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Martin Schneider writes:
On Tuesday, April 6, I joined my Emdashes colleagues Emily Gordon and Jonathan Taylor at the New York Public Library for the publication day event for The Bridge, David Remnick's eagerly awaited book about Barack Hussein Obama, the 44th President of the United States. It was an hour of spirited discussion about Obama, moderated by Atlantic Monthly blogger Ta-Nehisi Coates, who has written two articles for The New Yorker and also appeared as a panelist at the 2008 New Yorker Festival.
In the summer of 2008, Remnick and New Yorker executive editor Dorothy Wickenden entered into a wager about the election's outcome—Remnick's full explanation of his pessimism was a slow repetition of Obama's full name. Today, as (continued)
Jonathan Taylor writes:
There's been a lot of fun lately looking at Google's search query completion suggestions (what's the better phrase for those?). With the hullaballoo about Google in China, I realized I hadn't yet seen comparisons of these searches across international Google sites. To wit: Here's what comes up on Google.com.hk (Hong Kong) when you type in "why" (in English):
Um, are you ready for the U.S. site's questions? (continued)
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Pollux writes:
“Homage” is the title of Ana Juan’s cover for the March 29, 2010 issue of The New Yorker. This issue is The Style Issue and the cover pays homage to a designer who recently passed away, Alexander McQueen.
Juan’s cover pays homage to not only McQueen, but to one of his Spring 2008 headpieces as well, a picture of which can be seen here. (continued)
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Pollux writes:
“Don’t take it as a matter of course,” the Austrian-British philosopher Ludwig Wittgenstein once wrote, “but as a remarkable fact, that pictures and fictitious narratives give us pleasure, occupy our minds.”
Christ, what an asshole!
I refer not to Wittgenstein, but to a universal caption that could be applied to all New Yorker cartoons in the magazine’s caption contest. Emily wrote on the phenomenon when it made its appearance in cyberspace.
As scientifically demonstrated by Charles Lavoie, “Christ, What an Asshole!” can be applied to multiple New Yorker cartoons without sacrificing their humor or coherence.
The caption seems to work, creating a fictitious and humorous narrative. Perhaps it’s the shock value of using profanity for classic New Yorker cartoons, or the fact that it exposes their basic formula: a bizarre figure or situation amidst a normal, workaday one.
“Christ, What an Asshole!” gives us pleasure and occupies our minds. (continued)
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