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The New Yorker
At Javelina, more than anything, the people wanted their queso. A review by @hannahgoldfield:
In a new take on taxidermy, Christopher Marley turns reclaimed animals into art:
In this week’s issue, @eosnos profiles Xi Jinping, China’s most authoritarian leader since Mao
In Assaf Evron’s series “Visual Pyramid After Alberti,” Renaissance perspective meets the Xbox
The musical “Fun Home,” based on @AlisonBechdel’s graphic memoir, comes to @CircleBroadway:
In this week’s issue, Jonathan Franzen considers the other cost of climate change:
This week’s cover, “Everybody Who’s Anybody,” by @Cartergoodrich2:
This NYer cover was drawn by an artist who now has amnesia. Here's a lovely profile of her:
Retweeted by The New Yorker
A cartoon by Edward Steed, from this week’s issue. For more:
"Each of his readers reads him as a personal secret." @tejucole on Tomas Tranströmer (2011):…
Retweeted by The New Yorker
There has been some discussion about @lenadunham’s comedic piece in this week’s issue. David Remnick has this to say:
Anthony Lane reviews the new Noah Baumbach film, “While We’re Young”
A short film about Mexico’s forty-three missing students, based on the work of @MattBlack_Matt
.@MattBlack_Matt’s portraits of life in Mexico’s poorest state since 43 students went missing:
This week, Hilton Als reviews four new plays about women:
“There is a complicated culture of silence that surrounds adjuncting,” @carmenmmachado writes:
On “Future Brown”: “The best songs tend to treat their inspirations with irreverence.” @huahsu
This week, the @studiomuseum opens a jam-packed survey of Trenton Doyle Hancock’s work:
A profile of an artist with amnesia who clings to her identity by drawing nonstop:
A Polish street photographer’s take on urban life in Tokyo: