From an New York Times online review:
Revere’s place in history was cemented by the Longfellow poem, published in 1861, more than 40 years after Revere’s death. Longfellow “was flexible about the historical details,” said Debra Schmidt Bach, who coordinated the exhibition for the New-York Historical Society. “I mean, it was a fictionalized poem,” she said. “It was not intended as a detailed examination of the ride.”
The exhibition was organized by the American Antiquarian Society, of which Ms. Hewes is the curator of graphic arts. Nan Wolverton, the show’s other curator, is the director of fellowships at the antiquarian society, and of its Center for Historic American Visual Culture. The display includes more than 140 objects from the antiquarian society’s extensive Revere holdings; the New-York Historical Society’s own collection; the Museum of Fine Arts, Boston; and the Massachusetts Historical Society, among others.
To read more: https://www.nytimes.com/2019/09/11/arts/design/paul-revere-beyond-midnight.html
Lifespan, by geneticist David Sinclair and journalist Matthew LaPlante, provides a vision of a not-too-distant future in which living beyond 120 will be commonplace. For Sinclair and LaPlante, the answer lies in understanding and leveraging why we age…
The presence of the inn itself demands this kind of myth-making. Its hulking imperfections, hidden staircases and infinite doorways, narrow pathways and intricate stonework, call to mind an honest, handmade world, where times were slower and things made to last. Rumors of its past are worn proudly on its proverbial sleeve — stripped wood where there once was a second floor balcony, prominently displayed plaques of historic register, mismatched sediments of historic photos, the speckled outline of a dart board and creaking floorboards. The front door was originally the back door because most guests arrived by boat.
Rigorously unsentimental in his attitude to the world around him, Mr. Frank deviated from form in 1950, taking what was arguably his most romantic picture. He had his reasons. He was in love. The year before he had met artist Mary Lockspeiser, who became his first wife. In “Tulip/Paris,” he photographed a young man who is holding behind his back a tulip — presumably intended for the woman standing in the background. An old man, at the other end of life’s arc, approaches the viewer. It is a classic romantic Paris street photograph.
But there is nothing quite like the mind-bending spectacle now on display at dusk in the hills of Paso Robles here, a popular wine destination. That is the witching hour when thousands of solar-powered glass orbs on stems, created by the artist Bruce Munro, enfold visitors in an earthbound aurora borealis of shifting hues.
There may be no easy fix for the loneliness epidemic plaguing the nation, but helping people cope with hearing loss could be one key to tackling this complex problem. Hearing loss affects 1 of every 5 people and is strongly linked to loneliness: Every decibel drop in perception in people under 70 increases the odds of becoming severely lonely by 7%, 
“It’s a way of life that’s gone and I don’t think it’s a bad state that it’s gone. But realistically it must’ve been livable on a level by pretty well everyone involved or it wouldn’t have gone on for a thousand years.”
The works on view illustrate how Klee responded to his personal difficulties and the broader social realities of the time through imagery that is at turns political, solemn, playful, humorous, and poetic. Ranging in subject matter, the works all testify to Klee’s restless drive to experiment with his forms and materials, which include adhesive, grease, oil, chalk, and watercolor, among others, resulting in surfaces that are not only visually striking, but also highly tactile and original. The novelty and ingenuity of Klee’s late works informed the art of the generation of artists that emerged after World War II, and they continue to hold relevance and allure for artists and viewers alike today.
Chef de cuisine Julio-Cesar Florez, a native of Lima, served as chef de cuisine of the now-defunct Peruvian-themed Isla and has been the sous chef at Lucky Robot since mid-2017, where he began adding subtle Peruvian touches to Huang’s playful Japanese cuisine. Seeing the success of these special menu items, the two decided to take the 6-year old restaurant in this new direction.
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