Or more accurately, as Alisa Solomon explains, watching Spiegelman’s career-long excavation of himself.
He died “with the astonishing record of having had his career conclude with 17 poorly received flops in a row. It is far from unusual for a creative artist to lose his way in middle age. But Williams’s disintegration was so spectacular that it is hard not to wonder exactly what went wrong with a writer whose initial success had been no less spectacular.”
After he got himself banned from Cannes in 2011 for making a thoroughly unfortunate joke, the Danish filmmaker announced that he would “refrain from all public statements and interviews” so as to keep himself out of trouble. But he really wanted to discuss the uncut 5½-hour version of Nymphomaniac with the press at this year’s Venice Film Festival. So they found an ingenious (and entertaining) solution.
These days, tattoo artists for athletes have started to pay more attention to their rights. And those worries aren’t necessarily frivolous, says Tim Bradley, an intellectual property attorney. He says copyright law is actually very friendly to the artist, and that protections kick in once you’ve shown a “modicum of creativity” in your design and you’ve put it on a “tangible medium.”
The “winsome, nostalgic and tuneful” 1953 musical, which made stars of Julie Andrews (on stage) and Twiggy (on screen), subsequently became a perennial favorite of school and comunity theaters all over the English-speaking world. “He would say that The Boy Friend always held a place in his heart because it gave him the economic means never to work again.”
“Being gay is a gift from God,” says Saúl Armendáriz, though that was hardly his experience as an abused and bullied youngster in El Paso and Ciudad Juárez.But he was quick and athletic and hardworking and had a sense of showmanship. Today, he’s Cassandro, one of lucha libre‘s biggest stars, kicking macho ass from Mexico City to L.A. to Tokyo.
“The assistant, James Meyer, was indicted in 2013 on charges connected to a scheme that prosecutors said involved the theft of at least 22 artworks over about six years. Mr. Meyer removed the works from Mr. Johns’s studio in Sharon, Conn., prosecutors said, and delivered them to an art gallery in Lower Manhattan, where they were sold for about $6.5 million.”
Once, Mary Beard was just an unusually prolific Oxbridge don. Now she’s a popular historian with multiple television sows to her credit, something of a heroine to middle-aged and older women (and more than a few of their daughters), and a skilled slayer of Internet trolls. (Sometimes she even reforms them.)
“Over six decades, Sam Hunter could usually be found at the center of some of the most exciting times for art in New York and beyond. He was an art historian (an authority on 20th-century art), a museum director, a curator, an art critic and an art adviser to museums, corporations and private collectors” – not to mention author or co-author of some 50 books.
Hadid may not withdraw her suit since, Reuters says, she sought damages and the closing of the venerable NYRB. Why did she ever file it? The retraction should not have been hard to get; a suit simply extends the damage to her reputation, which, in spite of Filler’s serious error, was principally done by her own flippancy, abetted by the Internet’s facility in sating our lust for “how the mighty have fallen” stories.
“One of the pleasures of hanging out with Mitchell is that he is, by self-identification, many kinds of nerd – a Star Trek nerd, a Doctor Who nerd, a map nerd, a taxonomy nerd, a tea nerd, a word nerd, and, for good measure, what you might call a nerd nerd: an enthusiast of nerdery of all kinds. At one point in our conversation, he speaks admiringly of sheep nerds.”
Jessa Crispin: “We all tell ourselves stories, as a way to understand and cope with what’s happening. … Stories were my way in. Those figures in the cards became characters and plot points. I would pull one card every morning, and then look for that character or that plot point in my own life. That argument I keep having with my ex, the one that never resolves? Five of swords.”
A two-time Nobel Prize nominee and one of the country’s most revered writers, “she was a fierce feminist who subverted the form of Iran’s traditional ghazals, love poems traditionally written by male admirers to women. Behbahani flipped the ghazals and wrote hers to men. She used them to write about a mother’s anguish over the loss of her son in the Iran-Iraq war and the horrors of stoning women to death.”
Nike Wagner, Wieland’s daughter, pretty much knew that she’d never lead the Bayreuth Festival once her uncle Wolfgang took over. (The job went to his daughters, Eva and Katharina; Eva is now retiring.) So she’s made her own way as a writer (including a predictably dirt-filled family tell-all) and dramaturg, and now she’s directing the world’s top Beethoven festival.
“The pleasures and rewards of literary inspiration are nothing beside the rapture of discovering a new organ under the microscope or an undescribed species on a mountainside in Iran or Peru. It is not improbable that had there been no revolution in Russia, I would have devoted myself entirely to lepidopterology and never written any novels at all.”
“I designed some costume events for these doctors … The male doctor was a kidney surgeon, and he wanted the magic power to immediately implant kidneys in people, so his alter ego was named Kidney Boy, and the female doctor was Dr. Snit, and she had pain issues. And I gave them some little flying kidney helpers, because you have to have helpers. And Dr. Snit got a magic wand with a little halo of Tylenols.”
“I had been told that it was derelict and vacant; that after Baldwin’s death in 1987 there had been legal disputes about who in fact owned the eighteenth-century Provençal building (Baldwin thought he did). The rusty padlock on the austere gates and the broken buzzer confirmed that the house was unoccupied. I glanced furtively around to check that no one was watching and prepared to scale the wall.”
“Frankly, since the age of 20, all of the interviews I’ve done have involved people asking about my impending failure [after all the early success], and how I felt about the possibility of that. … Which is hard to deal with, because a lot of us already have those fears anyway: what if this doesn’t last for ever?; what if I don’t end up working in 10 years? So for other people to then be asking you about those things all the time is like having your innermost fears confirmed by somebody outside of yourself.”