White House Press Secretary Sean Spicer has apologized for saying that Adolf Hitler didn’t gas his own people and, presumably, for adding that Hitler did bring them into the “Holocaust centers” – you know, the death camps with those nifty gift shops.
Spicer, of course, was awkwardly trying to set up one of the standard ploys of his boss, President Donald J. Trump, which is to throw someone under the bus by comparing that person to someone else who represents abject evil. Apparently, Trumpet has decided that Vladdie Rootin’ Tootin’ Putin’s sell-by date has arrived and thus needs to blame Russia for backing Syrian President Bashar al-Assad, who has been roundly condemned for using chemical weapons on his people. ...
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It is perhaps no small irony that the culture that gave us “nothing in excess; everything in moderation” also gave us a literary masterpiece whose first word is “rage.”
The ancient Greeks were a mass of contradictions. But then, human nature is a mass of contradictions and the Greeks were nothing if not masters of plumbing the human condition as seen in “A World of Emotions, Ancient Greece, 700 B.C.-200 A.D.,” on view at the Onassis Cultural Center New York through June 24. ...
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President Donald J. Trump’s decision to respond to the chemical weapons attack in Syria with a bombardment of 59 Tomahawk missiles was the most presidential thing he has done so far. He’s not the first president to use an air strike as a form of gesture politics and, sadly, he won’t be the last.
But it had to be done. It’s what a President Hillary Clinton would’ve done. It’s what President Barack Obama should’ve done. What does it accomplish? Maybe nothing. But you cannot let chemical weapons go unnoticed. This year marks the centennial of the United States’ entry into World War I, the Great War, in which millions were gassed. The response was “Never again.” And yet it has happened, again and again. ...
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Years ago, I worked with a woman who was a very good writer. I remember one piece in particular, a column about a woman dying on the streets of Manhattan attended by strangers who belied the image of the cold-hearted New Yorker. It was a terrific piece of writing and I told this colleague as much. She snorted and shot me a look that suggested that and $1 would get her a cup of coffee. I took no offense. Her defining quality was a bitter frustration that stemmed from her being the mistress of one of the company’s higher-ups. Ironically, though her situation had gotten her foot in the door, it had also locked her into a clerical job for fear of the appearance of favoritism that the staff writing job she coveted would’ve surely provoked.
Apart from the clerical job, all her sleeping her way to the middle had really earned her was the contempt and merciless gossip of the women she worked with. I being a newbie and of a different temperament didn’t hate her. But I pitied her, which was perhaps far worse. ...
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The painting shows a young black man in a coffin, his face a blur of color in the manner of Abstract Expressionist art – and violent death.
The departed, then, is not just someone who has succumbed to the ills that the flesh is heir to. Emmett Till was just 14 years old when he was lynched by two white men for flirting with the wife of one of them. “Open Casket, “ on view at the Whitney Biennial, is Dana Schutz’s 2016 painting of a mutilated Till in the open casket his mother, Mamie Till Bradley, insisted on. The work has drawn protests and condemnation from black artists and writers, who question the right of a white woman to appropriate a searing moment in black history. ...
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Just when we needed a well-deserved break from the circus that is the Trump Administration – what with former National Security adviser Michael Flynn seeking immunity to testify about Ruskie hacking and oxymoronic House Intelligence chair Devin Nunes skulking around the White House bushes like the star of some third rate Tom Clancy thriller and President Trumpet and Ayn Rand-reading House Speaker Paulie PowerPoint trying to keep the No, No Nanettes of the Freedom Caucus in line for another pass (God help us) at repeal and replace – Brexit is back to remind us that it is just a transatlantic mirror of all of the above. ...
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A shoutout to the new film version of “Beauty and the Beast,” which proves you can build on previous iterations and make something that is related but individual.
Of the three Walt Disney versions using Alan Menken’s score – which also include an acclaimed animated movie and a Broadway musical – this latest interpretation is by far the most adult (although kids will still enjoy it). ...
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