Tag Archives: New Yorker

Best Travel Shows: British Series “Travel Man” Is Helpful And Hilarious

From a New Yorker online article:

Travel Man PhotoOn “Travel Man,” Ayoade is fun to look at (snappy suits, thick-framed glasses, expression of amused diffidence) and fun to listen to. (Of a monastery turned hotel in Naples, he says, “As well as modish guff, like a rooftop pool and a spa, it retains attractive old shiz, like staircases dug into the hillside.”) His persona is warmly amused, broadly skeptical, and gently astringent—i.e., British. He’s not a joiner. His intros conclude with him saying, in that episode’s particular city and with that episode’s particular guest, “We’re here, but should we have come?” 

 

Travel Man: 48 Hours in . . .” is a British series in which the comedian, writer, actor, and director Richard Ayoade spends forty-eight hours in a city, accompanied by various friends—“some of the most available and affordable names in light ent,” as he puts it—and tells us about what to do there. “Mini-breaks are a swirling nebula of nonsense!” he says at the top of “Copenhagen,” during a brisk montage of him in Venice, Copenhagen, Vienna, and Moscow. “How can anyone go somewhere new and be expected to enjoy themselves without a decade to decompress?” Exactly, I thought. This is the show for me.

To read more: https://www.newyorker.com/culture/on-television/travel-man-richard-ayoades-travel-show-for-people-who-hate-travel

Profiles: Malika Favre’s “Spectacularly Modern” “New Yorker” Covers

From a CommArts.com online article:

New_yorker_web-1200x1638-24fpsFrom the top floor of a 1920s building in Hackney, in the East End of London, Favre’s confidence is at a peak. The bold, graphic style she has developed over the last fifteen years attracts prestigious projects. When she was invited to design the poster for this year’s Montreux Jazz Festival, held every summer in Switzerland since 1967, she became part of a group that includes Milton Glaser, Andy Warhol and Keith Haring. Her poster is full of female silhouettes dancing, the negative spaces between them forming instruments.

 

New_yorker_web-1200x1638-24fps_2Favre is a French artist based in London.

Her bold, minimal style – often described as Pop Art meets OpArt – is a striking lesson in the use of positive/negative space and colour.

Her unmistakable style has established her as one of the UK’s most sought after graphic artists. Malika’s clients include The New Yorker, Vogue, BAFTA, Sephora and Penguin Books, amongst many others.

New_yorker_web-1200x1638

The above is from her Website: https://www.malikafavre.com/

 

WHO SHAPED THE 1960’S?: CULTURAL CHANGE SWEPT UP THE BOOMERS, IT JUST DIDN’T BEGIN WITH THEM

From a New Yorker article by Louis Menand:

Woodstock GenerationAlthough the boomers may not have contributed much to the social and cultural changes of the nineteen-sixties, many certainly consumed them, embraced them, and identified with them. Still, the peak year of the boom was 1957, when 4.3 million people were born, and those folks did not go to Woodstock. They were twelve years old. Neither did the rest of the 33.5 million people born between 1957 and 1964. They didn’t start even going to high school until 1971. When the youngest boomer graduated from high school, Ronald Reagan was President and the Vietnam War had been over for seven years.

The boomers get tied to the sixties because they are assumed to have created a culture of liberal permissiveness, and because they were utopians—political idealists, social activists, counterculturalists. In fact, it is almost impossible to name a single person born after 1945 who played any kind of role in the civil-rights movement, Students for a Democratic Society, the New Left, the antiwar movement, or the Black Panthers during the nineteen-sixties. Those movements were all started by older, usually much older, people.

To read more click on the following link: https://www.newyorker.com/culture/cultural-comment/the-misconception-about-baby-boomers-and-the-sixties