The New Yorker

The New Yorker is an American weekly magazine featuring journalism, criticism, fiction, satire and poetry. Started as a weekly in 1925, the magazine is now published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings focus on the cultural life of New York City, The New Yorker has a wide audience outside New York and is read internationally, it is well known for its illustrated and topical covers, its commentaries on popular culture and eccentric Americana, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, its single-panel cartoons sprinkled throughout each issue. The New Yorker was founded by Harold Ross and his wife Jane Grant, a New York Times reporter, debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life.

Ross partnered with entrepreneur Raoul H. Fleischmann to establish the F-R Publishing Company; the magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross famously declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. In subsequent decades the magazine published short stories by many of the most respected writers of the twentieth and twenty-first centuries, including Ann Beattie, Sally Benson, Truman Capote, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.

J. Perelman, Philip Roth, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, Stephen King, E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or three short stories a week, but in recent years the pace has remained steady at one story per issue. While some styles and themes recur more than others in its fiction, the stories are marked less by uniformity than by variety, they have ranged from Updike's introspective domestic narratives to the surrealism of Donald Barthelme, from parochial accounts of the lives of neurotic New Yorkers to stories set in a wide range of locations and eras and translated from many languages. Kurt Vonnegut said that The New Yorker has been an effective instrument for getting a large audience to appreciate modern literature. Vonnegut's 1974 interview with Joe David Bellamy and John Casey contained a discussion of The New Yorker's influence: he limiting factor is the reader.

No other art requires the audience to be a performer. You have to count on the reader's being a good performer, you may write music which he can't perform—in which case it's a bust; those writers you mentioned and myself are teaching an audience how to play this kind of music in their heads. It's a learning process, The New Yorker has been a good institution of the sort needed, they have a captive audience, they come out every week, people catch on to Barthelme, for instance, are able to perform that sort of thing in their heads and enjoy it. The non-fiction feature articles cover an eclectic array of topics. Recent subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, Münchausen syndrome by proxy; the magazine is notable for its editorial traditions. Under the rubric Profiles, it publishes articles about notable people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay and mathematicians David and Gregory Chudnovsky.

Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, "The Talk of the Town", a miscellany of brief pieces—frequently humorous, whimsical or eccentric vignettes of life in New York—written in a breezily light style, or feuilleton, although in recent years the section begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors have been used as filler items, accompanied by a witty retort. There is no masthead listing staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout and artwork; the magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year. Ross was succeeded as editor by William Shawn, followed by Tina Brown. Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, Hannah Arendt.

Brown's nearly six-ye

Skin (Katie Noonan album)

Skin is a studio album by Australian musician Katie Noonan. It was peaked at number 6 on the Australian ARIA Charts. Skin was the first album released by Noonan as a solo artist and recorded between the time of 3 and 8 months pregnant. Noonan says: "I love the themes I explored on this album – I was a madly in love newlywed, experiencing the miracle of pregnancy – it was quite a trip to document! Inspired by Donny Hathaway, Aretha Franklin, Stevie Wonder and Vince Jones, this album was all about exploring groove for me. I learn’t a huge amount making this album and I am grateful for the arduous journey I took with this process, as since it has confirmed my instinct to listen to and trust my inner voice." Bernard Zuel from Sydney Morning Herald said "Her first solo album finds her dabbling in a kind of fluttering,'70s soul jazz reminiscent of, among others, Minnie Riperton." Adding "The songs have a basement soul feel. That is, as with any number of competent jazz funk bands you may see at the Sydney venue on a Friday night, there's a groove, but apart from "Return", it never sinks in beneath the skin.

Across them Noonan's lyrics are not awful but they say something that couldn't have been done by a committee." "Logic" - 2:47 "Return" - 3:32 "Time to Begin" - 4:25 "Love's My Song for You" - 4:06 "Little Boy Man" - 3:22 "Sunshine" - 3:31 "One Step" - 3:48 "Home" - 4:19 "Send Out a Little Love" - 3:51 "Who Are You?" - 4:30 "Bluebird" - 4:43 "A Little Smile" - 3:05 "Special Ones" "Crazy" "I Think I Am" "Choir Girl" "Breathe In Now" "Skin" by Katie Noonan at Discogs

Olivo e Pasquale

Olivo e Pasquale is a melodramma giocoso, a romantic comedy opera, in two acts by Gaetano Donizetti. Jacopo Ferretti wrote the Italian libretto after Antonio Simeone Sografi's play, it premiered on 7 January 1827 at the Teatro Rome. Donizetti made some revisions in a subsequent production in Naples for the Teatro Nuovo in September 1827, the most important of, changing Camillo to a tenor. Time: The eighteenth century Place: LisbonOlivo and Pasquale are two brothers, both merchants from Lisbon: the first is hot-blooded and brutal, the other is sweet and shy. Olivo's daughter, loves a young apprentice, but her father wants her to marry a wealthy merchant from Cadiz, Le Bross. Isabella tells Le Bross. At first he is led to believe that it is Columella, an old conceited and ridiculous man, but shortly after he understands that it is Camillo. Olivo, realizing that his daughter dares to oppose his will, is furious and Le Bross, shocked by his disproportionate reaction, becomes Isabella and Camillo's ally and promises to help them get married.

The lovers threaten to commit suicide at five o'clock if Olivo doesn't agree to let the marriage take place, but he does not believe them and he refuses to be blackmailed. However, at five o'clock, shots of a firearm ring out: Pasquale faints and Olivo says that now he would have preferred Isabella to be Camillo's wife rather than be dead; the threat of suicide was not true, the young couple appears at the door. Notes Cited sources Osborne, The Bel Canto Operas of Rossini and Bellini, Oregon: Amadeus Press. ISBN 0-931340-71-3Other sources Allitt, John Stewart, Donizetti: in the light of Romanticism and the teaching of Johann Simon Mayr, Shaftesbury: Element Books, Ltd. Ashbrook, William and His Operas, Cambridge University Press. ISBN 0-521-23526-X Ashbrook, William, "Donizetti, Gaetano" in Stanley Sadie, The New Grove Dictionary of Opera, Vol. One. London: Macmillan Publishers, Inc. ISBN 0-333-73432-7 ISBN 1-56159-228-5 Ashbrook and Sarah Hibberd, in Holden, The New Penguin Opera Guide, New York: Penguin Putnam.

ISBN 0-14-029312-4. Pp. 224 – 247. Loewenberg, Alfred. Annals of Opera, 1597-1940, 2nd edition. Rowman and Littlefield Sadie, Stanley,. 2nd edition. London: Macmillan. ISBN 978-0-19-517067-2. ISBN 0-19-517067-9 OCLC 419285866. Waidelich, T. G.'in dem Vaterlande der Haydn, der Mozarte und so vieler andern berühmten Componisten'. Ein unbekannter Brief Gaetano Donizettis betreffend den Vertrieb seiner Opera buffa Olivo e Pasquale in Deutschland. In: Semantische Inseln – Musikalisches Festland für Tibor Kneif zum 65. Geburtstag, Hamburg 1997, p. 57–62. Weinstock, Herbert and the World of Opera in Italy and Vienna in the First Half of the Nineteenth Century, New York: Pantheon Books. LCCN 63-13703 Donizetti Society website Libretto