Over at Cinephilia and Beyond check out Peter Sellers’ imitation of Michael Caine.

“Flowers and Ceramic Plate” by Henri Matisse.

I love our man Bags’ pictures from around town.

While you’re at it, check out this Super 8 footage of NYC in the 70s:

He wouldn’t do me wrong.

[Painting by Winslow Homer]

Pumpkin pie crumb bars. No use steering now.

Bill.

[Image: “Portrait of Sylvette David in Green Chair” by Pablo Picasso, 1954]

TV Theme Song of the Week:

Okay, we need a better title but thought it’d be fun to highlight a catchy TV theme song each week round here.

Lil’ help with a title?

“Jeanne Hébuterne” by Amedeo Modigliani (1917/18)

Welcome Back to Where & When.  This will be a special edition to highlight the recent loss of a cultural icon.  For several generations and cultures who inhabit the city, this was their Penn Station. I present this without further comment, but feel free to post thoughts.

Tuesday, November 19, 2013:

 Here is a Google Gallery of what was 5 Pointz. 

Here is a little history.

Michael Weiner, the executive director of the MLBPA, passed away yesterday at 51. Over at ESPN, Jerry Crasnick salutes a voice of reason.

Furious Cool is the title of a new book about the great Richard Pryor by Joe Henry and David Henry. Here’s a Q&A with the author’s over at the Atlantic. And a review of the book at the A.V. Club.

Painting by Mary Cassatt.

Alexandra makes Alice Waters’ Potato Gratin.

Cool.

Tomorrow night at 7 out in Queens gives one of the great movies of them all. Even if you have a big HD TV you should treat yourself and see this on the big screen.

Ry Cooder has a new live record out. Alec Wilkinson has a thoughtful post about Cooder and performing live over at the New Yorker:

Absent disabling cases of stage fright, emotional reversals, or predatory addictions, performers who withdraw from performing—who liberate themselves straight into a private life—are rare. One of the few popular musicians I can think of who has done so happily (besides George Harrison) is Ry Cooder. Perhaps in Cooder’s case it isn’t surprising since he began his career as a studio musician, when he was still a teen-ager—he grew up, that is, in a context where music was made in rooms with only a few people present, not on a stage for an audience. He once said that the people who want the applause should have it, but he wasn’t one of them. He didn’t like being watched. He didn’t like the pressure of having to deliver a performance—as opposed to just playing music—and he didn’t like being analyzed by the guitarists who stood as close as they could to try and figure out what he was doing. The whole experience was draining. After a concert, he once said, he felt like a withered balloon under a chair at the end of a children’s party. About thirty years ago, he reached a point where he could no longer go out on stage and say one more time, “Ladies and gentlemen, and especially you ladies…”

…Another reason Cooder didn’t tour is that in middle age he felt he could no longer perform many of the songs he had recorded when he was younger. Some of them had relied on a jauntiness he no longer felt.

Pumpkin Pie Rugelach? Sure, why not?

O’ Look Misery by Blind Blake. 

[Photo Via: Lover of Beauty]

“Vista a través del Patio (en el nº 48 de la calle Lille, París)” by Edward Hopper (1906)