A Quote by Christina Tosi
The 'Momofuku Milk Bar' cookbook is rather technical. I wanted it to feel like you were walking into the doors of our kitchen, it was your first day at work, and we were going to teach you everything.
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When I first opened Milk Bar, I was also making desserts for the Momofuku restaurants. I will say that by day three or day four, I realized that operating a bakery was so different from operating a restaurant.
The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time. We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn't feel like work. I couldn't wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.
I love cookbooks for completely different reasons. I love 'The Harry's Bar Cookbook' and Marco-Pierre White's 'White Heat' for their feel. For pure learning, Gray Kunz wrote a great cookbook, 'The Elements of Taste', published in 2001. The first time I read Charlie Trotter's, the Chicago chef's first cookbook, I was blown away.
Universities were not meant entirely, or even chiefly, as stepping-stones to an examination, but that there is something else which universities can teach and ought to teach-nay, which I feel quite sure they were originally meant to teach-something that may not have a marketable value before a Board of Examiners, but which has a permanent value for the whole of our life, and that is a real interest in our work, and, more than that, a love of our work, and, more than that, a true joy and happiness in our work.
There were doors that looked like large keyholes, others that resembled the entrances to caves, there were golden doors, some were padded and some were studded with nails, some were paper-thin and others as thick as the doors of treasure houses; there was one that looked like a giant's mouth and another that had to be opened like a drawbridge, one that suggested a big ear and one that was made of gingerbread, one that was shaped like an oven door, and one that had to be unbuttoned.
We were terribly excited, and I think we took it on our shoulders that we were creating the 21st century in 1971. That was the idea. And we wanted to just blast everything in the past, rather like the vorticists did at the beginning of the century in the Britain or the dadaists did Europe, you know. It was the same sensibility of everything is rubbish, and all rubbish is wonderful.
I've usually never felt comfortable shooting until things were kind of claustrophobic, but ballet dancers need a lot of space, so the sets that I designed had to be big. Normally, I'd design a kitchen that was half the size of a normal kitchen, just to make everything feel kind of womb-like, but the kitchen in a ballet would have to be like 100 feet wide and just as long.
Yeah, we might have a video on 'TRL,' but when you go to the Warped Tour you're going to see us walking around in the crowd and hanging out with kids because we treat our fans like we wanted to be treated when we were going to shows.
Now the look of the book dictates the sale. In my day you could still buy a good cookbook in paperback with no pictures at all. I doubt if that would sell today. But those books were much used: they lived in the kitchen and got splattered with custard and gravy.
To really talk about African story, and teach this story, you have to teach that tribes were actually nations. You have to teach that chiefs were actually kings, with kingdoms. You have to teach that there was a structure that worked in Africa prior to colonialism. You have to teach that countries were colonized that were doing fine by themselves. And that's uncomfortable.
I remembered this one time that I never told anybody about. The time we were walking. Just the three of us. I was in the middle. I don't remember where we were walking to or where we were walking from. I just remember the season. I just remember walking between them and feeling for the first time that I belonged somewhere
I had a brilliant trip to Mexico with my friend Ellie during my gap year. We thought we were being really cool and going off the beaten track while all our friends went to Thailand and Australia. The first beachside bar we walked into - there were two girls from my sixth form in there.
I remember when I first got into the England side, going to meet ups where you were just doing a job, you were almost looking to go back to your clubs as soon as you arrived. That changed. The Lionesses got the feel of a club; it was a place you wanted to be, a set-up you couldn't wait to join.
I played to 20,000 people every day because people were walking on 5th Ave going to and from their jobs, and my sounds were bathing them in all kinds of dissonance, consonance, resonance, and things like that.
Even if the chef has a good business head, his focus should be behind kitchen doors. A business partner should take care of everything in front of the kitchen doors.
I wanted an idea of the future, a new femininity. I wanted you to feel that you wouldn't quite know where these women were coming from and where they were going to.
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