From an Esquire.com online article:
No Time to Die, as Bond 25 is called, will be out on April 8, 2020 in the U.S. and April 3 in the UK.
Directed by True Detective’s Cary Fukunaga, No Time to Die was delayed earlier this year when Daniel Craig injured his ankle on the set and underwent reparative surgery. Also starring Rami Malek as the main villain, the film will follow Bond after he’s left MI6, “when his friend Felix Leiter enlists his help in the search for a missing scientist. When it becomes apparent that they were abducted, Bond must confront a danger the likes of which the world has never seen,” according to the film’s official synopsis.
To read more click on the following link: https://www.esquire.com/entertainment/movies/a28761356/james-bond-25-title-no-time-to-die-release-date/?source=nl&utm_source=nl_esq&utm_medium=email&date=082019&src=nl&utm_campaign=17826563
From an Antiques and the Arts Weekly:
Comprising 55 Gauguin masterworks on loan from Copenhagen’s Ny Carlsberg Glyptotek, as well as some 35 objects from the collection of the Saint Louis Art Museum, “Paul Gauguin: The Art of Invention,” now on view in St Louis, offers a superb overview and deep insight into the life, thought and art of this quasi-mythological being whose shadow looms large not only over artistic Modernism but over the very romantic notion of the artist who sacrifices everything for art.
Along with many other artists in every discipline, Gauguin has been reappraised in recent years. His freedom and devotion to art above all came at a steep cost to others: the wife and children he left behind in Europe, the Native child brides he took in the South Seas and the children they bore him and hosts of friends – Van Gogh and Pissarro among them – who felt the sting of his wrathful restlessness.
French art historian Jean Leymarie, in his short, perfect essay on Paul Gauguin, published in the gorgeous dusty columns of the 1962 Encyclopedia of Art, sums up the birth of Modernism: “Painters no longer attempted to represent the external world by creating the illusion of an image, but rather to suggest their interior dreams through allusive symbols and the multiplication of decorative forms; line and color were invested with the role of expressive vehicles and became the abstract equivalents of sensation. This change, amounting to the overthrow of the empirical and optical vision that had come down from the Renaissance, was perhaps the most violent about-face in modern art. The way, from that time, was open, and we know how boldly Gauguin proceeded.”
From a BBC.com cuture article:
Faced with the question of why Some Like It Hot has topped BBC Culture’s poll of the best ever big-screen comedies, it’s tempting to say something similar. Wilder’s glittering masterpiece doesn’t just use the handsomest kid in town (and a terrific actor, to boot), but its most radiant sex symbol, Marilyn Monroe, and one of its most dexterous comedians, Jack Lemmon. It also has a bevy of bathing beauties, a crowd of sinister mafiosi, a glamorous seaside setting in the roaring ‘20s, and a sizzling selection of songs.
It is structured so meticulously that it glides from moment to moment with the elegance of an Olympic figure skater, and the consummate screwball dialogue, by Wilder and IAL Diamond, is so polished that every line includes either a joke, a double meaning, or an allusion to a line elsewhere in the film. To quote one character, it’s a riot of “spills, thrills, laughs and games”. To quote another, it deserves to be “the biggest thing since the Graf Zeppelin”. So why was it chosen as the best comedy ever made? Simple. What else were we going to choose?
To read more click on the following link: http://www.bbc.com/culture/story/20170817-why-some-like-it-hot-is-the-greatest-comedy-ever-made
From a Rolling Stone online article:
The album was rumored to be originally titled Look, but the title was changed to In Through the Out Door as a nod to the band overcoming their struggles. (“That’s the hardest way to get back in,” Page said). Hipgnosis — the English design company co-owned by Aubrey Powell and Storm Thorgerson — designed six different album sleeves, each depicting sepia-toned scenes in a New Orleans–inspired bar. Copies were famously packaged in brown paper bags, concealing which cover was purchased. Even with this odd gimmick, the record sold an astounding 2 million copies in the first 10 days of its release. With record sales at a dangerous low, the album’s success helped revive an ailing industry.
Instead of embarking on a tour, the band decided to return to the stage with two outdoor shows at England’s Knebworth Festival on August 4th and 11th, 1979 — their first time playing on U.K. soil in four years. In the video above, they tear through “In the Evening” with Bonham taking the lead, pounding the drums during an intense strobe-light display. “So don’t you let her get under your skin,” Plant sings. “It’s only bad luck and trouble/From the day that you begin.”
To read more click on the following link: https://www.rollingstone.com/music/music-news/led-zeppelin-in-through-out-door-knebworth-1979-866992/
From a Wall Street Journal book review by Daniel Akst:
At the center of the attack on those of us born between 1946 and 1964, days when the U.S. birth rate was extraordinarily high, is our supposed radical individualism. Its roots are said to be found in the excesses of the 1960s, a decade for which “boomers have become fall guys.”
Ms. Bristow, to her everlasting credit, isn’t buying it. “What about the two catastrophic world wars that had dominated the first half of the century; the cynical hedonism of the ‘Roaring Twenties’; the parasitism of colonialism and racial segregation?”
Ms. Bristow, a sociology professor in England, shrewdly situates this new resentment in the context of today’s vogue for collective responsibility and the transmission of guilt across many generations. “Generationalism,” as she calls it, “has come to find its most comfortable home within identity politics, that shrill sentiment of victimisation and grievance that has become an increasingly powerful cultural force.”
To read more click on the following link: https://www.wsj.com/articles/stop-mugging-grandma-review-defying-the-boomer-bashers-11565651816
Feom a Wall Street Journal Arts & Entertainment article:
Seventy-five years ago, “Double Indemnity” opened in theaters across America. It was an instant hit, and remains to this day a staple offering of revival houses and on cable TV and streaming video. Yet little journalistic notice has been taken of the birthday of Billy Wilder’s first great screen drama, a homicidal thriller that nonetheless had—and has—something truly unsettling to say about the dark crosscurrents of middle-class American life.
Directed by Wilder and co-written by him and Raymond Chandler, the celebrated mystery novelist, “Double Indemnity” is the story of a restless insurance salesman who helps a sexy, frustrated housewife murder her husband for profit. Though neither Wilder nor Chandler realized it at the time, it would later be acknowledged by critics and scholars as the first fully developed example of film noir, in which a flawed but basically innocent protagonist is presented with a moral choice, makes the wrong call, and is plunged into a violent after-hours world of passion and crime.
To read more click on following link: https://www.wsj.com/articles/a-film-noir-icon-turns-75-11565637941
From a Wall Street Journal book review:
When Diana, Princess of Wales, attended the Met’s Costume Institute Gala in 1996, a black-tie-clad Mr. Barelli was at her side. “I wasn’t nervous, but the pressure!” he said. “You don’t want anything to go wrong.” The princess had one request: that he keep an eye on the black lace shoulder straps of her midnight blue Dior dress and adjust them if they slipped. “I almost told her: ‘Yeah, right, I have to touch your dress.’ That’s all I have to do. I think my wife would be a little upset,” he recalled. There was no wardrobe malfunction and the evening went off without a hitch, although Mr. Barelli remembers security concerns putting a damper on the fun-loving princess. “We couldn’t let her dance,” he said.
Mr. Barelli, now 70 years old, devoted much of his tenure to less-glamorous work, such as disposing of artifacts from would-be donors. In 2007, a curator in the Department of the Arts of Africa, Oceania, and the Americas received two shrunken human heads in the mail. The cardboard box had no return address, just a note donating the contents, which the sender said had come from friends in Ecuador. “They did have an odor,” said Mr. Barelli, who ultimately consigned the package to the city morgue.
To read more click on the following link: https://www.wsj.com/articles/royalty-a-naked-visitor-and-shrunken-heads-at-the-met-11565521202