Video of the Day


Alex Carnevale

Features Editor
Mia Nguyen

Senior Editor
Brittany Julious

This Recording

is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

Live and Active Affiliates
This area does not yet contain any content.

« In Which The New York Review of Books Knew How To Lay It Down Hard »

Woody In His Words and Joan's

From Douglas McGrath's feature in Interview magazine:

MCGRATH: But do you take any pleasure at the end, when you look at the finished product?

ALLEN: I do enjoy it, but very briefly. I'm not a person who has any sentimentality about the past. You know, I don't really have any photographs of me with my actors or posters of my films or any of that stuff up in my house. I don't save any of that stuff. I don't read anything about me. When I'm through with a project, yes, I feel, "Hey, this is good. It came out very nicely. I'm very happy," or conversely, "I'm so frustrated. I had such a beautiful idea and I screwed it up every inch of the way." But then we turn the film over to the people who paid for it and they put it out using some kind of voodoo system. They figure, "We'll do this much on advertising, and we'll put it out in 700 theaters during this time of year, because if we put it out after Passover but before graduation ..." They have this real voodoo system that never ever amounts to anything. And I don't want to hear about the film after that. So I give them the film, and then they ask me if I'll do a little promotion for it, and I do as little as possible because ! feel like a person talking about his film does not induce anybody to see it. For me to say, "Well, it was very challenging making a film in Barcelona," or "It was incredible working with two beautiful women such as Penelope and Scarlett on the set everyday ..." You know, it doesn't mean a thing to anybody. Nobody cares. People decide whether or not they are going to see the film based on whatever ineffable system their body uses, whether it's reviews or word of mouth from their friends or the smell of the picture to them. So I do a little promotion out of loyalty to the money people because I don't want to be a mean guy. But I have no interest in the picture. For instance, Vicky Cristina Barcelona is coming out now. I've already finished the picture with Larry David, and I'm working on a script for another new film. So I have no interest in Vicky Cristina Barcelona. If people love the film, then that is delightful. If they don't like it, then ... hmm ... that's tough. They're either completely right in not liking it, or they're quite brilliant and they see flaws in it that I never saw, or they're philistines and they don't get it and I was right. But it's irrelevant because I don't really know or care.

MCGRATH: Was that always true?

ALLEN: It was true after the first couple films. When you go into the business, all your illusions are shattered right away. You find out that great success or failure doesn't change your life in any meaningful way. And then you find out that the reviews of your film — 1,600 reviews from all over America, each one contradicting theother one — don't mean anything to you either. So, finally, you just give up. If you don't have fun doing the film, then the results of the film will never give you any fun. You find that your film wins some kind of award or is much extolled, but nothing happens. Your life is the same. You still get the sniffles, the toothaches, and all that. Nothing meaningful changes in your life. So I gave up on that idea decades ago.

MCGRATH: Did your parents ever tell you what they thought of certain films?

ALLEN: No. They didn't think much. They were just delighted that I was quote-unquote famous. But they couldn't discern between one or the other. They didn't get most of the pictures.

MCGRATH: Did they have a favorite and a least favorite?

ALLEN: No. My mother would like the ones that had strong stories, and my father used to just walk down to the theaters and look at the lines outside.

MCGRATH: That's important, too — especially for parents.

ALLEN: I know. Sean Connery told me the same thing about his father. He said his father used to walk down and look at the lines and come back home and tell him there was a big line at this theater, a big line at that theater. My father did the same thing.

MCGRATH: Do you think your parents contributed to your worldview? Can you point to parts of your personality that can be traced to each of them?

ALLEN: Yeah. I think — and my sister would agree — that I've inherited the worst of each parent. I have my father's hypochondria and lack of concentration. I have his amorality. I have everything bad that he had. Then I have my mother's surly, pill-like, complaining, whining attitude. The only positive thing you could say is that my mother instilled in me--probably at a greater cost than it was worth — an enormous sense of discipline and a feeling that the highest achievement that I'm capable of is not good enough. And so I'm always striving, and that has rebounded to my benefit. I've earned some money doing that, and I've stayed on the straight and narrow for the most part, so that's been a help to me.

MCGRATH: Why? What direction did they lead you in?

ALLEN: I mean, I never read a book until I was 18 years old. I never read a single book. I was a smart kid and I was not understood by my parents.

MCGRATH: Were they encouraging you to be something other than what you were?

ALLEN: They were like all Jewish parents. They hoped that I would be studious enough to become a doctor or a lawyer or some professional thing. They were creatures of the Depression--they would have been thrilled if I had become a pharmacist or something reliable. But I don't think that I've ever fulfilled my promise. I think that I was born lucky with a very good sense of humor and a reasonably good native intelligence. But I should have studied and been bookish. I should have gone to college and become a philosophy major. I should have studied literature. I should have aimed much higher than I aimed. I mean, I was interested in show business and magic tricks and tap-dancing and joke-telling — these were, you know, the trivial, escapist activities of my childhood. I should have been interested in writing novels and serious plays and poetry and things like that. Had I been better directed as a child, those are things that I think would have stood me better in life. I could have utilized whatever natural gifts I had in a more profound and deeper way. Now, I don't know this to be true — it's just something that I think.

MCGRATH: Is there anything good about getting older?

ALLEN: There's nothing good about getting older. Absolutely nothing. The amount of wisdom and experience you gain is negligible compared to what you lose. You do gain a couple of things — a little bittersweet and sour wisdom from your heartbreaks and failures. But what yon lose is so catastrophic in every other way.

MCGRATH: Of all your films, is there one that represents what you think is the best of who you are? It doesn't necessarily have to be the best film you've made.

ALLEN: Well, that sort of changes from day to day with me. There's a small group of my films that I favor over the large majority of them, where I feel like I achieved, you know, something worthwhile on my own terms. There are a few of those films that I'm sort of proud to have done, and I feel that if you were to show them in a festival with Truffaut's films and Antonioni's films and Fellini's films ... they wouldn't be the best films, but they wouldn't be hooted off the screen either. They could certainly serve as the hors d'oeuvres or the warm-ups to the really great films.

MCGRATH: And which of your films are those?

ALLEN: Well, I think The Purple Rose of Cairo is a film like that, and Bullets Over Broadway is one, and Zelig is one, and Husbands and Wives and Match Point [2005]--I probably have six or seven that I feel are respectable pieces of work, where I don't have to run and hide my head in the sand. I don't have a lot of real abysmal failures. I've got some of them, for sure, but I don't have a lot. I've got a lot of B material. And a quantity of F material.

From a 1979 edition of The New York Review of Books...

Letter from 'Manhattan'


Self-absorption is general, as is self-doubt. In the large coastal cities of the United States this summer many people wanted to be dressed in "real linen," cut by Calvin Klein to wrinkle, which implies real money. In the large coastal cities of the United States this summer many people wanted to be served the perfect vegetable terrine. It was a summer in which only have-nots wanted a cigarette or a vodka-and-tonic or a charcoal-broiled steak. It was a summer in which the more hopeful members of the society wanted roller skates, and stood in line to see Woody Allen's Manhattan, a picture in which, toward the end, the Woody Allen character makes a list of reasons to stay alive. "Groucho Marx" is one reason, and "Willie Mays" is another. The second movement of Mozart's "Jupiter" Symphony. Louis Armstrong's "Potato Head Blues." Flaubert's A Sentimental Education.

This list is modishly eclectic, a trace wry, definitely OK with real linen; and notable, as raisons d'être go, in that every experience it evokes is essentially passive. This list of Woody Allen's is the ultimate consumer report, and the extent to which it has been quoted approvingly suggests a new class in America, a subworld of people rigid with apprehension that they will die wearing the wrong sneaker, naming the wrong symphony, preferring Madame Bovary.

What is arresting about these recent "serious" pictures of Woody Allen's, about Annie Hall and Interiors as well as Manhattan, is not the way they work as pictures but the way they work with audiences. The people who go to see these pictures, who analyze them and write about them and argue the deeper implications in their texts and subtexts, seem to agree that the world onscreen pretty much mirrors the world as they know it. This is interesting, and rather astonishing, since the peculiar and hermetic self-regard in Annie Hall and Interiors and Manhattan would seem nothing with which large numbers of people would want to identify. The characters in these pictures are, at best, trying. They are morose. They have bad manners. They seem to take long walks and go to smart restaurants only to ask one another hard questions. "Are you serious about Tracy?" the Michael Murphy character asks the Woody Allen character in Manhattan. "Are you still hung up on Yale?" the Woody Allen character asks the Diane Keaton character. "I think I'm still in love with Yale," she confesses several scenes later. "You are?" he counters, "or you think you are?"

All of the characters in Woody Allen pictures not only ask these questions but actually answer them, on camera, and then, usually in another restaurant, listen raptly to third-party analyses of their own questions and answers.

"How come you guys got divorced?" they ask each other with real interest, and, on a more rhetorical level, "why are you so hostile," and "why can't you just once in a while consider my needs." ("I'm sick of your needs" is the way Diane Keaton answers this question in Interiors, one of the few lucid moments in the picture.) What does she say, these people ask incessantly, what does she say and what does he say and, finally, inevitably, "what does your analyst say." These people have, on certain subjects, extraordinary attention spans. When Natalie Gittelson of The New York Times Magazine recently asked Woody Allen how his own analysis was going after twenty-two years, he answered this way: "It's very slow…but an hour a day, talking about your emotions, hopes, angers, disappointments, with someone who's trained to evaluate this material—over a period of years, you're bound to get more in touch with feelings than someone who makes no effort."

Well, yes and (apparently) no. Over a period of twenty-two years "you're bound" only to get older, barring nasty surprises. This notion of oneself as a kind of continuing career — something to work at, work on, "make an effort" for and subject to an hour a day of emotional Nautilus training, all in the interests not of attaining grace but of improving one's "relationships" — is fairly recent in the world, at least in the world not inhabited entirely by adolescents. In fact the paradigm for the action in these recent Woody Allen movies is high school. The characters in Manhattan and Annie Hall and Interiors are, with one exception, presented as adults, as sentient men and women in the most productive years of their lives, but their concerns and conversations are those of clever children, "class brains," acting out a yearbook fantasy of adult life. (The one exception is "Tracy," the Mariel Hemingway part in Manhattan, another kind of adolescent fantasy. Tracy actually is a high-school senior, at the Dalton School, and has perfect skin, perfect wisdom, perfect sex, and no visible family.

Tracy's mother and father are covered in a single line: they are said to be in London, finding Tracy an apartment. When Tracy wants to go to JFK she calls a limo. Tracy put me in mind of an American-International Pictures executive who once advised me, by way of pointing out the absence of adult characters in AIP beach movies, that nobody ever paid $3 to see a parent.)

These faux adults of Woody Allen's have dinner at Elaine's, and argue art versus ethics. They share sodas, and wonder "what love is." They have "interesting" occupations, none of which intrudes in any serious way on their dating. Many characters in these pictures "write," usually on tape recorders. In Manhattan, Woody Allen quits his job as a television writer and is later seen dictating an "idea" for a short story, an idea which, I am afraid, is also the "idea" for the picture itself: "People in Manhattan are constantly creating these real unnecessary neurotic problems for themselves that keep them from dealing with more terrifying unsolvable problems about the universe."

In Annie Hall, Diane Keaton sings from time to time, at a place like Reno Sweeney's. In Interiors she seems to be some kind of celebrity poet. In Manhattan she is a magazine writer, and we actually see her typing once, on a novelization, and talking on the telephone to "Harvey," who, given the counterfeit "insider" shine to the dialogue, we are meant to understand is Harvey Shapiro, the editor of The New York Times Book Review. (Similarly, we are meant to know that the "Jack and Anjelica" to whom Paul Simon refers in Annie Hall are Jack Nicholson and Anjelica Huston, and to feel somehow flattered by our inclusion in this little joke on those who fail to get it.) A writer in Interiors is said to be "taking his rage out in critical pieces." "Have you thought any more about having kids?" a wife asks her husband in Manhattan. "I've got to get the O'Neill book finished," the husband answers. "I could talk about my book all night," one character says. "Viking loved my book," another says.

These are not possible constructions, but they reflect exactly the false and desperate knowingness of the smartest kid in the class. "When it comes to relationships with women I'm the winner of the August Strindberg Award," the Woody Allen character tells us in Manhattan; later, in a frequently quoted and admired line, he says, to Diane Keaton, "I've never had a relationship with a woman that lasted longer than the one between Hitler and Eva Braun." These lines are meaningless, and not funny: they are simply "references," the way Harvey and Jack and Anjelica and A Sentimental Education are references, smart talk meant to convey the message that the speaker knows his way around Lit and History, not to mention Show Biz.

In fact the sense of social reality in these pictures is dim in the extreme, and derives more from show business than from anywhere else. The three sisters in Interiors are named, without comment, "Renata," "Joey," and "Flyn." That "Renata," "Joey," and "Flyn" are names from three different parts of town seems not to be a point in the picture, nor does the fact that all the characters, who are presented as overeducated, speak an odd and tortured English. "You implied that a lot," one says. "Political activity is not my interest." "Frederick has finished what I've already told him is his best work by far." The particular cadence here is common among actors but not, I think, in the world outside.

"Overeducation" is something Woody Allen seems to discern more often than the rest of us might. "I know so many people who are well-educated and super-educated," he told an interviewer for Time recently. "Their common problem is that they have no understanding and no wisdom; without that, their education can only take them so far." In other words they have problems with their "relationships," they have failed to "work through" the material of their lives with a trained evaluator, they have yet to perfect the quality of their emotional consumption. Wisdom is hard to find. Happiness takes research. The message that large numbers of people are getting from Manhattan and Interiors and Annie Hall is that this kind of emotional shopping around is the proper business of life's better students, that adolescence can now extend to middle age. Not long ago I shared, for three nights, a hospital room with a young woman named Linda. I was being watched for appendicitis and was captive to Linda's telephone conversations, which were constant. Linda had two problems, only one of which, her "relationship," had her attention. Linda spoke constantly about this relationship, about her "needs," about her "partner," about the "quality of his nurturance," about the "low frequency of his interaction." Linda's other problem, one which tried her patience because it was preventing her from working on her relationship, was acute and unexplained renal failure. "I'm not relating to this just now," she said to her doctor when he tried to discuss continuing dialysis.

You could call that "overeducation," or you could call it one more instance of "people constantly creating these real unnecessary neurotic problems for themselves that keep them from dealing with more terrifying unsolvable problems about the universe," or you could call it something else. Woody Allen often tells interviewers that his original title for Annie Hall was "Anhedonia," which is a psychoanalytic term meaning the inability to experience pleasure.

Wanting to call a picture "Anhedonia" is "cute," and implies that the auteur and his audience share a superiority to those jocks who need to ask what it means. Superior people suffer. "My emptiness set in a year ago," Diane Keaton is made to say in Interiors. "What do I care if a handful of my poems are read after I'm dead…is that supposed to be some compensation?" (The notion of compensation for dying is novel.)

Most of us remember very well these secret signals and sighs of adolescence, remember the dramatic apprehension of our own mortality and other "more terrifying unsolvable problems about the universe," but eventually we realize that we are not the first to notice that people die. "Even with all the distractions of my work and my life," Woody Allen was quoted as saying in a cover story (the cover line was "Woody Allen Comes of Age") in Time, "I spend a lot of time face to face with my own mortality." This is actually the first time I have ever heard anyone speak of his own life as a "distraction."

Joan Didion penned this essay in 1979. You can subscribe to The New York Review of Books here. Columbia professor John Romano wrote the letter that follows.

To the Editor:

What piques screenwriter Joan Didion so much about those large, enthusiastic audiences Woody Allen gets is that they seem to recognize themselves in lives that Didion finds unimportant. People who live such lives are unimportant to Didion because they "go to restaurants and ask one another hard questions" about "relationships," something only "adolescents" still discuss much. Evidently where Joan Didion lives problems of love and psyche evaporate in a haze of margaritas by age twenty-one and folks can get down to the real business of living—which is what, by the way, if it isn't the self or others? Losing weight? More likely, it's vocations. Careers. Movie deals.

Didion complains that Woody Allen is stuck in the "fairly recent" notion of finding or making or inhabiting the self, as a central obsession. She's right that it's recent: those who trace it back to Augustine are exaggerating, a little. But surely the literature of "recent" centuries is richer for the works of people who've made this same faux pas. It's what modern narrative art is mostly about, and Didion is sophomoric ("adolescent?") in complaining that Woody Allen hasn't managed to rehabilitate pre-modern modes of being, such as "attaining grace." Didion would make a vice out of the fact that Woody Allen keeps to the side of the street he knows best—the sign of a tyro, by the standards of Hollywood, where a "writer" is someone who can dish out visions of the Gold Rush, the Boxer Rebellion, or the Lower East Side with equal competence. She calls the narrowness of Woody Allen's focus "self-absorption." Another word for it is modesty.

Admittedly there's nothing modest about the list of things he lives for in Manhattan, but that's not what Didion doesn't like about it. Instead she notes that it's "modishly eclectic," which is a too deft way of saying that the list isn't governed by any particular fashion or set of fashions. Here Didion's need to attack the mindlessly modish audience (for roller-skating in crumpled linen, is it?) overcomes her intellectual honesty. The "Jupiter," as she knows, is not at all a stylishly unfamiliar symphony—I think I've heard it in the Park—nor is a passion for "Potato Head Blues" likely to win you fancy friends. Didion may resent Woody Allen's public display of his connoiseurship—and a (gorgeously) indulgent scene it is, too—but she shouldn't pretend she knows his tastes to be modish when she can't, because they ain't. For instance: she says that the point of listing Sentimental Education is to obviate a gauche reference to Madame Bovary. A subtle discrimination, indeed! To know which of these two novels is hipper than the other betrays a suspiciously keen eye for what's in, what's out. Keener than Allen's.

Which brings me to his defense on one last point, and here I'm answering not only Joan Didion, but also my friend Michael Wood, who in these pages [NYR, June 29, 1978] made the point that Allen doesn't know as much as he implies about the bulk of his literary references. Probably there's truth in this; that bulk is rather large. But when an allusion is apt — and even illuminating — it deserves credit even from the knowing. And the concerns of Sentimental Education have an eerie relevance to the concerns of Manhattan. In Frédéric Moreau as in the character Woody is endlessly playing, strength of feeling isn't a source of action but rather an enfeeblement. By reminding us of the barely sympathetic, weak Frédéric, Woody Allen is reinforcing not the central character but those others in the film (or in the audience) who doubt his strength, his maturity, his authenticity. To say that this similarity in the themes of the two works is just accidental might be quite correct, but it would also be an instance of not crediting on the screen what we wouldn't hesitate to find—and maybe praise—in a flawed but intelligent novel.

John Romano


Oh, wow.

Karina Wolf welcomed us to the man we call Woody. That's him on the left:

Eleanor Morrow took on Melinda and Melinda:

Before Tyler I feel like we didn't really understand Annie Hall...

Jacob Sugarman on Broadway Danny Rose...

Emily Gould on Manhattan...

Sarah LaBrie handled the intricacies of Match Point...

The multi-talented Yvonne Puig on Crimes and Misdemeanors...

Molly went over a bunch of sequel talk...

Julie Klausner on Hannah and Her Sisters...

Chad Perman on Husbands and Wives...

Pauline Kael on Interiors...

Woody Allen on his Jewish heritage...

Ben Arfmann on Radio Days...

Marco Sparks on Manhattan Murder Mystery...

Georgia Hardstark on Hannah and Her Sisters...

You can visit the This Recording tumblr here, and the This Recording twitter here.

digg delicious reddit stumble facebook twitter subscribe

References (17)

References allow you to track sources for this article, as well as articles that were written in response to this article.
  • Response
    In Which The New York Review of Books Knew How To Lay It Down Hard - Home - This Recording
  • Response
    Response: dog arthritis meds
    The greatest dog arthritis remedies around
  • Response
    In Which The New York Review of Books Knew How To Lay It Down Hard - Home - This Recording
  • Response
    露肉肉的夏季将要到来。很多女性为了自己的身材能够吸引众人的眼球,摆脱恐龙妹的美名。都开始进行减肥。你知道如何快速的减肥吗,下面小编就为你推荐快速减肥方法 mymi大肚贴实现产后妈妈减肥梦 ,mymi大肚贴实现产后妈妈减肥梦,让你瞬间变女神。  一、8天减10斤的饮食原则:  1、每天吃四份蔬菜  每天要吃四份蔬菜,每份至少要有1 mymi大肚贴成功拯救办公室白领小肚子 00克的份量。比如说,早餐、午餐、晚餐、小吃都有100克的蔬菜,而西红柿和生菜就是非常理想的快速减肥食品。当然,蔬菜是非常吸油的食物,不想要破坏减肥计划的话,就要选择水煮青菜或者是生菜沙拉。  2、喝大量 韩国mymi大肚贴副作用是什么 的
  • Response
    Response: 中国好链接
    十岁,人生迎来了两位数! 中国好链接 ;;;;;;生日季第二波,果果十岁了!!!已经不记得有多久没有为果果写点什么,弟弟倒是坚持每月一报,哥哥这儿成了年度总结,惭愧。。。。。其实真不是我厚此薄彼,微博上兄弟俩肯定是平分秋色各有记录,只是博客上如果要写点哥哥,肯定不能写苗苗月报那样的流水账,再加上每天疲于应对琐碎的生活,没时间没精力静下心来认真写,所以就一再搁置。不好,要检讨,希望等下个月二少爷也上学了,我可以花开两朵,各表一枝,果苗源泉都好好记。 ;;;;今儿的主题是庆生!难以置信啊,我的儿子,当年
  • Response
    市民银行卡被3次盗刷近3万 疑收到伪基站短信   华商报讯(记者张莉)近日,华商报持续报道了有市民银行卡被盗刷的事件,昨日又有市民说银行卡被 西安野鸡大学调查-校址变换不定 简介名不副实 盗刷,这次损失了近3万元。   家住北郊的马先生说,他的银行卡一直带在身上,可是5月28日、29日、30日这三天,他的工行储蓄卡分别被盗刷了3笔,总共近3万元。第一笔9999元,第二笔和第三笔都是9989元,三笔一共29977元,都是通过一个第三方支付平台“上海宝付”转走的。而奇怪的是,这三笔被盗刷时他都没有收到短信通知。   
  • Response
    主持人行李遭国航野蛮托运:拿什么保护行李 [微博] 机器人   日前,北京电视台主持人春妮在微博上曝出自己遭野蛮托运的名牌行李箱,并称:“出访演出,乘坐国航,伦敦落地,箱子居然就面目全非!这得是多野蛮的装卸啊!”根据配图,她托运的 春秋航空 一个RIMOWA银白色旅行箱表面有多处磕伤,边角处凹陷严重。这让托运行李之殇再次成为人们热议的话题。   民航局最新发
  • Response
    第73届威尼斯电影节开幕 华语片未入围主竞赛单元-中新网   新华社意大利威尼斯8月31日专电 美基元整形:我们始终坚持手术安全放第一 通讯:第73届威尼斯电影节开幕   新华社记者 葛晨 罗娜   第73届威尼斯电影节8月31日开幕。虽然已经入秋,但威尼斯利多岛的炎炎暑气还没有消退,出席电影节的明星和慕名而来的观众更是让这座古老的水城热力十足。   美国影片《爱乐之城》为本届电影节揭幕。这部入围主竞赛单元的影片以大场面长镜头歌舞段落开篇,是导演达米安?沙泽勒从独立影片到好莱坞类型片的跨越之作,在开幕当天展映时不断收获观众掌声。   
  • Response
    作为创业者,应该了解的不同投资者以及投资动机   作者 丨AaronHarris(Tutorspree 联合创始人、YC合伙人)    初秋的正确打开方式,从美基元水光针开始! 编译丨拓扑社 一笑   当创业者准备融资,理解投资人不同的动机十分重要,风险投资人都希望他们的投资能得到丰厚的回报。最优秀的投资人专注于一件事:投资科技公司。   不过投资世界已经不一样了,现在有许多不同类型的初创公司投资人,他们有着不同的投资动机,采取不同的方法。了解投资人的动机对于如何与投资人打交道、如何与他们进行磋商、以及如何与他们建立长期的关系十分重要。
  • Response
    谷歌涉足叫车应用市场 原标题:谷歌涉足叫车应用市场   在有着优步、利夫特等强大竞争者的美国打车应用服务市场,最近又上线了一个名为位智(Waze) 美基元天使微雕术=青春永远定格!! 的同类应用服务。美国媒体30日说,这一服务由谷歌公司运营。涉足叫车应用服务被认为是谷歌在交通出行方面布局的一部分。   与优步和利夫特不同的是,位智搭建了一个由出行驾车人组成的社区平台,不仅为用户提供语音行车导航,用户也可以实时分享交通和路况信息,包括行车途中遇到的交通事故、警告、路障等。同时,位智还有社交功能,比如用户可以添加脸书好友或通信录好友,获
  • Response
    澳门酒店 美基元整形自体脂肪移植术 您永葆青春的逆龄秘密! 调整策略 降星级吸引更多大众游客   中新网9月13日电 据澳门日报报道,近两月来,随着新酒店开幕,澳门增加4000多间酒店房。酒店业者表示,上半年酒店收入较一四年高峰时明显大减,个别月份更减近半。未来众多酒店开幕,预计房价仍有下调压力。近年酒店调整策略,纵使设施具备条件申请五星,但为吸引更多中产或大众消费客,宁愿降至四星或以下,增加对应市场吸引力。   特区政府五年规划提出,期内增加1.2万间酒店客房,增加至少1.44万个相关职位。酒店业者表示,数字包括今年开幕的两大酒店项目,已有40
  • Response
    美国对朝政策 仅仅20分钟,美基元整形汪福强院长就能用他的双手为你找回专属女人的自信! 失败妄图推卸责任 中国:望各方冷静  【环球时报综合报道】美国轰炸机飞越韩国的同一天,朝核问题六方会谈韩方团长金烘均与美方团长、美国国务院朝鲜政策特别代表金成在首尔会晤。双方会后宣布,将采取一切手段加强对朝施压。“美国:中国必须帮助堵住对朝制裁漏洞”,法新社以此为题称,金成在韩国表示,今年以来,朝鲜已进行两次核试验,发射20多枚导弹。“朝鲜再次公然无视其国际承诺和义务....即使以朝鲜的标准,也是前所未有的”。他还称,在向朝鲜展示“其非法和危险行为将面临严重后果”方面,中国有着重要作
  • Response
    父亲与情人争吵后遗弃龙凤胎 涉重婚被刑拘 民警将龙凤胎抱回派出所 孩子就是在这里被发现的,旁边还有个储物箱放着婴儿用品 荔枝网供图   美基元整形荣获中国首批美国射极峰3D纯膨体指定应用机构!  原标题:有家庭有儿女,却和别人非法同居生下龙凤胎淮安龙凤胎遭弃,父亲涉重婚被刑拘   淮安涟水一对龙凤胎雨夜遭遗弃,牵出一段畸形恋情。9月28日晚,有人报警称在淮安市涟水县一小区发现一对龙凤胎。29日下午警方介绍,孩子父母已经找到。 当晚二人吵架后,孩子母亲张某离家出走,父亲贾某则一气之下将孩子送走。民警还了解到,贾某其实早有家庭并有一双儿女。29日晚,贾某因涉
  • Response
    下安定催眠 90 三点式双眼皮手术 后女孩在山东抢劫多名男微友致1死 张琳(化名)在济南市中级人民法院受审。(法院供图)   1992年出生的张琳(化名)看上去白白净净,让人很难把她和“抢劫犯”联系在一起。然而,去年她却因涉嫌抢劫被公安部门逮捕。日前,济南市中级人民法院公开开庭审理了该案。   下安定催眠后实施抢劫,致一人死亡   站在被告席上的张琳身穿一件绿色T恤,她个头不高但皮肤白净,戴着眼镜,有些潦草地束着一个马尾辫。走在大街上,别人可能觉得这是个普通的女大学生。然而,她曾在半年左右的时间里,通过在酒里下药将
  • Response
    老 以诚心塑恒心,美基元整形胡艳艳:用光学美肤还你初生之美! 太被“神奇菜刀”骗钱 找人算账被同样招数骗   东北网9月30日讯 都说“天上不会掉馅饼”,但仍有人抱着侥幸心理往骗子设好的陷阱里跳。   9月24日,家住东风新村二区的秦女士,被“神奇菜刀”骗走了当时兜里仅有的100元钱。   钱虽不多,但秦女士觉得很上火:“明知他们有猫儿腻,咋还是上当了呢?”   路遇免费刀具动了心   当日,记者找到了上了年纪的秦女士。   “当时我下楼买菜,看见楼头有一群人围在一起。我就问旁边的人,里面是在干什么。他们告诉我说是免费发菜刀,我就过去了。”秦女士说。  
  • Response
    今日重阳!除了登高,上海人都在做这一件 双眼皮画眼线好看图解 事情今天,我们迎来国庆之后的第一个节日“重阳节”虽然重阳节不放假但是它的地位可是相当重要重阳节中文名称:重阳节别称:登高节、晒秋节、重九节、九九重阳等节日时间:农历九月初九节日类型:传统节日节日起源:祭祀、自然崇拜节日活动:插茱萸、赏秋、赏菊、登高、踏秋等节日饮食:重阳糕、菊花酒节日意义:敬祖、敬老、感恩重阳节别称之一“重九节”重阳节,农历九月初九二九相重,称为“重九节”由于九月初九“九九”谐音是“久久”有长久之意九在数字中又是最大数有长久长寿的含意《易经》
  • Response
    揭20个令人惊奇的长寿诀窍:早上单腿轮换站立--广东频道--人民网 原标题:揭20个令人惊奇的长寿诀窍:早上单腿轮换站立   人人 开眼角可以治疗眼角下垂吗 都想长寿,但长寿不是一朝一夕的事。保持健康生活方式,并在细节上多用心,才有可能更长寿。英国《每日镜报》最新总结了一些令人惊奇的长寿诀窍。   1.喝茶前进行充分搅拌。茶中富含的抗氧化剂(多酚)有助于人体抵御心脏病、癌症和过早老化。以色列学者进行的一项研究发现:适量饮茶的人比不经常饮茶的人要活得长。需要记住的是:喝茶之前要充分搅拌茶水,研究显示这种方法能让茶水多释放出1

Reader Comments (4)

Didion vs Allen; Romano vs Didion: the snark of the God(desse)s. Great stuff, and a pewter-plated trophy to TR for neatly stacking and cross-wiring all the layers of Woody/Woody-meta... resulting in the opposite of slapdash. This is what "Online" can do that "Print" can't. Taking the medium seriously is a prerequiste to owning the nasty thing. Grooven.

July 5, 2009 | Unregistered CommenterSteven augustine

accusations of name dropping from the literary queen of name dropping. didion gets old quick.

July 5, 2009 | Unregistered Commenteryvonne

joan's just being funny. you can't take her at her word.

July 6, 2009 | Unregistered Commentervirginia

once again, didion is so annoying

June 7, 2011 | Unregistered Commenteryvonne

PostPost a New Comment

Enter your information below to add a new comment.

My response is on my own website »
Author Email (optional):
Author URL (optional):
All HTML will be escaped. Hyperlinks will be created for URLs automatically.