The Odd, Brilliant Career Of Oscar Levant

He was chiefly renowned for his intimate personal and professional association with George Gershwin; after Gershwin’s early death in 1937, Levant virtually owned Rhapsody in Blue and the Concerto in F. For a time, during the 1940s, he was the highest-paid concert pianist in the United States, spicing his performances with banter and self-lacerating quips. Assaying Beethoven’s “Tempest” sonata, he might promise to play “with my customary arthritic abandon” and add: “This piece has never had a worthy interpretation. And it still won’t.” – Los Angeles Review of Books

Online Language Is Getting More And More Sophisticated

“We no longer accept that writing must be lifeless, that it can only convey our tone of voice roughly and imprecisely, or that nuanced writing is the exclusive domain of professionals. We’re creating new rules for typographical tone of voice. Not the kind of rules that are imposed from on high, but the kind of rules that emerge from the collective practice of a couple billion social monkeys — rules that enliven our social interactions.” – The Atlantic

The Publishing Juggernaut Amazon Has Built

As Amazon Studios does with movies, Amazon Publishing feeds the content pipelines created by the tech giant’s online storefront and Amazon Prime membership program. At its most extreme, Amazon Publishing is a triumph of vertical engineering: If a reader buys one of its titles on a Kindle, Amazon receives a cut both as publisher and as bookseller—not to mention whatever markup it made on the device in the first place, as well as the amortized value of having created more content to draw people into its various book-subscription offerings. – The Atlantic

New York’s Central Park Transformed Into A Virtual Museum

It’s part of “a new initiative by Apple called [AR]T — a curation of augmented reality art, featured in a series of guided walks. Apple worked with the New Museum to select the artists: Nick Cave, Nathalie Djurberg, Hans Berg, Cao Fei, Carsten Höller, Pipilotti Rist and John Giorno. Each created an augmented reality work that’s been choreographed into the landscape of the tour, playing with the canvas of public space.” – The New York Times