Charlie Curnow

Minute Maid decided to discontinue its line of frozen canned juices in both the U.S. and Canada in January, citing changing consumer preferences, Good Housekeeping reported.

That means their classic frozen orange juice, lemonade, limeade, pink lemonade, and raspberry lemonade concentrates will soon be gone for good. Any time between now through April, in-store inventory will only be available while supplies last.

The fall in demand is partially due to the degrading quality of orange juice in recent years due to citrus greening, Good Housekeeping contributing writer Stacy Leasca said. A bacterial infection that causes most trees to die within a few years and makes the fruit taste bitter.

The Florida Department of Agriculture and Consumer Services reported that the disease has caused a 92.5% reduction in orange production in the state since it was discovered in 2005. Meaning fewer oranges overall, and less sweet ones at that.

This has made an impact on both demand and prices for orange juice. According to the Florida Citrus Commission last year, 100% orange juice held 67% of the beverage market share within its total fruit juice and fruit drink category in 2022. But this dropped five full percentage points by 2024.

Prices for orange juice have also subsequently fallen, dropping 55.53% per pound over the past year.

Frozen orange juice concentrate was first developed during World War II by scientists as a way to improve the quality of food for American troops.

In the early 1940s, soldiers were supplied with lemon crystals for Vitamin C. But too many of them went uneaten because of their unpleasant taste. Frozen juice concentrate proved to be a better solution.

The technology to create the concentrate was patented after the war, and it quickly became a staple on the American breakfast table. Helping bolster the Florida citrus industry.

For many families in second half of the 20^th century and into the 21^st, frozen juice wasn’t just a beverage. It was part of a routine. The simple ritual of opening a can, adding water, and stirring it together became a small but meaningful component of breakfast for decades.

Today, ready-to-drink juices dominate the modern category. And Coca-Cola, who own Minute Maid, have said they now plan to concentrate efforts there instead.

Refocus on Fitness and Sustainability?

Ultimately, it seems that if Minute Maid were ever to stage of a revival of its frozen line, it wouldn’t just be about bringing back a nostalgic staple. It would more likely be about reimagining the freezer aisle as a destination for things like sustainability and wellness.

As Bill Bernbach said, “The truth isn’t the truth until people believe you… and they won’t listen to you if you’re not interesting.”

By shifting the focus from a simple pitcher drink to a high-nutrient, high-potency “smoothie booster” or an eco-friendly culinary essential, for example, the brand could potentially turn a compact health and carbon footprint into its greatest competitive advantage.

New Minute Maid concentrates infused with electrolytes, collagen, or prebiotics such as a “Frozen Citrus Recovery,” for example, could appeal to a fitness crowd who already use frozen ingredients.

And in an era where consumers are increasingly wary of plastic waste and oversized shipping weights, the “canned, frozen concentrate” model could become more relevant than ever, if given a modern wardrobe.

Then, who knows? Maybe there’s even a world where the iconic “ker-plunk” of a frozen juice cylinder might just become the sound of the next big beverage industry trend.

What do Starbucks’ 2025 collectible Bearista cup and Chipotle’s snack-sized High Protein Cup have in common?

They might be prime examples of the types of restaurant promotions that work in 2026, according to an article at Business Insider.

The Starbucks Bearista, a highly coveted, viral bear-shaped 20 oz. glass cold cup, was introduced in November 2025 as part of the brand’s holiday collection. Featuring a bear in a green beanie holding a drink, it often sold out instantly, causing resale prices to soar.

Meanwhile, Chipotle’s snack-sized High Protein Cup was introduced in December 2025 to cater to the “protein-hacking” trend on social media. And to support customers focusing on macronutrients. Particularly those using GLP-1 medications for weight loss who may prefer smaller, protein-dense meals.

Many brands are currently using limited-time offers or collectible promotions to drive repeat visits, app downloads, or loyalty program sign-ups, Evert Gruyaert, restaurants and food service leader at Deloitte US, told Business Insider. But the question is bigger than a limited-time offer.

Rather, restaurant operators are often trying to align with a broader mission that resonates with consumers, such as sustainability or locally sourced ingredients.

Overall, analysts predict that the restaurant world faces a value-conscious shift in customer behavior in 2026, Business Insider’s Katherine Tangalakis-Lippert reported.

Diners will likely be more selective in the coming year, analysts predicted, and willing to stay home. Meanwhile, costs and competition continue to rise for restaurant operators.

Despite these headwinds, some brands such as fried chicken chain Jollibee are now looking to go public this year, Tangalakis-Lippert said.

And quick-service restaurants with consistent, simple menus like Chick-fil-A could be likely to see gains this year, according to Asit Sharma, analyst for The Motley Fool. As could comfort food concepts that have low overhead and tech stacks purpose-built for digital orders, such as Wingstop.

Some fast casual chains could also have a real edge in this cost environment, said Sharma. These include chains that can monitor inventory levels at restaurants in real time and react quickly and efficiently through centralized ingredient kitchens. Including brands such as mediterranean grill chain Cava.

The small French tidal island of Mont Saint-Michel introduced its new brand identity this month.

Founded in the 8^th century as a religious site, the island became a major center of pilgrimage during the Middle Ages. It earned designation as a UNESCO World Heritage site in 1979 for its striking architecture, dramatic tidal setting, and historical relevance, Brand New notes. And today it attracts an estimated 2.5 million visitors per year.

The new logo and brand identify for the site was commissioned by the Établissement Public National du Mont Saint-Michel, a public body created by the French government. And was designed by the French design studio Graphéine.

Ultimately, the uniquely stacked text of the new logo aims to echo the silhouette of Mont Saint-Michel itself in the collective imagination, Graphéine’s project page says. An image that’s associated with France internationally.

Most representations of Mont Saint-Michel in the press, on postcards, on the web, or in our minds are associated with this unique silhouette, says Graphéine. In fact, there are already hundreds of logos featuring it.

The challenge was therefore to find an original way to represent the Mont that would give this public brand a unique identity while also guaranteeing it solid legal protection.

In keeping with the logo design, an original typeface was also developed in collaboration with Blaze Type. This typeface draws inspiration from the medieval Gothic scripts found in the manuscripts of the island’s Mont-Saint-Michel abbey. Its design is based on a subtle balance between finesse and power.

Intended to soar vertically, the typography echoes the architectural principles of the abbey itself. It’s thus not only functional or aesthetic, but also designed to provoke a form of inner elevation.

The colors of the new identity range from soft shades directly inspired by the Mont-Saint-Michel Bay to more vibrant hues intended to reflect the actions and events promoted by the public institution, says Graphéine.  

While the logo frames the Mont, the new brand identity’s illustration system invites us to view and admire the bay in its entirety. The text appears on the horizon and floats, as if in constant motion. Iconography blends into the landscape and creates a layered effect.

The result is an ethereal and contemplative universe, reflecting both the natural and the protected character of Mont Saint-Michel.

Sydney, Australia designer Clay Andrews described his process for creating new packaging for gin brand L16° in a recent Communication Arts article.

L16°, makers of Latitude 16 Organic Dry Gin, are small batch gin makers using the finest organic ingredients, according to the company’s website description. They combine the tradition of gin making with the native botanical flavors of Australia.

According to Andrews, their product came straight from the founders’ genuine passion rather than market analysis. They had fallen in love with a tidal coral cay on Australia’s outer Great Barrier Reef, an extraordinary place where you can only stand a few hours each day. And they wanted to translate that experience into a gin.

This naturally positioned the gin toward spirit drinkers who value craft, meaningful experience, and a genuine sense of place over marketing gimmicks, Andrews says.

Working with a bottle by Vert Design, Andrews and L16° first changed the bottle glass from flint to a very pale aqua. This refinement of colored glass allowed for the movement and iridescence Andrews was looking for.

While avoiding anything literal, the solution created an optical and textural experience that mirrored how light behaves in shallow tropical water.

From there, the team when for a highly technical solution. Layering finishes such as embosses, varnishes, and metallized stock and screen work to create the illusion of looking into water.

The neck label’s ocean green-to-sand gradient references the moment when a wave washes over the shoreline. Even the embossed URL in the bottle base was designed with the idea that any condensation might leave a water-like imprint on surfaces.

Strictly speaking, the biggest challenge of the project was managing the many layers of technical precision involved in getting all the details just right, says Andrews.

But overall, the project flowed smoothly. Which Andrews credits to working in a very human, closely connected way with his L16° clients. A way of working that he describes as “deep collaboration” that allowed for quick movements through decisions while staying deeply connected to the core idea.

This type of process, Andrews says, is what he has found makes the biggest difference to creative outcomes.

Jalen Brunson scored a season-high 40 points in the New York Knicks’ 132-120 NBA Cup semifinal game against the Orlando Magic Saturday night, making 16-of-27 shots.

That included just two 3-pointers against the Magic’s notoriously physical defense, notes Knicks beat writer James Edwards III of The Athletic. Meanwhile, the Knicks’ Karl-Anthony Towns had 29 points, and OG Anunoby scored 24. The Knicks overall shot a season-high 61 percent.

Knicks head coach Mike Brown was adamant following the game that Brunson be entered into Most Valuable Player discussions, ESPN reported.

Now the Knicks will face the San Antonio Spurs, winners of Saturday night’s other semifinal matchup, in the NBA Cup Final on Tuesday.

Potentially bigger than advancing in the NBA Cup, however, is that New York has now evened the season record against Orlando at 2-2, says Edwards. Which means that if the teams were to finish the regular season with the same record, the Magic would no longer have the head-to-head tiebreaker.

The victory also gives the Knicks a chance to show that they’re not only a real contender in the East but also for an NBA title, Edwards said. This would have been especially true if their NBA Cup Final opponent was the Western Conference leading Oklahoma City Thunder. But the Spurs’ victory last night prevented that.

Either way the Knicks still haven’t played a top five team in the West yet, and now they will do so against the Spurs.

While not anywhere close to the intensity and importance of the NBA Finals, the NBA Cup Final will give Knicks fans other valuable context, according to Edwards. Namely, if the best two teams in this year’s lesser-regarded Eastern Conference can be competitive with any of the top five teams in the West on a somewhat meaningful stage.

In the 111-109 Spurs-Thunder game last night, a returning Victor Wembanyama helped push San Antonio to victory with 22 points, nine rebounds and two blocks. All in 21 minutes on the court, with 15 points coming in the fourth quarter alone.

The Spurs were 21 points better than the Thunder when Wembanyama—who received his own MVP chants from fans in Las Vegas Saturday night—was in the game. And 19 worse when he wasn’t.

For the New York Knicks, the future is starting to look like more and faster offense from stars Jalen Brunson and Karl Anthony-Towns, according to a report in the Athletic.

New Knicks coach Mike Brown said through the first few days of training camp that he wants to use Brunson more off the ball. And Towns in different areas of the floor than he’s been accustomed to, the Athletic’s James L. Edwards III said.

The All-NBA duo was outstanding last year individually throughout the Knicks’ journey to the Eastern Conference finals. But the Knicks’ success going forward will likely continue to center on better maximizing these two players, Edwards said.

Getting Towns, one of the greatest shooting big men of all time, to shoot more frequently from the corners when playing power forward—a likely scenario with a healthy Mitchell Robinson—seems like a wise strategy, Edwards said. But it’s one that hasn’t really been implemented much in his career.

Only 10 percent of Towns’ career 3-point attempts have come from the corners, considered the easiest areas for these shots. And last season saw him taking just 6.9 percent of shot attempts from the corner spots, a career-low mark.

When Towns is playing center, Brown envisions a world in which Towns is used as more of a hub for the offense, Edwards said. Towns was used as such a hub at times under former Knicks head coach Tom Thibodeau. But it appears Brown, given his work with center/power forward Domantas Sabonis while in Sacramento, might lean into it more.

Meanwhile, it does also appear under Brown that we could see more of Brunson running around screens without the ball, says Edwards. This would be to not only capitalize on Brunson’s catch-and-shoot ability and avoid wearing him down, but to give defenses another wrinkle to account for.

Last season, Brunson converted on just below 50 percent of his spot-up jumpers, according to NBA.com—a very effective mark, Edwards says. But only 43.6 percent of Brunson’s 3-pointers were assisted last year. That’s a lower number than two other ball-dominant point guards, Tyrese Haliburton of the Indiana Pacers (52.8 percent) and the Detroit Pistons’ Cade Cunningham (57 percent).

After beating the Pistons and Boston Celtics in this year’s NBA Playoffs, the Knicks lost to the Pacers 4-2 in the Eastern Conference finals.

The November 2025 edition of Mojo magazine includes interviews with members of the band Tortoise ahead of the release of their new album “Touch.” It will be their first album in nine years.

“Touch,” a lean 10-track album, both simplifies and complicates elements of Tortoise’s past, according to Mojo’s Yusuke Nagata. Even suggesting sketches for some futuristic symphony.

The album begins with the crunch of a big, distorted guitar. And ends with a radiant, blissed-out hum that conjures the score of a cowboy movie set in space.

For the past 35 years, the Chicago post-rock band has been a motley quintet resembling an assortment of math teachers and music professors, hardcore punk survivors and roadhouse aficionados, Nagata says.

And have provided a compelling case study in perpetual newness at their own methodical pace. Resetting the stage for what might fit within indie rock through their mix of everything from spaghetti western scores to hard bop, luminous drone to pulverizing techno, and prog rock maneuvers to punk rock outbursts.

The first time the band heard the term “post-rock,” however, they were not impressed, according to Nagata. Critic Simon Reynolds invoked it in print around the release of their self-titled 1994 debut. And their lack of vocals and plethora of shifting meters made them ostensible fits.

Now, though, their association with the term’s origins has become a sort of honor, Nagata says.

For drummer John McEntire, Tortoise helped suggest an alternative musical framework. One that emphasizes textures, dynamics, and alternative instrumentation rather than four-on-the-floor all the time.

And for Tortoise’s other drummer John Herndon, it reinforces that they were able to move within the indie rock world without sounding like much else there. Flinging doors open for those who followed.

For Tortoise’s first two decades, proximity was a boon, Nagata says. Every member lived or worked near Central Chicago’s Wicker Park. Rent was cheap, and service jobs and club gigs were abundant.

Meanwhile, the city’s bustling music scene meant jazz, punk, indie rock and electronica musicians rubbed elbows and swapped ideas.

Herndon once dragged a vibraphone four blocks to an early rehearsal. He told guitarist Jeff Parker he wasn’t good enough to play a solo on the instrument.

Parker, who was a working Chicago jazz musician before joining Tortoise, replied, “You know, a solo is just an expression of yourself.”

There was time for their musicianship to catch up with their enthusiasms.

The Who released their new archival live album, “Live at The Oval 1971,” in August.

Newly mixed from the original 8-track analog multi-track tapes, the recording documents The Who as they headlined Goodbye Summer: A Rock Concert in aid of Famine Relief for the People of Bangladesh on September 18, 1971. Recorded at The Oval cricket ground in Kennington, south London, it shows the band continuing their dominance as a top live rock act of the era, according to the recording’s product page.

Originally recorded by Glyn Johns with Pye Mobile Recording Unit, the performance culminates in Pete Townshend and Keith Moon destroying their equipment in a grand finale.

According to Pat Gilbert at Mojo, The Who’s “Goodbye Summer” Oval appearance has gone down in history as one of their most memorable. But until now only poor-quality bootlegs have circulated.

The whole concert was taped by the same Pye mobile studio that produced 1970’s “Live At Leeds.” Due to over-zealous security, however, the crew were unable to re-position dislodged mikes and correct unreliable feeds. 

But now modern technology has finally enabled the band to rescue the original recordings.

The setlist draws heavily on songs from the just-released and unimpeachable “Who’s Next” (arguably the best songs from the shelved “Lifehouse” concept album), says Gilbert. Which is why some fans may feel this album has the edge even over the majestic “Live At Leeds” (and “Hull”). As well as “Live At The Isle Of Wight Festival 1970.”

Indeed, it’s the box-fresh “Love Ain’t For Keeping,” “Bargain,” “Behind Blue Eyes,” “Won’t Get Fooled Again” and John Entwistle’s “My Wife” that shine most brightly on this set, Gilbert says.

The Who’s guitarist and songwriter Pete Townshend has said that, having realized in the run-up to the Oval that “Lifehouse” was now a goner (for the time being), he felt freed from its deathly grip, says Gilbert. Re-channeling his energies into the band’s live performances.

The sheer aggression—and insouciant flair—of the group’s playing on this recording is indeed something to behold, according to Gilbert. Even when newly tethered to the sequenced keyboard parts of “Won’t Get Fooled Again.”

Earlier this summer, Conor Orr at Sports Illustrated published his annual list of 12 teams that could realistically win the next Super Bowl this upcoming season.

Rather than a ranking, Orr’s list was published alphabetically by city name. To summarize a bit, however, his predicted Super Bowl matchup is the Buffalo Bills vs. the Philadelphia Eagles.

About the Eagles, last season’s Super Bowl champions, Orr says that while they lost some brainpower this offseason in OC Kellen Moore (who took the Saints’ top job) and had some departures on the defensive line, the team still has great talent. Including linebacker Zack Baun.

Most importantly, however, Orr says, Philadelphia has maintained the roster advantages that won them a title last year. To put it simply, they’re still too big and too strong for other teams to handle.

On the whole, Orr says he doesn’t see how the Eagles aren’t still the best team in the NFC—if they’re able to sustain their success from an ego standpoint. Meaning that, for example, receiver A.J. Brown is still willing to accept diminished targets and block with gusto. And the offense as a whole is still eager to be, in essence, conducted by quarterback Jalen Hurts before the snap in order to put the group into better run situations.

About the Bills, who lost to the Kansas City Chiefs in last year’s AFC Championship, Orr says he’s less impressed that they added edge rusher Joey Bosa than he is about the team having real competition at almost every defensive line position. Because depth is key.

That sort of depth is how the Eagles demolished teams last year, Orr says. As evidenced by the fact that defensive tackle Milton Williams, a complementary player, got a $104 million contract from the Patriots this offseason.

The growth of young players such as wide receiver Khalil Shakir emboldened Bills GM also Brandon Beane to focus on the defense in the draft, Orr says. This was crucial because last year Buffalo was suspect against the pass and merely solid against the run. If the defense improves and quarterback Josh Allen is again in MVP form, watch out.

Other teams mentioned by Orr included the AFC’s Baltimore Ravens, Cincinnati Bengals, Denver Broncos and Los Angeles Chargers in addition to the Chiefs. And from the NFC, the Detroit Lions, Los Angeles Rams, San Francisco 49ers, Tampa Bay Buccaneers and Washington Commanders.

With the NFL Preseason wrapping up this weekend, the regular season will kick off on Thursday, September 4 with a matchup between the Dallas Cowboys and Philadelphia Eagles.

“More Songs About Buildings and Food,” the 1978 second album by the band Talking Heads, was re-released this July in a Super Deluxe Edition from Rhino Records.

Unveiled as the band celebrates its 50th anniversary, the collection captures a pivotal moment in Talking Heads’ evolution. And marks the first of three albums produced with Brian Eno.

The 3-disc Super Deluxe Edition features the remastered album alongside 11 rarities, including four previously unreleased alternate versions of album tracks. The set also includes a live recording of the band’s August 1978 show at New York’s Entermedia Theatre. 

According to the press release from Rhino, the seeds for “More Songs About Buildings and Food” were planted in London in 1977. When the band met Eno while touring behind their debut album, “Talking Heads: 77.”

“When we went over to his flat, there was the immediacy of recognizing in his library books [and records] from our own collections,” said keyboardist and guitarist Jerry Harrison. “There was both mutual respect and a sense of shared sensibilities—all harbingers of a comfortable and successful collaboration.”

Soon after, plans were made to record together. Sessions began in March 1978, when the band traded their drafty Long Island City lofts for the Bahamas’ sunny beaches. They set up shop for several weeks at Island Records producer and founder Chris Blackwell’s newly built Compass Point Studios, becoming the first band to record there. 

Having been road-tested over a long tour, the new songs were ready to go.

Drummer Chris Frantz recalls Eno’s most significant contribution was to slow the tempo of the song “Take Me To The River.” The band had been used to playing the song at a pretty fast tempo like Al Green’s original, but they gave it a try. The song became the band’s first radio hit.

The Polaroid mosaic that gives the album its striking visual identity came together later, back in New York City. Principal songwriter, lead singer, and guitarist David Byrne suggested the cover concept, says bassist Tina Weymouth.

Byrne took the pictures of Frantz, Harrison, and Weymouth on the roof above Frantz and Weymouth’s loft. Weymouth took the pictures of Byrne.

Released on July 14, 1978, “More Songs About Buildings and Food” earned the band their first appearance on the Billboard 200. Their reimagining of Green’s “Take Me To The River” cracked the Billboard Hot 100 and became a left-field radio success, helping introduce the band to a wider audience.

At the time, critics took note of the album’s sharp songwriting and Eno’s layered production—with The New York Times naming it the “No. 1 disk of 1978” and Vogue calling Talking Heads the “most fascinating experimental rock band in the world.”

Upon this 2025 re-release, Will Hermes at Rolling Stone said the album has always been a dark horse candidate for Talking Heads’ all-around greatest.

While there’s nothing earthshaking among the bonus cuts (10 alternate takes plus an instrumental version of “Electricty,” which would appear on the later album “Fear of Music”) Hermes says, they do shine light on process.

The instruments are more clearly defined on the alternates, before, one assumes, Eno artfully smeared the final takes, according to Hermes. His touches made all the difference however, pulling the songs into a pulsing turbo-charged whole.

Side two of the finished LP in particular, was one of the great house party soundtracks during the era of its original release.

That version of Talking Heads, the house party dance band, gets showcased on this Super Deluxe Edition’s third disc through a cleaned up copy of a widely-circulated concert bootleg. Recorded just a short walk from the band’s early home base of East Village music club CBGB.