Andrew Friedman - Böcker

“A thorough, lively work of on-the-ground reportage. ... Friedman shares a remarkable story." —Wall Street JournalAcclaimed “chef writer” and food writing expert Andrew Friedman introduces readers to all the people and processes that come together in a single restaurant dish, creating an entertaining, vivid snapshot of the contemporary restaurant community, modern farming industry, and food-supply chain. On a typical evening, in a contemporary American restaurant, a table orders their dinner from a server. It’s an exchange that happens dozens, or hundreds, of times a night—the core transaction that keeps the place churning. In this insightful book, acclaimed chef writer Andrew Friedman slows down time to focus on a single dish at Chicago’s Wherewithall restaurant, following its production and provenances via real-time kitchen and in-the-field reportage, from the moment the order is placed to when the finished dish is delivered to the table.As various components of this one dish are prepared by the kitchen team, Friedman introduces readers to the players responsible for producing it, from the chefs who conceived the dish and manage the kitchen, to the line cooks and sous chefs who carry out the actual cooking, and the dishwashers who keep pace with the dining room.Readers will also meet the producers, farmers, and ranchers, who supply the restaurant, as Friedman visits each stop in the supply chain and profiles the key characters whose expertise and effort play essential roles in making the dish possible—they will walk rows of crops that line Midwestern farms, feel the chill of the cooler where beef dry-ages, harvest grapes at a Michigan winery, ride along with a delivery-truck driver, and hear the immigration sagas prevalent amongst often unseen and unheralded farm and restaurant workers.The Dish is a rollicking ride inside every aspect of a restaurant dish. Both a fascinating window onto our intricate food systems, and a celebration of the unsung heroes of restaurants and the collaborative nature of professional kitchen work, The Dish will ensure that readers never look at any restaurant meal the same way again. "Masterful. ... Friedman excels at bringing the dining room to boisterous life with vivid, telling details. ... This will sate gastronomes and casual foodies alike." — Publishers Weekly (starred review)This immersive work of culinary journalism reveals:Farm to Table Journey: Go beyond the kitchen to meet the farmers, ranchers, and vintners whose expertise makes the dish possible, from Midwestern farms to Michigan wineries.Behind the Scenes in the Kitchen: Experience the real-time pressure as the order is followed from the pass to the table, highlighting the essential roles of sous chefs, line cooks, and dishwashers.The Complete Food Supply Chain: Ride along with delivery drivers and explore every link in the chain that brings ingredients like dry-aged beef and freshly harvested crops to a top Chicago restaurant.Unsung Heroes of the Food Industry: Hear the often-unheralded stories of the people behind the plate, including the prevalent immigration sagas of essential farm and restaurant workers.

Continuing Professional Development (CPD) is the means by which the professions across the world ensure that their knowledge and skills remain up to date and relevant to changing needs and environments. CPD significantly contributes to the quality and reputation of the professions and therefore to the quality of national and international social life and economic well being. Starting with a discussion on what CPD is, the author analyzes how professional bodies govern CPD, what support they provide to individual professionals and how they measure or evaluate what individuals do under the provenance of CPD. Continuing Professional Development explains why, up to now, CPD has been a relatively neglected subject in spite of it being carried out by millions. It argues whether a variety of perspectives or visions of CPD has held back wider public appreciation of it and if greater co-ordination by professional bodies, or the introduction of new players to the field, will change this in the future.Providing the first comprehensive study of the subject, this innovative book will be required reading for CPD professionals and researchers and is a fascinating read for all professionals, especially those involved with human resource development and management / leadership development.

Continuing Professional Development (CPD) is the means by which the professions across the world ensure that their knowledge and skills remain up to date and relevant to changing needs and environments. CPD significantly contributes to the quality and reputation of the professions and therefore to the quality of national and international social life and economic well being. Starting with a discussion on what CPD is, the author analyzes how professional bodies govern CPD, what support they provide to individual professionals and how they measure or evaluate what individuals do under the provenance of CPD. Continuing Professional Development explains why, up to now, CPD has been a relatively neglected subject in spite of it being carried out by millions. It argues whether a variety of perspectives or visions of CPD has held back wider public appreciation of it and if greater co-ordination by professional bodies, or the introduction of new players to the field, will change this in the future.Providing the first comprehensive study of the subject, this innovative book will be required reading for CPD professionals and researchers and is a fascinating read for all professionals, especially those involved with human resource development and management / leadership development.

Theatre Things: Material Theories and Histories considers key theatrical objects through a comparative approach, examining the uses and histories of different parts of the theatre throughout time and across culture and geography. The ten “theatre things” at the heart of the book are: entrances, tickets, programs, concessions, seats, lights, curtains, stages, trapdoors, and exits. For every object, three different scholars offer short chapters that examine it from different angles—across eras, places, and performance traditions to result in a set of diverse and provocative accounts of the many ways objects have functioned throughout theatre history. Written in an accessible style, the book draws on real examples from theatre history around the world to reveal that even the smallest details—where you sit, how the lights shift, what the program says—carry meaning. Whether you’re a regular theatregoer or a curious fan, Theatre Things offers a fresh way to look at the spaces and objects that shape every night at the theatre—and makes them feel newly interesting long after the curtain call.

Theatre Things: Material Theories and Histories considers key theatrical objects through a comparative approach, examining the uses and histories of different parts of the theatre throughout time and across culture and geography. The ten “theatre things” at the heart of the book are: entrances, tickets, programs, concessions, seats, lights, curtains, stages, trapdoors, and exits. For every object, three different scholars offer short chapters that examine it from different angles—across eras, places, and performance traditions to result in a set of diverse and provocative accounts of the many ways objects have functioned throughout theatre history. Written in an accessible style, the book draws on real examples from theatre history around the world to reveal that even the smallest details—where you sit, how the lights shift, what the program says—carry meaning. Whether you’re a regular theatregoer or a curious fan, Theatre Things offers a fresh way to look at the spaces and objects that shape every night at the theatre—and makes them feel newly interesting long after the curtain call.

The capital of the U.S. Empire after World War II was not a city. It was an American suburb. In this innovative and timely history, Andrew Friedman chronicles how the CIA and other national security institutions created a U.S. imperial home front in the suburbs of Northern Virginia. In this covert capital, the suburban landscape provided a cover for the workings of U.S. imperial power, which shaped domestic suburban life. The Pentagon and the CIA built two of the largest office buildings in the country there during and after the war that anchored a new imperial culture and social world. As the U.S. expanded its power abroad by developing roads, embassies, and villages, its subjects also arrived in the covert capital as real estate agents, homeowners, builders, and landscapers who constructed spaces and living monuments that both nurtured and critiqued postwar U.S. foreign policy. Tracing the relationships among American agents and the migrants from Vietnam, El Salvador, Iran, and elsewhere who settled in the southwestern suburbs of D.C., Friedman tells the story of a place that recasts ideas about U.S. immigration, citizenship, nationalism, global interconnection, and ethical responsibility from the post-WW2 period to the present.Opening a new window onto the intertwined history of the American suburbs and U.S. foreign policy, Covert Capital will also give readers a broad interdisciplinary and often surprising understanding of how U.S. domestic and global histories intersect in many contexts and at many scales. American Crossroads, 37.

The capital of the U.S. Empire after World War II was not a city. It was an American suburb. In this innovative and timely history, Andrew Friedman chronicles how the CIA and other national security institutions created a U.S. imperial home front in the suburbs of Northern Virginia. In this covert capital, the suburban landscape provided a cover for the workings of U.S. imperial power, which shaped domestic suburban life. The Pentagon and the CIA built two of the largest office buildings in the country there during and after the war that anchored a new imperial culture and social world. As the U.S. expanded its power abroad by developing roads, embassies, and villages, its subjects also arrived in the covert capital as real estate agents, homeowners, builders, and landscapers who constructed spaces and living monuments that both nurtured and critiqued postwar U.S. foreign policy. Tracing the relationships among American agents and the migrants from Vietnam, El Salvador, Iran, and elsewhere who settled in the southwestern suburbs of D.C., Friedman tells the story of a place that recasts ideas about U.S. immigration, citizenship, nationalism, global interconnection, and ethical responsibility from the post-WW2 period to the present.Opening a new window onto the intertwined history of the American suburbs and U.S. foreign policy, Covert Capital will also give readers a broad interdisciplinary and often surprising understanding of how U.S. domestic and global histories intersect in many contexts and at many scales. American Crossroads, 37.

This text presents the transactions of the Brooklyn meeting, held in April 1993, including an analysis by Scribner and Schreiner and an introduction by Edmund Bourke. Authors include the heads of dialysis registries for Japan, Europe, and the United States, as well as protagonists of dialyser reuse and short dialysis times. The book examines the view which champions the determination of adequacy of dialysis by formulae or by clinical assessment. The reader will be able to judge the data on key controversies in planning dialysis protocols and schedules.

Presenting a groundbreaking account of an audacious theatrical undertakingCreated by the Norwegian/German duo of Vegard Vinge and Ida Müller, the Ibsen-Saga (2006–present) is a six-hundred-year project to restage Henrik Ibsen's entire oeuvre. Andrew Friedman presents a groundbreaking historical narrative of this project's development and dramaturgy, through the theories and practices of modernism's most influential and controversial artists, including Henrik Ibsen, Richard Wagner, F. T. Marinetti, Erwin Piscator, and Jackson Pollock. Vinge and Müller treat Ibsen's plays as the urtexts of a mythical struggle between artistic vision and material limits, which they explore through analogous narratives ranging from Hamlet to World Cup soccer matches, all unified by a singular aesthetic that juxtaposes totalizing fiction and extreme reality. As Friedman shows, they mythologize Ibsen's themes of artistic ambition to resurrect and test modernism's fantasies of artistic autonomy, totality, creative license, and provocation.By reading Vinge and Müller's project through its modernist inspirations, Friedman demonstrates the material and ethical limits of modernist ideals in current theatrical practice, providing new perspectives on the legacy of these pioneering figures. Ibsen Apocalypse is a bold, cross-disciplinary reappraisal of the persistent power of modernity in contemporary performance.