The mob threatens to imprison Europe behind an iron curtain of ignorance and intolerance, pitchfork wielding folk headed by the likes of Hofer, Bachmann, Le Pen, Farage, etc.
It will end in Brexitears.
The noble squid is no weed.
Nothing says Prince like a duet of Mr Wonder and Ms Madonna.
Munich is the Austin of Bavaria.
Madonna has been accused of “cultural appropriation.” However, none of the critics are aware that so-called cultural appropriation is otherwise known as life. In the sphere of popular culture, it is otherwise known as late capitalism. There’s nothing remarkable about it.
New information has surfaced about Sartre’s refusal of the Nobel Prize for Literature:
A letter sent by French philosopher Jean-Paul Sartre in 1964 declining the Nobel Prize for Literature came too late to avert one of the biggest debacles in its history, Swedish media reported Saturday.
Sartre’s letter arrived nearly a month after he had been picked as the top choice by the Nobel Committee, the daily Svenska Dagbladet reported, based on archival material made available at the end of a customary 50-year period of secrecy.
The report throws light on the sequence of events leading to Sartre’s decision to become the only person to willingly turn down the world’s most prestigious literary prize.
Perhaps Sartre was prescient: his “literary” works are hardly read anymore. Even worse, his philosophical texts are now antiques from the bygone age of existentialist Marxism.
For example, in Search for a Method Sartre asserts “we are convinced at one and the same time that historical materialism furnished the only valid interpretation of history and that existentialism remained the only concrete approach to reality” (1968, p 21). Who today would have the courage to embrace either of these claims?
Things were better before there were facts. — (Anon. Buzzfeed Journalist).
Concerning his critical appraisal of the “spring clean” of Chartres Cathedral: Martin Filler is likely a typical American blowhard (and the French grandees are right to scoff at his claims), but I appreciate his accurate description of Frank Gehry in the The New York Review of Books.
It is axiomatic among architectural editors and art directors that if a building is not very good, then one should use images of it at sundown; if it is worse than that, show it reflected in water at twilight. This perhaps explains why several publications, including Architectural Digest, Vanity Fair, and The New York Times, have depicted Gehry’s newest work in a dim crepuscular glow, rising above its shallow pools and dramatic stepped cascade. Recourse to special photographic lighting does address one of the Fondation Louis Vuitton’s basic shortcomings, however, for in a city where it is overcast much of the time, a glass-skinned structure such as this is bound to look rather dull quite often.
I’m surprised there was ever a market for ghost-written autobiographies.
It would be more apt to characterize the careers of Beyoncé, Gaga, and the like as having achieved a “partial Madonna.” Ms Ciccone is the original.
The Second Amendment has corrupted America.
Russian shock troops invaded Kazakhstan by accident.
Albums of 1984:
Herbert Grönemeyer, 4630 Bochum
Madonna, Like a Virgin
Frankie Goes To Hollywood, Welcome to the Pleasuredome
Art of Noise, Who’s Afraid of the Art of Noise
Trevor Horn made great use of that magnificent Fairlight on the Art of Noise and Frankie albums.
Regarding Frankie: “Born to Run” was their best track. As a cover, it is better than Springsteen’s original.
Follow/Unfollow is the social media equivalent of the fort-da game (Beyond the Pleasure Principle).
The simulcast of Game of Thrones on HBO and the British Sky Atlantic network will bring the special relationship between our nations to a new high point.
Madonna’s Like a Virgin dropped in 1984.
Not all singing nuns are worth the candle.
Ratings for Cosmos hold firm despite Neil deGrasse Tyson’s statement that “Gravity is the clockmaker.”