Muscle Shoals tells the story of how a tiny Alabama town on the Tennessee River became the site of some of the best rock and soul music recordings of the 1960s and 1970s. Along with Wilson Pickett and Aretha Franklin, Etta James, the Rolling Stones, and Paul Simon recorded some of their best-known songs in Muscle Shoals. It’s where Percy Sledge sang “When a Man Loves a Woman,” where the Staple Singers did “I’ll Take You There.”
Tomorrow Night represents Louis CK’s provenance. It makes the sofa-bound viewer consider a constant artistic problem: How does a voice become a voice? And there are perhaps two elements to Tomorrow Night that offer a possible answer. There’s the plot—which manages by a series of dreamlike maneuvers to corral its characters into gruesome situations. Our masturbating hero, Charles Brown, after a failed date with a girl called Lola Vagina, ends up marrying an old woman called Florence, because of the orderly beauty of her housekeeping, and adopting a sullen teenager called Clean. And there are the details that are pure surreal digression: like that deadpan way in which Louis CK, hosing down the sidewalk, also hoses down passing pedestrians, with no comment from anyone. No one in this miniature sequence is ever seen again.
Canova was the most celebrated artist in Europe in the early nineteenth century, and yet he has rarely been the subject of an exhibition in America, nor has it been easy to see many major works by him in this country. Until now. The Metropolitan Museum of Art in New York is presently home to a small but serenely beautiful show, “Antonio Canova: The Seven Last Works.” The exhibition features the seven plaster models for reliefs, which Canova was working on at the time of his death in 1822.
On October 30–31, 2013, The New York Review of Books held a conference at Scandinavia House in New York City on the internet’s transformative effect on our lives. We are pleased to present the following recordings from the event.
Vladimir Horowitz Live at Carnegie Hall—some thirty hours of music—doesn’t include every performance the pianist played there (he made his house debut in 1928, more than a decade before the invention of magnetic tape would have permitted such sustained recording) but offers extensive documentation of performances ranging from 1943 through 1976.