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mysharona1987 · a month ago
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warandpeas · 2 months ago
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Dramatic
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langernameohnebedeutung · 25 days ago
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Good New Yorker cartoon, actually
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newyorkthegoldenage · 17 days ago
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Cover of The New Yorker, July 31, 1954. Cover art by Edna Eicke.
Source: Fine Art America
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loneberry · 7 months ago
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When women writers of my generation speak in awed tones of Didion’s “style,” I don’t think it’s the shift dresses or the sunglasses, the cigarettes or commas or even the em dashes that we revere, even though all those things were fabulous. It was the authority. The authority of tone. There is much in Didion one might disagree with personally, politically, aesthetically. I will never love the Doors. But I remain grateful for the day I picked up “Slouching Towards Bethlehem” and realized that a woman could speak without hedging her bets, without hemming and hawing, without making nice, without poeticisms, without sounding pleasant or sweet, without deference, and even without doubt. It must be hard for a young woman today to imagine the sheer scope of things that women of my generation feared women couldn’t do—but, believe me, writing with authority was one of them. You wanted to believe it. You needed proof. And not Victorian proof. Didion—like her contemporary Toni Morrison—became Exhibit A. Uniquely, she could be kept upon your person, like a flick knife, stuffed in a back pocket, the books being so slim and portable. She gave you confidence. Shored you up.
—Zadie Smith on Joan Didion
https://www.newyorker.com/culture/postscript/joan-didion-and-the-opposite-of-magical-thinking
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nyc-looks · 3 months ago
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Kitty, 23
“I'm wearing my favorite vintage sewing machine themed sweater, yard666sale top, vintage 70s pleated skirt, and hand-me-down red pleather cowgirl boots. My style is always full of color and textures, but specifically, my style is majorly influenced by playing with experimental makeup, hope for spring, and @tinyjewishgirl.”
Apr 9, 2022 ∙ Chelsea
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trek-tracks · 11 months ago
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Every discussion online about new Star Trek with “fans” who clearly did not understand the point of Star Trek is like this
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bookwormingparty · 7 months ago
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joytri · 2 months ago
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New York City Life
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fionaapplerocks · 2 months ago
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Fiona Apple at the 2007 New Yorker show.
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mysharona1987 · a month ago
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warandpeas · 10 months ago
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Terms and Conditions
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pmseymourva · 7 months ago
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New Yorker Dictionary
"Ey yo!" = Positive, endearing, hello
"O ey!!" = Negative, confronting, what are you doing?
"Eya!" = Calling a kinsmen
"Eyyy!" = Congratulating, proud, happy
"Ey ey ey!!" = Back off, stop, Defensive
"Badda bing!" = we don't even really know, but it makes brain happy
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coolthingsguyslike · 2 months ago
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thesociologicalcinema · 6 months ago
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"Pssst! Hey, kids."
Artist: Ward Sutton
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nyc-looks · 5 months ago
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Sophie, 23
“I'm wearing a 70s leather coat, 70s western button down with a white tank top under it, and likely 70s flared light orange trousers with black boots. I’m a big fan of the late 60s to mid 70s music, particularly of the Laurel Canyon music scene based in Los Angeles which is also where I am from. I definitely am inspired to fuse certain elements of my passion for Californian 70s with a bit of a New York flare. I love both places and the art they cultivated.”
Oct 30, 2021 ∙ Chelsea
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transpondster · 6 months ago
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via A Woman’s Intimate Record of Wyoming in the Early Twentieth Century | The New Yorker
On October 28, 1899, Lora Webb Nichols was at her family’s homestead, near Encampment, Wyoming, reading “Five Little Peppers Midway,” when her beau, Bert Oldman, came to the door to deliver a birthday present. The sixteen-year-old Nichols would marry the thirty-year-old Oldman the following year, and divorce him a decade later. The gift, however—a Kodak camera—would change the course of her life. Between 1899 and her death, in 1962, Nichols created and collected some twenty-four thousand negatives documenting life in her small Wyoming town, whose fortunes boomed and then busted along with the region’s copper mines. What Nichols left behind might be the largest photographic record of this era and region in existence: thousands of portraits, still-lifes, domestic interiors, and landscapes, all made with an unfussy, straightforward, often humorous eye toward the small textures and gestures of everyday life. (A selection of images from the full collection, now housed at the American Heritage Center, at the University of Wyoming, was recently published in a catalogue edited by the scholar and photographer Nicole Jean Hill, with a biographical note by Nichols’s family friend Nancy F. Anderson, who served for years as the curator and caretaker of the Nichols archive.)
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