On the history and study of pica:

Indeed, we have long defined ourselves and others by what we do and do not eat, from kashrut dietary restrictions described in Leviticus to the naming of Comanche bands (Kotsoteka—buffalo eaters, Penateka—honey eaters, Tekapwai—no meat) to insults—French frogs, English limeys, German krauts. But poya seemed to beg a different question: what was one to make of people who ate food that wasn’t food at all?

“My Vassar College Faculty ID affords me free smoothies, free printing paper, paid leave, and access to one of the most beautiful libraries on Earth. It guarantees that I have really good health care and more disposable income than anyone in my Mississippi family. But way more than I want to admit, I’m wondering what price we pay for these kinds of ID’s, and what that price has to do with the extrajudicial disciplining and killing of young black human beings.”

“She has no theories, for example, to explain why she, of all people, felt unburdened by the unspoken rules marking certain subjects off limits for children, or why, for that matter, she has that particular gift, that ability to recall the emotional experiences of adolescence, the confusion, the longing, the rivalries — the memories, in other words, that most of us try to bury as quickly and deeply as we can.”

John Francis Anthony “Jaco” Pastorius III lay comatose in the intensive-care unit of a Fort Lauderdale hospital for nine days, unrecognized until he was spotted by the doctor who had delivered his children. Once he had been identified, local newspapers ran photographs to accompany stories headlined “DARK DAYS FOR A JAZZ GENIUS” and “JAZZ PERFORMER’S LIFE STRIKES A TRAGIC CHORD” and “THE LONG, SAD SLIDE OF A GIFTED MUSIClAN.” The various photographs seemed to be of different men.

In the latest revelation from Edward Snowden, the U.S. government is shown to collect and retain massive amounts of data on nearly 900,000 people with the most minimal of connections to official NSA targets. The collected information tells our “stories of love and heartbreak, illicit sexual liaisons, mental-health crises, political and religious conversions, financial anxieties and disappointed hopes.”

A profile of Tarn and Zach Adams, creators of the computer game Dwarf Fortress:

Dwarf Fortress may not look real, but once you’re hooked, it feels vast, enveloping, alive. To control your world, you toggle between multiple menus of text commands; seemingly simple acts like planting crops and forging weapons require involved choices about soil and season and smelting and ores. A micromanager’s dream, the game gleefully blurs the distinction between painstaking labor and creative thrill.

On the current state of the global economy and the inevitable decline of the U.K. and the U.S.:

A decade-long slowdown would accelerate this shift in global wealth and power and would be a grim thing to live through, but from a world-historical perspective it might not be a game-changer: it might just be the non-scenic route to the place we’re going anyway.

Rick Ross was born William Leonard Roberts II in 1976, and he borrowed his stage name (and the associated big-time cocaine-selling hustler persona) from the legendary L.A. drug lord Freeway Ricky Ross. But the website MediaTakeout uncovered a photograph of William Leonard Roberts II when he was a Florida corrections officer. Most people thought that'd be the end of his career. Freeway Ricky Ross then sued him for stealing his name. None of it mattered. Rick Ross the rapper just sold more records.

A profile of the artist.

"Unfortunately, death is a fact of life. I don't think it's happened to me any more unfairly than to anyone else. It could always be worse. I've lost a lot of people, but I haven't lost everybody. I didn't lose my parents or my family. But it's been an incredible education, facing death, facing it the way that I've had to face it at this early age."

Jane Jacobs has a somewhat ambiguous legacy—or at least one that's contested by different factions in the present-day debate over cities and urbanism—but to me her most important idea is encapsulated in the title and spirit of this piece. It's old and, I think, utterly prescient about what successive waves of planning fads miss. The purpose of urban space is for people to use it. A great place is a place where people want to be.

-M. Yglesias

Tropicália was a movement that lasted just short of a year, spanning from Hélio Oiticica’s 1967 art installation of the same name, wherein viewers walked along a tropical sand path only to come face-to-face with a television set, to the debut of a TV show, wherein its constituents buried the movement on-air. But Tropicália’s influence was vast.

“When I’m in Nigeria, I find myself looking at the passive, placid faces of the people standing at the bus stops. They are tired after a day’s work, and thinking perhaps of the long commute back home, or of what to make for dinner. I wonder to myself how these people, who surely love life, who surely love their own families, their own children, could be ready in an instant to exact a fatal violence on strangers.”

On animal cremation and burial in New York:

Riding around Manhattan on a delivery run with a car full of pet cremains, it's hard not to look at the world differently. The omnipresence of pets becomes glaringly obvious, and their inevitable fate is never far from the mind. It's easy to imagine the whippet being jaywalked across Eighth Avenue getting hit by a car. The cocker spaniel on 23rd Street? A bucket of cocker bones in the making.

The jury room was a gray-green, institutional rectangle: coat hooks on the wall, two small bathrooms off to one side, a long, scarred table surrounded by wooden armchairs, wastebaskets, and a floor superficially clean, deeply filthy. We entered this room on a Friday at noon, most of us expecting to be gone from it by four or five that same day. We did not see the last of it until a full twelve hours had elapsed, by which time the grimy oppressiveness of the place had become, for me at least, inextricably bound up with psychological defeat.

What is it about terminating half a twin pregnancy that seems more controversial than reducing triplets to twins or aborting a single fetus? After all, the math’s the same either way: one fewer fetus. Perhaps it’s because twin reduction (unlike abortion) involves selecting one fetus over another, when either one is equally wanted. Perhaps it’s our culture’s idealized notion of twins as lifelong soul mates, two halves of one whole. Or perhaps it’s because the desire for more choices conflicts with our discomfort about meddling with ever more aspects of reproduction.

On the TechCrunch founder’s venture capital fund, and a new breed of startup investor.

As Twitter-loving VC investors have become brand names themselves (Fred Wilson, Marc Andreessen, Chris Sacca), what one might call the auteur theory of venture capitalism has emerged—the idea that startup companies bear the unique creative signature of those who invested in them. To study a venture capitalist’s portfolio is to study his oeuvre.

Billy Joe Frazier was born on Jan. 12, 1944, in Laurel Bay, S.C., the youngest of 12 children. His father, Rubin, and his mother, Dolly, worked in the fields, and the youngster known as Billy Boy dropped out of school at 13. He dreamed of becoming a boxing champion, throwing his first punches at burlap sacks he stuffed with moss and leaves, pretending to be Joe Louis or Ezzard Charles or Archie Moore.

Rosie grew up in a succession of decrepit houses in South London with one man and a rotating cast of women, who claimed that they had found her on the streets as an infant. The man, Aravindan Balakrishnan—Comrade Bala, as he wanted to be called—was the head of the household. He instructed the women to deny Rosie’s existence to outsiders, and forbade them from comforting her when she cried.

But there’s one way that NFTs are profoundly different from the last generation of online disrupters. In terms of ownership, they actually move in the opposite direction of projects like Napster, BitTorrent and the software communities that destabilized the entertainment industry. Those were about reproducing data and sharing it for free, or eventually, a subscription fee. NFTs are about taking what should be a fully shareable image and sticking a SOLD sign on it.

To this day, no one (outside of the movie's own crew) knows how the Muppets rode bicycles in The Great Muppet Caper, the classic Henson movie from 1981. In that scene, Kermit stands up on one frog-leg on the seat of his bicycle to impress Miss Piggy, and then the whole gang joins them on their bikes, doing circles and figure eights, singing “Couldn’t We Ride?” It's a wonderful piece of filmmaking, and still a complete delight to watch because the effect relied on the ingenuity and bravado of the puppeteers and crew, not CGI wizardry. Contrast the joy and ebullience of this scene to the elegant chiaroscuro slickness of the post-Henson Muppet Christmas Carol in which we see old fogies Statler and Waldorf, as the Marley brothers, floating in mid air. No viewer is impressed; no one really thinks about it at all. And that's because when a then 29-year-old Brian Henson directed that film, he threw the rules out the window. Statler and Waldorf “float” because Goelz and Nelson, the men working the old guys, were standing behind them during filming and then were removed in post production. It’s an elegant fix—a cutting of the Gordian knot—but it is a complete break with an aesthetic 35 years in the making.