Of course we do – think of how you’d laugh in an office meeting versus how you’d do it at a bar or a theater. But how much of the switching is based in the situation at hand, and how much in the personal identity of the laugher?
“Caroline Broué, the French journalist conducting the interview, initially asked Adichie if people in Nigeria read her work, to which the writer replied, ‘They do, shockingly.’ From there, she decided to ask ‘Are there bookshops in Nigeria?’ When the audience responded with audible shock, she doubled down on her question.” (includes video)
“‘I want a dyke for president,’ artist Zoe Leonard writes in her 1992 poem. Inspired by the author Eileen Myles’ run for president, and written at the height of the AIDS epidemic, the poem, ‘I want a president,’ has since been shown in museums, galleries, and outdoor installations around the world. More than a quarter-century after it was written, the poem made its way to Instagram – and became the center of a controversy over censorship on social media.”
The Oregon Bach Festival, which last year fired its artistic director amid accusations of racism and sex discrimination, has hired a conductor for this summer’s festival who was reportedly dismissed from a guest conducting job with the Oberlin Baroque Orchestra in 2015 after complaints he used racial slurs at a rehearsal. Just two days later, his name was removed from the festival’s website.
Nina Simon: Why wouldn’t they make the rational choice to get as much money as possible for their sins? Because their choice has consequences beyond their own self-interest. It exposes the fragility of the rule of deaccessioning, the thin line between “treasured public asset” and “hard cold cash.” The rule is built on a sleight of hand, a conceit that says that museums won’t acknowledge the market value of objects — until they will. As cultural theorist Diane Ragsdale put it, “When communities become markets, citizens become consumers, and culture becomes an exploitable product.”
The poetry world has been rent asunder by fierce arguments, in the past several weeks, over who deserves to be called a poet. Is it young women on Instagram and YouTube reading spoken word pieces? Is it Rupi Kaur, who came to fame with her “period photo” being banned from Instagram (and who has now sold a startlingly large number, inching toward a million, of copies of her poetry books)? Or is it the “serious poetry establishment” that takes them down? Says a publisher, “Poetry is most definitely not a broad church, but nor does it consist of 40 mutually exclusive sects. … One can worship at more than one altar.”
The board, Laura Raicovich said, was not very happy with the decision to close the museum for 2017’s presidential inauguration. Then “she recently proposed to the board that the museum — in collaboration with other institutions — consider becoming a kind of sanctuary space that connects immigrants with social services. ‘It was made very clear to me that that was not something that was of interest,’ she said.”
Eight hours of rehearsal with cameras blocking every move and choreographers telling them what angles look best, then on set with two hours of hair and makeup, and – for a two-minute on-screen dance – three to four hours of takes. Plus the bacting, of course (that’s “background acting,” for those not in the know).
The New York Times‘ Jon Caramanica: “The seeming arbitrariness of the Grammy nominating process sometimes provides left-field gifts: unexpectedly excellent nominees in categories that almost certainly will not be televised in prime time. Here is a selection of 17 under-heralded artists as worthy, if not more so, than their better-known compatriots.”
Mira T. Lee: “I always told myself that once I’d written the book I wanted to write, anything else would be gravy. But suddenly I find myself plagued by feelings of insecurity and inadequacy, everything from ‘Will my sales meet my publisher’s expectations?’ to ‘Why didn’t that reader like my book?’ I thought I was old enough to be over all that ego-type stuff, but it’s a constant battle to stay grounded.”
The seating was bad, and the theatre was basically a disaster. Three phases of development have changed that, but so have the plays and actors: “While the return of the Everyman Rep might have made headlines last year, there has been an unofficial rep company at the Royal Court for the last decade, performing homegrown work to a homegrown audience, many of whom are experiencing theatre for the first time. Along with acting ability, comic timing and an authentic Liverpool voice, its members also need confidence to work with the audience.”
Birkin, who recorded “Je T’aime … Moi Non Plus” with Gainsbourg while they were partners and who kept on singing songs he wrote for her after they broke up, says that many of his songs were rooted in classical music. “He was a pianist at a bar in Le Touquet [a seaside town in northern France], and his father was a classical musician — it was from his upbringing that he knew so much about classical music. Brahms was ‘Baby Alone in Babylone.'”
Perhaps it’s no surprise: “The politicized tension inside Google echoes the challenge that Silicon Valley tech giants face moderating divisive content on their social-media platforms. Tech companies sold themselves as open and neutral forces for good, espousing free expression both on their corporate campuses and on the internet.”
The National Gallery of Art pulled the plug on a May show for Close, accused of “unwelcome attention” and more by several women, and the planned Roma photography show in September. “The National Gallery’s decision is unusual, and most institutions are not reconsidering their decision to hang work by Mr. Close on their walls.”