They Say Art Is Dead in New York. They're Wrong. – Alan Feuer, NYT (December 2014):
Somehow, in the last few years, it has become an article of faith that New York has lost its artistic spirit, that the city's long run as a capital of culture is over. After all (or so the argument goes), foreign oligarchs and hedge-fund traders have bought up all the real estate, chased away the artists and turned the bohemia that once ran east from Chumley's clear across the Williamsburg Bridge into a soulless playground of money.
Last year, the foremost proponent of this doomsday theory was the rock star David Byrne, who complained in The Guardian that artists, as a species, had been priced out of New York. This year, others joined him. The novelist Zadie Smith lamented in October, in The New York Review of Books, that the city's avant-garde had all but disappeared. The musician Moby wrote a comparable essay in February, describing how creative types are fleeing New York and referring to his former home, accurately but narrowly, as "the city of money." Just a couple of weeks ago, Robert Elmes, the founder of the Galápagos Art Space in Brooklyn, declared the indigenous "creative ecosystem" was in crisis — so, naturally, he was moving to Detroit.
Hobby Lobby, a craft store with 525 U.S. locations, has announced that it will defy a federal mandate to provide health coverage for all employees that includes emergency contraceptive coverage, and will pay a fine of $1.3 million every day. [more inside]
Back in 1999, Wandering Earl left home for a three month trip to Asia that still hasn't ended. As a permanent nomad, Earl's aim is to demonstrate that long-term travel is not a crazy fantasy, but a very real lifestyle option instead. Find out where Earl is now, and where he's been on his blog. [more inside]
Lustron House "We were revolutionizing a whole industry," said Richard Jones, former Lustron vice president of sales. "We were saying with our house: 'You put down a hammer and a saw and pick up a wrench.'" Though radical in its use of porcelain enameled steel, the Lustron house — a one-story, gabled-roof ranch with a bay window and side porch — looked much like other postwar-era dwellings. Behind its traditional façade, however, lay the hopes and expectations for a new era in American housing.