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These never-before-seen photos of Björk at Chateau Marmont are giving otherworldly glee

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These never-before-seen photos of Björk at Chateau Marmont are giving otherworldly glee

Mike had me cornered. He’d graduated ages ago, but his tastes hadn’t. He still went to high school house parties to drool over girls who read Sassy and got their braces tightened every four weeks.

“Hey,” he said to my padded bra.

“Hey,” I grumbled back.

Adulthood had given Mike a power he was eager to exploit; he could buy alcohol legally. Since my underage friends and I relied on people like Mike to supply us with Boone’s Strawberry Hill, we used caution around them. Mocking these losers could endanger our access to saccharine wines. It also could endanger us.

Mike gestured at my face with his half-empty bottle of Zima and asked, “Anyone ever told you you look like Buh-Jork?”

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“You mean … Björk?”

Mike ignored my correction, instead asking, “What are you? You’re so … exotic.” He rambled on about Buh-jork’s “kind-of-Asian-hotness” until friends came to my rescue.

I confess this embarrassing Gen X memory as a gesture of solidarity. Many multiracial ladies of a certain age were similarly fetishized by their local Mikes, and for those of us perceived as embodying a certain type of racial ambiguity, being flirtatiously likened to Buh-jork was a collective rite of passage in the 1990s. Gross guys stereotyped us, casting us as orientalized, manic pixie dream girls.

When One Little Indian and Elektra Entertainment released Björk Guðmundsdóttir’s international debut solo album in July 1993, the world went bonkers for the record. “Debut” introduced the 28-year-old Icelandic musician to millions of fans, but some of us already admired her; that’s why we knew how not to butcher her name. We were kids who listened to the Sugarcubes, the alternative rock band for which Björk sung and pounded the keyboard. Released in 1992, “Stick Around for Joy” became the Sugarcubes’ third and final album, and it had given me “Hit,” a melodramatic song perfect for channeling my sophomoric woes. I was in awe of the way Björk growled the exasperated lyric, “This wasn’t supposed to happen,” and I adopted those five words as my own, growling the verse when I got Fs on French quizzes or popped ripe zits too close to the bathroom mirror.

The two-hour shoot at the Chateau Marmont happened the day before Spike Jonze and Björk would begin working on the iconic video for the single “It’s Oh So Quiet.”

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(Spike Jonze)

Among those smitten with “Debut” was Spike Jonze, an instrumental figure in the history of California skateboard culture. Jonze’s passion for documenting street skating led him to filmmaking, and he became a leading music video director whose easily identifiable style, one that married the indie with the chic, shaped the visual aesthetics of the ’90s and early aughts. In 1995, Detour Magazine sent Jonze to the Chateau Marmont to photograph Björk. Five years prior, the storied French Gothic castle perched high on Sunset Boulevard had changed hands, coming under new ownership. Hotelier André Balazs subjected his acquisition to a facelift that erased much of its gritty and dilapidated charm. Tattered curtains, matted carpets and missing shower heads were replaced. A gym was installed in the attic. After witnessing its restoration, former It girl Eve Babitz, a Chateau regular, lamented, “I couldn’t imagine wanting to commit suicide here anymore.”

The singer aggressively winks at the camera, reminiscent of a pirate. We peek at Björk, but the voyeurism is mutual.

(Spike Jonze)

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The two-hour Detour shoot happened the day before Jonze and Björk would begin working on the iconic video for the single “It’s Oh So Quiet,” and the mountain of photographs that they created together revives some of the Chateau’s former mystique. Björk and Jonze made use of the hotel’s interiors and pool, and the results are imbued with a sense of otherworldly glee that tells me the pair probably had a damn good time making art together. The results also present Björk’s beauty and intelligence as hers, not ours to devour. This self-possession is apparent in one of the six photographs published as part of Detour’s 1995 music issue. In it, the singer aggressively winks at the camera, reminiscent of a pirate. She withholds much of her body, especially skin, from the lens. Her pose forces the viewer’s eyes to her face, drawing attention to her eye. We peek at Björk, but the voyeurism is mutual.

Decades after the Chateau shoot, the fashion designer and creative director Humberto Leon discovered a trove of outtakes while helping Jonze to organize his archive. The two had met in 2004, when Jason Schwartzman introduced Jonze to Leon at a Christmas party, and the pair quickly developed a close bond, becoming one another’s artistic sounding boards. The pictures struck a nostalgic chord in Leon, a longing for the subcultural days of yore, and after proposing to Jonze that he exhibit at Arroz and Fun, Leon’s restaurant and gallery space in Lincoln Heights, the two decided to display 25 of Jonze’s never-before-seen photographs at the space (the show opens Feb. 15 and will remain on view through May). For die-hard fans unable to make it to Lincoln Heights, Jonze also is releasing “The Day I Met Björk,” a free downloadable zine through WeTransfer. A limited supply of physical copies will be sold at the gallery.

The image of Björk holding a white coffee mug to her lips summons the mornings after teen slumber parties.

(Spike Jonze)

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Often, when a male photographer shoots an ingenue in a hotel room, she winds up on the bed in a come-hither pose not found in the wild. Think Britney Spears’ first Rolling Stone cover shot by David LaChapelle, the one where the teen is wearing lingerie, holding a phone to her ear and cradling a Teletubby. It is pure Lolita. Instead of invoking such motifs, Jonze’s bedroom shots of Björk are goofy girl slumber party, the kind my friends and I had. Wrapped in white sheets, the singer transforms into a joyful poltergeist hopping on the bed, reminding me of the time that I jumped so hard on my bed, it broke. This incurred my father’s wrath but here’s the thing: Sometimes pissing off your dad is worth it. Björk’s other bedroom photo, the one where she wears an orange button-down blouse and sits at the foot of the bed, holding a white coffee cup to her lips, reminds me of the morning after our teen slumber parties. Recovery from our revelry required that we sip Alka-Seltzer and wolf down menudo.

If we run our eyes up and down the contact sheets from the shoot, our minds can construct a moving picture of Björk as artist and muse.

(Spike Jonze)

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If we run our eyes up and down the contact sheets from the shoot, our minds can construct a moving picture of Björk as artist and muse. She steps through doorways, down hallways and toward the light. Engulfing her face, the brightness creates a white eclipse. While this series of photographs taken of Björk in orange relies on preternatural tropes, those made in the bathroom take it further, pushing into the realm of the supernatural, of time travel. In a pose reminiscent of the fight scenes from “The Matrix” franchise, Björk appears in suspended animation, her back arched, head frozen above the faucet, arms dangling at her sides. She stares up, at no one. The pose is vulnerable and just ethereal enough. It raises the question that we may, or may not be, living in the same dimension as Björk.

My favorite portrait created at the Chateau was shot underwater. Once again, Björk appears suspended, this time in rich blue. Her brown mane swirls and snakes, reaching for the surface. She is backlit by the L.A. sun, whose rays create an aura above her head. Her green dress summons the illusion that Björk is a scaly creature, one who breathes through gills and uses a tail to propel herself through lakes, rivers and oceans. She might also use that tail in self-defense. The photo recalls another classic ’90s image, Nirvana’s “Nevermind” album cover with the aquatic baby. While Nirvana’s baby spreads both arms wide, Björk uses her right arm to wave at the camera.

(Spike Jonze)

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She seems happiest as a mermaid, and I can’t help but hope that her joy comes from her affinity for the sirens, those ancient Greek tritonesses who lured sailors with their magical voices, only to inspire these mesmerized seamen to sacrifice themselves against seaside cliffs. Björk is no Disney mermaid. Instead, I imagine that as a mercreature, she has more in common with Michi-Cihualli, the fish woman who dwells in Chapala, the Mexican freshwater lake where I spent some of my childhood. According to the Coca people, Michi-Cihualli is the daughter of Tlaloc, the rain god. When winds blow hard across the lake and storms brew over its waters, it is said that Michi-Cihualli is angry and must be pacified. Soothing her requires blood, and my imagination can easily conjure Björk accepting blood sacrifice, gnawing on the rib of an annoying sailor who dared to tell her that she looked exotic.

In 1996, a video of Björk attacking reporter Julie Kaufman at the Bangkok airport surfaced. The scene dispelled the popular image of the singer as a mindless, erotic elf and cemented her status as someone not to mess with, someone willing to draw a little blood. An artist in blissful control of her trademark strangeness, Björk’s way of being a weird woman in the music world meant a lot to aspiring weirdos like me. Instead of the typical hypersexualized vamp, Björk offered girls like me a different template, and the more bizarre she revealed herself to be, the more our loyalty to her deepened. Images of the singer were part of the collage that covered my bedroom walls when I was a teen, and I hope that the newly published pictures of Björk find their way into the right kid’s hands. There are so many girls who need a ferocious mermaid with a beautiful voice to sing them into adulthood.

Björk is an artist in blissful control of her trademark strangeness.

(Spike Jonze)

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Myriam Gurba is the author of “Mean,” a ghostly memoir about survivorship that was selected as a New York Times Editors’ Choice. Her latest book, “Creep: Accusations and Confessions,” was published by Avid Reader Press.

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Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants

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Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants

Affordable, familiar and reassuring are the features that make American chain restaurants a near-ubiquitous presence throughout the country; it is almost as if they are baked into our roadside culture.

Despite well-documented financial struggles, a tough economy and shifting diet trends, these restaurants withstand time.

This series explores why these places have such strong staying power and how they stay afloat at a time of rapid change.

Read our first three pieces in this series, including how these restaurants leverage nostalgia to attract diners, how they attempt to keep costs affordable, and how social media has changed the advertising game – and become a vital key to restaurants’ success. 

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America’s chain restaurants are not the most glamorous places to eat. And yet, as we’ve reported, they hold a special place in many Americans’ hearts.

We asked readers what comes to mind when they think of restaurants like Olive Garden, Applebee’s or Texas Roadhouse — and you shared plenty of stories.

Not all of the respondees waxed poetic about the merit of these restaurants. David Horton, 62, from New York, for example, said: “The food is mostly frozen and only has flavor from the incredible amounts of sodium they use.”

But overwhelmingly, responses described vivid childhood memories shared in booths looking excitedly over laminated menus and the type of adolescent rites of passage that seem right at home in the parking lot of a suburban chain restaurant.

There’s a science behind why these sorts of memories have such a hold on us.

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The feeling of nostalgia is linked closely to food and smell, and these restaurant chains are often where core memories – like graduation celebrations or first dates – are made.

Chelsea Reid is an associate professor at the College of Charleston who studies nostalgia. And she’s no more immune to nostalgic feelings than anyone else even though she has a better understanding of the chemistry behind the feeling.

“Even just saying Red Lobster, I can kind of picture the table and the things that we would do and the things we’d order, and my mom getting extra biscuits to take home,” she said.

A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.

A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.

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James A. Finley/AP

Her nearest Red Lobster closed down, but a local farmers’ market sells a scone reminiscent of Red Lobster’s famed Cheddar Bay Biscuits – a scent she says immediately transports her back to those childhood family outings to the seafood chain.

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“I can see my mom wrapping these up in a napkin and putting them in her purse for when we would be like, ‘hey, we’re hungry,’ and she pulls out a purse biscuit.”

Full disclosure: Your intrepid reporters are not without sentimentality. Before launching this project, when it was just a kernel of an idea, we talked frequently about the role these restaurants played in our own lives.

Jaclyn: I distinctly remember cramming into a booth at my local Chili’s in my hometown, Cromwell, Ct., for most birthday dinners until the age of 13 or so.

I’d be surrounded by my mom, dad and brother, and I got to pick whatever I wanted. Except I always chose the same thing: Chicken crispers with a side of fries, topping the night off with the molten lava chocolate cake we’d share as a family.

I can picture it so clearly, down to the booth we’d sit in. Now, my family is spread out. But my love for Chili’s runs deep, and I still get warm and fuzzy when I think about it.

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These days, I’m in my 30s, and I need to worry about my health and getting in 10,000 steps a day. So, no, I don’t regularly go to Chili’s now.

But when I do? Those chicken crispers I had as a kid are still on the menu, and yes, I’m likely to order them today (even if on my adult tastebuds, the salt content quickly turns my mouth into the Sahara Desert).

And it’s not to celebrate my birthday. It’s because one of my best friends is telling me she’s getting a divorce over cheap, and sugary, margaritas.

Alana: When the pandemic struck in 2020 and much of the country went into lockdown, there I was mostly alone in my one bedroom apartment, staring at the walls.

After what seemed like a lifetime, I was finally able to expand my tiny COVID bubble.

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One of my first “dining out” experiences during that time was in the parking lot of the Hyattsville, Md., Olive Garden where my friend and I sat in absolute glee to be reunited – not just with one another, but also the chain’s staple soup (zuppa toscana for me, please), salad and breadsticks (you can have all the breadsticks if I can have your share of the salad tomatoes).

Since then, that friend and many others have moved away – too far to meet up for a sit-down over a (mostly) hot meal at a reasonably priced restaurant in a city not famed for being cheap.

I recently revisited the Hyattsville Olive Garden for this story. And even though my life is now different, my friends have moved away, and the world has shifted, there it was, exactly the same.

And I liked it.

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Many readers said that these restaurants were the type of place a family who could rarely afford to eat outside a home could treat themselves on rare occasions.

Like Julie Philip, 51, from Dunlap, Ill., who wrote: “Growing up in the 70’s and 80’s, Red Lobster was an Easter tradition. We would dress up, go to church, then drive close to an hour to Red Lobster.”

She continued, “It was one of only a few days a year that we could afford to eat at a ‘fancy restaurant.’ I remember my parents remarking that they had to spend $35 for our family of four. I no longer consider Red Lobster a ‘fancy restaurant,’ but as an adult, my family and I often still eat there at Easter. I remind my kids that we are keeping up a family tradition and I tell them stories of my childhood while eating.”

The original Applebee's restaurant was called T.J. Applebee's Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.

The original Applebee’s restaurant was called T.J. Applebee’s Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.

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For Sarah Duggan, an Applebee’s parking lot evokes a key memory from young adulthood.

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Duggan, 32, from North Tonawanda, N.Y., wrote that every time she sees an Applebee’s, she remembers the time her friend, in an act of teenage rebellion, got her belly button pierced in the parking lot of a Long Island Applebee’s — inside the trunk of the piercer’s “salvage-title PT Cruiser.”

Duggan held the flashlight.

She wrote, “I can’t picture those sorts of college kid shenanigans happening in the parking lot of a regular Long Island diner or other independent restaurant, but it seems right that it was at Applebee’s.”

She continued, “It makes me think about how nobody, from riotous camp counselors to your spouse’s grandparents, looks or feels out of place at a chain restaurant.”

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New Video Shows Plane Carrying NASCAR’s Greg Biffle Exploding

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New Video Shows Plane Carrying NASCAR’s Greg Biffle Exploding

NASCAR’s Gregg Biffle
Jet Turns Into Ball Of Flames …
Shocking Video Shows

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President Trump to add his own name to the Kennedy Center

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President Trump to add his own name to the Kennedy Center

President Donald Trump stands in the presidential box as he visits the John F. Kennedy Center for the Performing Arts in Washington, D.C, on March 17, 2025.

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Jim Watson/AFP via Getty Images

The John F. Kennedy Center for the Performing Arts will now have a new name — the “Trump-Kennedy Center.” White House press secretary Karoline Leavitt announced the news on social media Thursday, saying that the board of the center voted unanimously for the change, “Because of the unbelievable work President Trump has done over the last year in saving the building.”

Shortly after the announcement, Ohio Democrat Rep. Joyce Beatty, an ex-officio member of the board, refuted the claim that it was a unanimous vote. “Each time I tried to speak, I was muted,” she said in a video posted to social media. “Participants were not allowed to voice their concern.”

When asked about the call, Roma Daravi, vice president of public relations at the Kennedy Center, sent a statement reiterating the vote was unanimous: “The new Trump Kennedy Center reflects the unequivocal bipartisan support for America’s cultural center for generations to come.”

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Other Democrats in Congress who are ex-officio members of the Kennedy Center Board, including Sen. Chuck Schumer and Rep. Hakeem Jeffries issued a statement stating that the president is renaming the institution “without legal authority.”

“Federal law established the Center as a memorial to President Kennedy and prohibits changing its name without Congressional action,” the statement reads.

Earlier this year, Trump installed himself as the chairman of the center, firing former president Deborah Rutter and ousting the previous board chair David Rubenstein, along with board members appointed by President Biden. He then appointed a new board, including second lady Usha Vance, White House Chief of Staff Susie Wiles, Fox News host Laura Ingraham and more.

Trump hinted at the name change earlier this month, when he took questions before becoming the first president to host the Kennedy Center Honors. He deferred to the board when asked directly about changing the name but said “we are saving the Kennedy Center.”

The president was mostly hands off with the Kennedy Center during his first term, as most presidents have been. But he’s taking a special interest in it in his second term, touring the center and promising to weed out programming he doesn’t approve of. His “One Big Beautiful Bill” included $257 million for the building’s repairs and maintenance.

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Originally, it was called The National Cultural Center. In 1964, two months after President Kennedy was assassinated, President Lyndon Johnson signed legislation authorizing funds to build what would become the John F. Kennedy Center for the Performing Arts.

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