Pork Chops with Apples and Onions

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Pork Chops with Apples and Onions

September 1, 2026
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Cafe 181

September 1, 2026
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NEW YORK WEATHER

Morning Waters

NYU Eats Menu

NYU Stern: The Greatest Trade in History

John A. Paulson Center

The “New York Times” Is Not the “United States Times”

The New York Times is a powerful, well-resourced newspaper based in Manhattan. It sees much, reports much and influences the conversation of the republic. But Manhattan is not the republic. A newspaper, however distinguished, looks outward from somewhere; and the somewhere matters.

Its newsroom, sources and habitual audience gather largely in New York, Washington and the other metropolitan precincts of the educated professional class. From such places certain things appear enormous and others scarcely visible. Crime, energy, religion, guns, immigration and class acquire the proportions given them by the city. What seems self-evident in Brooklyn may look rather different in Boise, Birmingham or Bakersfield.

This is not principally a complaint about bias. It is a question of scale and perspective. The modern metropolis has an old temptation: to mistake the intensity of its own conversation for the breadth of the civilization surrounding it. Yet beyond the newsroom lie counties, workshops, farms, churches, substations, schoolhouses and kitchen tables where the country conducts most of its ordinary life, frequently without appearing above the fold.

National influence is therefore not national representation. A serious reader uses the Times for what it does exceptionally well — reporting, investigation and the argument of the governing and professional classes — but reads outward from it as well: local newspapers, regional voices, primary documents and, not least, direct observation.

The map is larger than Manhattan.  The republic contains more voices than its loudest newspaper, and more life than can be gathered into a morning edition.

Nærmere Deg, Min Gud

September 1, 2026
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On the occasion of King Harald’s passing

In Lutheran memorial the traditional hymn does not treat death as defeat or a meritorious climb, but as the last stage of God’s gracious drawing. Its quiet, stepwise melody and repeated refrain make it especially suited to funerals: a humble prayer of trust rather than triumphant victory, ending in the hope of being “hjemme hos deg.”

Ultrasonic cold brew

September 1, 2026
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BRISBANE WEATHER
https://standardsmichigan.com/136343-2/

Standards Australia

 

54545454

Constitution Day

September 1, 2026
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Source Exchange Café

September 1, 2026
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Eggs, Bacon, Hash Browns, Toast & Coffee

September 1, 2026
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NORMAN WEATHER

Standards Oklahoma

Net Position 2025: $1.081B (Page 9) | OU Campus Master Plan | OU Housing & Food Services

 

Lunch

Menu

The classic American breakfast of eggs, bacon, hash browns, toast, and coffee follows a foodway that begins on farms and plantations, moves through regional processing industries, and arrives at the home kitchen, campus dining room, hotel, or neighborhood diner.

Eggs come from poultry farms; bacon begins with hog production and curing; hash browns originate with potato farms; toast begins as wheat grown, milled, baked, sliced, and toasted; and coffee follows the longest path, from tropical farms to American roasters and breakfast tables.

Together, these foods converge through griddling, frying, toasting, and brewing into a familiar morning meal. It reflects American agriculture, transportation, refrigeration, food preservation, and regional specialization—an enduring symbol of hospitality, comfort, and a hearty start to the day.

“Cherokee Gothic” — Frank Lloyd Wright

Christopher C. Gibbs College of Architecture

Homophily Oklahoma

Campus Myths | Sooner Yearbook | oudaily.com

“Millworker” James Taylor

September 1, 2026
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Boston Manufacturing Company: Payrolls list women workers (1817 to 1881)

“The Dressmaking Factory” 1914 | Charles Ginnar @TateFire Safety | Fashion

 

“Millworker” belongs to a later and subtler tradition of “labor music”. There is no strike, no marching line and scarcely a villain. Taylor locates the conflict inside the worker herself: her hands remain at the machine while her mind wanders backward through family, farm and memory.

The complaint is not simply that the work is hard. It is that a human life can disappear into work that asks too little of the human being.  Taylor tells us that millwork is not especially hard. That’s what separates this  song from so much earlier, angrier industrial laments. The injury is monotony, lost possibility and time for a ‘young girl who ought to stand a better chance’.

 

Fashion Design

 

 

Fetzer Institute

September 1, 2026
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Café Lu

September 1, 2026
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