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Review: So Many Ways to Lose: The Amazin True Story of the New York Mets the Best Worst Team in Sports NEW YORK - APRIL 03: Mr Met gets the crowd going during an exhibition game between the New York Mets and the Boston Red Sox on April 3, 2009 at Citi Field in the Flushing neighborhood of the Queens borough of New York City. The game marks the first time the Mets play in their new ballpark. (Photo by Mike Ehrmann/Getty Images)
In the summer of 2016,
National Journal reporter Josh Kraushaar stumbled upon the scoop of the century. Nationals left fielder Jayson Werth s seven-year $126 million contract appeared to contain an unknown perk: His own private security force dedicated to protecting his fragile, fragile ego. These Blackwater-esque foot soldiers patrolled the stands under cover of regular old ushers to neutralize the threat of WEEEEEEERTH-LEEEEESSSS chants.
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If you’re looking for the opposite of social distancing – and who isn’t, these days? – then Alice Neel is there for you. There, that is, at the Metropolitan Museum of Art, which has recently opened a full-scale survey of this greatest of 20th-century portraitists (‘Alice Neel: People Come First’; until 1 August). Go if you can, and revel in the sheer presence of so many unmasked faces, so many interesting humans – the encounter with each one unforgettable.
The timing of the show could not be better. Newly decamped from the Breuer building on Madison Avenue, and finally emerging from months of reduced visitation, the Met – again, like all of us – could use a shot in the arm. Neel most definitely provides it. Over the course of her long career, she was wildly out of step with prevailing tendencies. Only now are we finally catching up to her, at last able to see her paintings as the bracingly essential works that they always have