Monday, January 30

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It's Saturday Night!

An oral history of Saturday Night Live.

Part of our guide to SNL for Slate.

Sunday, January 29

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Keith Haring: An Intimate Conversation

A profile of the artist.

"Unfortunately, death is a fact of life. I don't think it's happened to me any more unfairly than to anyone else. It could always be worse. I've lost a lot of people, but I haven't lost everybody. I didn't lose my parents or my family. But it's been an incredible education, facing death, facing it the way that I've had to face it at this early age."

Saturday, January 28

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The first sexual revolution: lust and liberty in the 18th century

A history.

 The explosion of publishing created a much more democratic and permanent network of public communication than had ever existed before. The mass proliferation of newspapers and magazines, and a new-found fascination with the boundaries of the private and the public, combined to produce the first age of sexual celebrity.

Friday, January 27

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5.4

A fifteen year history of the music site Pitchfork detailing its prescient take on the relationship between culture and consumption.

Wednesday, January 25

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Victoria Jackson's Excellent Tea Party Adventure

How one of the most maligned cast members in SNL history ended up a talking head on Fox News.

Monday, January 23

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The New French Hacker-Artist Underground

On the French urban exploration group UX—”sort of like an artist’s collective, but far from being avant-garde—confronting audiences by pushing the boundaries of the new—its only audience is itself.”

Sunday, January 22

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The Mother Courage of Rock

On Patti Smith.

It was easy for lazy journalists to caricature her as a stringbean who looked like Keith Richards, emitted Dylanish word salads, and dropped names—a high-concept tribute act of some sort, very wet behind the ears. But then her first album, Horses, came out in November 1975, and silenced most of the scoffers.

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The Mother Courage of Rock

On Patti Smith.

It was easy for lazy journalists to caricature her as a stringbean who looked like Keith Richards, emitted Dylanish word salads, and dropped names—a high-concept tribute act of some sort, very wet behind the ears. But then her first album, Horses, came out in November 1975, and silenced most of the scoffers.

Thursday, January 19

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Gil Scott-Heron: More Than a Revolution

"I don't know if I was as angry as much as I was misunderstood.  A lot of the things we did contained a lot of humor that went over people's heads."
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Some Like Her Hot

A profile of Michelle Williams.

Saturday, January 14

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Laissez-Faire Aesthetics

A critical look at the contemporary art marketplace.

The trouble is that a business model has come to drive the entire art world, and like the corporate executive who regards the launch of each new product as a challenge to the success of the last one, because you must keep growing or you will die, the arts community finds itself in a state of permanent anxiety. There always has to be a new artist whom the media will embrace as enthusiastically as they embraced Warhol; there always has to be a show that will top the excitement generated by the last blockbuster at the Modern or the Met.

Tuesday, January 10

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The Autumn of Joan Didion

Didion’s genius is that she understands what it is to be a girl on the cusp of womanhood, in that fragile, fleeting, emotional time that she explored in a way no one else ever has. Didion is, depending on the reader’s point of view, either an extraordinarily introspective or an extraordinarily narcissistic writer. As such, she is very much like her readers themselves.