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Tag: The New Yorker

  • The Entire New Yorker Archive Is Now Fully Digitized

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    In the introduction to “The New Yorker Index 1992,” a twenty-page catalogue of everything the magazine published that year, the staff writer John McPhee acknowledged a ritual familiar to many New Yorker readers: tackling a stack of unread issues. Instead of catching up at home, he’d schlep his copies up to New Hampshire and read in the middle of a lake, while lying in a canoe. With those issues dispatched, he’d call the New Yorker office and ask the librarian for help locating other stories he wanted to read: “Hello, Helen, in what issue did [the staff writer Thomas] Whiteside tee up the American latex tomato? Whose was the thing about the grass at Wimbledon?” (The thing was McPhee’s, of course.)

    Exploring past New Yorker pieces is now a lot easier (and more portable). As of this week, our full archive is available to read at newyorker.com. On top of what was previously accessible, we’ve added more than a hundred thousand articles from more than four thousand issues, a stack hefty enough to sink your canoe. Not only is everything from the 1992 index accounted for—Susan Orlean on the inner workings of a supermarket, Talk of the Town stories about “urinals (art)” and “urinals (not art)”—but also John Updike’s 1961 short story “A & P” and Calvin Tomkins’s Profile of Marcel Duchamp. There’s work by Jorge Luis Borges and Susan Sontag, Ralph Ellison and Louise Glück. There are articles about Frank Sinatra and Michael Jordan, royals and rock stars, cowboys and clowns. All in all, there are more than thirty-one thousand Talk of the Town stories; twenty-four hundred Reporter at Large pieces; more than thirteen thousand works of fiction and fourteen thousand poems; three thousand Letters from everywhere, from Abu Dhabi to Zimbabwe; and fifteen hundred “Annals of” everything, from “haberdashery” to “veterinary medicine.”

    While the complete digital archive may not have the same charm as magazines piled on the nightstand, there is now a single home for every issue—a place to peruse covers, scan tables of contents, and choose what to read next. Better still, if you don’t happen to have the phone number of our librarian, upgraded search capabilities allow you to hunt down “Whiteside” or “Wimbledon,” “vaping” or “vampires,” and sort results by date of publication. We’ve also made use of A.I. to add short summaries where they didn’t previously appear, making it easier to discern what an article is about. (This is, after all, a magazine in which the headline “Measure for Measure” might lead to an essay not on Shakespeare’s comedy but on the rise of the metric system.)

    The magazine’s centenary celebrations, which kicked off in February, provide a wonderful occasion to get reacquainted with our rich history. Whether you are looking for something specific, going down a rabbit hole, or simply catching up, the newly expanded archive is designed to make a hundred years of writing more accessible than ever. Subscribers enjoy unlimited access; if you aren’t a subscriber yet, become one today.

    We’ll continue to highlight some of our past favorites in the Classics newsletter, on our home page, and elsewhere, but consider this an open invitation to dive into the archive on your own. If you do choose to read on the water, please be careful—an iPad dropped overboard won’t hold up quite as well as a copy of the print magazine. ♦

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    Nicholas Henriquez

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  • Some Other Critics Didn’t Love Taylor Swift’s New Album Either – Here’s Why! – Perez Hilton

    Some Other Critics Didn’t Love Taylor Swift’s New Album Either – Here’s Why! – Perez Hilton

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    Over the past few days we’ve seen some of the ugliest side effects of fans’ devotion to Taylor SwiftPaste magazine literally kept its music critic’s name secret because they were afraid of the danger the poor person might be in for trashing her new album. They didn’t think The Tortured Poets Department was good, now they have to be protected like a juror from Trump’s scary followers? That’s awful.

    The truth is, not everyone is always going to agree on art — and that’s OK! In fact, plenty of reviewers weren’t just gushing about TTPD. Several gave it mixed or even mixed-negative reviews overall.

    Related: Taylor Shouts Out The Most Positive Reviews

    We thought maybe in light of the theoretical response to that one harsh review, we’d take a look at some of the others to prove that point. So what did some critics take issue with? Let’s take a look:

    NME

    NME gave the album 3 out of 5 stars, calling it “a rare misstep” for Tay. Ouch, right?

    Reviewer Laura Molloy calls TTPD “a knottier, if inferior, sequel to Midnights” which is “mostly devoid of any noticeable stylistic shift or evolution.” She writes:

    “It mostly descends into a monochromatic palette, existing in the same Jack Antonoff-branded synth pop as Midnights, yet struggling to capture any of its brightness.”

    Molloy makes a point of praising Taylor’s lyrics generally before says this album bucks the trend and “delivers some of her most cringe-inducing lines yet.” She calls out the title track’s already infamous:

    “You smoked then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep / Like a tattooed golden retriever.”

    She didn’t even like what Taylor was doing with But Daddy I Love Him, singling out the lines:

    “These people only raise you to cage you… God save the most judgemental creeps/Who say they want what’s best for me”

    We imagine those are plenty of fans’ favorites on the whole damn album! Like we said, people are going to disagree on art! As it ever was. And again, that’s OK!

    Pitchfork

    Pitchfork is always hard to please, so 6.6 out of 10 may feel like condemning Taylor as mediocre — but it’s not shocking either. Writer Olivia Horn blames the “burden of expectation” — speculating Tay went ham to fill the “widening gap between Taylor Swift the artist and Taylor Swift the phenomenon” with “a firehose of material.”

    Horn’s evaluation seems to be that Taylor wasn’t precious enough and should have adhered to that old writing rule, kill your darlings. She says TTPD is “conspicuously wanting for an editor”:

    “She piles the metaphors on thick, throws stuff at the wall even after something has stuck, picks up the things that didn’t stick and uses them anyway.”

    Horn seems to feel the album is more miss than hit as a result. She mostly is unimpressed with everything that’s so familiar, especially musically — though she calls out But Daddy I Love Him as fresh and exciting and “reaching flights of fantasy unlike anything else on this album.”

    The New Yorker

    The New Yorker‘s review calls the album “too long and too familiar.” We’re sensing the pattern here.

    Writer Amanda Petrusich calls out the lyrics like NME did, also singling out the Charlie Puth line, calling it “one of the weirdest verses of Swift’s career.” She goes on to say:

    “Even the greatest poets whiff a phrase now and then, but a lot of the language on the record is either incoherent (“I was a functioning alcoholic till nobody noticed my new aesthetic”) or just generally bewildering (“Florida is one hell of a drug”).”

    Petrusich does point out lyrics she loves though, like:

    “Now I’m down bad, crying at the gym / Everything comes out teen-age petulance / F**k it if I can’t have him.”

    That was a line Molloy couldn’t get her head around, either! Like we said, it’s all subjective! Again, THAT IS OK! Honestly, it’s even great! You can’t expect something to 100% hit home with one person without getting a little bit further away from a listener with very different life experiences.

    The New York Times

    The New York Times‘ Lindsay Zoladz says some of TTPD is “a return to form” but as it goes on “Swift’s lyricism starts to feel unrestrained, imprecise and unnecessarily verbose.” She references the art form Taylor has embraced as evidence of why it doesn’t work very well — poetry. She explains:

    Sylvia Plath once called poetry ‘a tyrannical discipline,’ because the poet must ‘go so far and so fast in such a small space; you’ve got to burn away all the peripherals.’ Great poets know how to condense, or at least how to edit. The sharpest moments of The Tortured Poets Department would be even more piercing in the absence of excess, but instead the clutter lingers, while Swift holds an unlit match.”

    It seems overwhelmingly those who didn’t love the album are of a similar way of thinking — in releasing so many tracks, Taylor seemingly didn’t narrow it down to the best she was capable of. It sounds like they think we got something like the assembly cut — the unedited version of a movie with all the footage before it gets tightened up and made to work as a real piece of solid entertainment. They all feel like it’s hit and miss, maybe at too low a quotient. Like a mediocre SNL episode.

    These are all painstakingly well-considered reviews by good writers. But importantly they don’t consistently agree on what the hits and misses are. So again, there’s no need to read these reviews as attacks. Everyone is just giving you their take! So take away what you can from the reviews, let it help solidify your opinion whether in agreement or disagreement. It’s all part of the experience of a new piece of art, y’all! Enjoy!

    [Image via Taylor Swift/YouTube.]

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    Perez Hilton

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  • Speedy Ortiz's Sadie Dupuis and Cartoonist Navied Mahdavian on the Books and Music of 2023

    Speedy Ortiz's Sadie Dupuis and Cartoonist Navied Mahdavian on the Books and Music of 2023

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    For the final It’s Real episode of 2023, Jordan Edwards and Demi Ramos talk to a couple of artists who have had great years.

    Sadie Dupuis, known for fronting Speedy Ortiz, was recently named one of the 250 Greatest Guitarists of All Time by Rolling Stone. In September, the band released Rabbit Rabbit.Their first album since 2018’s Twerp Verse, it was a hit with both fans and critics.

    Outside of music, Dupuis is a poet and former journalist who has written the books Mouthguard andCry Perfume. She’s an avid reader and often posts about her favorite books on social media.

    Joining Dupuis is Navied Mahdavian, a Utah-based cartoonist and author best known for his contributions to The New Yorker. This fall, he released his first book This Country: Searching for Home in (Very) Rural America. The bittersweet graphic memoir covers the time he spent with his wife and young daughter in Central Idaho.

    Watch Dupuis and Mahdavian talk to Jordan and Demi about their favorite books of the year, as well as the music they’ve been listening to.

    Sadie Dupuis and Navied Mahdavian | It’s Real with Jordan and Demi

    Check out more episodes of It’s Real with Jordan and Demi on Spotify, including conversations with Chappell Roan, Plain White T’s, MxPx, and Cannons.

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    Staff

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  • Mattel’s new live-action “Barney” movie will lean into adults’ “millennial angst,” producer says

    Mattel’s new live-action “Barney” movie will lean into adults’ “millennial angst,” producer says

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    live-action “Barney” movie is headed for the big screen. But according to one studio executive, it won’t be for kids – it’s for adults who grew up with the character. 

    Producer Kevin McKeon told The New Yorker that the project – which is set to be produced by Mattel and Daniel Kaluuya, known for his starring roles in “Get Out,” “Nope” and “Black Panther” – will be “surrealistic.” 

    “We’re leaning into the millennial angst of the property rather than fine-tuning this for kids,” he said. “It’s really a play for adults. Not that it’s R-rated, but it’ll focus on some of the trials and tribulations of being thirtysomething, growing up with Barney – just the level of disenchantment within the generation.” 

    “Barney & Friends” came out in April 1992, making Barney’s first fans those who are now in their 30s. The character is known for his optimism, giggle and educational messages, as well as his “I Love You” song. 

    McKeon didn’t provide any additional details to The New Yorker about the live-action film’s plot, but said the idea he had pitched set the movie up as an “A24-type” film, seemingly saying it could have a similar tone to artful independent films like “The Whale,” “Aftersun,” “Bodies Bodies Bodies” and “Everything Everywhere All At Once.” 

    “It would be so daring of us, and really underscore that we’re here to make art,” McKeon told the magazine. 

    Robbie Brenner of Mattel Films also hinted at the new movie’s unusual approach to the character in the company’s 2019 announcement of the project. 

    “Working with Daniel Kaluuya will enable us to take a completely new approach to ‘Barney’ that will surprise audiences and subvert expectations,” he said. “The project will speak to the nostalgia of the brand in a way that will resonate with adults, while entertaining today’s kids.”

    Earlier this year, Mattel revealed a first-look of a new digital Barney as the company relaunches the franchise ahead of the live-action film, which does not yet have a release date. The new animated Barney will debut in 2024 and is expected to be a series that features the dinosaur and his friends going on adventures “centered on love, community and encouragement.”  

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