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
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.
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.
The Glass House, designed by architect Philip Johnson in 1949, when floor-to-ceiling windows were a novelty even in office buildings, is a work of art in itself. But there’s much more art to be found on the lush grounds of this famous home in New Canaan, Connecticut. Amble on over to the Painting Gallery, which houses large-scale works by Frank Stella, Andy Warhol, Robert Rauschenberg, and Cindy Sherman, among others, or the Sculpture Gallery, featuring works by such artists as Michael Heizer, George Segal, Frank Stella, and Bruce Nauman. 
JAY MYSELF documents the monumental move of renowned photographer and artist, Jay Maisel, who, in February 2015 after forty-eight years, begrudgingly sold his home—the 36,000 square-foot, 100-year-old landmark building in Manhattan known simply as “The Bank.” Through the intimate lens of filmmaker and Jay’s protégé, noted artist and photographer Stephen Wilkes, the viewer is taken on a remarkable journey through Jay’s life as an artist, mentor, and man; a man grappling with time, life, change, and the end of an era in New York City.
The 200 pages on display at the Queen’s Gallery, Buckingham Palace, have been together since the artist’s death. They were bound by the sculptor Pompeo Leoni in about 1590 and entered the Royal Collection during the reign of Charles II. Some of his most iconic images are here, including his study of a foetus in the womb, made as part of a treatise on anatomy that came close to being finished, but was never published.
In some cases, Wyeth’s images bore into memory as sharply as the books they illuminate. I’m thankful I never saw Wyeth’s “Captain Nemo” (1918) while steeping myself in Jules Verne’s “The Mysterious Island” (1874): I would never have been able to shed the image Wyeth created of this white-haired, secretive, dying man, surrounded by allusions to his exotic past, his skin seeming bleached, we learn here, by the electrical lighting of his submarine.
Boomers Daily 