Beethoven's bad influence - Alex Ross ponders if veneration of him stifled his successors.
The Thoreau Poison - Caleb Crain of The New Yorker takes a closer look at the ideas explored in Upstream Color (spoilers)
"The new constitution 'recognizes the role of Christianity in preserving nationhood,' and art that is deemed blasphemous or 'anti-national' is now the target of a full-blown campaign of suppression."
“Today we have a new group of satirists who, at the same time that they bite the bourgeoisie, use only their lips, but not their teeth”
While he was contributing to the New Yorker as Syd Hoff, he was also contributing to the Daily Worker and New Masses as A. Redfield — the pseudonym he adopted for his radical work, The Ruling Clawss (Daily Worker, 1935) a collection of surprisingly relevant cartoons.
The French romantic thriller “Diva” dashes along with a pellmell gracefulness, and it doesn’t take long to see that the images and visual gags and homages all fit together and reverberate back and forth. It’s a glittering toy of a movie... This one is by a new director, Jean-Jacques Beineix... who understands the pleasures to be had from a picture that doesn’t take itself very seriously. Every shot seems designed to delight the audience. - Pauline Kael, 1982 [more inside]
Having served as a troop transport in WWII, a luxury liner, and a sea cadet training vessel, the Texas Clipper will come to her final resting place tomorrow as part of an artificial reef in the Texas Gulf. During preparations for sinking, a long lost mural (1 2 3 4) by Saul Steinberg, best known for his work at The New Yorker, was rediscovered hidden behind wallpaper and paint and saved from a watery grave.