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.
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