Malls Not Only Aren’t Terrible, But They Saved The Suburbs From Themselves

Look, they were just better than sprawl. Truly. “The mall is for shopping. It sounds idiotic to say, or tautological at least. Of course the mall is for shopping. But more specifically, it gives shopping a specific place. The mall separated commerce into its own, private lair, and it did so just as commercialism was running rampant and out of control in the progress-fueled mid-century.”

André Harvey, Who Sculpted The Natural World, Has Died At 76

After working in other careers and getting inspired by sculptures he saw through a window in Paris, “Mr. Harvey became a masterly sculptor of intricately detailed, realistic bronze figures whose works were exhibited by Tiffany & Company in its Fifth Avenue flagship store, have been collected by museums, and were purchased by Henry Fonda, Jamie Wyeth, Barry Manilow and Danielle Steel.”

Why Is U.S. Culture Still So Obsessed With Zombies?

Author Justina Ireland has a theory: “Every day is a new and terrible terror coming at you from the news, and it’s just nonstop. … I think people are feeling overwhelmed. And that’s a great metaphor for a zombie invasion. Like, that is the iconic scene for a zombie invasion, a horde coming to overwhelm a town or a mall or a handful of survivors.”

Children’s Publishing May Be 80 Percent Female, But It’s Having An Intense Me Too Moment

The accusations (anonymous at first) sparked an intense discussion as “at an awkward moment for the industry, which had gathered Monday at the American Library Association’s midwinter meeting in Denver to announce its most coveted awards for children and young adult literature.” Agents, editors, and publishing houses dropped some of the most famous male authors in young adult literature as the week went on.

Black Panther Didn’t Just Have Special Spaceship And Set And Costume Design, But A Jewelry Designer As Well

Jewelry designer Douriean Fletcher met costume designer Ruth E. Carter by chance, twice – the second time when she was playing an extra and getting a costume fitting on the set of “Roots,” designed by Carter. “‘At first, I didn’t even recognize her,’ Carter said recently. ‘But when I did, I told her to take off her costume and get to work creating pieces on my show.'”

How ‘Lolita’ Provided One Teenaged Victim A Path Out Of Sexual Abuse And Molestation

“I wanted to read Lolita because I believed it would mitigate my sexual shame. The similarity between the novel’s plot and my day-to-day life had sent me on a Google search, where I read excerpts and watched trailers of both film adaptations, categorized under ‘crime,’ ‘drama’ and ‘romance.’ Until then it had never occurred to me to consider my relationship with my uncle under any of those genres.”

Did You See The Eerily Realistic Grizzly Bear Helmet In The Olympics? Here’s The Artist

Artist Kyle Langlois, who “has been doing custom airbrush art for 14 years, told me he got connected to Martineau in 2013. ‘He wasn’t too specific or picky,’ Langlois said,’he was hoping I could maybe put a leaf on it for him or something — something to make it Canadian.’ Langlois, who painted the helmet for free because he felt ‘a call to duty’ to assist a fellow Canadian, did a lot more than put a leaf on it.”

Cowboy Poetry Ain’t What It Used To Be… And It’s Thriving

Cowboy poetry goes as far back as the late 19th century, when herders were known to recite original poems sitting around their campfires at night. Those poems mimicked the popular verse of their day, at least in form—they never veered into free verse, and they featured a singsong rhythm. Cowboy poetry continued for the next 100 years or so in this fashion, confined to fleeting performances in hushed fields, until 1985, when a group of folk historians used a small grant from the National Endowment for the Arts to create the Gathering in Elko with a simple purpose: to bring together men and women who craved poetry that valued and found beauty in their rural existence.

Instead Of Turning Away, Perhaps The Arts Ought To Be Challenging Us On Our Guns Identity

Philip Kennicott: “One fundamental strategy of political art is to say: This ugly image is who we are, and then challenge the audience to deny that, in word and deed. By forcing us to confront the great fetish of American culture, its slavish worship of the gun, the Hirshhorn could dramatize a choice we face, and a decision we have avoided for generations now. There has never been a more urgent moment to project that challenge at Americans, and hope they finally are sickened by the idea.”