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Andrew Caballero-Reynolds/AFP via GettyPresident Joe Biden’s baffling suggestion that his uncle might have been eaten by cannibals after a plane crash off Papua New Guinea during World War II has, unsurprisingly, not gone over great with the people who actually live there or have carefully studied the region’s history.The Democrat made the comments Wednesday while discussing the fate of Ambrose Finnegan, whom he affectionately referred to as “Uncle Bosie.” “He got shot down in New Guinea, and they never found the body because there used to be—there were a lot of cannibals, for real, in that part of New Guinea,” Biden said.The comments immediately drew scrutiny as, for one thing, they seemed to be a major departure from the Pentagon’s Defense POW/MIA Accounting Agency’s version of what happened to Finnegan. The war records say his plane went down for “unknown reasons” on May 14, 1944, during a courier flight heading to New Guinea.Read more at The Daily Beast.

Taylor Swift performs during the Eras tour at the National Stadium in Singapore on March 2, 2024. | Ashok Kumar/TAS24/Getty Images for TAS Rights Management The Tortured Poets Department sees Swift tormented by her boyfriends, her haters, and even her fans. Taylor Swift has spent the past two years on top of the world. Her worldwide Eras tour is the highest-grossing music tour of all time. It’s made her a billionaire. Her 2022 album, Midnights, won Album of the Year at the Grammys, making Swift the solo artist with the most wins of all time in that category. Her high-profile romance with football star Travis Kelce has delighted her fans while keeping her in the spotlight. She’s defeated all her haters; her fans are legion; practically everyone admits, now, that she’s very good at the job of being a pop star. Right now, Taylor Swift exists at a pinnacle of fame and success that few can ever even dream of reaching. Yet Swift’s latest album, The Tortured Poets Department, leaves listeners with the distinct impression that Swift is not entirely content with her current high status. The album suggests nothing so much as Swift chafing furiously against the limits of the image that’s taken her so far — and even, perhaps, her beloved fanbase. Decoding the storyline of The Tortured Poets Department The Tortured Poets Department sees its central character reeling from two breakups: one with a long-term lover whose depression has begun to drag the narrator down (“So Long, London”), and one a brief fling with a tortured bad boy who no one seems to approve of (“Fortnight”). As the album goes on, the narrator veers between teenage infatuation with her new bad boy (“Down Bad”), resentment with everyone who tells her they shouldn’t be together (“But Daddy I Love Him”), the slow, grudging realization that perhaps there are some problems with the relationship (“I Can Fix Him (No Really I Can)”), and fury when he eventually leaves her (“The Smallest Man Who Ever Lived”). The narrator’s despair over her love for the lost depressed boyfriend threads its way through the whole album (“loml,” “The Black Dog”). Sometimes, imagery associated with him ends up in a song about the bad boy (“Fresh out the Slammer,” which ends on an ambivalent line about “imaginary rings”), like an intrusive thought. At times, her heartbreak over both breakups is so intertwined it becomes impossible to tell who, exactly, she’s singing about (“I Can Do It With a Broken Heart”). Albums aren’t autobiographies, but Swift tends to play with the blurry line between song and fact, and that tendency is on full display here. Famously, she writes songs about her real life and encourages her fans to make connections between her lyrics and her biography. Here, the depressed ex-boyfriend lines up with actor Joe Alwyn, who Swift dated for six years, and the tortured bad boy seems to mirror 1975 frontman Matt Healy, who Swift dated for a controversial few weeks shortly after her breakup with Alwyn. It’s the controversy that gets particular airtime in The Tortured Poets Department. The very brief but very controversial story of Taylor Swift and Matt Healy In terms of public image, edgelord Healy was always an odd match for good girl Swift. He’s the kind of provocateur who comments on the far right by doing ironic Nazi salutes onstage, while Swift apparently has to fight her team to make any political statement at all, provocative or otherwise. In February 2023, before news of their relationship broke, Healy appeared on a podcast where he laughed through a series of racist jokes from the host and cracked one of his own about watching violent, racist, and misogynistic porn. Swift’s fans were outraged. They launched a hashtag, #SpeakUpNow, under which they begged her to break up with Healy and not to tarnish her name and her brand by associating with someone who would make such racist jokes. How, they demanded, could she show such poor judgment? How could she use her platform to elevate someone who has said and done such hurtful things? Was she simply lashing out after her breakup with Alwyn? What was she thinking? In The Tortured Poets Department, Swift suggests that she did not particularly care for the outrage or the concern about her dating choices. “I’ll tell you something about my good name,” she sings in “But Daddy I Love Him:” It’s mine alone to disgrace I don’t cater to all these vipers dressed in empath’s clothing God save the most judgmental creeps who say they want what’s best for meSanctimoniously performing soliloquies I’ll never seeThinking it can change the beat of my heart when he touches meAnd counteract the chemistry and undo the destiny There’s a certain layer of irony to the lyrics here. This is the section of the album in which the narrator is feeling particularly defensive about her relationship with her tortured poet, and the tongue-in-cheek song title and over-the-top hysterics of the chorus suggest that she shouldn’t be taken entirely seriously. In later songs, the narrator will conclude that her tortured poet was bad news after all — that he is “the smallest man who ever lived” and that her desire for him stemmed from self-destructive urges. Still, at no point does the narrator suggest that all the people who warned her about her boyfriend were correct, or that she’s glad they spoke up, or that she feels she should have listened to them, or that she shouldn’t have taken the brand hit for dating him. By the end of the album, she still seems fairly annoyed with the people who thought they got a say in her love life, even if they think they want what’s best for her. What happens if Taylor Swift decides she’s tired of being her fans’ best friend? Swift built a not-insignificant amount of her fame on bringing her fans into the story of her romantic choices. Her most potent artistic weapon is her ability to write lyrics about her own life that read as totally vulnerable and totally honest. Then she seeds Easter eggs into the liner notes, inviting her fans to match the heartbreak of each song with a real-life ex. She invites her fans over to her house for homemade cookies and secret album-listening sessions. She sends them Christmas packages. Swift’s star image is built around the trope of the best friend, the girl who lives next door to you and tells you everything about her life. In The Tortured Poets Department, it’s starting to sound as though Swift is not completely satisfied with living out that image anymore. She resents that her fans begged her to dump her boyfriend. She resents that dating a bad boy put unsustainable stress on her good girl image. She seems to resent, to a certain degree, that she feels compelled to keep existing at the pinnacle of pop perfection she has finally achieved. “I’m miserable, and no one even knows!” she crows in a spoken interlude at the end of “I Can Do It With a Broken Heart,” the song where she brags about being able to smile her way successfully through the Eras tour while dealing with her breakups. As the song fades out, she adds, “Try and come for my job,” with an exhausted sigh. Swift seems proud of reaching the top of the world, but all the same, she doesn’t exactly seem to be enjoying her time there. Throughout Poets, she ruminates obsessively on the past. The surprise second half of the album features songs about that old Kim and Kanye feud (“Cassandra”) and even Swift’s middle school bully (“thanK you aIMee”) (unless that’s just Kim Kardashian again — see those capital letters?). In “The Manuscript,” she goes back over a tortured affair she had in her 20s with an older man (referring plausibly to either Jake Gyllenhaal or John Mayer or both) and realizes, with a sweet wonder, that turning the story into art can redeem it. “Looking backwards might be the only way to move forward,” she sings. Sure, but if Swift keeps looking backward at her old betrayals, when does the moving forward part start? There are other signs that Swift might feel stuck. Sonically, Poets does not move significantly forward from the dreamy synth pop of Lover and Midnights, with Swift’s primary collaborator Jack Antonoff going back once again to the sound he developed for Lana Del Ray’s Norman Fucking Rockwell! in 2019. Swift used to make a point of developing a new sound with different albums, but Poets is treading the same musical ground she’s been exploring for a while. Swift’s clothes, too, have been static lately, although she used to switch up her looks dramatically as she moved between album eras. The Cut’s fashion critic Cathy Horyn recently described Swift’s style as “self-conscious” and suggested that the many vocal critics of Swift’s fashion choices are “probably bored” with her college-girl-next-door outfits, which are beginning to come off as a little disingenuous on 34-year-old Swift. “It’s worth remembering that Taylor Swift has always been older and wiser than her years,” Horyn noted. “The girl can’t be discovering herself forever.” Swift has discovered herself and rediscovered herself in tones of girlish wonder in albums for over 20 years now. She’s taken that girl-next-door image as far as she can take it, farther than almost anyone ever has before, to the very tip top of where mainstream pop can carry her. She capped that portion of her career off with the Eras tour, and now, it seems as though she’s in search of something new. When Swift won that record-setting Grammy for Album of the Year in February, she said something unusual in her speech. Historically, Swift has made no secret of how much award recognition means to her and how much she craves it. This time, however, she suggested she was ready to move past that desire. “I would love to tell you that this is the best moment of my life,” Swift said, “but I feel this happy when I finish a song or when I crack the code to a bridge that I love or when I’m shotlisting a music video or when I’m rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show. For me, the award is the work.” One way to think about The Tortured Poets Department is as an announcement that Swift is no longer so interested in the people-pleasing, high-achieving, best-friend image she has spent her whole career thus far perfecting. In which case, the big question becomes: What next?

Getty Images/Slaven VlasicThe beloved Christian musician Mandisa, who was a finalist on season 5 of American Idol and won a Grammy, died on Thursday, the Christian rock radio station K-Love announced. She was 47.A cause of death for Mandisa, whose full name was Mandisa Lynn Hundley, was not released, but a statement announcing her death said that her “struggles are over.”“Even more than her music, the Platinum-selling singer will forever be known for her huge heart and sincerity,” the statement said. “Mandisa loved Jesus, and she used her unusually extensive platform to talk about Him at every turn. Her kindness was epic, her smile electric, her voice massive, but it was no match for the size of her heart.”Read more at The Daily Beast.

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A certain type of person will tell you that they read cookbooks like they do novels. This usually means they flip through them at night, in bed, perhaps with the help of some gentle, warm light and a hot cup of tea. They pore over the notes and instructions that precede each recipe; they dream up menus the way a fiction reader might picture the furniture inside a character’s home. They might flag dishes they want to cook, or they might not. The point of this practice is pleasure, not pragmatism.Of course, there are some cookbooks that lend themselves particularly well to this exercise, and with the right title, any of us can fall into late-night reveries over bouillabaisse or dumplings. These are not quick-and-dirty weeknight cookbooks, nor are they written to bend to a trend, as with the keto and air-fryer manuals that seem to proliferate like weeds these days. For a cookbook to be a great read, it should be written with a living, breathing (and often busy) home cook in mind, and also elevate and expand the genre. The eight books below are titles you should, and will want to, read front to back. Each is written with care and enthusiasm, not just for the practice of cooking but for the experience of eating. Knopf The Taste of Country Cooking, by Edna LewisLewis’s exemplary Southern cookbook is interspersed with essays on growing up in a farming community in Virginia; many of the recipes in the book unspool from these memories. Lewis, who worked as a chef in New York City as well as in North and South Carolina, writes with great sensual and emotional detail about growing up close to the land. Of springtime, she writes, “The quiet beauty in rebirth there was so enchanting it caused us to stand still in silence and absorb all we heard and saw. The palest liverwort, the elegant pink lady’s-slipper displayed against the velvety green path of moss leading endlessly through the woods.” Her book was ahead of its time in so many ways: It is a farm-to-table manifesto, a food memoir published decades before Ruth Reichl popularized the form, and an early, refined version of the cookbook-with-essays we’re now seeing from contemporary authors such as Eric Kim and Reem Assil. The recipes—ham biscuits, new cabbage with scallions, potted stuffed squab—are as alluring as the prose.[Read: A 600-year history of cookbooks as status symbols] W. W. Norton & Company The Zuni Cafe Cookbook, by Judy RodgersThis book of recipes from Zuni Café, a beloved San Francisco farm-to-table establishment, is far more accessible and enjoyable than most other restaurant cookbooks. It’s a hefty book and dense with recipes, but Rodgers’s writing—in her headnotes and introductions—is as inviting as the pleasingly early-aughts food photography, which highlights the techniques and ambiance of the café and transmutes them to the home setting. Rodgers, who died in 2013, was a pedigreed chef with a home cook’s sensibility, and that comes through in these pages: You trust her implicitly and want to hang around in her kitchen, eating seasonal, comfortingly traditional food with French and Italian flair, such as spicy broccoli-and-cauliflower pasta, or Rodgers’s famous roast chicken with bread salad. University of Georgia Press Vibration Cooking, by Vertamae Smart-GrosvenorSmart-Grosvenor writes as if she is at the stove, speaking to you over her shoulder while she stirs a pot, adding this and that. She is not one for measurements; instead, she cooks “by vibration,” focusing less on strict recipes than on sensory input, muscle memory, and desire. How you cook is a personal decision, Smart-Grosvenor insists: “The amount of salt and pepper you want to use is your business.” Vibration Cooking is part coming-of-age story—she grew up in South Carolina, hopped on a ship for Paris when she was 19, and eventually settled in New York City—and part argument for trusting your own tastes. Her tone is conversational and full of verve: “I would always feed the painters and the musicians and the drunks and anybody that really was hungry. The work was hard but I really dug that brief chapter in my life.” Her recipes contain little detail—many of them span no more than a paragraph or two—but Smart-Grosvener’s confidence is contagious. You’ll find that all you need to make coconut custard pie or Obedella’s Barbecued Spareribs is your own intuition.[Read: When did following recipes become a personal failure?] Vintage Home Cooking, by Laurie Colwin If you’ve ever wished you had a bigger, better-outfitted kitchen, Colwin’s Home Cooking will rightfully convince you that ample space is not necessary for making good, satisfying food, even for guests. Home Cooking is more of a memoir in essays than a cookbook, but it’s also a proclamation from Colwin, a novelist who made her meals on a hot plate in a closet-size New York apartment for years. She writes in unsentimental, plucky, joyful prose on how to bake bread “without agony,” host a dinner party with minimal space, or avoid grilling: “I have avoided grilling by broiling, and I have never had to bother myself about getting in a supply of mesquite or apple wood, or old thyme twigs.” The book is studded with occasional recipes—yam cakes with fermented black beans, “chicken with chicken glaze”—the way a pilaf may be studded with fat golden raisins: little treasures to pull from the bounty Colwin has set for us.An Everlasting Meal, by Tamar AdlerThe first chapter of An Everlasting Meal, Adler’s ode to “cooking with economy and grace,” is titled “How to Boil Water.” This may sound like the most bare-bones cooking instruction possible, but it’s the former Harper’s editor’s celebration of boiling and poaching as underappreciated cooking methods, and of water as an invaluable ingredient. Adler is able to find inspiration and culinary value in the tiniest kitchen scrap and the humblest preparation, and she can make you look at a simple pot of water with fresh, eager eyes. The chapters include essays and a few recipes to back them up. “How to Stride Ahead” outlines Adler’s strategy for buying and cooking vegetables each week: blitzing broccoli stems into pesto, turning boiled vegetables into salad, tossing the straggling scraps into a curry over the weekend. Her approach balances pragmatism with sensualism: On the weekly leafy-greens purchase, Adler writes, “This will seem very pious. Once greens are cooked as they should be, though: hot and lustily, with garlic, in a good amount of olive oil, they lose their moral urgency and become one of the most likable ingredients in your kitchen.”Salt, Fat, Acid, Heat, by Samin NosratNosrat, who once worked as a cook at the Bay Area stalwart Chez Panisse, explicitly designed this book to be read cover to cover: The first recipe doesn’t arrive until the reader is a few hundred pages in. Salt, Fat, Acid, Heat takes on the enormous task of teaching the basic, deep knowledge that cooking requires. For Nosrat, that comes down to mastering those four titular elements that balance out a meal. Aided by playful illustrations from Wendy MacNaughton, she outlines the roles that each of these aspects play—the way that a correct measure of salt will make a vegetable taste more like itself, or how a lashing of lemon juice can make a bowl of soup sing. Nosrat’s tone is warm, authoritative, and encouraging, preempting any and every question you’ve ever had about cooking.[Read: The why of cooking]My Bombay Kitchen, by Niloufer Ichaporia KingMy Bombay Kitchen is a perfect example of a cookbook that can simultaneously transport you to another place and offer a deep lesson on food culture, tied up with the comforting pleasures of elegant prose and well-written recipes. King’s family is Parsi, an ethnoreligious group that fled modern-day Iran for the Indian subcontinent more than 1,000 years ago. In My Bombay Kitchen, she shares recollections of her childhood home and the daily staples and holiday feasts that came out of it—beautiful images such as the ghee vendors that walked the streets with vats of liquid gold made from buffalo milk. (King also wants you to make your own: “It’s not much bother, you don’t have to buy more than you can use, and your house will smell heavenly.”) Reading the book frequently feels like visiting a new city on the coattails of a local, learning its tastes and smells and rhythms from an expert. My Bombay Kitchen was also the first American Parsi cookbook written by a Parsi, and it stands as an invaluable piece of art that doubles as an effort toward cultural preservation.[Read: Writing an Iranian cookbook in an age of anxiety] Knopf Cook as You Are, by Ruby TandohOften, we home cooks need permission to be imperfect, impatient creatures—ones unwilling to stir a soup for hours or bake our bread from scratch. Enter Tandoh’s Cook as You Are, a declaration of purpose for those who love good eating but aren’t always willing—or able—to go the full nine Martha Stewart–esque yards. Tandoh, a onetime contestant on The Great British Bake Off, is unfailingly pragmatic and unconcerned with pretense, both as a cook and as a writer. Cook as You Are is designed to be accessible, in a wide range of that word’s definitions. Chapters are divided by need and craving, not by dish style: quick dinners, meals with low effort and high reward, dishes to make when you want to linger over the stove. What makes the book such a joy is Tandoh’s gentle, permissive style; she includes an essay on why, sometimes, you need to make a grilled cheese for dinner. “Although it’s my role as a cookbook writer to help you find your way in the kitchen, I also want to make clear that this isn’t something you necessarily need to do all the time,” she writes. “For ordinary days and ordinary moods, sometimes grilled cheese will do.”

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