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The New Yorker

The New Yorker May 9, 2016

Founded in 1925, The New Yorker publishes the best writers of its time and has received more National Magazine Awards than any other magazine, for its groundbreaking reporting, authoritative analysis, and creative inspiration. The New Yorker takes readers beyond the weekly print magazine with the web, mobile, tablet, social media, and signature events. The New Yorker is at once a classic and at the leading edge.

Country:
United States
Language:
English
Publisher:
Conde Nast US
Frequency:
Weekly
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47 Issues

in this issue

2 min.
contributors

Jeffrey Toobin (“The Showman,” p. 36) is a staff writer. His new book, “American Heiress: The Wild Saga of the Kidnapping, Crimes and Trial of Patty Hearst,” will be published in August. Emily Nussbaum (On Television, p. 72), who has been the magazine’s television critic since 2011, won the 2016 Pulitzer Prize for criticism. Amy Davidson (Comment, p. 17) writes regularly for Comment and also for newyorker.com. Lauren Collins (“The Model American,” p. 22) is a staff writer. Dexter Filkins (“Dangerous Fictions,” p. 28) joined the staff of The New Yorker in 2011. His book “The Forever War” won a National Book Critics Circle Award. Peter Gizzi (Poem, p. 42), the author of “In Defense of Nothing: Selected Poems,” has a new collection, “Archeophonics,” coming out in September. Kathryn Schulz (Books, p. 66), a staff writer,…

3 min.
the mail

OUT OF SIGHT Gay Talese’s article about Gerald Foos, a motel owner who secretly spied on his customers for decades, devotes only a few lines to the culpability of Talese himself during their thirty-year correspondence (“The Voyeur’s Motel,” April 11th). He writes, “Had I become complicit in his strange and distasteful project?” Talese doesn’t appear to have struggled much with the decision to stay mum, and the piece is a missed opportunity to attempt to understand the perspectives of those who stayed in the motel, and to look at the role of misogyny in this homegrown “research.” Talese seems more interested in the slapstick moment when his tie dangles through the observation vent over a couple having oral sex than in exploring the moral implications of gazing at them, and others,…

41 min.
goings on about town: this week

The scraping, hazy chamber goth of the singer-songwriter Chelsea Wolfe sounds a bit like Lana Del Rey brooding through Silent Hill. The Roosevelt, California, native plays folk by definition: her confessional, demure vocals on “Winter” sway crisply over barroom guitar. But it’s the layers of dissonant, cold embellishments, like the acidic bass line on “After the Fall,” from her 2015 album, “Abyss,” that have prickly experimentalists and jet-black metal fans flocking to her sets. She returns to the Music Hall of Williamsburg on May 8. CLASSICAL MUSIC OPERA Metropolitan Opera Following the announcement that he will retire from his post as music director at the end of this season, James Levine conducts a lyrically expansive, if occasionally unpolished, performance of Mozart’s “Die Entführung aus dem Serail,” an “escape” opera about four Europeans trapped in…

2 min.
star power

The modern documentary was born in 1960, by way of that year’s Presidential campaign. The producer Robert Drew, a Life-magazine editor who wanted to make television documentaries as fluid as photo-reporting, oversaw the development of lightweight synch-sound cameras and recorders. He put the equipment to the test in “Primary,” an up-close account of the two rivals for the Democratic nomination, Senators John F. Kennedy and Hubert Humphrey, as they hustled for votes in the April 5 election in Wisconsin and then awaited the results. That film is the earliest and most revolutionary work in the new Criterion DVD and Blu-ray release “The Kennedy Films of Robert Drew & Associates.” “Primary” is the primordial observational documentary; Drew’s minimal film crews are embedded in car rides with the candidates and behind the scenes…

2 min.
the examined life

“Now, you don’t know me, and I don’t know you, so let’s cut to the chase, the name is Stew.” That’s how the mononymous fifty-four-year-old rocker and raconteur announced himself, electric guitar in hand, at the start of his musical memoir, “Passing Strange.” The show—part rock concert, part “Pippin”—opened at the Public in 2007 and moved to Broadway the following year, where Spike Lee filmed it for posterity. A stout, goateed troubadour in a porkpie hat, Stew played both narrator and knowing foil to his younger self, a callow, bug-eyed teen-ager whose tussle with identity takes him from black bourgeois Los Angeles to the hashclouded coffeehouses of Amsterdam and on to the Berlin punk scene, where he embellishes his racial trauma to gain cred with the avant-garde crowd. Both his…

3 min.
goings on about town: above & beyond

America’s Cup This most venerable of boat races is named not after the country but after the New York Yacht Club schooner that first outraced a British ship, in 1851, setting off a century of victories for the port city and establishing an era of dominance in the New World. This year, the race returns to New York for the first time since 1920, one of six international locations for the Louis Vuitton America’s Cup World Series. Spectators will gather at the Brookfield Place Waterfront Plaza to watch the top sailors on the globe race through the lower Hudson River off the Battery Park City Esplanade, in pursuit of what’s widely known as the oldest trophy in international sport. (230 Vesey St. acws-newyork. americascup.com. May 7-8.) AUCTIONS AND ANTIQUES In the next few…