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Sunday Spill: Favorite Beatle?; The Tilley Watch Online, May 25-29, 2026; Q&A Of Interest…Hilary Campbell; Rich Sparks’ Upcoming “Draw Me Anything” Appearance

31 May 2026 at 13:33

Favorite Beatle?

Here’s a somewhat autobiographical drawing from The New Yorker (December 28, 1992) posted today in celebration of Paul McCartney‘s just released, well-received, new album, The Boys Of Dungeon Lane. 

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The Tilley Watch Online, May 25-29, 2026

 

An end of the week listing of New Yorker artists whose work has appeared on newyorker.com features

Daily Cartoon: Emily Flake, Juan Astasio, Paul Noth, Adam Douglas Thompson, P.C. Vey. See them here.

 

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Q&A Of Interest With Hilary Campbell

From Graphic Memoirs Blog, May 29, 2026, “From The New Yorker To Graphic Memoir: Hilary Fitzgerald Campbell”

Ms. Campbell began contributing to The New Yorker in 2017. Visit her website here.

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Rich Sparks’ Upcoming Draw Me Anything Appearance 

Rich Sparks, whose first New Yorker drawing appeared in 2016 joins a New Yorker colleague, Jason Chatfield this coming Wednesday on Mr. Chatfield’s Draw Me Anything! (Mr. Chatfield began contributing to the magazine in 2017). They’ll most certainly discuss Mr. Sparks’ latest book (below).

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The post Sunday Spill: Favorite Beatle?; The Tilley Watch Online, May 25-29, 2026; Q&A Of Interest…Hilary Campbell; Rich Sparks’ Upcoming “Draw Me Anything” Appearance first appeared on Inkspill.
  • ✇Collider
  • 10 Albums That Prove 1967 Was the Best Year for Music Jeremy Urquhart
    1967 was a big year for music, and maybe even more specifically for albums. Concept albums really took off and started to get more popular in the second half of the 1960s, and even if Pet Sounds and Revolver came out in 1966 (and something like The Who’s Tommy was still a couple of years away), 1967 had some notably strong albums that felt like coherent (and consistent) pieces of art made up of multiple tracks.
     

10 Albums That Prove 1967 Was the Best Year for Music

4 June 2026 at 23:21

1967 was a big year for music, and maybe even more specifically for albums. Concept albums really took off and started to get more popular in the second half of the 1960s, and even if Pet Sounds and Revolver came out in 1966 (and something like The Who’s Tommy was still a couple of years away), 1967 had some notably strong albums that felt like coherent (and consistent) pieces of art made up of multiple tracks.

  • ✇El País in English
  • Steven Soderbergh brings us John Lennon’s Last Interview Gregorio Belinchón Yagüe
    On December 8, 1980, John Lennon and Yoko Ono sat down to talk to a small crew from San Francisco’s KFRC radio station in their Dakota Building apartment in New York. It was the only radio interview they gave to promote their album Double Fantasy, released three weeks earlier. For two hours and 45 minutes they spoke calmly, optimistically and, in Lennon’s case, in an almost messianic voice, about life. That night, returning home, Lennon would be shot dead by Mark David Chapman. Given the circums
     

Steven Soderbergh brings us John Lennon’s Last Interview

On December 8, 1980, John Lennon and Yoko Ono sat down to talk to a small crew from San Francisco’s KFRC radio station in their Dakota Building apartment in New York. It was the only radio interview they gave to promote their album Double Fantasy, released three weeks earlier. For two hours and 45 minutes they spoke calmly, optimistically and, in Lennon’s case, in an almost messianic voice, about life. That night, returning home, Lennon would be shot dead by Mark David Chapman. Given the circumstances, the interview could be viewed as prophetic, which is Steven Soderbergh’s angle in his documentary John Lennon: The Last Interview, presented at Cannes in a special session.

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John Lennon, Yoko Ono and Sean Lennon, in one of the images from the family album used in the documentary 'John Lennon: The Last Interview.'
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