Eugene O'Neill is currently having a resurgence everywhere from prisons to Broadway (John Atkinson ranks the Old Vic production of <I>Moon For the Misbegotten</I> as one of his most intense theatrical experiences). John Patrick Diggens argues that O'Neill's themes of deceit and desire are particularly timely for 'Muricans today.
<A HREF="http://nicomuhly.com/news/2007/bliss/">Nico Muhly</A> writes about the joy of singing.
<I>aka</I> The Lucifer Effect—an excerpt from Philip Zimbardo's new book.
The secret life of the F word. Now that you know what it's about, you know not to click the link if that sort of thing offends you. Me? I live in Brooklyn—we use it because "uh" sounds so inexpressive.
Former Talking Heads frontman and the author of <I>This Is Your Brain On Music</I> discuss Music, language, and memory.
<I>The OC Register</I>'s Timothy Morgan writes about the increasing tendency of classical audiences to applaud between movements. His response? "I don't care."
"The classic beginner's mistake in Argentina is to neglect the first steak of the day."
Stephen Ambrose gently suggested that the ingenuity of the American soldier was a contributing factor in the Allied victory in WWII, pointing to the GI-engineered solutions to, say, Normandy's hedgerows as an example. That creative spirit is illustrated linguistically, too, as shown in the linked list of acronyms and expressions.
Sitting in Hong Kong harbor one afternoon, I watched container ship after container ship set sail across the Pacific, piled unbelievably high with cargo modules. I asked my host, "How can that be stable?"
Timewise, that is.