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The New Yorker

The New Yorker October 14, 2013

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

1 min.
contributors

MARGARET TALBOT (COMMENT, P. 37), the author of “The Entertainer,” has been a contributor to the magazine since 1997. JOHN SEABROOK (“THE DOCTOR IS IN,” p. 44) is a staff writer. JEREMY DENK (“PIANO MAN,” P. 48) received a 2013 MacArthur Fellowship. His recording of J. S. Bach’s Goldberg Variations was released in September. AKASH KAPUR (“RUSH,” P. 59) lives in South India. His book, “India Becoming: A Portrait of Life in Modern India,” is out in paperback. NICOLE HOLOFCENER (“CAUGHT NAPPING,” p. 66) is a screenwriter and a film director. “Enough Said” is her latest feature. NATHAN HELLER (“BAY WATCHED,” p. 68) is a staff writer. AMY POEHLER (“TAKE YOUR LICKS,” p. 74), the actor, writer, and producer, currently stars in the TV series “Parks and Recreation,” and has a book coming out next year. JAMES…

3 min.
the mail

A PATH TO THE MIDDLE CLASS James Surowiecki asserts that Bill de Bla sio’s plan for universal pre-K education “may be good social policy, but it’s not going to create jobs,” even though the addition of pre-kindergarten has clear positive implications for job creation and for the middle class (The Financial Page, September 23rd). My children’s preschool employs two full-time administrators, nine full-time teachers, and several part-time specialists, substitutes, and after-school-care staff members. Many of these jobs could be a gateway to the middle class. Owing to free child care, New York City would likewise become a more desirable place for middleclass families to live. Michael Silverstein Los Angeles, Calif. CASES FOR EQUALITY As Ariel Levy demonstrates, Edith Windsor’s life story and four-decade relationship with Thea Spyer made her a compelling plaintiff and inspired…

26 min.
listings

IN THIS CITY, you often have to know someone who knows someone to get into any place worthwhile, be it a popular restaurant or a powerful boardroom. But, each fall, Open House New York makes everyone an insider. Its annual weekend event, which runs Oct. 12-13 and is in its eleventh year, provides access to countless out-of-the-way, and typically off-limits, spaces, from the top of the Little Red Lighthouse, in Manhattan, to the Citi Bike Warehouse, beneath the Gowanus Expressway. To find out about other unclassifiable curiosities around town each week, see Above & Beyond. MUSEUMS SHORT LIST METROPOLITAN MUSEUM Fifth Ave. at 82nd St. (212-535-7710)—“Interwoven Globe: The Worldwide Textile Trade, 1500-1800.” Through Jan. 5. MUSEUM OF MODERN ART 11 W. 53rd St. (212-708-9400)—“New Photography 2013.” Through Jan. 6. MOMA PS1 22-25 Jackson Ave., Queens…

2 min.
art: working-class hero

THAT A MAJOR MIKE KELLEY retrospective opens this week at MOMA’s PS1 annex, in Long Island City, rather than at the museum’s West Fifty-third Street basilica feels disrespectful. It might have pleased Kelley, who gloried in being an underdog and chafed at his international fame as the artist laureate of the punk generation. His last years suggested an inverse ratio of worldly success to personal happiness. He committed suicide in January, 2012, at the age of fifty-seven. The loss still hurts. Whether you like or dislike him, as you might by turns, he felt as indispensable as a compass in the darker woods of contemporary experience. Kelley, who lived for thirty-four years in Los Angeles, grew up in a suburb of Detroit and marinated in the music scene that gave the…

17 min.
night life: brighter tomorrow

ANDY HUNG AND Ben Power released their first single as Fuck Buttons, “Bright Tomorrow,” in 2007. The DNA of the band was embedded in the song’s simple structure: a single, pulsing ostinato, surrounded by signals of unknown origin, then obliterated by wide blankets of white noise. The track charted a path between visceral, coarse rhythms and a textured, colorful tonality. Their first album, “Street Horrrsing” (2008), was psychedelic rock rendered with cheap synthesizers and gear picked up from junk sales, to approximate the sound of a full rock band. In the beginning, the music was ill-tempered and thrilling—long, sharp drones accompanied by vocals that sounded like they’d been driven through a small speaker to the point of disintegration. Over time, all singing was dropped, and the beats became less leaden.…

2 min.
movies: location, location

MOMA’S ANNUAL SERIES “To Save and Project” (running Oct. 9-Nov. 12) gathers notable restorations from archives and cinémathèques around the world—almost all in the original 35-mm. or 16-mm. format. Some of the restored films are distinguished more by their scarcity than by their beauty, but many in the series are important additions to the repertory—and the rare chance to see them projected on a big screen emphasizes their merits. That’s especially so for a trio of films made in three different eras which were shot in striking locations by directors whose diverse ways with landscape are central to their artistry. Karl Brown, who worked on D. W. Griffith’s camera crew, was a special-effects pioneer. But for his first film as a director, “Stark Love,” from 1927, he blazed a trail of…