“Dimming of the Day,” Bonnie Raitt
“Donna non vidi mai,” Vittorio Grigolo
“Take Me With You,” Kylie Minogue
“All Over Now,” Aimee Mann
“Cousins,” Vampire Weekend
“Hercules,” Aaron Neville
“Emerald and Lime,” Brian Eno
“Just an Ordinary Guy,” Kristin Chenoweth
“Neon Valley Street,” Janelle Monae
“I’m on My Way,” Kellie Picker
“Between,” Vienna Teng
“Vocalise/End of the Line,” Lizz Wright
“Subterranean Homesick Blues,” Rickie Lee Jones
“Eat Yourself,” Goldfrapp
“You Know I’m No Good,” Amy Winehouse with Ghostface Killah
“It’s Getting Boring by the Sea,” the Black Lips
“Found a Cure,” Ashford & Simpson
“Fire,” Lizz Wright
“Your Body Is a Wonderland,” John Mayer
“Blue Rose,” Lizz Wright
“Lark,” Josh Ritter
“Hung Up,” Madonna
“The Corrupt Bargain,” Bloody Bloody Andrew Jackson OCR
“Pitter Patter Goes My Heart,” Broken Social Scene
“Sing for Me,” Antony & the Johnsons
“Big Girls Don’t Cry (Personal),” Fergie
“A Building in the Air,” David Byrne
Archive for March, 2011
My review of the Broadway revival of Tom Stoppard’s Arcadia has just been posted on CultureVulture.net. Check it out and let me know what you think.
Here’s the gist:
“I remember when I saw the original New York production being so dazzled by the density of the language and ideas in Arcadia that most of it went right over my head, leaving me with few last impressions except admiration for Stoppard and the play. This time around, I took the precaution of reading the play the day before I saw the production, which I highly recommend. That is to say, I highly recommend seeing the show, AND I recommend you read the play first. The production isn’t perfect, but I liked it better than Trevor Nunn’s version at Lincoln Center. As he did with The Real Thing, director David Leveaux has worked very hard to ground Stoppard’s irrepressible flights of speech and metaphor and theatrical fireworks in recognizable human behavior. I consider it a tribute to Leveaux’s staging that I left not just cerebrally stimulated but genuinely moved by the understated tragedy that ends the play.”
You can read the entire review online here.
For a fashion issue, this week’s New Yorker is remarkably substantial. Of course, the disaster in Japan looms over the issue and our minds. Evan Osnos writes a terrific “Letter from Japan” with on-the-ground reporting of the immediate aftermath of the earthquake and tsunami, noting among other things the notable and very Japanese calm in the face of catastrophe (no looting) as well as the fantastic stories that have rushed into the vacuum of the government’s stingy information about the nuclear crisis. Osnos compares the current tragedy to past earthquake-related disasters in Japan and includes this bit of information new to me: “After the 1923 quake in Kanto, rumors swept Tokyo and Yokohama that Koreans were committing arson and poisoning wells. And so, amid the still smoking ruins of those cities, angry mobs, some including members of the police force and other officials, murdered thousands of Koreans—a massacre that remains a source of shame today.”
I’m not a huge fan of Karuki Murakami, so I didn’t read his short story “U.F.O. in Kushiro,” but it’s illustrated with amazing pictures taken of the aftermath of the 1995 earthquake in Kobe (above).
Peter Schjeldahl’s review of the inadvertently timely art show at the Japan Society called “Bye Bye Kitty!!!” makes me definitely want to see the show.
Among the fashion stories, I was surprised to find myself riveted by Alexandra Jacobs’s story about Sara Blakely and the invention of Spanx (and its related industry of shape-slimming underwear) and also by Lauren Collins’s extremely well-written and intimate profile of shoe designer Christian Louboutin, he of the red soles. One thing I love about the exceptionally sophisticated coverage of fashion in both the New Yorker and the New York Times these days is the almost inevitable and matter-of-fact way that high-end designers’ homosexuality is acknowledged — something that was just not done even a generation ago.
Malcolm Gladwell contributes an astonishing encapsulation of what sounds like an unusually good book, Ruth Brandon’s “Ugly Beauty,” which is a double biography of two cosmetics magnates, Helena Rubenstein and Eugene Schueller (creator of L’Oreal). Gladwell’s piece, which includes a side visit to the history of Ikea, muses on the interplay of politics and business — it’s a dense good read.
The gist of it: “It’s like a Vegas floor-show, a somewhat racy but ultimately inoffensive homo/bi/transgender sing-along musical for the whole family. Every queen who’s already seen Mamma Mia three times now has a new show to bring Aunt Minnie from Cincinnati to.”
See the whole piece online here.