You may recognize this drawing from Allie Brosh's popular "<a href="http://hyperboleandahalf.blogspot.com/2010/06/this-is-why-ill-never-be-adult.html">This Is Why I'll Never Be An Adult</a>" blog post. (It's now a popular Internet meme.)
Credit Courtesy Touchstone Books
<em></em> <em>Hyperbole and a Half</em> is Allie Brosh's first book. In it, as on her blog, she draws herself with a tube body and a yellow, triangle ponytail.
Originally published on Tue November 12, 2013 10:17 am
[This piece contains some plot details about About Time, but nothing major that isn't revealed in the film's marketing.]
Movies are the closest thing we have to time travel, so it's no wonder — or rather, it's a rich and enduring wonder — that so many memorable films have made it their subject. Actually, let's strike that. Few if any of those films are actually about time travel. Most films that involve it use it as a means of discussing something else.
Rapper and producer Sean "Diddy" Combs, director Robert Rodriguez, and basketball legend Magic Johnson each now has his own new cable TV networks. Their channels were part of a merger deal Comcast made with the FCC to give a shot to new networks owned by African Americans, Latinos and others.
Last month, Combs threw on his classic Puff Daddy alias to welcome millennial viewers to his new music network, Revolt.
This Veterans Day, considers these lines from the preface to Fire And Forget, a collection of short stories by veterans of the wars in Iraq and Afghanistan:
On the one hand, we want to remind you ... of what happened ... and insist you recollect those men and women who fought, bled, and died in dangerous and far-away places. On the other hand, there's nothing most of us would rather do than leave these wars behind. No matter what we do next, the soft tension of the trigger pull is something we'll carry with us forever.
Originally published on Fri November 15, 2013 4:56 pm
A few years ago I did an author visit at an overcrowded junior high school in a rougher part of San Antonio. I write young adult novels that feature working-class, "multicultural" characters, so I'm frequently invited to speak at urban schools like this.
As is often the case, the principal and I talked as the kids filed into the auditorium. The student body was mostly Hispanic, he told me, and over 90 percent qualified for free and reduced lunch. It was an underprivileged school, a traditionally low-achieving school, but they were working hard to raise performance.
Robert Henri's 1913 <em>Figure in Motion</em> was a realistic, but bold response to Matisse's and Duchamp's nudes.
Credit Terra Foundation for American Art, Chicago, Ill.
The 69th Regiment Armory on East 25th Street may have seemed like an odd venue, but it was big enough to hold the 1,400-work exhibition. "There were lots of comparisons in 1913 of the Armory Show being a bomb from the blue, so the Armory is not inappropriate," says curator Kimberly Orcutt.
Credit Archives of American Art, Smithsonian Institution
Marcel Duchamp's Cubist-inspired <em>Nude Descending a Staircase</em> was famously described by one critic as "an explosion in a shingle factory."
Credit Philadelphia Museum of Ar / 2013 Artists Rights Society (ARS), New York / ADAGP, Paris/Succession Marcel Duchamp
Henri Matisse angered viewers with his "distorted" <em>Blue Nude,</em> a 1907 oil on canvas.
Credit The Baltimore Museum of Art / 2013 Succession H. Matisse/Artists Rights Society (ARS), New York.
<em>McSorley's Bar</em> by American realist John Sloan<em> </em> is a 1912 slice-of-New-York-life scene of relaxation and libation.
Credit Delaware Art Museum / Artists Rights Society (ARS), New York
One hundred years ago in New York City, nearly 90,000 people came to see the future of art. The 1913 Armory Show gave America its first look at what avant-garde artists in Europe were doing. Today these artists are in major museums around the world, but in 1913, they were mostly unknown in America.