AJ Four Ways: Text Only (by date) | headlines only
DANCE
IDEAS
- Sometimes Book To Movie Adaptations Don’t Work Out For The Author

But this one may become legendary. “Tomi Adeyemi, the author of the bestselling fantasy Children of Blood and Bone, isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.” – Los Angeles Times (MSN)
- Seneca, Worried About The Crisis Of Attention, Had An Idea For A Fix

Too much scrolling (of papyrus) in ancient Rome had the philosopher Seneca in search of an answer. His advice, “which he outlined in his Letters From a Stoic: Devote your attention to one idea a day.” – The New York Times
- The University Of North Texas Can’t Handle An Art Show With Work Critical Of ICE

“Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. [He] wrote, ‘I think it’ll be easier to manage any barking from our friends in Austin.’” – NPR
- Free Speech on Someone Else’s Stage – An Update


A few months ago I posted about a controversy in Australia, where a musician had a future appearance with the Melbourne Symphony Orchestra cancelled because he had, contrary to MSO policy, made political comments during a performance. He sued, and the New York Times today reports (gift link) that he lost in court:
The pianist, Jayson Gillham, claimed in a lawsuit that the orchestra had violated the country’s Fair Work Act and his right not to be treated unfavorably in the workplace because of his political beliefs.
But the judge, Graeme Hill of the Federal Court of Australia, ruled on Friday that because Mr. Gillham was an independent contractor he was not protected under the workplace rights law. The orchestra, Justice Hill determined, had acted to protect its business and reputation when it canceled the performance by Mr. Gillham and issued statements to its patrons about the matter.
“The court finds that the M.S.O. would have taken the same actions if Mr. Gillham had expressed a political belief in support of Israel, or if Mr. Gillham had made statements on any other topic that had the same impact or anticipated impact on the M.S.O.’s business and reputation that Mr. Gillham’s actual remarks had,” a summary of the judgment said.
In my post I said that as a general rule, arts presenting organizations are within their rights to restrict what performers can do on their stages:
If the Melbourne Symphony does not want guest performers making political statements during their concerts, it has every right to say so. If it “does not condone the use of our stage as a platform for expressing personal views”, then probably best to make this clear to any featured performer as they draw up their contract (and I don’t know if that happened in this case). Unless explicitly granted, no artist has complete freedom of speech on stage. An actor cannot decide on their own to interrupt a performance of Twelfth Night with a political dedication. Some performing arts organizations might think such political statements are fine, actually, and they can say so. Or a politically-oriented artist could produce their own shows, as Gillham seems to have moved towards. But if the MSO does not feel that way, there is no “free speech” right that overrides it.
The audience at an orchestra concert (Gillham does not raise the topic of “the audience”) is captive, and deserving of consideration; many of them, like me, might prefer to enjoy their orchestral music neat. To insist that they must be made to listen to the guest performer’s political thoughts, even when the orchestra management has said it doesn’t go in for that sort of thing, is self-indulgence.
And I doubt most artists would agree with a blanket “free speech” right at invited gigs anyway. Suppose a featured violinist, before their performance, said “I dedicate this performance to those who died, and their families, in the October 7 terrorist attack on Israel, and support Israel’s right to self-defense and to bring justice to those who committed this heinous crime”. Would Gillham think that free speech deserves protection? Suppose a guest artist wanted to talk about other political issues, or value-added taxes, or the Westminster parliamentary system, or that Vegemite is an abomination? Suppose a guest artist addressed the audience with racist opinions on Australia’s Indigenous people, or made a grossly homophobic joke. The ABC story the next day would not be about “free speech”, but about demands that the musician never be invited back.
I didn’t think Gillham had a case, and the court agreed.
- Enjoying All Of The Agatha Christie Adaptations Out There?

Then you might want to read more Golden Age mysteries, including Josephine Tey (and not just Daughter of Time). – The New York Times
ISSUES
- The University Of North Texas Can’t Handle An Art Show With Work Critical Of ICE

“Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. [He] wrote, ‘I think it’ll be easier to manage any barking from our friends in Austin.’” – NPR
- This Artwork Requires Covering The Gallery Floor In Peanut Butter

Smooth, not chunky – the artist wasn’t a monster. – The Guardian (UK)
- Anish Kapoor And The Meaning Of The Void

“When Kapoor first made one of these works in Prussian blue, he was stunned to find ‘it wasn’t an empty space painted blue,’ he said. ‘It was full of blueness or, as I say, darkness. What was empty became full. How can that be?’” – ArtNet
- The Bayeux Tapestry Arrives In Britain, Under Armed Guard, For The First Time In A While

Where “a while” equals 900 years. – BBC
- The Bacteria That Causes Legionnaire’s Disease Has Been Found In The Guggenheim’s Cooling Tower

But, er, don’t freak out, New York. “The building remains safe for employees and visitors, according to both the museum and the union that represents its workers.” – The Art Newspaper
MEDIA
- Is The U.S. Really Ready To Face The Mythmaking Of Little House On The Prairie?
A new Netflix adaptation would argue that some people – though likely not those trying to ban anything not “positive” in history texts – are so ready. – Salon
- The New York Times’ Article On Kerri Greenidge Has Weird Timing And Research Issues
“The article offers no convincing explanation for a response this totalizing. It does not solve the mystery. It compounds it.” – Study Marry Kill
- Whistleblowers Accuse The Trump Administration Of Harming The Kennedy Center
“The documents — sent to a Senate and a House committee last month by lawyers for unidentified clients referred to as whistle-blowers — detail how vendors were selected for work without competitive bidding under rationales that are depicted as flawed.” – The New York Times
- Meta Installs AI Deepfake Tool For Instagram On Tuesday, Removes It On Friday
That went well. “Just because Meta owns one of the largest social media platforms, and we’re forced to use it, it’s been taking it as an excuse to violate our consent and privacy again and again.” Uh, oops. – Business Insider
- A Lot Of True Believers Sponsored ‘The Chosen’ Before It Became A Money-Printing Juggernaut
But they seem to have been left behind. “A shareholder lawsuit, quietly filed this past week against 5&2 Studios in the Delaware Court of Chancery, alleges that some of those early acolytes were prevented from sharing in the miracle.” – Puck
MUSIC
- Sometimes Book To Movie Adaptations Don’t Work Out For The Author
But this one may become legendary. “Tomi Adeyemi, the author of the bestselling fantasy Children of Blood and Bone, isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.” – Los Angeles Times (MSN)
- Enjoying All Of The Agatha Christie Adaptations Out There?
Then you might want to read more Golden Age mysteries, including Josephine Tey (and not just Daughter of Time). – The New York Times
- Meta Won’t Stop Going After The Author Of Careless People, Proving The Book’s Point Over And Over And Over Again
“The optics of the case speak louder than the niceties of any contract dispute. Those optics advance the narrative that Meta is a heartless and negative force determined to stifle the truth about its misdeeds.” (In other words, buy physical copies of the book.) – Wired
- What In The Living Heck Happened To Decorated Historian Kerri Greenidge, And Her Most Famous Work?
“A major publisher appeared to pull a prizewinning history book about a prominent South Carolina slaveholding family and its role in the abolitionist movement, after several scholars accused the author of misleading readers” – and it looks like the historian lost her job at Tufts as well. – The New York Times
- How Many Books Is Too Many Books For A New York City Apartment?
One landlord decided 10,000 was truly beyond the acceptable limit. – The New York Times
PEOPLE
- Sometimes Book To Movie Adaptations Don’t Work Out For The Author
But this one may become legendary. “Tomi Adeyemi, the author of the bestselling fantasy Children of Blood and Bone, isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.” – Los Angeles Times (MSN)
- Seneca, Worried About The Crisis Of Attention, Had An Idea For A Fix
Too much scrolling (of papyrus) in ancient Rome had the philosopher Seneca in search of an answer. His advice, “which he outlined in his Letters From a Stoic: Devote your attention to one idea a day.” – The New York Times
- The University Of North Texas Can’t Handle An Art Show With Work Critical Of ICE
“Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. [He] wrote, ‘I think it’ll be easier to manage any barking from our friends in Austin.’” – NPR
- Free Speech on Someone Else’s Stage – An Update

A few months ago I posted about a controversy in Australia, where a musician had a future appearance with the Melbourne Symphony Orchestra cancelled because he had, contrary to MSO policy, made political comments during a performance. He sued, and the New York Times today reports (gift link) that he lost in court:
The pianist, Jayson Gillham, claimed in a lawsuit that the orchestra had violated the country’s Fair Work Act and his right not to be treated unfavorably in the workplace because of his political beliefs.
But the judge, Graeme Hill of the Federal Court of Australia, ruled on Friday that because Mr. Gillham was an independent contractor he was not protected under the workplace rights law. The orchestra, Justice Hill determined, had acted to protect its business and reputation when it canceled the performance by Mr. Gillham and issued statements to its patrons about the matter.
“The court finds that the M.S.O. would have taken the same actions if Mr. Gillham had expressed a political belief in support of Israel, or if Mr. Gillham had made statements on any other topic that had the same impact or anticipated impact on the M.S.O.’s business and reputation that Mr. Gillham’s actual remarks had,” a summary of the judgment said.
In my post I said that as a general rule, arts presenting organizations are within their rights to restrict what performers can do on their stages:
If the Melbourne Symphony does not want guest performers making political statements during their concerts, it has every right to say so. If it “does not condone the use of our stage as a platform for expressing personal views”, then probably best to make this clear to any featured performer as they draw up their contract (and I don’t know if that happened in this case). Unless explicitly granted, no artist has complete freedom of speech on stage. An actor cannot decide on their own to interrupt a performance of Twelfth Night with a political dedication. Some performing arts organizations might think such political statements are fine, actually, and they can say so. Or a politically-oriented artist could produce their own shows, as Gillham seems to have moved towards. But if the MSO does not feel that way, there is no “free speech” right that overrides it.
The audience at an orchestra concert (Gillham does not raise the topic of “the audience”) is captive, and deserving of consideration; many of them, like me, might prefer to enjoy their orchestral music neat. To insist that they must be made to listen to the guest performer’s political thoughts, even when the orchestra management has said it doesn’t go in for that sort of thing, is self-indulgence.
And I doubt most artists would agree with a blanket “free speech” right at invited gigs anyway. Suppose a featured violinist, before their performance, said “I dedicate this performance to those who died, and their families, in the October 7 terrorist attack on Israel, and support Israel’s right to self-defense and to bring justice to those who committed this heinous crime”. Would Gillham think that free speech deserves protection? Suppose a guest artist wanted to talk about other political issues, or value-added taxes, or the Westminster parliamentary system, or that Vegemite is an abomination? Suppose a guest artist addressed the audience with racist opinions on Australia’s Indigenous people, or made a grossly homophobic joke. The ABC story the next day would not be about “free speech”, but about demands that the musician never be invited back.
I didn’t think Gillham had a case, and the court agreed.
- Enjoying All Of The Agatha Christie Adaptations Out There?
Then you might want to read more Golden Age mysteries, including Josephine Tey (and not just Daughter of Time). – The New York Times
PEOPLE
- Sometimes Book To Movie Adaptations Don’t Work Out For The Author
But this one may become legendary. “Tomi Adeyemi, the author of the bestselling fantasy Children of Blood and Bone, isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.” – Los Angeles Times (MSN)
- Seneca, Worried About The Crisis Of Attention, Had An Idea For A Fix
Too much scrolling (of papyrus) in ancient Rome had the philosopher Seneca in search of an answer. His advice, “which he outlined in his Letters From a Stoic: Devote your attention to one idea a day.” – The New York Times
- The University Of North Texas Can’t Handle An Art Show With Work Critical Of ICE
“Initially, the administrators discussed removing some of the pieces from the show. But then the provost texted that he wanted to take down the entire exhibition instead. [He] wrote, ‘I think it’ll be easier to manage any barking from our friends in Austin.’” – NPR
- Free Speech on Someone Else’s Stage – An Update

A few months ago I posted about a controversy in Australia, where a musician had a future appearance with the Melbourne Symphony Orchestra cancelled because he had, contrary to MSO policy, made political comments during a performance. He sued, and the New York Times today reports (gift link) that he lost in court:
The pianist, Jayson Gillham, claimed in a lawsuit that the orchestra had violated the country’s Fair Work Act and his right not to be treated unfavorably in the workplace because of his political beliefs.
But the judge, Graeme Hill of the Federal Court of Australia, ruled on Friday that because Mr. Gillham was an independent contractor he was not protected under the workplace rights law. The orchestra, Justice Hill determined, had acted to protect its business and reputation when it canceled the performance by Mr. Gillham and issued statements to its patrons about the matter.
“The court finds that the M.S.O. would have taken the same actions if Mr. Gillham had expressed a political belief in support of Israel, or if Mr. Gillham had made statements on any other topic that had the same impact or anticipated impact on the M.S.O.’s business and reputation that Mr. Gillham’s actual remarks had,” a summary of the judgment said.
In my post I said that as a general rule, arts presenting organizations are within their rights to restrict what performers can do on their stages:
If the Melbourne Symphony does not want guest performers making political statements during their concerts, it has every right to say so. If it “does not condone the use of our stage as a platform for expressing personal views”, then probably best to make this clear to any featured performer as they draw up their contract (and I don’t know if that happened in this case). Unless explicitly granted, no artist has complete freedom of speech on stage. An actor cannot decide on their own to interrupt a performance of Twelfth Night with a political dedication. Some performing arts organizations might think such political statements are fine, actually, and they can say so. Or a politically-oriented artist could produce their own shows, as Gillham seems to have moved towards. But if the MSO does not feel that way, there is no “free speech” right that overrides it.
The audience at an orchestra concert (Gillham does not raise the topic of “the audience”) is captive, and deserving of consideration; many of them, like me, might prefer to enjoy their orchestral music neat. To insist that they must be made to listen to the guest performer’s political thoughts, even when the orchestra management has said it doesn’t go in for that sort of thing, is self-indulgence.
And I doubt most artists would agree with a blanket “free speech” right at invited gigs anyway. Suppose a featured violinist, before their performance, said “I dedicate this performance to those who died, and their families, in the October 7 terrorist attack on Israel, and support Israel’s right to self-defense and to bring justice to those who committed this heinous crime”. Would Gillham think that free speech deserves protection? Suppose a guest artist wanted to talk about other political issues, or value-added taxes, or the Westminster parliamentary system, or that Vegemite is an abomination? Suppose a guest artist addressed the audience with racist opinions on Australia’s Indigenous people, or made a grossly homophobic joke. The ABC story the next day would not be about “free speech”, but about demands that the musician never be invited back.
I didn’t think Gillham had a case, and the court agreed.
- Enjoying All Of The Agatha Christie Adaptations Out There?
Then you might want to read more Golden Age mysteries, including Josephine Tey (and not just Daughter of Time). – The New York Times
THEATRE
VISUAL
- Seneca, Worried About The Crisis Of Attention, Had An Idea For A Fix
Too much scrolling (of papyrus) in ancient Rome had the philosopher Seneca in search of an answer. His advice, “which he outlined in his Letters From a Stoic: Devote your attention to one idea a day.” – The New York Times
- As Yet Another Version Hits Cinemas, Why Are We Still So Obsessed With The Odyssey?
“The Odyssey – the story of a warrior’s homecoming, his long and tortuous journey to reintegrate himself within his own household – has passed into the bloodstream of many storytelling traditions,” from Finding Nemo to Game of Thrones. – The Guardian (UK)
- The Schomburg Center Turns A Century Old
“Growing up in Puerto Rico in the late 19th century, Arturo Alfonso Schomburg was told by his teacher that Black people had no significant history or accomplishments.” Just how wrong was that teacher? Very. – The Guardian (UK)
- What Society Is Losing As It Becomes Postliterate
“The literate era will prove to be a brief interlude between the oral and digital ages. Reading shaped the modern mind. Its disappearance will reshape it. Cognitive scientists are starting to understand what these changes might look like.” – The Atlantic
- Does Worldwide Modernization Lead To Reduction In Cultural Differences? Not Necessarily
“When researchers have actually tried to document the size of cultural differences over time, the picture is far more complicated – and more interesting.” – Psyche











