Terry Teachout on the arts in New York City
– Annual salary (including $3,000 in expenses) paid to Edmund Wilson in 1943 for writing a weekly book review for The New Yorker: $13,000
– The same amount in today’s dollars, courtesy of Inflation Calculator: $147,356.17
(Source: Lewis M. Dabney, Edmund Wilson)
– Annual salary (including $3,000 in expenses) paid to Edmund Wilson in 1943 for writing a weekly book review for The New Yorker: $13,000
– The same amount in today’s dollars, courtesy of Inflation Calculator: $147,356.17
(Source: Lewis M. Dabney, Edmund Wilson)
“I believe in mess, tears, pain, self-abasement, loss of self-respect, nakedness. Not caring doesn’t seem much different from not loving.”
Tom Stoppard, The Real Thing
“I believe in mess, tears, pain, self-abasement, loss of self-respect, nakedness. Not caring doesn’t seem much different from not loving.”
Tom Stoppard, The Real Thing
In addition to my weekly drama column, I have a book review in today’s Wall Street Journal. It’s of Daniel Goldmark’s Tunes for ‘Toons: Music and the Hollywood Cartoon:
“Tunes for ‘Toons,” says Mr. Goldmark, an assistant professor of music history at Case Western Reserve University, is “a set of case studies rather than an all-encompassing history,” for which reason he devotes whole chapters to Carl Stalling of Warner Bros. and Scott Bradley of MGM, who between them scored most of the major non-Disney animated shorts and thereby “helped establish the public’s notion of what cartoon scores should sound like.” Their sharply contrasting styles are described with well- informed clarity: Stalling used recycled pop songs in the collage-like manner of a silent-movie accompanist, while Bradley preferred through-composed scores with unmistakable touches of modernism….
As usual, no link. You know what to do.
– Advance paid to Edmund Wilson by W.W. Norton in 1939 for The Wound and the Bow: $800
– The same amount in today’s dollars, courtesy of Inflation Calculator: $10,496.64
(Source: Lewis M. Dabney, Edmund Wilson)
“Imagine a Nazi masterpiece, if you can. At the bottom of that pit lies some truth, about art and life. But it is an elusive truth.”
Tom Stoppard (quoted in the New York Times, Feb. 20, 1984)
“Imagine a Nazi masterpiece, if you can. At the bottom of that pit lies some truth, about art and life. But it is an elusive truth.”
Tom Stoppard (quoted in the New York Times, Feb. 20, 1984)
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