“It seems that not only do Americans see beer as a person, they see beer as a person other people like better than them.”
According to Chris Richards at the Washington Post, the Ivy League rockers of Vampire Weekend are the unapologetic Bright Young Things of our recession era. Drinking Darjeeling on Daddy's yacht never looked so good, he says, and their second album, Contra, out yesterday, sounds pretty good too.
"Pornography has changed unrecognizably from its so-called golden age—the period, in the sixties and seventies, when adult movies had theatrical releases and seemed in step with the wider moment of sexual liberation, and before V.H.S. drove down production quality, in the eighties. Today’s films are often short and nearly always hard-core; that is, they show penetrative sex. Among the most popular search terms in 2015 were 'anal,' 'amateur,' 'teen,' and—one that would surely have made Freud smile—'mom and son.'" The New Yorker attempts to make some sense of modern pornography.
It’s a catchy idea: two rich Philadelphians, shut out of their family fortune, decide to gain new wealth by proving the existence of the Loch Ness monster. It’s the plot of At the Water’s Edge, the new book by Water for Elephants author Sara Gruen. Robert J. Wiersema reviewed the book in The Globe and Mail. Sample quote: “In most families, fleeing to Scotland to prove the existence of the Loch Ness monster would seem an odd thing to do in order to expiate a social faux pas and redeem the family honour, but the Hydes aren’t most families.”
How did Ian Fleming come up with James Bond? It’s easy to think, considering the political context of his era, that Fleming tailored his superspy to be the ideal hero of the Cold War. Yet there’s another, more prosaic explanation -- was the author simply having a midlife crisis?