“Popular culture” is not the opposite of or the alternative to something called “high culture.” It is not degraded, debased, simple, or undisciplined. Nor is it defined primarily by its mass appeal or commercial values.
“Of late the American character has received marked and not altogether flattering attention from American critics.” The comment, from the opening page of Constance Rourke’s great, unjustly ignored book American Humor , bears one of her trademarks
A BOLD NEW KIND OF COLLEGE COURSE BRINGS the student directly to the past, nonstop, overnight, in squalor and glory, for weeks on end
Wynton Marsalis believes America is in danger of losing the truest mirror of our national identity. If that’s the case, we are at least fortunate that today jazz’s foremost performer is also its most eloquent advocate.
When Wynton Marsalis burst into the public eye in the early 1980s, it was as a virtuoso trumpet player. From the start he was an articulate talker too, but his bracing opinions were off-thecuff and intuitive; his ideas, like his playing, needed seasoning.
For a century and a half Germans have been deeply ambivalent about the United States, and their contradictory feelings say much about their future in Europe and the world
In 1989 the Berlin wall came down. A year later the unimaginable had become a reality: Germany, divided in 1945, was reunified, and it was beginning to raise a major voice not only in Europe but also in world politics.
The most powerful columnist who ever lived single-handedly made our current culture of celebrity— and then was destroyed by the tools he had used to build it
“WHY WALTER WINCHELL?” I have been asked repeatedly during the years I have been working on a biography of him. Why someone so passé or someone so beneath contempt as also to be beneath biography?
Why Litigiousness Is a National Character Trait
BACK BEFORE CLAUS VON BULOW ever heard of Jeremy Irons, a judge who found the news media’s attitude toward the case puzzling put a question to a friendly television reporter.
BORN IN SLAVERY AND RAISED IN ITS PAINFUL AFTERMATH TO BECOME ONE OF THE MOST POWERFUL AMERICAN ICONS, SHE HAS BEEN MADE TO ENCOMPASS LOVE AND GUILT AND RIDICULE AND WORSHIP —AND STILL SHE LIVES ON
On Highway 61, just outside of Natchez, Mississippi, stands Mammy’s Cupboard, a thirty-foot-high concrete figure of a black woman.
As we go to press with this issue the country is swept by a new fad—“streaking,” or running naked through public places.