Lobenthal.com

She recalls it for Wanderlust Journal: “Sexy, Sultry, and Migraine-Free.”

He is quickly moving beyond the pale of legitimate legal analysis. And the fact that Trump keeps running to him for exoneration shows how desperate the president is to evade redress for his crimes.

The folly of the media and our politicians venerating Silicone Valley becomes more apparent by the day.

A Zuckerberg is potentially even more dangerous than a Trump, because so much more intelligent and informed.

Mehreen Kasana at Alternet snapshots Zuckerberg’s er, unfortunate comments to The New Yorker in 2010.

In fact, as Charles Pierce in Esquire reminds us, it “kills more people in this country than ISIS ever will.”

Only the Democrats’ weakness, passivity, and silence, allows the GOP to continue to tout deregulation as something worth keeping them in office for–a campaign promise fulfilled.

Regulation protects American lives–deregulation endangers them.

Pierce wraps his mind around the incredible spectacle of Republicans moving to cut regulations on chemical plants even after the latest detonation at a chemical plant.

As I said before, the Rrepublicans pitch basically comes down to: “We hate Americans and will do everything we can to degrade and endanger your lives. Vote for us.”

Given the current dearth of theater reviews in the “mainstream” media, just-launched The New York Stage Review aims to pick up the slack.

NYSTAGEREVIEW.COM

Michael Corcoran at Truthout describes the way they’re licking their chops at the chance to dismantle the VA.

It’s their latest coup against American democracy.

So what if the American population turns into depersonalized robots!

Did you know that you can have an incredibly personal banking experience?

So I was told by a placard as I walked up Broadway toward Lincoln Center last night.

Sara Mearns in Dances of Isadora at Paul Taylor this week.

I saw the opening last night.

It was performed with Trisha Brown’s Set and Reset, performed by her company, and with Taylor’s Esplanade–quite an event.

Talk about going to the source and coming back again–Mme. Duncan informed so much of what we see today, and her solos still hold up on their own as living art.

And didn’t that diagonal moving downstage right turn up–transmogrified– in Le Clercq’s Waltz of the Flowers choreography three decades after Isadora’s Russian sojourn in the early-1920s?

Unlike Fokine, who was enchanted by Isadora during her earlier Russian visits, Balanchine always put Isadora down. But, I mean, come on.

Mearns demonstrated her customary total commitment, tempered here by dignity, restraint, monumental repose.

A friend caught his set at the 9:30 club in Washington, D.C. Friday night–told me it was a gas.

In The New York Times, Anna Cordea-Rado profiles Frahm, one of a current school of “musicians who combine elements of electronic dance and classical music to produce a new, more contemplative kind of pop.”