Maven lasky biography of donald
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Or at least human. Richard Thaler has led a revolution in the study of economics by understanding the strange ways people behave with their money. By ROGER LOWENSTEIN
Drawings by Gary Baseman |
t is possible that Richard Thaler changed his mind about economic theory and went on to challenge what had become a hopelessly dry and out-of-touch discipline because, one day, when a few of his supposedly logisk colleagues were over at his house, he noticed that they were unable to stop themselves from gorging on some cashew nuts he'd put out. Then again, it could have been because a friend admitted to Thaler that, although he mowed his own lawn to spara $10, he would never agree to cut the lawn next door in return for the same $10 or even more. But the moment that sticks in Thaler's mind occurred back in the 's, when he and another friend, a computer maven named Jeff Lasky, decided to skip a basketball game in Rochester because of a sw
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“Old Tree,” a foot-tall sculpture of a tree and hyperrealistic but for its screaming-pink hue, materialized in early May on the Spur, a segment of New York City’s High Line that sits above 10th Avenue. Created by Swiss artist Pamela Rosenkranz, it’s billed as a reflection of, as High Line Art curator Cecilia Alemani put it, the “High Line’s complexities as both a natural landscape and a built structure.” Maybe that doesn’t sound so profound, but the artwork, which I first glimpsed in an almost hallucinatory flash of color as inom drove uptown, resonated so strongly with me that it felt as if it had somehow burst from my own consciousness.
I’ve been thinking a lot about trees, specifically about where and how we plant them. inom have this sense that, as we incorporate trees into the built environment—something we’re doing more routinely as our need to remove carbon from the atmosphere becomes undeniable—we’re forgetting the simple fact that they’re alive, and that they have needs
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Edith Head - the womenswear icon you’ve never heard of
Vintage film buffs with an eye for fashion will almost certainly remember the floaty chiffon skirt worn by Grace Kelly in Alfred Hitchcock's classic Rear Window, or Elizabeth Taylor’s white satin gown in A Place in the Sun, or maybe Ginger Rogers’ mink and faux-ruby-and-emerald gown in Lady in the Dark, which, at $35, at the time is still to this day one of the most expensive dresses to have ever graced the big screen. All of these designs, and thousands other like them all have one thing in common - the costume designer Edith Head, who had Hollywood eating from her palm for over four decades. Head dodged the fads and trends of fashion, believing that boldness was unbecoming, and in doing so created a lasting legacy of timeless designed, many of which changed not only the direction of fashion at the time but also how women perceived femininity and freedom.
Two brilliant coffee table books - Edith Head: The Fifty-Year Career