USB-C dongle of themselves which is far more better equipped for mobile usage. (Me thinks this could all have been made less dorky if AudioQuest only chose to make an Apple-branded version with the lightening adapter.)
So, all of that said, the music many people listen to on a mobile device is compressed. It’s MP3s or compressed MPEG-4 files, such as those from Apple Music, or streamed via Spotify. With this setup, you (or at least I) can start to hear the limitations of that compressed music.
Of course, you can rip CDs and push those via iTunes to your iPhone. But more recently I’ve changed my setup at home and it makes this use case of big headphones with several adapters in tow, while at least not truly portable, at least worth the effort.
CD quality and beyond
Several years ago when I gave up my MacPro at home (the big cheese grater (original cheese grater), the one that could store four drives of data), I had to come up with a new solution for my music collection. The new 1TB iMac wasn’t going to cut it.
I bought a network-attached storage server (NAS) and I can access my music over the network.
I still used iTunes as my player. I have a big CD collection, so all of that was ripped on the computer. I was on the fence with streaming services. (For me, with my primary interest in classical, services like Apple Music or Spotify weren’t as appealing, and they didn’t offer CD quality sound.)
Today I use software called Roon. Their server software runs on my iMac; it indexes all my music sitting on the NAS, and adds value through their rich catalog of metadata (for instance, it knows my albums and knows details about them, like who mastered a recording, where it was recorded, and they provide access to information about the performers). I then need the client software to playback my music, which can live on my phone, my iPad, or my computer.
And today, you can “stream” the music to endpoints on your home network. This includes my phone or my iPad, but also a network streamer like the Auralic Aries, or a Sonos speaker, or to my reference DAC, the PS Audio DirectStream with its network bridge card.
So, using Roon, I can listen anywhere inside my house.
Sitting outside on the patio, with my phone, I have access not only to the music loaded on my phone, but to my entire music collection, at the native resolution of every file. And more recently, I’ve begun a subscription to Qobuz, a French high-fidelity music streaming service (compare this with Tidal), which seamlessly integrates with Roon.
So with this mess of wires and my big over-the-ear headphones, I can move about the house and listen to anything, all in high fidelity.
Does it rival a big tube-powered headphone amplifier? No. But the convenience is worth the compromise. It’s not as convenient as the AirPods, but I think we only have to wait. In five years, I’ll probably laugh at having so many wires and dongles hanging from my phone.
I can remember the first bottle of something smelly that was to become mine. It was some kind of aftershave in a light brown bottle, plastic, and I knew immediately it was the cheaper, knock-off version of a scent I’d more than likely would have referred to as “cologne.” I don’t remember the name precisely, but if my memory hasn’t completely left me, it was some sort of cowboy or rustic man type of scent.
And it was horrible.
I was a teenager and I was starting to shave and my mother packaged this up for me for Christmas. And while I have no doubt violated the rule for which this served as an excellent example, it taught me that buying gifts of a personal nature, such as how you’re going to smell, is best left up to the person wearing it. (And not your mother.)
I know, my mom was very thoughtful. But the experience didn’t scare me away from wearing scents. It also probably didn’t help. My dad was the one in the house that applied something. For so many years it was just one thing, Polo, in the green bottle. Polo was there for the long haul, after his shorter affair with Aramis. (And I can remember that in the 1970s, when I was younger, and both my parents had less resources to spend on how they smelled, it was Old Spice.) My dad, I thought, smelled good, or at least the trail of him, the one he’d left going down the staircase before going off to work, before I’d even woken up. The aftershock of scent he left behind probably inspired me to want to wear something myself.
It was never Polo. (I didn’t want to smell like my father; I was my own Crumb.) My mother insisted I never wear it, because after so many years, she’d grown sick of it. “Anything but Polo.”
I get it, not everyone wears a fragrance. It’s not everyone’s thing. Some people don’t want to be like my dad, leaving a trail of what Ralph Lauren wanted to smell like, around the office. But for me, smells are so interesting and intriguing. That’s not to say that I think all smells are good smells. But I do tend to think that I may have a higher sensitivity to smells and as a type of sensory experience, I like smelling good things.
For some, it’s touching interesting things, or seeing beautiful colors, or tasting different textures. (These all sound good to me, to be honest, and perhaps I’m glutton for indulging all of my senses.) In the end, a quality scent—something that doesn’t offend you—can trigger a substantial range of emotions. Smells for me can transport me to different places or time and that sensation of mental transportation is… fun.
So in choosing to wear a scent, I don’t want to offend others. (And true confession, there have been times I have overdone it. There was an incident in high school. I wanted to smell good and I’d brought a sample to class and applied it in class. It wasn’t something I was used to, and in fact, it was a woman’s perfume, and I wasn’t used to the strength of a parfum compared to, say, after shave. The Spanish class soon became overwhelmed with my application of that scent and I had to leave, so embarrassed, trying to rub it off with wet tissues. And more recently, I am sure there’s been a day (or two) that I may have offended others with too many spritzes of one scent, or another.)
I want to experience the scent myself. Maybe it’s selfish, but I picked these scents and I want to get a whiff from time to time.
And I think it adds a dimension to my being. Just the same as how you prepare yourself for the day, your clothes, your hairstyle, all of that. I hope people who look at me aren’t offended. And I hope people who can smell me aren’t offended either. Just enough, perhaps, that when you’re close, you notice. And smile.
Department Store Finds
By the time I was a high school senior, I’d discovered several scents (I’ll generalize here and call these things, no matter they fall into any class, from after shave to perfume, the same, a scent) and had determined at least a couple resonated with me. Dior’s Fahrenheit was one. All the cool kids were wearing Calvin Klein’s Obsession, or Davidoff’s Cool Water. I’d like a Chanel scent, but the Fahrenheit was one that I’d determined was mine. I’d discovered it, I liked it, and I boldly wore it.
The bottle was cool too.
The whole interest in scents continued in college, except now it seemed there were a lot more options. I tried different things and began to really notice other guys wearing scents as well. After college, I met a gentleman and he had two scents that I thought were obscenely indulgent: Versace Blue Jeans and Cartier Pascha. These weren’t as easy to find at your typical mall department store. And I wondered why they seemed more interesting. Sadly, they were all more expensive.
So having something to spray on you during all these years was relegated to special occasions. A date? Or Sunday at church. When I got dressed up for something, I’d go looking for a bottle. But then I asked myself a question. Why limit yourself. Why not everyday? And why not more than one bottle?
I know what you may be thinking. In life, we have constraints and have to control ourselves. This hobby might get expensive, and had my goals really changed? What changed was the decision that smelling good was something I wanted to do, it was becoming a part of my personality, my persona, my personal culture. I guess I liked the reactions I’d get, someone smiling, and telling me I smelled good.
It wasn’t vanity, all I’d done was buy something and spray it.
It was knowing that my choice may have added a little joy to someone else’s day’s experience. They’d walk past and go, “oh, that was nice.”
Yeah, I am not sure I was buying it either. It isn’t about being altruistic and leaving a trail of good smells behind you for the benefit of others. I just loved scents. It took me awhile to be comfortable with this. That it wasn’t too weird to like good smells.
There are a lot of places today to find out about scents. I don’t feel weird anymore having this affinity to things that smell good. I’ve watched YouTube videos, read scent blogs, and read reviews. It’s a thing. And I’m not ashamed to having fallen into it.
I am not really interested in doing full-on reviews of scents; instead, I’d like to share a few that really stand out to me that maybe, just maybe, you’d like to try.
Ouds - I pronounce this without trying to sound pretentious, as “ewww-d,” and the derivation of this scent may make you actually say “eww.” Real oud comes from a fungus growing inside wood. Oud is a class of scent, and sometimes it’s used alone, or in combination with other scents. Fragrances that use real oud tend to be expensive, but the chemical copies aren’t necessarily bad. The first oud I encountered was a big one, and it was expensive. I still have the bottle (and it isn’t done.) Francis Kurdjian’s original Oud was my first experience and I was hooked. It was otherworldly and had, for me, a rather formal sense about it. It wasn’t an everyday scent, instead, you’d save it for dressing up, or wearing that velvet dinner jacket. I’ve also liked those from Tom Ford, such as the Oud Fleur, which combines to main scents together (oud with rose).
Hermès Jardin de Monsieur Li - I am sure mostly women wear this, but for me, it’s very unisex. This series by Hermès (with other gardens) isn’t overly aggressive. But this one in particular transports me (not necessarily to an oriental garden). When I need to feel calm or too many things are going on, this one grounds me. Inhale slowly and deeply. The world will be alright.
Etat Libre d’Orange is a boutique house based in Paris and has all matter of weird and bizarre scents (and descriptions). My favorite is the Son of God, and the sweet note and tropical and lime notes take me far away. It doesn’t linger long, which is a shame, but at the time of application, it’s a real treat.
A-Men by Mugler - So I have the original one, which has notes of chocolate in it, but there are now several variations which, as I’ve read, have some positive reviews. These are unique and strong fragrances so be careful, just a couple spritzes will do. I tend to think of these as fall and winter scents. Very unique.
John Varvatos (Original, for men) - Like Fahrenheit for Men, this one was something I’d found perusing the counter at a department store, soon after working in Virginia. It probably had just come out. I’ve bought a bottle probably three times, and while I don’t routinely wear it anymore, I still have a weakness for its blend. Some of his relaunches are good too.
Taming a Luxury
So I know it’s a luxury to be able to pursue a hobby like this, at least for most. Of all the issues in the world, how we smell probably won’t rank at the top of anyone’s list. And with anything, you could potentially go overboard.
But all these years I’ve learned a lot about what goes into these things and the science and art that’s required to produce beautiful, beguiling and ultimately interesting smells. And I’m glad I’ve taken the time. Exploring this world doesn’t have to be prohibitively expensive to be enjoyable. Start with something new. Take some sniffs. Get a sample. Get some opinions. Then commit for awhile. Try adding scent as a new dimension to who you are. Just be sure you like it, and those you’re closest to, can stand it.
Getting to choose what we smell like, considering the sources for so many scents can come from all over the world, is indeed a luxury. But no more so than an extra pair of shoes, a decorative hat, or yet another windbreaker.
Then there was Florence
When I traveled to Florence, Italy, staying in the hills above the city, with a great view of the Duomo, I kept noticing these large bottles of scents with sticks in the bottles—they were scent diffusers. I’d seen them before, here stateside, but these weren’t the same. The bottles were giant, compared to the ones you’d find here, and they were appropriately sized for scenting large spaces. The reeds coming out were big. And the scents were, well, extraordinary.
The most famous brand at the time, it seemed, was Dr. Vranjes. In my last trip to Florence in the summer of 2018, other brands seem to be in higher fashion, such as Aqua Flor. One step into their shop overwhelmed my travel companion. He couldn’t stand it for more than five minutes. “I have to get out of here.”
“Why?” I asked.
“It’s too much, I’m overwhelmed. I’ll meet you back outside when you’re done.”
Of course, I was overwhelmed too, in a good way. I couldn’t get enough, they all smelled so good. I took a chance with one of their stronger concoctions, Porpora. (It’s also the name of a composer of vocal music, so I thought there was a little synergy there.) The scent is soaked up into the reeds and then air passing by helps spread the scent into the room. So, in a way, these diffusers help scent an entire room. And by placing a different diffuser in different rooms, you can experience a cavalcade of different scents as you move about your home.
I am biased; I think the brands native to Florence are special, but if you can no doubt get started by exploring some options here stateside. I know these are expensive, but the good ones last for some time and the refills make the whole enterprise more affordable over time.
You know the saying, “you can’t teach an old dog new tricks.” I’ve been using Adobe Photoshop since 1991 (version 2, I believe), when it fit onto a floppy disk. I really don’t have a need or desire to use another tool, especially when I feel I want complete control.
Some years ago my mind was gently changed when I saw Aperture, from Apple, which excelled at editing RAW photos. I used it until finally it seemed it was no longer being updated. I have several Aperture vaults saved somewhere.
What made Aperture special, if I remember, was that it used the GPU on the computer to help drive the “speed” by which you could make edits. It wasn’t so much for doing creative things, but adjusting lighting and setting RAW exposure settings.
Then my mind was changed a little more when Snapseed came out (before it was purchased by Google). Suddenly, on vacation, I was importing photos into my iPad (my iPad?!) and editing them there. It felt weird. Like, what’s going on? I’m using this mobile computer to do like really creative editing?
So, yes, I evolved somewhat. I was open to some casual editing on a mobile device using sliders and the such. Then this summer at the ADE Institute, they challenged us to do some things that made me feel uncomfortable. Let me explain. Nothing inappropriate. But I wasn’t used to doing image manipulation quickly in an app designed for delivering presentations.
It felt weird. Keynote? For image editing?
Of course, Keynote (and by extension, Numbers and Pages) is a powerful app. And while I use it primarily for designing presentations, this evening I started playing. Making Memoji characters and using Instant Alpha to take away the white background. And then playing with backgrounds. Exporting the things to JPEG and then heck, why not, posting the result as my Twitter avatar?
I know what an incredibly powerful computer my cell phone is, trust me. But doing this little thing, making an avatar, cutting it out, and putting in a background, and then exporting it just so, and seeing it there, felt transformational. It wasn’t the iPad, it wasn’t Photoshop on my Mac. It was a cell phone that did all of this. And again, maybe it’s not that impressive to you, but it took just a minute and a half to do this.
It’s 2019. I know (I’m getting older). But this just felt cool because it was so effortless. Perspective matters.
So I know it might be the tourist-y thing to do, but I’d heard about this place from guidebooks and from folks on TV, like Ina Garten. Berthillon supposedly had the, and I quote, “best ice cream in the world.” It was enough to make me try it.
During my last trip, in the summer of 2018, they’d opened a second store right across the street, and one assumes it’s to serve all the folks flocking to this street in the summer months. You can get take-away or eat in the salon.
If you don’t get to this street, shame on you, but for reals, the ice cream and sorbets are sold in other parts of Paris. Look for their logo, the “B,” and be rest assured, you can sample some of their stuff without too much trouble.
So the location of the island is pretty close to where Notre Dame is. You can walk across the bridge and as a destination, it’s a cool little island, and is one of the more expensive places to live in all of Paris. If you like ice cream, it might be the best place to live in the world.
How is the ice cream, then?
So I am not sure I am qualified to say if this ice cream is the world’s best. I mean, how can that even stick? We can possibly say it’s the best ice cream I’ve had, and then you might be impressed? I make my own ice cream from time to time and I’ve sampled a lot too, and given my age, you can be fairly certain that I’ve had a lot of ice cream experiences. And I’m gonna give in here and agree with Ina Garten. I think this ice cream is some of the best I’ve ever had.
So the flavor I kept going for, which is now easily found in my local Whole Foods from brands like Jeni’s, is the salted caramel. It’s also my favorite, probably, of any ice cream flavor. I like salt and I like the flavor of brown, melted sugar. Look for a label such as beurre-salé and that’s what we’re talking about. I’ve had their chocolates. I’ve had their very-intensely flavored sorbets, which I think are incredible. I’ve never had anything I didn’t like.
Which is to say, get a flavor that looks interesting to you, and know that you can order a cone or cup with scoops from multiple flavors. Try them out, or steal some from your friend(s).
The ritual I’ve followed is to always get my glacé to go, and I walk around the corner (to the south, make a left) and start to cross the bridge. You’ll see once-famous fine dining restaurant (La Tour d’Argent) on the opposite side of the bridge, and Paris’s patron saint overlooking the water. There are some indentations in the bridge, so you can look out, and I hate to say how many times I’ve stood in one of those things, almost religiously scooping out ice cream from the cup, and into my mouth, with a smile a mile-wide, trying to remember the whole experience: the creamy texture, the intense flavor, and the whole scene around me. I know I’ll have to leave, and then it will be uncertain when I can ever enjoy that little coupe of ice cream again.
Luckily Paris isn’t the only place to get ice cream. But you should still go. Trust me.
Berthillon 29-31 rue Saint-Louis en l’île 75004 Paris France
The art museum in Richmond, Virginia has changed a lot since I moved to capital of Virginia, about twenty years ago. Since then, they have a new addition, which now serves as the entry point for visitors. There’s a really decent restaurant, Amuse, on the top floor, that overlooks open space behind the museum. And while special exhibits carry an admission fee, the museum is otherwise free. Twice I’ve become a member and enjoyed special exhibits at no extra cost. Members also enjoy free parking in the museum’s adjacent parking deck.
In August 2019, I went to the VMFA to attend a musical performance, part of VCU’s GSIM event, bringing global musicians together each year. It’s but one example of how the museum uses their large atrium space to add value to their art collection by bringing diverse audiences to the museum.
So we are currently re-thinking the role of the school library in schools. They shouldn’t just be a place to go grab a resource (read: book). They should also be a space where things happen. Think of a plaza in a large city, like Madrid or Mexico City. It’s a place people gather, conduct business transactions, eat, become entertained.
It’s what I really like about the VFMA. You can have a beverage outside over the weekend. You can hear music, or see a cultural performance. And like many art museums, the collection is always changing with special exhibits. And you can think of the VFMA as a place to see fine art, sure, but it’s also a place to hang out, to be social, and to think.
And for someone like myself who does not live in the city, proper, it’s always a great excuse to get out of the house and visit the city. It’s located on Arthur Ashe Boulevard and nearby all kind of interesting places to eat.
Virginia Museum of Fine Arts Open 365 Days a Year 200 N. Arthur Ashe Boulevard Richmond, Virginia USA 23220-4007