The Exciting Game of Career Girls (1966): “Speaking Clearly: Good for Actress and Teacher.”
And I should point out that this was less than forty years ago.
The Exciting Game of Career Girls (1966): “Speaking Clearly: Good for Actress and Teacher.”
And I should point out that this was less than forty years ago.
Earlier this week, Maud Newton voiced her concerns about the direction that the New Yorker was heading, specifically focusing on the August 22, 2005 issue, which features a sole sponsor — Target.
While Maud has already pointed to the waning editorial content (perhaps best recently represented by Ken Auletta’s uncritical puff piece on morning talk shows, “The Dawn Patrol,” which appeared in the August 8/15, 2005 issue.), I’d instead like to dwell upon the insidiuous design.
I’ve been a subscriber to the New Yorker for years, but I have never seen advertising that has gone out of its way to blare out editorial content like this. Below are three samples from the latest issue. Note the way that the red in the advertising is of a brighter hue than the red in the headlines. Note also the way that Target has appropriated the New Yorker’s classic art deco look for its advertisement, only to invade this design motif with its odious red targets.



I think, between this and the Auletta piece, this is a clear signal that a magazine which once prided itself on sophistication, lengthy articles addressing multiple sides of an issue and clean design is now more concerned with whoring itself out to publicists and advertisers.
David Remnick oughta be ashamed of himself.
[RELATED: Advertising columnist Lewis Lazare weighs in and he isn’t happy. He calls this issue “[a] 90-page publication where it is almost impossible to discern any line of demarcation between Target’s advertising and the New Yorker editorial product.”]
She has worked at the Haight branch of Escape from New York Pizza for at least four years. So my best calculations dictate. I’ve seen her working there in some capacity since 2001. And frankly I’m a bit worried.
Escape from New York, if you don’t know San Francisco, is a two-branch outlet, specializing in pizza-by-the-slice. You’ll find one in the Haight and you’ll find one in the Castro. You can have yourself a slice of pizza as late as midnight — anything from a slice of pepperoni to the special potato slice. But this is not specifically “New York pizza” — rather, it is some approximation of the same, with considerably less tomato sauce. Walk inside an Escape from New York outlet and you’ll bear witness to pizza-themed records hanging on the walls, as well as autographed photos from the likes of Leonard Nimoy and Matt Groening. In short, the joint serves its purpose. But what makes the Haight street place curious to me is her.
You’ll find her on the evening shift — generally on Fridays and Saturdays. Her hair has been blonde, black and is now currently brown. I get the sense that most of her twenties have been spent at this place. And in the past year, she’s gained quite a bit of weight. I worry and I hope to hell she’s okay. In the past year, I have seen her mouth contort into a vacuous ellipitical shape every time she slides the spatula underneath a full disc of pizza, then transfering a slice of pizza into the oven, where the slice will stay for about 3-5 minutes, and then be transferred to the customer for swift and delectable consumption. I don’t know if this is a method of coping with such a mundane task or whether this is the inevitable conclusion. I don’t think that even a genius can truly intellectualize this pizza-warming process.
I have asked this young lady several times if she will talk with me outside work. She’s said no. I am careful to spell out to her that I am not a pervert or a maladjusted freak or someone looking for a date. Rather, I am curious. I will even confess that I’m a bit concerned. Every time I order a slice of pizza from her, her slipshod hair and her hangdog eyes resembles the telltale sign of one who has had too many hits of pot. Like many working in the service sector, she is going through the motions. One suspects she is trying to survive.
Is this pizza world all that she knows? And if so, how much am I responsible every time I order a slice of pizza?
Is this all she can ever know? Is this all she ever dares to know?
She can’t make much, which is why I always tip generously. But I wonder what keeps someone in a position in which they are clearly miserable. I wonder if there are sidelines, whether ephemeral or addictive I cannot say, that encourage her to remain in this position. I wonder what she’s truly capable of and what her true passions are. And I feel like a bit of a con. Because, after all, she will not speak with me and, even if she did, there is nothing I can say or do to steer her off the track. In short, there’s nothing to contribute.
And every time I order a slice of pizza from this place, I feel somehow as if I am committing my energies towards denying someone a moment. And yet I order the slice anyway, somehow corralling this concern with my hunger. I feel hypocritial. I feel helpless. And I feel irrelevant. I feel as if I somehow commiting all pockets of decency to her demise. Yet Escape from New York is not a Round Table. It’s an independent business. Can I justify this? Or am I just as hypocritical as the rest? Or has this pizza-slinger truly accepted this horrible fate?
We’re pretty much all tapped out in the synapses department. It’s quite likely that we’ll spend some small portion of this weekend sitting in an emotionally precarious position with a bowl of corn flakes, watching the first season of The Muppet Show on DVD. Which is not really all that different from days that we clearly recall several decades ago. Yes, that’s how bad it’s gotten, folks. Even our vernacular has been reduced to such genius assessments as, “It’s a nice day. I like it when the sun comes out.”
We need to recover. From what, we’re not quite sure.
So instead, we’ll point to Our Pal the Rake‘s review of Bret Easton Ellis’ Lunar Park. Also check out Patricia Storm’s latest comic, offering inventions for authors on a book tour.
Also of note: Roger Ebert seems to be hitting the snark these days. Check out this week’s thoughtful evisceration of a letter sent by the producers of Chaos and last week’s zero-star review of Deuce Bigalow: European Gigolo.
For those of you who’ve emailed about the explosion, I assure you it’s not Beirut here in San Francisco. It’s really quite simple: our local utility company here is notoriously incompetent. Nothing to see here. Move along.
Radiohead has started a blog. What follows are future entries that will appear on this exciting new experiment:
is anybody in there?
hello? mom? will somebdy hold me?
hving difficultees splling
with all the poundz i threw in the lift
can only afford dialllup
u think they caught on to our scam?
releasing same albumm
again & again
ed’s getting sik of the same old liks
wants me to whine less
will post more late
Thom
studio
wea regoing in tomorrow
record company says produce same
but keep edgy enough to avoid coldplay sound
colin going for more funk
to throw listner core off
make ’em think hail was an aberration
what do you think, phil? does “kid b” work?
Thom
fuckin thom
i’m getting sick of his shit
so we start the blog and guess who’s the one rambling incoherently?
why, thom, of course
i keep telling him that we need to do another “ok computer”
more strange transitions three minutes in
he says more songs
we need a retirement fund
back in oxford, it wasn’t like this
fucker…I’m going to beat the shit out of him if he goes for that falsetto again
why does he have to expose his vocal limitations so blatantly?
colin
GUITAR
Look, I’m just the other guy who plays guitar. If they want to believe that we’re the next Beatles or the next U2, let them dream their little dream. At least we make thirtysomethings happy, finding the common ground between totally selling out and providing enough of a mellow sound not to frighten the yuppies who are afraid of a little edge.
Jonny