Fear of the unknown — the as-yet-unimagined craziest ever Starbucks patron — is really the only drawback of Starbucks-as-office. The Internet will never not work, and the coffee is always the same: flavorless, with a vaguely plastic aftertaste, and lovably strong.
But if you can leave when you need to, or leave when you must, home is not really home.
I came away from Inventing David Geffen both inspired and flummoxed. I still don’t really understand how one person can accomplish all that he has.
Motivated by the fear that my computer would explode if I listened to “Vowels = Space and Time” one more time, here are four new or new-ish artists deserving of escapist fans.
Halfway through the set, Devon Welsh began to assert himself as a completely refreshing offering in a sea of understated, homegrown electronic music.
I am unable to think fondly of my progress – the way my body can still quickly adapt to my chosen sport, become an instrument of it. Instead I fixate on what I am losing, that it could all slip away over the course of a few hours or days of sedentary daydreaming and dawdling.
I am more than happy to reach back into the archives of teenage experience with Swift because she gives me something to hold onto there. And I stay with her as she moves through her 20s because she knows it, as I do, as the era of excruciating rejection and miscommunication.
There has never been anything overly studied about what Natasha Khan does. Onstage, she could be hanging out in her childhood bedroom back in the English countryside – goofing off, experimenting. And yet this is her job, and she is very good at it, which doesn’t seem fair.
Susan Sontag’s early journals guide us through those tumultuous years of our teens and twenties when emotional intelligence is trying to grow up alongside the rest of our brain, but can’t seem to keep from falling behind.
Does it solve anything for us to read about others’ experiences with mental illness? Maybe not, but it should be part of the prescription.