Suzy Frelinghuysen, Steve Morris (younger brother of George Morris), and their friend Natalie Merrill wearing driving masks and goggles in the Swiss Alps. Courtesy of Frelinghuysen Morris House and Studio. Image via T.
- Most of us struggle to interest our friends in our vacation photos, even in real time. (My Instagram of Six Flags only got two likes.) But in the midthirties, George L. K. Morris and Suzy Frelinghuysen, the so-called Park Avenue Cubists, traveled to such exotic locales that their photos and home movies are still of interest some eighty years later. As Hilary Reid writes, “the Frelinghuysen Morris Home & Studio is a window into the artists’ lives: their books, clothes, midcentury modern furniture and even their liquor bottles and Frelinghuysen’s hair dryer … This summer, visitors can view never-before-seen sixteen-mm color films taken by Morris and Frelinghuysen during their travels to Latin America and Switzerland between 1936 and 1938 … In Switzerland, we watch as Frelinghuysen hops in a convertible with Morris’s younger brother Steve and their friend Natalie Merrill, all wearing driving goggles and masks. The Russian avant-garde artist Esphyr Slobodkina joins them in one shot; and in another, they shimmy and laugh their way out of an ice tunnel.”
- Not unrelatedly: twelve years after he left Buchenwald, Elie Wiesel took a relaxing trip to Disneyland. He loved it—so much so that he dedicated a whole column to it in the Forverts, a Yiddish newspaper. “Several times in the article, Wiesel reflects on his appreciation of Walt Disney—‘the person who created this land, this universe, must be a genius, a rare genius’—and then shares the anecdote that he was told of how Walt Disney often walks around Disneyland in disguise. Wiesel understands why: ‘If one wants to calm his nerves and forget the bitter realities of daily life, there is no better-suited place to do so than Disneyland. In Disneyland, the land of children’s dreams, everything is simple, beautiful, good. There, no one screams at his fellow, no one is exploited by his fellow, no one’s fortune derives from his fellow’s misfortune. If children had the right to vote, they would vote Disney their president. And the whole world would look different.’”
- Brexit raises plenty of unanswerable questions, chief among them being, What the fuck? More fruitfully, we might ask: What effect will this have on the English language? “In 2012 a report found that 38 percent of the EU’s citizens speak it as a foreign language … A sort of Euro-English, influenced by foreign languages, is already in use. Many Europeans use control to mean ‘monitor’ because contrôler has that meaning in French. The same goes for assist, meaning ‘to attend’ (assister in French, asistir in Spanish) … Many nouns in English that don’t properly pluralize with a final s are merrily used in Euro-English, such as informations … Britain may be a polarizing, unusual EU member, but English has become neutral, utilitarian; it is useful because others understand it. Its association with Britain is already weak and set to weaken … Dreamers have long hoped for a neutral auxiliary language that is common to all. Some have even gone to the trouble of inventing such languages. Who knows? English might one day fulfil the destiny intended for Esperanto.”
- Black Flag played their last show thirty years ago, and our ears are still ringing: “Doesn’t it all sound like another world? It probably was. To foist your bohemia on an indifferent public, to harrow the complacent, to shake it up … Joe Carducci, the outsider intellectual who helped run Black Flag’s label, SST, takes the long view: ‘Our closing frontier,’ he writes in his 2008 memoir, Enter Naomi, ‘was the sixties cultural revolution as it died out in the seventies and early eighties. In retrospect the Black Flag/SST story looks like a cultural analogue to the Manson-Weathermen-S.L.A.-Black Panther-Nixon White House-People’s Temple endgame—art just had more life in it than crime or politics or religion.’ ”