From the cinematic virtuosos who brought us Robocop 2 and 3 comes 300, a gripping tale of political intrigue, passionate romance, and fervent nationalism with, by broad consensus, fewer than thirty lines of intelligible dialogue. The majority of these preciously … Read More
Political campaigns are at once noble and naïve. On one level they are not akin to anything so much as a revolution, albeit one that requires only a temporary commitment.
At 6 am I am standing in a line that stretches along the gates of Vesuvio Playground, a small urban park on the corner of Spring Street and Thompson Street in Soho. At 6:30 am, a CBS news van pulls up to the corner across the street. A young brunette woman and her cameraman jump out of the van and sprint into action. Panorama shots of the line are taken.
This struggle to connect is one reason why students can feel disconnected from their university jobs and exclude them from their campus identities, preferring to invest their personal and social lives in the voluntary activities that better represent their interests.
When browsing classic disco blogs—always maintained by sweaty, foreign men, a tendency I have learned from the pictures of themselves they publish inexplicably—one can only judge the quality of the records by their album covers. There are no band biographies, no album reviews, no other photographs: it is a cultural archive without history or salesmanship. Determining quality with so little information is a delicate but logical process, the mechanics of which can only be explained by example.
A few years ago the song “Fortunate Son” was used in a commercial for Wrangler Jeans. To many this seemed yet another belated obituary for the 60’s, yet another testament to the casual victory of the Establishment. After all, here … Read More
The Cloud Corporation, Timothy Donnelly’s new collection of poems, is a difficult book. That is to say, it’s much more complex than the poetry I usually read. I’m a fan of talky poets, writers like Dean Young and Tony Hoagland … Read More
