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　　In essence, the machine squeezed waterproof cartons holding two inch blocks of fish between freezing plates that were kept between 20 and 50 degrees below Farenheit, for 75 minutes.The cartons never came into contact with the refrigerant and the neat packages were suitable for marketing to individual customers. And with a few tweaks, this new machine could be used to freeze anything from berries to pork sausages." By now, Birdseye's own ambitions had soared way beyond fish fillets, but it didn't happen quite as Birdseye had imagined. His haddock fillets were slow to catch on.
Kurlansky explains that people distrusted frozen food, railroads worried that they might be sued if the fish thawed in transit, public health officials fretted about bugs new-lights and germs. Stores had nowhere to store the frozen fillets and customers had no way to keep them frozen. The boxes piled up in the factory. Birdseye ran out of money and sold his company to the Post company. But Birdseye, now a newly minted millionaire, continued to work for the new Birds Eye Frosted Foods division of the Post company. It shared Birdseye's vision that this was the food of the future. Convincing The Public To win over customers, the company started with ten stores in Springfield Massachusetts in March 1930. They gave them display freezers, put their staff through a three-day training course, and offered the food on consignment. These included 27 different frozen items: The original haddock fillets, porterhouse steak, spring lamb chops, loganberries and raspberries, spinach and June peas advertised "as gloriously green as any you will see next summer." Gradually, the world came to realize that frozen food was safe, and could provide an appealing and often more nutritious alternative to canned, salted and smoked foods.
It overcame the limitations of local and seasonal food in unprecedented ways. Stores and domestic kitchens began to , and after World War II, frozen food got a huge boost, because it made it possible to put entire meals on the table without women having to spend hours in the kitchen. It even helped shaped current as Allison Aubrey reported. There was no going back. Kurlansky argues that "by modernizing the process of food preservation, Birdseye nationalized and then internationalized food distribution... facilitated urban living and helped to take people away from the farms... and greatly contributed to the development of industrial -scale agriculture." Birdseye, he says, would have seen all these as positive things. Not everyone would agree with that verdict of course, but it's harder to disagree with Kurlansky's claim that "Undeniably, Birdseye changed our civilization."

Bruce Springsteen: On Jersey, Masculinity And Wishing To Be His Stage Persona "People see you onstage and, yeah, I'd want to be that guy," Springsteen says. "I want to be that guy myself very often." Originally broadcast Oct. 5, 2016. TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. We're ending the year with a series of some of our favorite interviews of the year. Today, the interview I recorded in September with Bruce Springsteen at his home studio in New Jersey, not far from where he grew up. His memoir, which had just been published, shares the title of his most famous song, "Born To Run." (SOUNDBITE OF ARCHIVED BROADCAST)
GROSS: The theme of that anthem is escape, but in much of the book Springsteen reflects on how he and his music were shaped by home, roots, blood, community, freedom and responsibility. Throughout the book, you sense the presence of Springsteen's father, from whom Springsteen says he learned the rigidity and blue-collar narcissism of manhood '50s style and the distorted idea that the beautiful things in your life, the love itself you struggled to win, will turn and possess you, robbing you of your imagined, long-fought-for freedoms. He says his father resented his own family for what he thought he might have accomplished but didn't.
Springsteen also has a CD called "Chapter And Verse" that serves as an audio companion to the book with a selection of songs that span his career. Let's start with a track from the album that helped set the tone for our conversation. It's his demo recording of his song, "Growin' Up." (SOUNDBITE OF SONG, "GROWIN' UP") BRUCE SPRINGSTEEN: OK, take two. (Singing) Well, I stood stone-like at midnight, suspended in my masquerade. I combed my hair till it was just right and commanded the night brigade. I was open to pain and crossed by the rain, and I walked on a crooked crutch. Well, I strolled all alone through a fallout zone and came out with my soul untouched. I hid in the clouded wrath of the crowd. When they said sit down, I stood up. Ooh (ph), growing up. Well, the flag of piracy flew from my mast. GROSS: Bruce Springsteen, welcome to FRESH AIR. And thank you for welcoming us into your studio. I'd love it if you would start by reading the very opening from the forward of your book.
It's really a fantastic book, and I'd like our listeners to just hear a little bit of your writing. SPRINGSTEEN: OK, my pleasure. (Reading) I come from a boardwalk town where almost everything is tinged with a bit of fraud. So am I. By 20, no race-car-driving rebel. I was a guitar player on the streets of Asbury Park and already a member in good standing amongst those who lie in service of the truth - artists with a small A. But I held four clean aces. I had youth, almost a decade of hardcore bar band experience, a good group of homegrown musicians who were attuned to my performance style, and a story to tell. This book is both a continuation of that story and a search into its origins. I've taken as my parameters the events in my life I believe shaped that story and my performance work. One of the questions I'm asked over and over again by fans on the street is - how do you do it? In the following pages, I'll try to shed a little new-lights on how and, more importantly, why. GROSS: Thanks for reading that.
So what's it like for you to write something that doesn't have to rhyme and that you don't have to perform on stage? SPRINGSTEEN: (Laughter) That's actually - not having to perform it on stage is a good one. But it's a little different, you know? It's - I'm used to writing something, it becomes a record, it comes out. Then I go perform and I play it and I get this immediate feedback from the audience. So that's been the pattern of my life.

You and Daveed Diggs, who plays Thomas Jefferson , have both said publicly that doing this show is the first time you've really felt like a part of the early American story. What does performance do for you, in that sense, that traditional education maybe can't? I think it's empathy. It is literally stepping in somebody else's shoes for a couple hours, walking around in them and seeing how it might have felt to be them. It's playing pretend. And the same thing happens for the audience, because they're watching people that look like them, or that they connect to — whether it's me, or it's Lin, or it's Daveed, or it's Renée [Elise Goldsberry], or it's Philippa [Soo], they are able to feel what that person is feeling. Empathy is just ... it's the first step in bringing two people from opposite sides of the table a little closer to each other. So, the show has made me a better friend, a better husband, a better, you know, artist. It's started a tremendous amount of growth in me.
And that was another reason why I had to stay a part of it, because I could see those seeds flowering right from the first reading that I did. How do you walk away from that? I mean, this thing is making me a better me. I know you saw an early version of the show, before you were in the show. And you saw the guy LED Street Light playing Aaron Burr. Yeah. Did you envy him?
 Um, I ... I didn't envy him. I wasn't thinking that I would play Aaron Burr, ever. I was just so carried away by this thing, which was presented with such simplicity — they were just at music stands, you know? It was presented in such a way that we were all kind of in it together in that theater, just loving this thing. This is weird to say, but the way that you talk about the show sometimes reminds me of the way I hear new parents talk about their children, in terms of that wonderment of seeing the world with new eyes. Yeah. I think that's exactly what it felt like. Or it felt like falling in love, just in that you are giving yourself to this thing a little more each time. I have to ask about the two songs that are kind of your big solo moments: "Wait For It," which is about Burr standing on the sidelines while his peers are chasing glory, and "The Room Where It Happens," where he finally dives into the fray and starts changing history. The more I listen to these two songs, the more they seem like allegories for performance. Maybe it's just something in your voice — the mixture of awe and longing and lust for the thing that makes you feel like a whole person. When people are born performers, that really is what it's like when they can't perform. That's really well said. And those two things were never lost on me in the creation of this.
The room where this thing happened, the room that this show was created in, was the most loving, creative gentle space that I've ever been a part of. Nothing was "wrong"; you could fall flat on your face and try again tomorrow. So, yes, singing "The Room Where It Happens," it was very easy for me to connect that to my actual life. And even "Wait For It" — you know, when we would do these early readings, there was no timeline for me. I was not aware of when Hamilton would happen off-Broadway.

But... Mr. HUDLIN: No, because - but I emphasize that only to say that one of the most frustrating things is that there's this so-called convention of wisdom about black superheroes, that black comic books don't sell and black superheroes don't sell. And a lot of the battle for black creators is overcoming these really erroneous presumptions. And, for example, look at Blade. Blade has had three movies, each of whom who have made over $100 million. But Blade comic books don't sell. So you go, well, is there a problem with the character? Well, no. Is there a problem with the audience? No, clearly there's an audience. There's a disconnect between getting the audience that wants to see it access to this character. And that is the frustrating thing when you do a - something like the Black Panther, because, you know, you know there's an audience, and when the audience does get a chance to grab it, they're very enthusiastic. I've talked to parents who actually, when I wrote the comic book, as well, they would read the comic book to their kids at night, like a bedtime story. I know adults who said, look, forget my kids. I just want to watch this. And it's not a male/female thing. It's not black, white, Latin, Asian thing. I have talked to 40-year-old white men who said, I dressed up as Black Panther when I was seven years old for Halloween. So it's a very broad audience. Whatever you think might be the stumbling blocks aren't really there. MARTIN: So we know what your costume will be for this Halloween. (Soundbite of laughter) MARTIN: But before we let you go, you mentioned that when the original Black Panther came out, it came out at the same time - the original comic, it came out at the same time that the movement - the political movement was born, and it clearly was some of a resonance. What is it you think people are responding to now in your series? Mr. HUDLIN: Well, I think, you know, the idea of an uncompromised, unabashedly heroic black man. I mean, black men get a lot of bashing in the press. At the same time, there's so many heroes from - in popular media, from Sidney Poitier to Denzel Washington, to Will Smith. And I think there's a tremendous hunger from all audiences for a black superhero - not an anti-hero, but a hero, a guy who is independent, who stands on his own feet.
The same way we cheer for the independence movements that's happening throughout Africa and the Middle East, because you see people standing up and fighting for what's right. The Black Panther represents those ideals played out on a big, fantastic scale. MARTIN: Reginald Hudlin is one of the creators of the animated series "The Black Panther." He's a filmmaker. He's also the former president of entertainment for the UTP CAT6 cable network BET. He was with us from NPR West. Reginald Hudlin, thank you so much for joining us. Mr. HUDLIN: Thank you. MARTIN: If you want to find out more about the "Black Panther" series, we'll have a link on our website. Just go to npr.org and click on the Programs tab, and then on TELL ME MORE.