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The Most Thoughtful Gift You’ll Ever Give – The NY Times of Your Life

April 5, 2016 by momfluential Leave a Comment

new york times birthday book review

When I think of my father, it’s impossible not to think about the NY Times. He and his beloved paper are never far from each other. Sunday mornings of my childhood evoke the twin smells of coffee and fresh bagels and the sight of  him reading in bed. Even when he travels, he cannot do without the news.  Scoping out the nearest location to get his beloved paper in cities and remote villages around the world evolved into a family travel game for us. This is my dad – a reader and a writer who is rarely found without ink on his fingers.

Which is why I knew exactly who to get the book for, when the New York Times Store offered me the chance to review their Ultimate Birthday Book  – for a gifts for him story.

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My dad is turning 88 this year. His personalized leatherbound book   includes the front page of the New york Times newspaper from every single year since he was born. It’s a treasure filled timeline of history. He described it as the “journal he always meant to keep, but never got around to”

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In addition to the front pages are some sections on the significant news of each decade and personal pages. to record and preserve your own news, if you choose to add clippings and notes.

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What makes it special, especially in my dad’s case, is how many memories each front page brings back. Just reading over the headlines and stories from each year brought back a flood of memories for my father. Reading them is like entering a time machine, transporting him to another frame of mind. He’s able to recall where, and who he was, with each year’s entry.

I suspected this gift would be a home run for my dad , who is not the easiest person to gift. I was right. When I gave it to him, we had to persuade him to put it down and come to dinner.

The book is shipped in a beautiful box and comes with a magnifying glass to read the news, a commemorative coin and a certificate of authenticity. It’s a perfect and thoughtful way to celebrate milestone birthdays and events and a delightful treat for the newshound in your life.

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It’s probably the best gift I’ve ever found for my dad!

You can purchase this very special birthday gift at the New York Times Store . 

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Interview highlights

Reexamining the 'upskirt decade' and the public ridicule of female pop stars.

Headshot of Scott Detrow, 2018

Scott Detrow

Gabriel J. Sánchez headshot

Gabriel J. Sánchez

Sarah Handel at NPR headquarters in Washington, D.C., November 7, 2018. (photo by Allison Shelley)

Sarah Handel

new york times birthday book review

Britney Spears, Taylor Swift and Janet Jackson — three pop icons with varying experiences in the public eye. Brenda Chase/Getty Images; Valerie Macon/AFP via Getty Images; Kevin Winter/ImageDirect hide caption

Britney Spears, Taylor Swift and Janet Jackson — three pop icons with varying experiences in the public eye.

Twenty years ago this month, a wardrobe malfunction in the Super Bowl halftime show caused a global meltdown.

If you were alive in 2004, you probably remember Justin Timberlake reaching across Janet Jackson's chest, pulling off one of the cups of her top and exposing her breast to millions of viewers.

The incident and the furor that followed became known as Nipplegate. Jackson took almost all the blame for what happened that night and the moral outrage that followed.

Nipplegate is one of several moments, and Jackson is one of several famous women, that author Sarah Ditum takes a critical look at in her new book, Toxic: Women, Fame, and the Tabloid 2000s .

It's a reassessment of a time when popular culture policed, ridiculed and even destroyed a variety of women in the public eye — women like Janet Jackson and Britney Spears.

Ditum spoke with All Things Considered host Scott Detrow about the unique moment in time and how society has reckoned with it since.

new york times birthday book review

Janet Jackson and Justin Timberlake perform at the Super Bowl halftime show in 2004. Jeff Haynes/AFP via Getty Images hide caption

Janet Jackson and Justin Timberlake perform at the Super Bowl halftime show in 2004.

This interview has been lightly edited for length and clarity.

Scott Detrow: You focus on celebrity pop culture of the aughts, with a little bit of the late '90s and early teens thrown in as well, through the lens of nine different women. And you call this period of time the Upskirt Decade. Why did you do that?

Sarah Ditum: Because I think of the upskirt tabloid photo as — and this is a deservedly harsh judgment on that period — but as the kind of signature cultural product of that era.

It's something that couldn't really exist before, because in order to have a market in upskirt pictures, you have to have the kind of camera technology that paparazzi were able to use, which is small, light, point-and-click digital cameras which can take lots of images, where you can really get down in the gutter and point your camera directly up a woman's skirt to get that picture.

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And you also have to have a voracious, no-holds-barred kind of gossip media which is willing to publish that material. And that was something that the internet made possible.

So you have to have those two things coming together. And at the same time, you have to have the absence of a legal framework that says this kind of material is intrusive and illegal and an invasion of privacy. And it was very shocking to revisit this period of time and realize how few guardrails there were, not just legally but also in terms of basic behavioral standards around what was and wasn't considered publishable.

Detrow: And then there's one thing you didn't mention there, but it's a big theme of your book, and it's the tone of the coverage. Because paparazzi would take these pictures, websites would publish them, and then the tone of the coverage would be, "There's Britney again, showing herself for all to see." You know, framing these women as villains, basically, for seeking fame and seeking our attention. And whatever problem they were facing at that moment was often framed as cosmic justice for them.

new york times birthday book review

Britney Spears performs in New York in 2001. Gabe Palacio/Getty Images hide caption

Ditum: Right. And the tenor of the commentary that went alongside these very intrusive pictures was very much, "They're doing it on purpose. They want to be looked at. ... They're the ones who are inflicting this on us."

Detrow: So a lot of the theme of this era was the rules of the internet being written in real time and people not fully understanding them until they were living in them. And toward the end of the book, you compare a lot of the women that it focuses on with Taylor Swift.

You point out she's only a few years younger than some of the people in this book, but by the time she becomes famous, the rules of the internet are written, and she knew what they were, and she knew how to operate in them. How much of a difference does that make for Taylor Swift?

Ditum: It makes an enormous difference. I think there are two kind of dividing lines that I would draw among the women in my book in terms of how things turned out for them. One of them is how young they were when they became famous. And I think becoming famous when you're a child is awful and difficult, whoever it happens to and in whatever era it happens.

new york times birthday book review

Taylor Swift at the Grammy Awards on Feb. 4. Robyn Beck/AFP via Getty Images hide caption

Taylor Swift at the Grammy Awards on Feb. 4.

The other one is where they were in relation to the internet. So, for example, Kim Kardashian, she is the same age pretty much as Paris Hilton. But when Kim starts to get famous, the internet has already been established. So she has a Myspace before she starts to get famous, the same as Taylor Swift actually had a Myspace early on, and that was part of the Taylor Swift story in the early part of her career, that she was a Myspace musician.

And I think you look at these figures who have the ability to shape their own presence on the internet and who have the ability to craft their fame, rather than have it crafted for them. And that's an incredible shift in power in celebrity. And you look now at the way top-tier celebrities operate, and they are able to control everything. They have a direct line to their fans via social media. They don't have to deal with reporters if they don't want to, if they aren't going to get favorable coverage.

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Taylor Swift is never going to have to sit down and do the excruciating equivalent of Britney talking to Diane Sawyer about her sex life. That's unthinkable.

Detrow: You're thinking through ways that things didn't age that well at all. And I'm wondering if this has given you a different point of view on current events, current pop culture. Are there things that you're seeing play out and you're thinking, "This is probably not going to look good 10 or 20 years down the line?"

Ditum: Yeah, definitely. A lot of the misogyny I write about that was endemic in mainstream media, you don't see that in "reputable" outlets anymore, but you do still find it online in social media.

Megan Thee Stallion, Tory Lanez and the impact of misogynoir on rap

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Megan thee stallion, tory lanez and the impact of misogynoir on rap.

So if, for example, any listeners followed Megan Thee Stallion's testimony in the trial of Tory Lanez for shooting her in the foot, the mainstream coverage of that was correctly very sympathetic to her as a victim of violence. A lot of the social media reaction, though, was extremely hostile to her.

You still have a massive problem with revenge porn. We don't have a celebrity sex-tape economy anymore, but we do have the issue of largely men nonconsensually sharing images, the intimate images of partners. And I think that's something that is probably going to look incredibly queasy in retrospect when it's realized how endemic that actually was as a problem.

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A Union cavalry unit charges during the civil war.

Silent Cavalry review: Howell Raines’ fine work on southern resistance

The former New York Times editor’s remarkable book on Alabamians fighting for the Union in the civil war, and his own family history

T he subtitle of Silent Cavalry is How Union Soldiers from Alabama Helped Sherman Burn Atlanta – And Then Got Written out of History. Those startling and nearly unknown stories form the spine of Howell Raines’ tremendous new book, but they were not the fuel that propelled him through decades of painstaking research.

What drove this Alabama native to write these 477 pages (before the notes) was a need for absolution – a feeling that was especially powerful in a Birmingham native, then 20, who was humiliated when his hometown became world famous. That happened in 1963, when the public safety commissioner, Theophilus Eugene “Bull” Connor, used clubs, high-pressure hoses and snarling German shepherds to halt a march of more than a thousand non-violent protesters determined to end the century of white supremacy that followed the American civil war .

Raines is a former executive editor of the New York Times and the author of a much-admired oral history of the civil rights movement whose title gives another clue to his motivation here: My Soul Is Rested .

As a journalist, he was famous for the cut-throat ambition that pushed him to the top of the Times news department – a perch he lost after less than two years when he was unable to contain a scandal produced by a suspiciously energetic reporter who turned out to be a serial fabulist. But Raines’ road to redemption wasn’t very connected to his life as a journalist. From the evidence in his new book, what mattered most was a fierce quest to find as many relatives as possible who fought against the Confederacy 80 years before he was born. That was the most powerful way he could separate himself from the infamous Alabamians of his youth, Bull Connor and George Wallace, the segregationist governor who ran for the White House.

Early discoveries that buoyed Raines included the fact that his ancestors left Methodism for the Church of God, because of its more enlightened attitude towards “colored people”, as his sister put it, and the discovery of a great grandfather, Hiram Raines, who became a draft dodger after the passage of the Confederate Conscription Act.

It was his uncle Brack who first suggested that Raines might be descended from soldiers who fought to preserve the Union rather than to defend slavery. Raines writes: “I can’t overstate the attraction for someone born, as I was, in the war zone of the desegregation crusade of the possibility that my ancestors … might have followed [Abraham] Lincoln rather than [Jefferson] Davis and [Robert E] Lee.” He describes himself as “the moral archaeologist of my family on matters of race”.

A big part of this multi-layered narrative is devoted to the campaign of prominent historians to suppress the story of non-slave-owning Alabamians who supported the Union. That was just one consequence of historians’ larger effort to rebrand the war, to abolish slavery as its cause and instead tell “a tragic story of undeserved suffering inflicted on a noble, if misguided, class of southern aristocrats on their plantations and the dashing knights of the rebel army”.

This was an “epic feat of disinformation” that reached “its apex in Gone with the Wind”, the film Raines correctly identifies as “the greatest single influence on the national imagination” regarding the civil war.

Shelby Foote, left, and Ken Burns, seen in 1990.

Raines cites a plausible estimate of 10,000 unionists in north Alabama in 1862, including deserters from the Confederate army who held a convention at which they waved US flags and voted to remain “neutral”. At least 2,678 white Alabama men enlisted in the Union army, including 2,066 who made up the 1st Alabama cavalry – Raines’ principal focus.

“Every root of my family tree rested in the soil of these 18 jurisdictions of north-central Alabama,” Raines exalts.

There are many other pleasures in this book, including an account of WEB Du Bois offering the only challenge to mainstream historians at a 1909 meeting of the American Historical Society. His paper on Reconstruction and Its Benefits would make him a permanent outsider to a profession dominated by professors who believed Black officeholders had presided over a “tragic decade” of political corruption. Du Bois pointed out that Reconstruction actually produced the first public schools in the south, fairer taxation and advances in public transportation and economic development.

“Seldom in the history of the world has an almost totally illiterate population been given the means of self-education in so short a time,” Du Bois said. Nobody listened.

Raines ends with a description of how Ken Burns continued the distortion of history with his much celebrated documentary series on the civil war. Because he relied so heavily on the southern historian Shelby Foote, Burns consistently favored “nostalgia” over “historical illumination”, according to Eric Foner, a great historian of the civil war and Reconstruction at Columbia University in New York. From Notre Dame, James M Lundberg wrote that because of Burns’s work, his civil war lecture was “always packed – with students raised on your sentimental, romantic, deeply misleading portrait of the conflict”.

Worst of all, Burns’s film never mentions the existence of an Alabama regiment in the Union army – because neither he nor his two principal collaborators knew enough to quiz Foote about it. Apparently, they had never seen a 1969 collection, Conversations with Southern Writers, which Raines discovered included this revelation – from Foote:

“I found a whole belt of dissident southerners right along the lower reaches of the Appalachians. It comes down through the end of Tennessee down into northern Alabama and peters out in northern Mississippi. There were a lot of Union-loyal Alabamians, for instance, along that range of hills, and they rode with [Abel] Streight on his raid down there.”

Raines says Foote’s reference to AD Streight, a Union colonel, proves that he knew about the Alabama cavalry in the Union army. But Burns’s viewers never learned about it.

Silent Cavalry is published in the US by Crown

  • History books
  • American civil war

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A black and white photograph of the actors Richard Burton, left, and Elizabeth Taylor, at right, staring at each other with a very bright light occupying the middle distance behind them. The image is cropped and repeated to resemble a strip of film.

Filming ‘Virginia Woolf,’ the Battles Weren’t Just Onscreen

With Burton and Taylor as stars and a writer and director feuding, adapting the scabrous play wasn’t easy. “Cocktails With George and Martha” pours out the details.

Richard Burton, left, and Elizabeth Taylor in the screen adaptation of Edward Albee’s “Who’s Afraid of Virginia Woolf?” Credit... CBS

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COCKTAILS WITH GEORGE AND MARTHA: Movies, Marriage and the Making of ‘Who’s Afraid of Virginia Woolf?’ by Philip Gefter

What a document dump!

The most delicious parts of “Cocktails With George and Martha,” Philip Gefter’s unapologetically obsessive new book about “ Who’s Afraid of Virginia Woolf ?” — the dark ’n’ stormy, oft-revived 1962 Broadway hit by Edward Albee that became a moneymaking movie and an eternal marriage meme — are diary excerpts from the screenwriter Ernest Lehman . (Gefter calls the diary “unpublished,” but at least some of it surfaced in the turn-of-the-millennium magazine Talk, now hard to find.)

That Lehman is no longer a household name, if he ever was, is one of showbiz history’s many injustices. Before the thankless task of condensing Albee’s three-hour play for the big screen (on top of producing), he wrote the scripts for “ North by Northwest ” (1959), arguably Hitchcock’s greatest, and with some help, “ Sweet Smell of Success ” (1957). The latter was based on his experience copywriting for a press agent, which inspired a novelette in Cosmopolitan called “Tell Me About It Tomorrow!” (Will someone please bring back the novelette ?)

From beyond the grave, in a production journal titled “Fun and Games With George and Martha” housed at the Harry Ransom Center , Lehman dishes on working with Mike Nichols , the then-darling of New York intellectuals hired to direct his first Hollywood film, starring his famous, furiously canoodling friends Elizabeth Taylor and Richard Burton .

But first “Cocktails With George and Martha” fans out like a deck of cards the back story of the play, which initially featured Uta Hagen as Martha, the delulu grown daughter of a New England college president, and Arthur Hill as George, her husband, an associate history professor whose career has stalled. (Yes, they are named for the first first couple of America.) A younger married pair named Nick and Honey come over for the world’s longest and most hellacious nightcap.

Steeped in alcohol and analysis themselves, sophisticated audiences thrilled to the play’s voyeurism and vulgar language, even as the Pulitzer Prize committee got prudish, suspending the drama prize the year “Woolf” was eligible.

Gefter describes how another playwright, probably jealous of the box-office returns, accused Albee rather homophobically of “neuroticism” and “nihilism” in The New York Times. “If the theater must bring us only what we can immediately apprehend or comfortably relate to,” Albee responded in one of cultural journalism’s best mic drops, “let us stop going to the theater entirely. Let us play patty-cake with one another or sit in our rooms and contemplate our paunchy middles.”

Casting Liz and Dick, then the world’s biggest celebrity couple, in the movie — after Jack Warner had promised Albee that Bette Davis and James Mason would do it — also came with risk (and paunchy middles; the glamorous Taylor was instructed to gain 20 pounds).

While Burton’s delicious diaries barely mention the production, much of its agita is familiar from Mark Harris’s recent and thorough biography of Nichols . But Gefter pulls in for a tighter focus. He’s not quite the “phrasemaker” that Martha calls George — locutions like “garnering his own notoriety” and “actual lived behavior” mush up an otherwise tight book, as does a scattered epilogue on other marriage movies. But he does, as George puts it, get to the marrow: of male ego, rushing into new projects with hubris and jostling for posterity.

“Hacks only imitate,” Nichols declared, binge-watching Truffaut and Fellini flicks in anxious preparation for the shoot. “We artists steal."

A black and white photograph shows the back of the head of a film director looking through the camera viewfinder at a middle-aged couple next to a window. They look away from each other though holding a hand together.

The novice director and the veteran writer bantered in the back of a limo to the airport about being jealous of each other’s publicity. Nichols had been to Jacqueline Kennedy’s apartment for lunch (and would use her promised endorsement to prevent himself getting fired); Lehman, who contributed to “The Sound of Music,” which was thriving at the box office, had quietly arranged for a profile of himself in Cosmo.

Dramatic alterations, like opening on a pair of fornicating dogs and making George and Martha’s imaginary son real, were roundly rejected by Nichols, who also clashed with the seasoned cinematographer and composer assigned by the studio. He was determined to keep the movie in arty black-and-white rather than commercial, modern color, and wanted to hire André Previn or Leonard Bernstein to do the score. (“Mike likes them young and hip,” Lehman sighed.)

Meanwhile, Burton tried to get the assistant director fired on his wife’s behalf — “it’s rather like talking about changing one’s housekeeper, isn’t it?” — and worried that the project, like Nick when he tries to have sex with Martha, would be “a flop.”

He was mollified by a pond stocked with trout on location and a birthday present of Francis Bacon essays. Still, Lehman recorded, the cast and crew were a “discontented bunch” and, understating the case: “‘Who’s Afraid of Virginia Woolf?’ is not exactly a happy picture.”

Gefter, a former Times picture editor, has written formal biographies of the photographer Richard Avedon (Nichols’s close friend) and the curator Sam Wagstaff . This is something different: a shot glass filled with one work that, alongside contemporaneous books like Richard Yates’s novel “Revolutionary Road” and Betty Friedan’s polemic “The Feminine Mystique,” showed how the “cartoon versions of marriage” long served up by American popular culture — Doris Day movies, the Cleavers, etc. — always came with a secret side of bitters.

His interest in “Woolf” dates back to when he was 15 and, apparently the only teenager in America who read Playboy for the articles, encountered an interview with Nichols in his father’s copy.

Gefter peeks at the unpublished memoir of Gerard Malanga, a poet and Andy Warhol associate, to elaborate how George and Martha were at least in part inspired by Willard Maas and Marie Menken, teachers at Wagner College about whom Warhol made a 1965 film called “Bitch,” which was recently screened at MoMA.

He distills a lot of secondary material, including interviews published and unpublished conducted by the critic Mel Gussow (also a longtime Timesman), Albee’s friend and biographer. The playwright saw the phrase “Who’s Afraid of Virginia Woolf?” scrawled in dry soap on the mirror of a Greenwich Village bar around 1954, when he was an aspiring novelist running with a crowd of talented bohemians.

“Woolf,” which Gefter calls “an existential provocation that serves up a range of fundamental truths about marital attachment,” got its creator on the cover of Newsweek by 1963. Such a hall of mirrors is American culture that Martha’s famous “what a dump” line quoted an unfamous one in a minor Bette Davis noir, “Beyond the Forest.” Davis, among the actresses lobbying to play Martha in the movie, then reclaimed it as a catchphrase for the rest of her years .

Albee was a purist about his characters, repeatedly refusing the chance to revive “Woolf” onstage with gay male couples. Terrence McNally, an early boyfriend, thought he wrote like a composer. If so, though, there was a hint of jazz there. According to one actress who played Martha, Albee “always said that Act IV of the play was when the audience leaves the theater, and the couples argue all the way home.”

Hey, it beats lying in bed with our laptops.

COCKTAILS WITH GEORGE AND MARTHA : Movies, Marriage and the Making of “Who’s Afraid of Virginia Woolf?” | Philip Gefter | Bloomsbury | 368 pp. | $32

Alexandra Jacobs is a Times book critic and occasional features writer. She joined The Times in 2010. More about Alexandra Jacobs

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