5.31.2009 New York Times Digest


1. “Warmer, Fuzzier: The Refreshed Logo”

“Behold the new breed of corporate logo — non-threatening, reassuring, playful, even child-like. Not emblems of distant behemoths, but faces of friends.”

2. “Put Ad on Web. Count Clicks. Revise.”

“Online … advertisers get instant measurements and can make instant changes to a media plan.”

3. “Her Prince Has Come. Critics, Too.”

“Mr. Baran is reserving judgment and encourages others to do the same. But he added that the issue warrants scrutiny because of Disney’s outsize impact on children.”

4. “Bike Messenger”

Pedaling Revolution is not about mountain biking the Moab sandstone formations in Utah or the network of bucolic paths that link some of the rural Massachusetts colleges; it’s not about racing, Lance Armstrong or what kind of spandex to buy. Nor is it about the various forms of extreme biking that have arisen lately: bike jousting on specially made high-horse bikes, BMX tricks or the arcane world of fixed-gear bikes, or fixies. For decades, Americans have too often seen cycling as a kind of macho extreme sport, which has actually done a lot to damage the cause of winning acceptance for biking as a legitimate form of transportation. If your association with bikes is guys in spandex narrowly missing you on the weekends or YouTube videos of kids flying over ramps on their clown-size bikes, you’re likely to think that bikes are for only the athletic and the risk-prone.”

5. “Lights! Camera! Inaction!”

“The Internet is reality now, a vast reality, at least as weird and complex a place as a soot-stained city or a scorching desert.”

6. “Say What?”

“It has never been easier to express yourself in public … [but] what if you don’t really have anything to express?”

7. “The Making of Zach Galifianakis”

“A typical hourlong set might meander from carefully composed, conceptual one-liners à la Steven Wright to profanity-drenched tirades against members of the audience to slapstick to solemnly tacky musical interludes (Galifianakis is an able pianist) to Andy Kaufman-esque attacks on the genre that seem less concerned with eliciting laughs from the crowd than with confounding its notions of what comedy or, for that matter, entertainment ought to be.”


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