Barack Obama—recently dubbed America’s most admired man, courtesy of an annual Gallup poll—has once again cemented his reputation as our most culturally astute (and certainly most culturally aware) president, sharing his annual list of his favorite literary, cinematic, and musical output from the year. As we’ve come to expect from the former president, his taste is both wide-ranging and deep, au courant and classic in scope, with books and films that focus on the world’s increasingly divisive sociopolitical issues (Educated, The Broken Ladder, How Democracies Die, Why Liberalism Failed, Leave No Trace, Shoplifters, Burning, An American Marriage, The New Geography of Jobs) and the latest tomes from a rising class of literary lions (Chimamanda Ngozi Adichie, Lisa Halliday, Zadie Smith, Tommy Orange, Lauren Groff) as well as some offerings from recently departed purveyors of classics (Denis Johnson, V.S. Naipaul).
Movies like BlacKkKlansman and Black Panther, If Beale Street Could Talk, and Eighth Grade all make appearances, as does Alfonso Cuarón’s Roma, Chloe Zhao’s The Rider, and the beloved Mr. Rogers documentary, Won’t You Be My Neighbor. His musical tastes swing from Beyoncé and Jay-Z to Brandi Carlile and Bad Bunny. (If the former president becomes bored with writing his forthcoming book, grassroots organizing, and his visits to sick children in local hospitals, we would welcome his contribution to the Vogue culture section, where we’re happy to report our tastes really quite neatly align.)
Oh—and in case you needed another reason to love it, Obama tops his list with a shout-out to his wife, Michelle, whose excellent memoir Becoming continues to top best-of lists both at Vogue and beyond, as well as best seller rankings. Below, Barack Obama’s end-of-year list in its entirety:
“As 2018 draws to a close, I’m continuing a favorite tradition of mine and sharing my year-end lists,” Obama wrote in a post on Facebook on Friday morning. “It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved. It also gives me a chance to highlight talented authors, artists, and storytellers—some who are household names and others who you may not have heard of before. Here’s my best of 2018 list—I hope you enjoy reading, watching, and listening.”
Here’s a reminder of the books that I read this year that appeared on earlier lists:
Becoming by Michelle Obama (obviously my favorite!)
An American Marriage by Tayari Jones
Americanah by Chimamanda Ngozi Adichie
The Broken Ladder: How Inequality Affects the Way We Think, Live, and Die by Keith Payne
Educated by Tara Westover
Factfulness by Hans Rosling
Futureface: A Family Mystery, an Epic Quest, and the Secret to Belonging by Alex Wagner
A Grain of Wheat by Ngugi wa Thiong’o
A House for Mr. Biswas by V.S. Naipaul
How Democracies Die by Steven Levitsky and Daniel Ziblatt
In the Shadow of Statues: A White Southerner Confronts History by Mitch Landrieu
Long Walk to Freedom by Nelson Mandela
The New Geography of Jobs by Enrico Moretti
The Return by Hisham Matar
Things Fall Apart by Chinua Achebe
Warlight by Michael Ondaatje
Why Liberalism Failed by Patrick Deneen
The World As It Is by Ben Rhodes
Here are my other favorite books of 2018:
American Prison by Shane Bauer
Arthur Ashe: A Life by Raymond Arsenault
Asymmetry by Lisa Halliday
Feel Free by Zadie Smith
Florida by Lauren Groff
Frederick Douglass: Prophet of Freedom by David W. Blight
Immigrant, Montana by Amitava Kumar
The Largesse of the Sea Maiden by Denis Johnson
Life 3.0: Being Human in the Age of Artificial Intelligence by Max Tegmark
There There by Tommy Orange
Washington Black by Esi Edugyan
My favorite movies of 2018:
Annihilation
Black Panther
BlacKkKlansman
Blindspotting
Burning
The Death of Stalin
Eighth Grade
If Beale Street Could Talk
Leave No Trace
Minding the Gap
The Rider
Roma
Shoplifters
Support the Girls
Won’t You Be My Neighbor
And finally, my favorite songs of 2018:
“Apes**t” by The Carters
“Bad Bad News” by Leon Bridges
“Could’ve Been” by H.E.R. (feat. Bryson Tiller)
“Disco Yes” by Tom Misch (feat. Poppy Ajudha)
“Ekombe” by Jupiter & Okwess
“Every Time I Hear That Song” by Brandi Carlile
“Girl Goin’ Nowhere” by Ashley McBryde
“Historia de un Amor” by Tonina (feat. Javier Limón and Tali Rubinstein)
“I Like It” by Cardi B (feat. Bad Bunny and J Balvin)
“Kevin’s Heart” by J. Cole
“King for a Day” by Anderson East
“Love Lies” by Khalid & Normani
“Make Me Feel” by Janelle Monáe
“Mary Don’t You Weep” (Piano & A Microphone 1983 Version) by Prince
“My Own Thing” by Chance the Rapper (feat. Joey Purp)
“Need a Little Time” by Courtney Barnett
“Nina Cried Power” by Hozier (feat. Mavis Staples)
“Nterini” by Fatoumata Diawara
“One Trick Ponies” by Kurt Vile
“Turnin’ Me Up” by BJ the Chicago Kid
“Wait by the River” by Lord Huron
“Wow Freestyle” by Jay Rock (feat. Kendrick Lamar)
And in honor of one of the great jazz singers of all time, who died this year, a classic album: The Great American Songbook by Nancy Wilson
Saturday, December 29, 2018
Tuesday, November 27, 2018
In Mississippi Senate Race, Cindy Hyde-Smith Narrowly Defeats Democrat Mike Espy
In the end, it was not enough.
Not enough that Cindy Hyde-Smith, the Republican candidate in the Mississippi Senate run-off tonight, was caught on tape saying she would be willing to take a front row seat at a “public hanging” if one of her important supporters invited her—an odd offer, to say the least, in a state that, according to the NAACP, has a horrific history that includes 581 lynchings from 1882 to 1968, the most of any state in that period.
Not enough that Hyde-Smith, after visiting the home of Confederate President Jefferson Davis, took to social media and posted a photograph of herself sporting a confederate cap and calling the place, “Mississippi history at its best.”
Not enough that she sponsored one resolution to honor the last living daughter of a Confederate soldier, and another to re-name a road the “Jefferson Davis Memorial Highway.”
Not enough that she attended a “segregation academy”—one of the private essentially “Whites Only” schools, that were hastily set up in the state to circumvent the federally mandated integration of public schools; Hyde-Smith sent her daughter to one of these as well.
None of this shameful record was enough to hand victory to her opponent, Democrat Mike Espy. At a rally on Monday to bolster Hyde-Smith, President Trump said of Espy: “Oh, he’s far left. He’s out there. How does he fit in in Mississippi?”
Espy, a former congressman and U.S. secretary of agriculture, was born in Mississippi. He was the first African American to represent the state in Congress since Reconstruction. He would have made a fine senator, but it was not to be. Alas, not in Mississippi, at least not yet.
Friday, October 26, 2018
Bodyguard Is the Best Political Thriller Since Homeland
In 2011, when Homeland premiered, TV-streaming services were in their infancy. Ten years earlier, when 24 debuted on Fox, the idea of “appointment television” was pretty much just how television worked: You watched the shows when they were on, or you taped them. Which is to say, a thriller was a thriller, constructed of cliff-hangers and carefully calibrated revelations that (ideally) left you hungry for more. “Bingeing” was a concept reserved for Doritos or donuts.
Now, of course, Netflix, Amazon, Hulu, and the like give insomniacs new friends, and ruin (or make, depending on your perspective) entire weekends. Who needs sunshine when you have the latest season of Transparent to fritter away with the Pfeffermans? And for high-stakes dramas, the game has shifted: What does it mean to be left on the edge of your seat when you can just sit back and click your way to the next episode? Releasing a thriller that has already premiered in another country to the kind of rapturous reviews that cause a minor cultural quake (and garners ratings to rival the World Cup) is an even trickier endeavor. Which is also to say: If you’d like to partake of the phenomenal new six-part BBC show that is Bodyguard, released today in its entirety on Netflix, you’re going to have to try pretty hard to avoid the spoilers.
But you should. (Spoiler alert: I’m going to talk about things that happen in the first episode, but I’ll limit it to that.) Bodyguard is probably the best political thriller since Homeland, and like Homeland it’s a thriller that is more than the sum of its parts. The show opens with our hero, Sergeant David Budd (Richard Madden), riding a train with his two small children, returning from a visit to his mother’s. He’s an off-duty policeman, but he’s never really off-duty. When he sees a harried-looking conductor scanning passengers, he knows something foul is afoot. Before we know it, he’s confronting a terrified female suicide bomber who has frozen with her finger hovering above the trigger.
Budd flashes her a photo of his kids in the next train compartment and tells her that she doesn’t have to do it. He was a soldier in Afghanistan, he says to her, and people like them are just the pawns that die in someone else’s struggle—unless they chose not to. His equanimity and empathy does not extend to the rest of his colleagues, who quickly set up a sniper to take her out. Aware that this is the likely direction of events, he grabs her in an embrace so that they can’t kill her unless they kill him, too.
Bodyguard is filled with these kinds of unlikely convergences, and at the same time, the people you expect to prop each other up are alienated, unspoken traumas dividing them from communion. When Budd returns his kids to the London split-level where they live with their mom, she rebuffs him when he leans in for a goodnight kiss. Something is rotten, and we don’t know what. Later in the same episode, Budd is rewarded for his bravery on the train by being appointed the bodyguard of the Home Secretary, Julia Montague (Keeley Hawes), a bellicose political climber who believes that increased surveillance is essential to security. Budd attaches himself to her, riding in her car, casing her apartment to make sure there are no hazards hiding amid the muted grays of the wallpaper and the waffle-weave blankets on the bed. He stays so long in this intimate, domestic space that she has to eventually make the official request that he “fuck off.” A bodyguard makes his charge uncomfortable, a mother and a father fail to kiss, a terrorist hugs a cop—the shifting alliances essential to any political thriller are made brilliantly, physically evident in this show.
That brilliance loses some of its acuity as the episodes progress; the intrigue becomes so dizzyingly complex that the control of the early episodes is somewhat wasted. And the show has been (lightly) criticized for turning Budd into something of a cipher. It’s true that Madden gives a laconic performance that includes long periods of standing around, watching, and occasionally muttering into a walkie-talkie earpiece. But what his character lacks in loquacity, he makes up for with his steely gaze and rigid jaw. (In the vein of Claire Danes’s wavering chin, I hereby nominate Richard Madden’s jaw for an entry into the annals of legendary televised facial features.) In fact, it’s partly Madden’s withdrawn mystery that makes his occasional interjections all the more delightful. When Budd tries to move Montague away from an aggressive MP, who responds by asking the Home Minister to call off “her monkey,” Budd (seemingly Caucasian) deftly defuses the situation by cooly informing the MP that he’s “mixed race”— a lie that preys on the MP’s own desire to avoid bad PR, and allows Budd and Montague a swift exit.
Budd’s blankness allows that central tropes of the political thriller genre—that people are not what they seem—to play out all over his face. It’s hard not to feel sympathy for a cop who goes out of his way to save a train full of innocents and the life of a young terrorist who he thinks has been brainwashed by more nefarious characters, and yet, there’s an unsettling chilliness to his demeanor. Is his stoicism the mark of a consummate professional, or does it mask something more sinister? Madden’s face is the kind of canvas that you want to watch for clues.
Thursday, September 27, 2018
Brett Kavanaugh Says “I Said and Did Things in High School That Make Me Cringe Now” as Even More Disturbing Allegations Emerge
Michael Avenatti, heretofore best known as Stormy Daniels’s attorney, delivered on his promise to launch new allegations against Donald Trump’s Supreme Court nominee Brett Kavanaugh on Wednesday. In a sworn statement, Avenatti’s client, Julie Swetnick, a Washington, D.C., resident and a government employee who knew Kavanaugh as a teen, makes a new disturbing and damning accusation of sexual misconduct, including that Kavanaugh and his friend Mark Judge grabbed girls without their consent, were among a group that “spiked” punch with drugs and/or grain alcohol at parties, and were lined up to take part in a “train” of boys that would “gang rape” incapacitated girls.
“I have reviewed Brett Kavanaugh’s recent claim on Fox News regarding his alleged ‘innocence’ during his high school years and lack of sexual activity,” says 55-year-old Swetnick, who has held Department of Defense and State Department security clearances and still holds other clearances. “This claim is absolutely false and a lie.”
Swetnick, who graduated from high school in Gaithersburg, Maryland, says she observed Kavanaugh’s predatory behavior while attending several high school house parties with him and Judge between 1981 and 1983; Dr. Christine Blasey Ford says she was assaulted by Kavanaugh in 1982. Echoing allegations from Ford and Kavanaugh’s Yale classmate Deborah Ramirez about the Supreme Court nominee’s drinking, Swetnick says she witnessed Kavanaugh “drink excessively” (to the point of being a “mean drunk”) and engage in “abusive and physically aggressive behavior toward girls,” including the “fondling and grabbing of girls without their consent” and “attempting to remove or shift girls’ clothing to expose private body parts.”
In a disturbing new allegation, Swetnick also claims that Kavanaugh and Judge were among the boys who spiked the punch at parties with drugs or grain alcohol in an attempt to “cause girls to lose their inhibitions and their ability to say ‘no.’ . . . I also witnessed efforts by Mark Judge, Brett Kavanaugh, and others to cause girls to become inebriated and disoriented so they could then be ‘gang raped’ in a side room or bedroom by a ‘train’ of boys,” Swetnick says in the sworn declaration. “I have a firm recollection of seeing boys lined up outside rooms at many of these parties waiting for their ‘turn’ with a girl inside the room. These boys included Mark Judge and Brett Kavanaugh.” (This corroborates the allegation recently made in The New Yorker by Elizabeth Rasor, Judge’s former girlfriend of about three years, that Judge “had told her ashamedly of an incident that involved him and other boys taking turns having sex with a drunk woman.”)
Like Ford and Ramirez, Swetnick and Avenatti are calling for an FBI investigation into the claims made against Kavanaugh. (The GOP has so far refused, saying such an investigation could have “no bearing” on the proceedings.) “Under no circumstances should Brett Kavanaugh be confirmed absent a full and complete investigation,” Avenatti wrote. And though her sworn testimony as a mere woman may not be enough to sway Republican hearts and minds, there’s the possibility that Swetnick’s background as a government employee may well help her to be seen as a very reliable witness. “I have no idea if Julie Swetnick is telling the truth. I can say this: submitting a sworn affidavit carries with it criminal liability if she perjured herself,” national security attorney Bradley P. Moss noted on Twitter. “As a clearance holder, giving perjured statements would be a career-ender. Take that for what it’s worth.”
In the prepared written testimony he’s expected to give Thursday before the Senate Judiciary Committee, Kavanaugh is expected to repeat that he “categorically” and “unequivocally” denies Ford’s allegations, and seemed to dismiss Ramirez’s allegation as part of “a frenzy to come up with something” to block his confirmation. But Kavanaugh notably added a bit more nuance to the squeaky-clean characterization of his high school self he recently deployed in a Fox News interview (in which he portrayed himself as a church-going virgin well into adulthood who was committed to sports and academics, “working on my service projects, and friendship”). Today, that message has veered off-course, and more toward the usual “boys will be boys” terrain: “I was not perfect in those days, just as I am not perfect today. I drank beer with my friends, usually on weekends. Sometimes I had too many,” Kavanaugh wrote in his prepared remarks. “In retrospect, I said and did things in high school that make me cringe now. But . . . I never did anything remotely resembling what Dr. Ford describes.”
Ford, for her part, submitted four affidavits on Wednesday to back up her allegation against Kavanaugh: They include statements from her husband, Russell Ford, and three friends whom she told about the alleged assault in the past. “She said that in high school she had been trapped in a room and physically restrained by one boy who was molesting her while another boy watched,” Russell Ford wrote. “She said she was eventually able to escape before she was raped, but that the experience was very traumatic because she felt like she had no control and was physically dominated . . . I remember her saying the attacker’s name was Brett Kavanaugh, that he was a successful lawyer who had grown up in Christine’s home town, and that he was well-known in the Washington, D.C., community.” He’s even more well known now.
Tuesday, August 28, 2018
At Burning Man, #MeToo Is More Complicated Than You Think
As we approach the one-year anniversary of the mainstreaming of the #MeToo movement, there may be no single event seemingly more suited to testing its momentum than Burning Man. The massive annual hedonistic “don’t call it a festival” in the Nevada desert is historically anarchic, conceived in its earliest years by a group of San Francisco artists as an experimental, autonomous zone, where they could, at first, be free to make stuff and set it on fire.
More than 30 years and several thousands of attendees later, Black Rock City’s temporary residents have largely submitted to the laws of the land (including those enforced by the Pershing County Sheriff’s Office: the drive-by shooting range, for example, is no more), but the event still largely eschews order. When popular DJs and other musical acts perform at Burning Man, they are asked not to publicize their sets, nor is there any hierarchy among theme camps, which can number a few dozen to hundreds of people, to determine a run of show. Elaborate (and frequently skimpy) costumes are often procured in advance—occasionally, nowadays, with the help of a stylist—and are worn to shreds amid storms of alkaline “playa dust.” Officially, nothing is for sale, except for coffee and ice, part of the event’s de-commodification ethos.
The popular refrain is that “your Burn is your Burn” (essentially, “you do you”)—you can flit between massive art installations; Champagne-fueled dance parties; the famed and self-explanatory Orgy Dome; the Thunderdome, where you can fight a friend; a mass group rinse in a huge glass square box called “Foam Against the Machine” (suds provided by David Bronner, of Dr. Bronner’s soap); and all manner of structures and play places, all built in the run-up to one week of ultimate freedom, with little cell service or Internet, “on playa.” Accordingly, Burning Man has received criticism as a privileged playland for the largely wealthy, largely white elite who can afford it, a crowd increasingly populated by tech oligarchs from Silicon Valley, who fly into Burning Man on private planes.
So the question remains: How have the #MeToo movement and its calls for increased accountability, reporting, and protocol surrounding sexual misconduct been received in this determinedly unstructured, decidedly unsober setting? The answer is a little anticlimactic, since they’ve long been a part of the proceedings.
Five years before #MeToo blazed across Hollywood, activists began calling for an addendum to Burning Man’s 10 governing principles (which were only nailed down by founder Larry Harvey in 2004, when regional Burns began to pop up, claiming affiliation); they called it the 11th principle of consent. And almost a decade before that, also in 2004, the sex-positive Bureau of Erotic Discourse, aka B.E.D., started raising awareness about consent issues on playa, from unwanted hugging to sexual assault and rape. Consent—or any—11th principle has yet to be officially adopted, but with the advent of #MeToo, maybe that will change. And there is more to learn than you might think from an event where sex positivity and bottom-up organizing are indelibly part of the culture. Especially compared with the slow progress of traditional industries and institutions, in which we’ve been sorely disappointed during the past 11 months—though, as Burning Man gets bigger, it has started to resemble them.
A group of Southeast Burners began the 11th Principle: Consent! project in late 2012, out of necessity. “We had some issues at our Burn,” says Jaime Chandra, a founding member, “and that same year, there were a ton of sexual assault reports from Black Rock City.” (The 2012 After Burn document, which the organization disseminates each year post–Burning Man, recounts that the Mental Health Branch of the Emergency Services Department, which deals with sexual assault–related cases, had “the busiest year on record,” an 85 percent increase in calls, and 10 sexual assault cases, two of which resulted in rape kit exams for attendees administered in Reno.)
Chandra’s regional Burn is held in West Virginia and called Transformus. Though she’s a 10-year Burner, she has never made it to the playa. The regional Burner community, whose events are officially sanctioned by the Burning Man organization at large, might not be well known to outsiders, but there are dozens of affiliated Burning Man events on multiple continents. Their attendance and participation speaks to the uniquely intense collective investment in Burning Man’s culture—as well as its diffuse organization.
In 2012, as ticket purchases to Burns around the country increased, Chandra “felt like it was open season for anybody who wanted to be a predator to come in and take advantage of this culture of radical expression and inclusion.” Chandra herself was “dosed” at Transformus in 2012 (she was unknowingly slipped hallucinogenic drugs). In its conception, 11th Principle’s notion of consent included sexual harassment and assault, but also sought to cover all manner of undesirable interactions. “People stealing your stuff, people coming in, like, grabbing guys’ butts under their kilts, fondling people’s costumes, making a special cookie or candy and not disclosing that something’s in there,” as Chandra enumerates—they all fell under behaviors that needed to be made verboten, which is to say, explicitly uncool.
By naming their efforts “11th Principle,” organizers knew they would be rattling some of the Burner establishment, many of whom consider the word of Larry Harvey, who died earlier this year, sacred—but that’s what they wanted. “We did receive a lot of flack,” Chandra says, but they also got noticed, and eventually, they were invited to Burning Man’s Global Leadership Conference in 2015 to make a presentation on their consent work at Transformus and elsewhere. The larger Burning Man Organization has since adopted some of 11th Principle’s language in their pre-Burn materials, and the group sends their consent-oriented patches, buttons, and stickers to several Burns; hosts resources for incident response; and creates codes of conduct and conduct committees online.
B.E.D., the aforementioned Bureau of Erotic Discourse, is more focused on playa, according to Chandra, though the groups work together, and was also started in response to reports of assault in Black Rock City. Not only does substance intake create vulnerabilities on playa, as they do at regional Burns where drug taking is widespread—in 2016, of the 46 people arrested by the Pershing County sheriff, 37 were brought in on drug-related charges (the most common was marijuana, followed by cocaine, ecstasy, and acid)—but the playa is also home to some of the harshest conditions in the Burning Man regional network, in which lack of hydration, cell reception, and access to emergency services can combine to leave victims particularly susceptible.
B.E.D. has a close relationship with the Burning Man Organization, and this year is in part funded by it—B.E.D. is one of Burning Man’s dozens of theme camps, through which attendees organize around not just mutual interests (polyamory, for example, or EDM) but also via an offering to the event, be it cooking meals, serving drinks, organizing workshops, playing music, or fixing bikes. B.E.D. members donate (part of the “gifting” principle) consent training and workshops to other theme camps, and run a sex-positive play shop. They also help educate attendees on Burning Man Org’s official escalation process in reporting assaults and violence on playa, including involving police.
Ascher Munion is a B.E.D. member and a Burner currently training to become a Black Rock Ranger, Burning Man’s khaki-clad volunteer phalanx of guardians who patrol the playa. Munion explains that many attendees don’t know that Burning Man has a range of resources: from Zendo—a mental health–focused camp whose volunteers have crisis response training and can provide anything from water and a place to lie down to counseling—to the org’s Emergency Services Department, which has a Crisis Intervention Team. Munion says that Black Rock Rangers who hear about or witness sexual assault or domestic violence are “mandated to report it” to those higher up the chain; another section of Rangers then liaises with the two law enforcement agencies on playa, Pershing County, and the Bureau of Land Management, when deemed necessary, and can arrange for ambulance transportation. Rape kits cannot be administered on playa due to chain-of-custody concerns, and Burning Man has to ferry victims to Reno—a phenomenon common elsewhere in Nevada and across the country. As is also true in the “default world” (how Burners refer to life off-playa), no one can be forced to make a report to law enforcement themselves, and, according to Munion, the vast majority of incidents do not get prosecuted.
For many Burners, the community accountability on which Burning Man functions has, in their experience, worked; camps try to weed out bad actors themselves by attempting mediation or, in more extreme cases, banning past members from camping with them. Similarly, Burning Man will ban theme camps from receiving their approval and funding, if they’ve received any, should they hear a rash of complaints about a camp’s level of M.O.O.P. (matter out of place, Burner lingo for debris or refuse) or the behavior of its members. Chandra and another Burner giving consent workshops on playa this year, JR Russ, whose goes by Nexus, both said that they have known regional burns to share lists of banned members in a kind of whisper network to protect the larger community from bad actors. Leah Reitz, a four-time Burner from San Francisco, describes consent as ingrained, and not just because of B.E.D.’s pervasive signage on the subject (they famously flyer the porta-potties—and there are many—on playa). “[Burning Man] has given me practice in asking can I do things, and also asking for what I want and being okay with the no that comes with it,” she says. “You can go dance with your friends and there’s not a concern about a creepy dude leering behind you." Because attendees have been inundated with messaging, bystander intervention is common: many report helping victims themselves, whether intervening in an argument or helping someone who appears overly intoxicated.
Burning Man’s unique decentralization and structure around the Principles “gives you the permission and encouragement as a community to do what it is you think needs to be done,” says Chandra. “Just go ahead and do it. You don't have to wait for an organization to agree with you.” That’s why, as many Burners echo, the community seems ahead of the curve, rather than scrambling to address the #MeToo movement as the film industry, universities, or corporate America seem to have in the past few months. Mitchell Gomez, a ten year Burner giving a workshop through B.E.D. this year, pointed out that none of the founders have been accused of sexual misconduct or harassment, an increasingly rare distinction among any organization. But while Burning Man Org might avoid the pitfalls of having a well-known titan or executive at its helm to protect, it still pulls in millions in revenue, and is only expanding.
Burning Man is in the process of renewing its ten year permit with the Bureau of Land Management, and the organization is proposing that as many as 100,000 people be allowed to descend on the Nevada desert in the next few years. That’s 30,000 more than the already 70,000 expected to be present in 2018, including attendees, vendors, and volunteers—and, unlike a university campus or office environment, neither the BLM nor Burning Man currently know exactly who is “on playa” at any given time. Though some coveted tickets are set aside for theme camps and other crews, there are rounds in which individuals can purchase tickets, as well as exchange and resell them. None of the physical Burning Man tickets require identification to use them.
Combined with the increase in popularity among “tourists,” or non-regularly attending Burners, it’s easy to see Burning Man’s growth as a kind of consent powderkeg in the context of #MeToo. “We feel like it’s underreported,” Tom Bjerke, an official with the Pershing County Sheriff’s Office, says of sexual assault on playa, “based on what we’re hearing from Burners.” He expressed a request that Burning Man Org be more transparent with their own reporting on sexual assaults—Ascher Munion also said that Burning Man doesn’t “really collect statistics on this.” But Jim Graham, a communications official with Burning Man, contradicted that statement: “We have a decade’s worth of statistics on crime at the event,” Graham said, “including sexual assault. In any given year we typically receive between five and 20 reports from participants of alleged sexual assault. Law enforcement determines which of those reports merit a full investigation, typically fewer than half. Many involve ‘alleged misconduct,’ for unwanted behavior which is not considered sexual assault under Nevada law. There are typically one or zero arrests for sexual assault each year.” Those arrest and report rates are indeed much lower than national averages for sexual misconduct; a 2012 CDC survey of adults found that approximately 1 in 20 women and men experienced “sexual violence other than rape, such as being made to penetrate someone else, sexual coercion, unwanted sexual contact, or non-contact unwanted sexual experiences” in the year prior. (The Sheriff’s Office did not respond to a request for crime statistics from 2017; in the past, they have been released to the local Reno Gazette-Journal.)
Subscribers to Burning Man’s official newsletter, “The Jackrabbit Speaks,” received several communications on consent ahead of attending this year, including an email that referenced #MeToo outright. But there are likely thousands of people at the event who didn’t see them, given that tickets are passed among attendees so frequently. Among them might be those who have joined the recent—and controversial—rash of “plug and play,” “turnkey,” and “concierge” camps, in which attendees pay for luxury playa amenities like accomodation (that they haven’t built themselves), food and water (that they haven’t had to lug in or prepare), and working toilets, which many Burners say are less connected to the more traditional theme camps, in which members participate with nearly every aspect of set up and clean up. In the past, the “gifts” that some of these camps have offered visitors, in the traditional co-op Burning Man style, have been perceived as somewhat dubious in the community—in 2014, a camp called Caravancicle run by venture capitalist Jim Tananbaum was criticized for reports that it turned some outside guests away.
It follows that if attendees aren’t schooled on the ten principles, they won’t necessarily respect the 11th: “At the end of the day it's still a city of 75,000,” says JR Russ, who is active in the DC Burner scene. “The kind of the things you hear about in the news for Burning Man, about like all these billionaires and caviar and whatnot, those camps tend to keep to themselves and don't get out in the city much.” Munion has noticed an uptick in another potential danger: first-timers who aren’t briefed on the basics, and who require extra help if their water spills or their food goes rancid. These newbies also might not get prepped for how to deal with dangerous situations at crowded venues, at night, or inebriated. For volunteers, “that is a lot of work, and I don't necessarily know that that was there earlier when it was smaller.”
With Burning Man selling out year after year, and with more financing from Silicon Valley entrepreneurs and personalities who pay for dazzling art cars and other outlandish theme camps, the Organization may face a reckoning with itself. It was recently the subject of a Salon investigation into its treatment of its Department of Public Works volunteers, who typically toil for months in harsh desert conditions prepping for the event. A union at Burning Man might seem as unlikely as an 11th principle; but as the incentive to keep the event scandal-free and chock full of Burners increases, so does the organization’s urgency to protect itself from liability. The “radical self-reliance” principle—which some have said reflects the underlying libertarian outlook of its white male founders, rather than Burning Man’s counterculture—might not be enough.
When asked if Burning Man, as it grows up, might have to codify the more nebulous aspects of its radical non-hierarchy hierarchy, with, say, more official registration and record-keeping systems, Munion says that those changes might be inevitable. But Burning Man Org’s “internal policies around reporting and survivor support are,” all in all, “pretty good. They're on par and reflective of what's going on everywhere in the world, in the U.S., around these things. So I think those are pretty okay, unless we're going to change the entire legal system.” Jim Graham referred to the emails sent ahead of the event and other Burning Man online resources, and said that the Org is “proud of the work in our community related to consent.”
For Munion, the potential for evolution lies not in the upper echelons at Burning Man Org’s San Francisco corporate office, but in the intensely connected Burner community. Munion is a self-described realist—as well as, after last year, a survivor of assault on playa. “It was really frustrating, because I taught thirty-something workshops on sexual assault prevention and consent, and then I got sexually assaulted” says Munion. But, still, they don’t believe Burners should simply institute more traditional top-down systems of accountability, nor kick everything they can up “our retaliatory justice system.” Instead, Munion and others have started to implement restorative justice models more common in the sex work and anti-carceral activist communities. B.E.D., for example, is preparing a web series on mediation: “At the end, you walk away with a restorative justice process specific to your camp that reflects your community standards.” Though “the idea of reintegration can be really tricky for some folks,” they concede. “And it's not always possible, right?” Russ also describes his DC community as going through the process of trying to implement a “restorative justice approach.” And he has seen the main event evolve, even over the past five years that he’s been attending. He describes being one among a few black attendees he encountered in his first few Burns, a number that has slowly increased. Perhaps Burning Man may one day officially adopt, if not the 11th principle, a pioneering restorative model for communities reckoning with sexual violence.
The #MeToo movement caused interest in 11th Principle to “blow up” this year, according to Jaime Chandra. And Munion says that B.E.D. has been invited to given consent workshops at some theme camps that would not typically ask for one. (They would not describe any of these as “plug and play,” however.) “It's a really great place to be able to change these things, because you get a couple of people really hyped up about it,” Munion says of running the workshops. “And if you get one person in a major team hyped up on it, we come in and do a training and then suddenly 35 people, or 150 people—and now we have a training for like 350 people at one point this Burn—are all hearing these things that they've never been taught.” It sounds like a very radical happening.
More than 30 years and several thousands of attendees later, Black Rock City’s temporary residents have largely submitted to the laws of the land (including those enforced by the Pershing County Sheriff’s Office: the drive-by shooting range, for example, is no more), but the event still largely eschews order. When popular DJs and other musical acts perform at Burning Man, they are asked not to publicize their sets, nor is there any hierarchy among theme camps, which can number a few dozen to hundreds of people, to determine a run of show. Elaborate (and frequently skimpy) costumes are often procured in advance—occasionally, nowadays, with the help of a stylist—and are worn to shreds amid storms of alkaline “playa dust.” Officially, nothing is for sale, except for coffee and ice, part of the event’s de-commodification ethos.
The popular refrain is that “your Burn is your Burn” (essentially, “you do you”)—you can flit between massive art installations; Champagne-fueled dance parties; the famed and self-explanatory Orgy Dome; the Thunderdome, where you can fight a friend; a mass group rinse in a huge glass square box called “Foam Against the Machine” (suds provided by David Bronner, of Dr. Bronner’s soap); and all manner of structures and play places, all built in the run-up to one week of ultimate freedom, with little cell service or Internet, “on playa.” Accordingly, Burning Man has received criticism as a privileged playland for the largely wealthy, largely white elite who can afford it, a crowd increasingly populated by tech oligarchs from Silicon Valley, who fly into Burning Man on private planes.
So the question remains: How have the #MeToo movement and its calls for increased accountability, reporting, and protocol surrounding sexual misconduct been received in this determinedly unstructured, decidedly unsober setting? The answer is a little anticlimactic, since they’ve long been a part of the proceedings.
Five years before #MeToo blazed across Hollywood, activists began calling for an addendum to Burning Man’s 10 governing principles (which were only nailed down by founder Larry Harvey in 2004, when regional Burns began to pop up, claiming affiliation); they called it the 11th principle of consent. And almost a decade before that, also in 2004, the sex-positive Bureau of Erotic Discourse, aka B.E.D., started raising awareness about consent issues on playa, from unwanted hugging to sexual assault and rape. Consent—or any—11th principle has yet to be officially adopted, but with the advent of #MeToo, maybe that will change. And there is more to learn than you might think from an event where sex positivity and bottom-up organizing are indelibly part of the culture. Especially compared with the slow progress of traditional industries and institutions, in which we’ve been sorely disappointed during the past 11 months—though, as Burning Man gets bigger, it has started to resemble them.
A group of Southeast Burners began the 11th Principle: Consent! project in late 2012, out of necessity. “We had some issues at our Burn,” says Jaime Chandra, a founding member, “and that same year, there were a ton of sexual assault reports from Black Rock City.” (The 2012 After Burn document, which the organization disseminates each year post–Burning Man, recounts that the Mental Health Branch of the Emergency Services Department, which deals with sexual assault–related cases, had “the busiest year on record,” an 85 percent increase in calls, and 10 sexual assault cases, two of which resulted in rape kit exams for attendees administered in Reno.)
Chandra’s regional Burn is held in West Virginia and called Transformus. Though she’s a 10-year Burner, she has never made it to the playa. The regional Burner community, whose events are officially sanctioned by the Burning Man organization at large, might not be well known to outsiders, but there are dozens of affiliated Burning Man events on multiple continents. Their attendance and participation speaks to the uniquely intense collective investment in Burning Man’s culture—as well as its diffuse organization.
In 2012, as ticket purchases to Burns around the country increased, Chandra “felt like it was open season for anybody who wanted to be a predator to come in and take advantage of this culture of radical expression and inclusion.” Chandra herself was “dosed” at Transformus in 2012 (she was unknowingly slipped hallucinogenic drugs). In its conception, 11th Principle’s notion of consent included sexual harassment and assault, but also sought to cover all manner of undesirable interactions. “People stealing your stuff, people coming in, like, grabbing guys’ butts under their kilts, fondling people’s costumes, making a special cookie or candy and not disclosing that something’s in there,” as Chandra enumerates—they all fell under behaviors that needed to be made verboten, which is to say, explicitly uncool.
By naming their efforts “11th Principle,” organizers knew they would be rattling some of the Burner establishment, many of whom consider the word of Larry Harvey, who died earlier this year, sacred—but that’s what they wanted. “We did receive a lot of flack,” Chandra says, but they also got noticed, and eventually, they were invited to Burning Man’s Global Leadership Conference in 2015 to make a presentation on their consent work at Transformus and elsewhere. The larger Burning Man Organization has since adopted some of 11th Principle’s language in their pre-Burn materials, and the group sends their consent-oriented patches, buttons, and stickers to several Burns; hosts resources for incident response; and creates codes of conduct and conduct committees online.
B.E.D., the aforementioned Bureau of Erotic Discourse, is more focused on playa, according to Chandra, though the groups work together, and was also started in response to reports of assault in Black Rock City. Not only does substance intake create vulnerabilities on playa, as they do at regional Burns where drug taking is widespread—in 2016, of the 46 people arrested by the Pershing County sheriff, 37 were brought in on drug-related charges (the most common was marijuana, followed by cocaine, ecstasy, and acid)—but the playa is also home to some of the harshest conditions in the Burning Man regional network, in which lack of hydration, cell reception, and access to emergency services can combine to leave victims particularly susceptible.
B.E.D. has a close relationship with the Burning Man Organization, and this year is in part funded by it—B.E.D. is one of Burning Man’s dozens of theme camps, through which attendees organize around not just mutual interests (polyamory, for example, or EDM) but also via an offering to the event, be it cooking meals, serving drinks, organizing workshops, playing music, or fixing bikes. B.E.D. members donate (part of the “gifting” principle) consent training and workshops to other theme camps, and run a sex-positive play shop. They also help educate attendees on Burning Man Org’s official escalation process in reporting assaults and violence on playa, including involving police.
Ascher Munion is a B.E.D. member and a Burner currently training to become a Black Rock Ranger, Burning Man’s khaki-clad volunteer phalanx of guardians who patrol the playa. Munion explains that many attendees don’t know that Burning Man has a range of resources: from Zendo—a mental health–focused camp whose volunteers have crisis response training and can provide anything from water and a place to lie down to counseling—to the org’s Emergency Services Department, which has a Crisis Intervention Team. Munion says that Black Rock Rangers who hear about or witness sexual assault or domestic violence are “mandated to report it” to those higher up the chain; another section of Rangers then liaises with the two law enforcement agencies on playa, Pershing County, and the Bureau of Land Management, when deemed necessary, and can arrange for ambulance transportation. Rape kits cannot be administered on playa due to chain-of-custody concerns, and Burning Man has to ferry victims to Reno—a phenomenon common elsewhere in Nevada and across the country. As is also true in the “default world” (how Burners refer to life off-playa), no one can be forced to make a report to law enforcement themselves, and, according to Munion, the vast majority of incidents do not get prosecuted.
For many Burners, the community accountability on which Burning Man functions has, in their experience, worked; camps try to weed out bad actors themselves by attempting mediation or, in more extreme cases, banning past members from camping with them. Similarly, Burning Man will ban theme camps from receiving their approval and funding, if they’ve received any, should they hear a rash of complaints about a camp’s level of M.O.O.P. (matter out of place, Burner lingo for debris or refuse) or the behavior of its members. Chandra and another Burner giving consent workshops on playa this year, JR Russ, whose goes by Nexus, both said that they have known regional burns to share lists of banned members in a kind of whisper network to protect the larger community from bad actors. Leah Reitz, a four-time Burner from San Francisco, describes consent as ingrained, and not just because of B.E.D.’s pervasive signage on the subject (they famously flyer the porta-potties—and there are many—on playa). “[Burning Man] has given me practice in asking can I do things, and also asking for what I want and being okay with the no that comes with it,” she says. “You can go dance with your friends and there’s not a concern about a creepy dude leering behind you." Because attendees have been inundated with messaging, bystander intervention is common: many report helping victims themselves, whether intervening in an argument or helping someone who appears overly intoxicated.
Burning Man’s unique decentralization and structure around the Principles “gives you the permission and encouragement as a community to do what it is you think needs to be done,” says Chandra. “Just go ahead and do it. You don't have to wait for an organization to agree with you.” That’s why, as many Burners echo, the community seems ahead of the curve, rather than scrambling to address the #MeToo movement as the film industry, universities, or corporate America seem to have in the past few months. Mitchell Gomez, a ten year Burner giving a workshop through B.E.D. this year, pointed out that none of the founders have been accused of sexual misconduct or harassment, an increasingly rare distinction among any organization. But while Burning Man Org might avoid the pitfalls of having a well-known titan or executive at its helm to protect, it still pulls in millions in revenue, and is only expanding.
Burning Man is in the process of renewing its ten year permit with the Bureau of Land Management, and the organization is proposing that as many as 100,000 people be allowed to descend on the Nevada desert in the next few years. That’s 30,000 more than the already 70,000 expected to be present in 2018, including attendees, vendors, and volunteers—and, unlike a university campus or office environment, neither the BLM nor Burning Man currently know exactly who is “on playa” at any given time. Though some coveted tickets are set aside for theme camps and other crews, there are rounds in which individuals can purchase tickets, as well as exchange and resell them. None of the physical Burning Man tickets require identification to use them.
Combined with the increase in popularity among “tourists,” or non-regularly attending Burners, it’s easy to see Burning Man’s growth as a kind of consent powderkeg in the context of #MeToo. “We feel like it’s underreported,” Tom Bjerke, an official with the Pershing County Sheriff’s Office, says of sexual assault on playa, “based on what we’re hearing from Burners.” He expressed a request that Burning Man Org be more transparent with their own reporting on sexual assaults—Ascher Munion also said that Burning Man doesn’t “really collect statistics on this.” But Jim Graham, a communications official with Burning Man, contradicted that statement: “We have a decade’s worth of statistics on crime at the event,” Graham said, “including sexual assault. In any given year we typically receive between five and 20 reports from participants of alleged sexual assault. Law enforcement determines which of those reports merit a full investigation, typically fewer than half. Many involve ‘alleged misconduct,’ for unwanted behavior which is not considered sexual assault under Nevada law. There are typically one or zero arrests for sexual assault each year.” Those arrest and report rates are indeed much lower than national averages for sexual misconduct; a 2012 CDC survey of adults found that approximately 1 in 20 women and men experienced “sexual violence other than rape, such as being made to penetrate someone else, sexual coercion, unwanted sexual contact, or non-contact unwanted sexual experiences” in the year prior. (The Sheriff’s Office did not respond to a request for crime statistics from 2017; in the past, they have been released to the local Reno Gazette-Journal.)
Subscribers to Burning Man’s official newsletter, “The Jackrabbit Speaks,” received several communications on consent ahead of attending this year, including an email that referenced #MeToo outright. But there are likely thousands of people at the event who didn’t see them, given that tickets are passed among attendees so frequently. Among them might be those who have joined the recent—and controversial—rash of “plug and play,” “turnkey,” and “concierge” camps, in which attendees pay for luxury playa amenities like accomodation (that they haven’t built themselves), food and water (that they haven’t had to lug in or prepare), and working toilets, which many Burners say are less connected to the more traditional theme camps, in which members participate with nearly every aspect of set up and clean up. In the past, the “gifts” that some of these camps have offered visitors, in the traditional co-op Burning Man style, have been perceived as somewhat dubious in the community—in 2014, a camp called Caravancicle run by venture capitalist Jim Tananbaum was criticized for reports that it turned some outside guests away.
It follows that if attendees aren’t schooled on the ten principles, they won’t necessarily respect the 11th: “At the end of the day it's still a city of 75,000,” says JR Russ, who is active in the DC Burner scene. “The kind of the things you hear about in the news for Burning Man, about like all these billionaires and caviar and whatnot, those camps tend to keep to themselves and don't get out in the city much.” Munion has noticed an uptick in another potential danger: first-timers who aren’t briefed on the basics, and who require extra help if their water spills or their food goes rancid. These newbies also might not get prepped for how to deal with dangerous situations at crowded venues, at night, or inebriated. For volunteers, “that is a lot of work, and I don't necessarily know that that was there earlier when it was smaller.”
With Burning Man selling out year after year, and with more financing from Silicon Valley entrepreneurs and personalities who pay for dazzling art cars and other outlandish theme camps, the Organization may face a reckoning with itself. It was recently the subject of a Salon investigation into its treatment of its Department of Public Works volunteers, who typically toil for months in harsh desert conditions prepping for the event. A union at Burning Man might seem as unlikely as an 11th principle; but as the incentive to keep the event scandal-free and chock full of Burners increases, so does the organization’s urgency to protect itself from liability. The “radical self-reliance” principle—which some have said reflects the underlying libertarian outlook of its white male founders, rather than Burning Man’s counterculture—might not be enough.
When asked if Burning Man, as it grows up, might have to codify the more nebulous aspects of its radical non-hierarchy hierarchy, with, say, more official registration and record-keeping systems, Munion says that those changes might be inevitable. But Burning Man Org’s “internal policies around reporting and survivor support are,” all in all, “pretty good. They're on par and reflective of what's going on everywhere in the world, in the U.S., around these things. So I think those are pretty okay, unless we're going to change the entire legal system.” Jim Graham referred to the emails sent ahead of the event and other Burning Man online resources, and said that the Org is “proud of the work in our community related to consent.”
For Munion, the potential for evolution lies not in the upper echelons at Burning Man Org’s San Francisco corporate office, but in the intensely connected Burner community. Munion is a self-described realist—as well as, after last year, a survivor of assault on playa. “It was really frustrating, because I taught thirty-something workshops on sexual assault prevention and consent, and then I got sexually assaulted” says Munion. But, still, they don’t believe Burners should simply institute more traditional top-down systems of accountability, nor kick everything they can up “our retaliatory justice system.” Instead, Munion and others have started to implement restorative justice models more common in the sex work and anti-carceral activist communities. B.E.D., for example, is preparing a web series on mediation: “At the end, you walk away with a restorative justice process specific to your camp that reflects your community standards.” Though “the idea of reintegration can be really tricky for some folks,” they concede. “And it's not always possible, right?” Russ also describes his DC community as going through the process of trying to implement a “restorative justice approach.” And he has seen the main event evolve, even over the past five years that he’s been attending. He describes being one among a few black attendees he encountered in his first few Burns, a number that has slowly increased. Perhaps Burning Man may one day officially adopt, if not the 11th principle, a pioneering restorative model for communities reckoning with sexual violence.
The #MeToo movement caused interest in 11th Principle to “blow up” this year, according to Jaime Chandra. And Munion says that B.E.D. has been invited to given consent workshops at some theme camps that would not typically ask for one. (They would not describe any of these as “plug and play,” however.) “It's a really great place to be able to change these things, because you get a couple of people really hyped up about it,” Munion says of running the workshops. “And if you get one person in a major team hyped up on it, we come in and do a training and then suddenly 35 people, or 150 people—and now we have a training for like 350 people at one point this Burn—are all hearing these things that they've never been taught.” It sounds like a very radical happening.
Monday, July 23, 2018
Donald Trump Just Realized What The Apprentice Was Actually About
Leave it to our current president to take 14 years to realize the obvious . . . and share it on live television. Following a casual mention by Donald Trump of The Apprentice, the game show that brought him notoriety for wealth and management experience that have since been thrown into question, the president put two and two together about why his show about people working for him as apprentices would be called The Apprentice.
At a White House jobs event yesterday, Trump told the audience that “23 companies and associations are pledging to expand apprenticeships,” which is where the gears started turning: “That’s an interesting word for me to be saying, right? The Apprentice?” Certainly! We all know that he used to host a show of that name, which was about people literally apprenticing . . . but did he? Not before this moment, it seems: “I never actually put that together until just now,” Trump continued. “That was a good experience, I will tell you that.” Still processing, he called out his daughter and past cohost of the show, wondering aloud, “Isn’t that strange, Ivanka? I never associated, but here we are, can’t get away from that word.” We sure can’t.
Friday, June 15, 2018
Won’t You Be My Neighbor? Is 90 Minutes of Pure Delight
Confession: I was more nervous about watching Won’t You Be My Neighbor? than Hereditary. I can take a horror film about a family turned inside out—but a documentary about the host of a children’s TV show I grew up with? Who dedicated his life to making kids feel loved? Just the trailer was overwhelming. The gentle set of Mr. Rogers’s gaze and the calming timbre of his voice brought nostalgic tears to my eyes. A guy can only take so much.
But Won’t You Be My Neighbor?, which has already drawn solid box office numbers in select theaters and begins rolling out across the country this weekend—just in time for Father’s Day—is the most soothing, joyful, and hope-inducing 90 minutes I’ve spent in recent memory. It’s like sitting in a warm bath of positivity. Add it to your wellness regimen: Here is a film that vanquishes cynicism.
It’s also quietly radical—not a biographical documentary, nor a manipulative tear-jerker, but an intelligent exploration of the late Fred Rogers’s ideas about self-worth, about facing (not running from) reality, and his profound notions of what very young children can handle. The definition of assassination, for instance. Mister Rogers’ Neighborhood, the landmark public television program he hosted for more than 30 years, began in 1968, a few months before Robert F. Kennedy was gunned down in Los Angeles. Rogers, who populated his show with adorably ragtag puppets, used one of them, Daniel Tiger, to explain what had happened. “That man killed that other man,” Daniel says, startlingly direct. And then, mournfully: “I’d rather talk about it some other day.”
There was more bravery. In ’69, amid racial tension across the country, Rogers showed the character Officer Clemmons—a black policeman played by François Clemmons—sharing an outdoor foot bath with him on a hot day. (The documentary juxtaposes this with contemporaneous footage of a white man pouring cleaning products into a pool where African Americans were swimming.) Tolerance, kindness, empathy: These were the guiding principles of Rogers’s homespun program, which eschewed the kinetic high jinks of so much of kids’ television (Rogers apparently hated superheroes). He was an ordained Christian minister who wasn’t publicly religious but clearly believed in the power of rituals—coming home with a song, trading his leather shoes for sneakers, his blazer for one of those brightly colored cardigans. And he wasn’t afraid of silence. The interview subjects in the film—family, friends, and colleagues—recall how Rogers once filmed an egg timer just to teach the children watching how long a minute was.
Does that sound boring? Mister Rogers’ Neighborhood never was (in my memory). A warning: Won’t You Be My Neighbor? reveals no hidden demons, no salacious secrets (perhaps Rogers had none), but I was glued to it all the way through. There are glimpses that he had a steely will (he obsessively controlled his weight) and was perhaps a bit inflexible on set toward the end of his show’s run (it stopped filming in 2001). But the film doesn’t reveal much in the way of personal history. What it does do is remind you of the profound effects of kindness—and makes you lament how little of it we have in public life at the moment. The ending is especially moving: an extraordinary sequence in which several of his friends and colleagues, heeding advice Rogers often gave, think silently about someone who loved them. Have tissues close at hand.
Friday, May 18, 2018
‘I didn’t have a stroke’: Terry Gilliam on health scare and Don Quixote
Terry Gilliam has said that he always believed that he would finish The Man Who Killed Don Quixote, despite the 29 years of development hell he endured making the film.
After more than a quarter of a century, numerous production troubles and a prolonged legal battle, the saga around Gilliam’s long-held passion project finally ends, with the comedy closing this year’s Cannes film festival.
The film, an adaptation of Cervantes’ novel Don Quixote, starring Jonathan Pryce as Quixote and Adam Driver as Sancho Panza, was shown to critics on Friday, with cheers greeting its opening credits. It will receive its official premiere at the festival on Saturday night and will be released in France on the same day, with a UK release date to be announced.
The former Monty Python cast member told the Guardian he never doubted his ability to get the film made. “I just kept going on and on,” he said. “I’ve never been able to explain why I was so determined, obsessed to make it. After a point I realised that if you’re going to do Quixote you’ve got to become Quixote. You’ve got to have ups and downs.”
The director made light of the health scare that saw him hospitalised last week – reported at the time as a stroke. “It’s like I stubbed my toe,” he said. “That hurt more, actually. It’s not actually a stroke; it’s something different with similar symptoms, a perforated medullary artery. I’m fine.”
Regarded as one of the most unlucky productions in cinematic history, The Man Who Killed Don Quixote has been in the works since 1989. It commenced production on eight occasions, the most famous being in 2000, when filming of a version starring Johnny Depp was disrupted by flash floods, constant flyovers by Nato aircraft and the French actor Jean Rochefort, who died last October, suffering a prostate infection. A tribute to Rochefort appears at the end of Gilliam’s film.
The dramatic events of that production became the subject of an acclaimed 2002 documentary, Lost in La Mancha. He Dreamed of Giants, a follow-up film chronicling Gilliam’s attempts to revive the movie in the years since, will be released alongside The Man Who Killed Don Quixote.
Gilliam’s woes were finally thought to be over last June when he announced that a new production of Don Quixote had completed filming. However, the film’s future was again cast into doubt earlier this year when producer Paulo Branco filed a legal injunction blocking the Cannes screening and cinema release. Branco claimed to have signed a contract in 2016 that provided funding for Don Quixote in return for contractual rights to the film. Gilliam says that none of the promised funding had materialised, prompting him to find backing from other sources.
Last week, a Paris court ruled in favour of the film being screened at Cannes, prompting the festival director, Thierry Frémaux, to declare: “We have won.” However, the court also ruled that a warning would have to be screened at the start of the film noting that the rights to it “are subject to current proceedings”. The announcement was greeted with hoots of derision during the press screening on Friday.
A final legal verdict on the rights issue is expected on 15 June. Gilliam expects the ruling to fall in his favour. “I think it’s going to be very hard to stop the juggernaut now,” he said.
The director came under criticism earlier this year for comments he made about the #MeToo movement against sexual harassment, which he described as resembling “mob rule”. When asked if he had any regrets over the comments, Gilliam was careful in his response.
“My wife [the makeup artist Maggie Weston] has made me swear on my marriage certificate that I will not talk about this, so I have to obey her,” he said. “Nobody read the actual article. They read the headlines, is all I will say.”
When asked what he will do now that he has finally completed Don Quixote, the director said that he would consult Weston. “If my wife has her way we will go on a long holiday somewhere,” he said. “I think it’s about time. She and my daughter have really taken a lot of shit from me with this film, so I’ve got to mend a lot of fences.”
After more than a quarter of a century, numerous production troubles and a prolonged legal battle, the saga around Gilliam’s long-held passion project finally ends, with the comedy closing this year’s Cannes film festival.
The film, an adaptation of Cervantes’ novel Don Quixote, starring Jonathan Pryce as Quixote and Adam Driver as Sancho Panza, was shown to critics on Friday, with cheers greeting its opening credits. It will receive its official premiere at the festival on Saturday night and will be released in France on the same day, with a UK release date to be announced.
The former Monty Python cast member told the Guardian he never doubted his ability to get the film made. “I just kept going on and on,” he said. “I’ve never been able to explain why I was so determined, obsessed to make it. After a point I realised that if you’re going to do Quixote you’ve got to become Quixote. You’ve got to have ups and downs.”
The director made light of the health scare that saw him hospitalised last week – reported at the time as a stroke. “It’s like I stubbed my toe,” he said. “That hurt more, actually. It’s not actually a stroke; it’s something different with similar symptoms, a perforated medullary artery. I’m fine.”
Regarded as one of the most unlucky productions in cinematic history, The Man Who Killed Don Quixote has been in the works since 1989. It commenced production on eight occasions, the most famous being in 2000, when filming of a version starring Johnny Depp was disrupted by flash floods, constant flyovers by Nato aircraft and the French actor Jean Rochefort, who died last October, suffering a prostate infection. A tribute to Rochefort appears at the end of Gilliam’s film.
The dramatic events of that production became the subject of an acclaimed 2002 documentary, Lost in La Mancha. He Dreamed of Giants, a follow-up film chronicling Gilliam’s attempts to revive the movie in the years since, will be released alongside The Man Who Killed Don Quixote.
Gilliam’s woes were finally thought to be over last June when he announced that a new production of Don Quixote had completed filming. However, the film’s future was again cast into doubt earlier this year when producer Paulo Branco filed a legal injunction blocking the Cannes screening and cinema release. Branco claimed to have signed a contract in 2016 that provided funding for Don Quixote in return for contractual rights to the film. Gilliam says that none of the promised funding had materialised, prompting him to find backing from other sources.
Last week, a Paris court ruled in favour of the film being screened at Cannes, prompting the festival director, Thierry Frémaux, to declare: “We have won.” However, the court also ruled that a warning would have to be screened at the start of the film noting that the rights to it “are subject to current proceedings”. The announcement was greeted with hoots of derision during the press screening on Friday.
A final legal verdict on the rights issue is expected on 15 June. Gilliam expects the ruling to fall in his favour. “I think it’s going to be very hard to stop the juggernaut now,” he said.
The director came under criticism earlier this year for comments he made about the #MeToo movement against sexual harassment, which he described as resembling “mob rule”. When asked if he had any regrets over the comments, Gilliam was careful in his response.
“My wife [the makeup artist Maggie Weston] has made me swear on my marriage certificate that I will not talk about this, so I have to obey her,” he said. “Nobody read the actual article. They read the headlines, is all I will say.”
When asked what he will do now that he has finally completed Don Quixote, the director said that he would consult Weston. “If my wife has her way we will go on a long holiday somewhere,” he said. “I think it’s about time. She and my daughter have really taken a lot of shit from me with this film, so I’ve got to mend a lot of fences.”
Thursday, April 12, 2018
Cathy Myers, a Democrat Vying for Paul Ryan’s House Seat, Says the Speaker Is “Running Scared”
Cathy Myers, a Democrat and former teacher running to take over Paul Ryan’s congressional seat, was at home in Janesville, Wisconsin, on Wednesday morning (she lives about half a mile from Ryan), sipping her coffee and reading the paper, when her phone started “going off.” The news had broken that the Republican Speaker of the House would not be seeking reelection in November in Wisconsin’s First Congressional District, where Ryan has held office for the last 20 years. Ryan said in a press conference that he is stepping down to spend more time with his family; that he doesn’t want to be a “weekend dad” to his three teenage children. But Myers has another theory.
“The reality on the ground is, he was running scared,” Myers told Vogue by phone. “I think that he knew he was going to have a huge battle ahead of him, and that the momentum is on our side. He knew that people felt unserved and that they were tired of it. He’s getting out while the getting is good.”
Myers, a current Janesville School Board member running against fellow Democrat Randy “Iron Stache” Bryce in the Democratic primary, said that Ryan’s departure after his term is up later this year will add to the momentum of Democrats flipping red seats blue in hotly contested races across the country, including Conor Lamb in Pennsylvania and Doug Jones in Alabama: “I think that Democrats really wanted to take this city back for a very long time, and I think this is just going to energize them.”
Moments after Ryan’s announcement in Washington, D.C., Myers was reassessing her own race: If she wins the Democratic nomination, she’ll no longer have to topple the Speaker of the House (and his hefty war chest), but a TBD Republican. (There have been murmurs about self-described “pro-white” Republican Paul Nehlen, who tweeted a photo of Meghan Markle in February that got him banned from Twitter for racism.)
“I suppose a case could be made that it could be easier [to win], but I still think that whether it’s Paul Ryan or someone else, the Republicans will want to do, and will do, whatever they can to keep the seat. We’re going to work just as hard as we were going to work against Paul Ryan,” Myers said. “[My campaign] was only about Paul Ryan to a certain extent. It’s more about changing the direction of this country and countering the chaos and corruption of the Trump administration, in which Paul Ryan was complicit.”
In a final bit of campaign mojo against Ryan, Myers couldn’t resist noting that the Speaker’s claim that “he’s got these great accomplishments to rest his hat on,” says Myers, don’t quite hold up against some critics in their shared hometown: “He was only interested in special interests and large donors and what he could do for them,” she said. “Before 2015, he had only authored two bills that became law, and one of them was naming a post office, so . . . What he got done was giving a huge tax break to billionaires and corporations. He knows he can’t stand on that record.”
Myers said she plans to continue her grassroots campaign, pitching herself to voters as a teacher who will stand up to the likes of Education Secretary Betsy DeVos. “I’m still the best candidate to serve the people of this district,” she said, “no matter what Republican I’m up against.”
As for Ryan’s post-congressional future, “I can see him doing the Fox News route,” Myers added. “I’m sure that Paul Ryan is going to land on his feet no matter what. He’ll be just fine. And I certainly hope he enjoys his family time.”
“The reality on the ground is, he was running scared,” Myers told Vogue by phone. “I think that he knew he was going to have a huge battle ahead of him, and that the momentum is on our side. He knew that people felt unserved and that they were tired of it. He’s getting out while the getting is good.”
Myers, a current Janesville School Board member running against fellow Democrat Randy “Iron Stache” Bryce in the Democratic primary, said that Ryan’s departure after his term is up later this year will add to the momentum of Democrats flipping red seats blue in hotly contested races across the country, including Conor Lamb in Pennsylvania and Doug Jones in Alabama: “I think that Democrats really wanted to take this city back for a very long time, and I think this is just going to energize them.”
Moments after Ryan’s announcement in Washington, D.C., Myers was reassessing her own race: If she wins the Democratic nomination, she’ll no longer have to topple the Speaker of the House (and his hefty war chest), but a TBD Republican. (There have been murmurs about self-described “pro-white” Republican Paul Nehlen, who tweeted a photo of Meghan Markle in February that got him banned from Twitter for racism.)
“I suppose a case could be made that it could be easier [to win], but I still think that whether it’s Paul Ryan or someone else, the Republicans will want to do, and will do, whatever they can to keep the seat. We’re going to work just as hard as we were going to work against Paul Ryan,” Myers said. “[My campaign] was only about Paul Ryan to a certain extent. It’s more about changing the direction of this country and countering the chaos and corruption of the Trump administration, in which Paul Ryan was complicit.”
In a final bit of campaign mojo against Ryan, Myers couldn’t resist noting that the Speaker’s claim that “he’s got these great accomplishments to rest his hat on,” says Myers, don’t quite hold up against some critics in their shared hometown: “He was only interested in special interests and large donors and what he could do for them,” she said. “Before 2015, he had only authored two bills that became law, and one of them was naming a post office, so . . . What he got done was giving a huge tax break to billionaires and corporations. He knows he can’t stand on that record.”
Myers said she plans to continue her grassroots campaign, pitching herself to voters as a teacher who will stand up to the likes of Education Secretary Betsy DeVos. “I’m still the best candidate to serve the people of this district,” she said, “no matter what Republican I’m up against.”
As for Ryan’s post-congressional future, “I can see him doing the Fox News route,” Myers added. “I’m sure that Paul Ryan is going to land on his feet no matter what. He’ll be just fine. And I certainly hope he enjoys his family time.”
Sunday, March 18, 2018
Disney's Frozen musical opens on Broadway: 'More nudity than expected'
The cold never bothered them anyway.
On a chilly Thursday evening, 200 people jammed the sidewalks outside the St James Theater in New York, where the musical Frozen, the latest venture from Disney Theatrical Productions, had staged its first Broadway preview.
Frozen remains the highest-grossing animated movie of all time, making $1.2bn worldwide since its release in 2013. Very loosely based on the Hans Christian Andersen story The Snow Queen, it’s set in the fictional land of Arandelle and describes Princess Anna’s quest to find and redeem her older sister Elsa, a blond icemaker with a thing for statement gloves.
To adapt the film for Broadway, the original creative team – composers Kristen Anderson-Lopez and Robert Lopez and writer Jennifer Lee – reunited to shift scenes, lose a snow monster and add 12 new songs. One new number, Elsa’s ballad Monster, would be released that same night online, but several people came out humming another new tune, Hygge.
As the wind lashed 44th Street, attendees stood comparing merchandise – fluffy snowmen, fur-trimmed sweatshirts – and swallowing the last of pricy cerulean cocktails like the Heart of Arendelle. Not too many adult women had come in costume, but several had assembled blue and white outfits. One man proudly displayed his blue socks. Many tiny Elsas stood near the stage door, hoping for autographs, and a few Annas, too, even though it was hours past bedtime.
“It was really, really good,” one of the Annas, 10-year-old Molly Sarfert said. “There were some new songs, but they were really on it.” She even claimed to like the “hidden folk”, one of the musical’s innovations replacing the film’s trolls.
“You said they were creepy,” her mother Geri, 46, countered.
Development of the $25 to $30m musical, now directed by Michael Grandage and designed by Christopher Oram, was initially fraught, with the production cycling through two directors, two designers, three choreographers and cast changes, too. Reports from the pre-Broadway tryout in Denver were on the cheerful side of tepid.
Frozen, which stars Broadway regulars Caissie Levy and Patti Murin as inclement princesses, could flop, like Tarzan, but it could also go on to crush the Broadway box office, like The Lion King, which has earned nearly $8bn, or Aladdin, which continues to post strong profits. It will have some competition this spring from Harry Potter and the Cursed Child, which begins previews next month and should also appeal to family ticket-buyers.
But for several in the crowd, there was no competition at all. Dustin Overfield, 34, stood outside holding a huge bag of souvenirs and waiting for his wife. They’d flown out from Detroit to see the show. “It’s her Valentine’s Day present,” he said. He’s already pre-ordered the cast album and he proudly showed off a piece of sheet music signed by the composers.
Away from the stage door, other groups clustered. Adam Kaufman, 43, who had come with his fiancee and some friends, described the show as “amazing, totally magical”. His friends, who had bought sweatshirts, thought so too. A few of them were surprised by what Kaufman called “a number that was a little risqué”.
“There was more nudity than expected from Disney,” said his friend Jenn Mante, 36.
But everyone agreed that the reindeer, Sven, was an improvement on the movie, and so was the snowman, Olaf.
Half an hour later, the crowd still hadn’t dissipated. “Some people are worth melting for,” Olaf says. And some shows are worth shivering for.
On a chilly Thursday evening, 200 people jammed the sidewalks outside the St James Theater in New York, where the musical Frozen, the latest venture from Disney Theatrical Productions, had staged its first Broadway preview.
Frozen remains the highest-grossing animated movie of all time, making $1.2bn worldwide since its release in 2013. Very loosely based on the Hans Christian Andersen story The Snow Queen, it’s set in the fictional land of Arandelle and describes Princess Anna’s quest to find and redeem her older sister Elsa, a blond icemaker with a thing for statement gloves.
To adapt the film for Broadway, the original creative team – composers Kristen Anderson-Lopez and Robert Lopez and writer Jennifer Lee – reunited to shift scenes, lose a snow monster and add 12 new songs. One new number, Elsa’s ballad Monster, would be released that same night online, but several people came out humming another new tune, Hygge.
As the wind lashed 44th Street, attendees stood comparing merchandise – fluffy snowmen, fur-trimmed sweatshirts – and swallowing the last of pricy cerulean cocktails like the Heart of Arendelle. Not too many adult women had come in costume, but several had assembled blue and white outfits. One man proudly displayed his blue socks. Many tiny Elsas stood near the stage door, hoping for autographs, and a few Annas, too, even though it was hours past bedtime.
“It was really, really good,” one of the Annas, 10-year-old Molly Sarfert said. “There were some new songs, but they were really on it.” She even claimed to like the “hidden folk”, one of the musical’s innovations replacing the film’s trolls.
“You said they were creepy,” her mother Geri, 46, countered.
Development of the $25 to $30m musical, now directed by Michael Grandage and designed by Christopher Oram, was initially fraught, with the production cycling through two directors, two designers, three choreographers and cast changes, too. Reports from the pre-Broadway tryout in Denver were on the cheerful side of tepid.
Frozen, which stars Broadway regulars Caissie Levy and Patti Murin as inclement princesses, could flop, like Tarzan, but it could also go on to crush the Broadway box office, like The Lion King, which has earned nearly $8bn, or Aladdin, which continues to post strong profits. It will have some competition this spring from Harry Potter and the Cursed Child, which begins previews next month and should also appeal to family ticket-buyers.
But for several in the crowd, there was no competition at all. Dustin Overfield, 34, stood outside holding a huge bag of souvenirs and waiting for his wife. They’d flown out from Detroit to see the show. “It’s her Valentine’s Day present,” he said. He’s already pre-ordered the cast album and he proudly showed off a piece of sheet music signed by the composers.
Away from the stage door, other groups clustered. Adam Kaufman, 43, who had come with his fiancee and some friends, described the show as “amazing, totally magical”. His friends, who had bought sweatshirts, thought so too. A few of them were surprised by what Kaufman called “a number that was a little risqué”.
“There was more nudity than expected from Disney,” said his friend Jenn Mante, 36.
But everyone agreed that the reindeer, Sven, was an improvement on the movie, and so was the snowman, Olaf.
Half an hour later, the crowd still hadn’t dissipated. “Some people are worth melting for,” Olaf says. And some shows are worth shivering for.
Saturday, February 10, 2018
The Lost Words campaign delivers nature ‘spellbook’ to Scottish schools
A book created to celebrate the disappearing words of everyday nature, from acorn and wren to conker and dandelion, is fast becoming a cultural phenomenon with help from a crowdfunding campaign by a school bus driver.
Four months after publication The Lost Words, a collection of poems by Robert Macfarlane and paintings by Jackie Morris, has already shipped 75,000 copies and won two literary prizes.
Now the book, aimed at reviving once-common “natural” words excised from the Oxford Junior Dictionary, will be discovered by a generation of children after a crowdfunding drive to place a copy in every school in Scotland.
Jane Beaton, a school bus driver and travel consultant from Strathyre, Stirling, was moved to raise £25,000 to give the book to all 2,681 schools in Scotland after “a spur of the moment” commitment on Twitter.
“When I first opened The Lost Words, I just thought: ‘What a magical book,’” said Beaton. Encouraged by tweets from Macfarlane and Morris – who has donated original artwork to the campaign – Beaton was amazed when the donations flooded in. “It must be the book – it’s just captured people in a way I haven’t seen before,” she said. “People have a feeling of positivity to it.”
The book’s poems, which Macfarlane likens to “spells” to conjure wild things, were already being adapted as a choral work by a children’s choir, while a theatrical performance will debut at a summer festival before touring schools. The text is also being stitched into embroidered braille and there are plans for celebrity readers to whisper the words through the trees of the National Forest in Derbyshire.
In Hertfordshire, the artist Alex Carlton donated a copy to her local school after her seven-year-old twins, Daisy and Dylan, were “enchanted” by it. “They devoured the book in one big spell-casting adventure but kept returning to it over the following few days,” she said. Their school “loved the book”, said Carlton. Her friends are planning to donate more copies to other local schools.
In Wales, the environmental group Penarth Greening was inspired by Beaton to donate nine copies to local primary schools. The author Susan Hill has taken copies into her local school, and a Norwich bookseller, Henry Layte, is donating 20 copies to local primary schools.
Layte, the founder of the Book Hive, said: “Owning a bookshop in Norwich and having small children of my own has made me all too aware that the threat to children’s access to both the outdoors and books is very real. Robert and Jackie’s masterpiece will not solve those issues overnight, but it is quite capable of instilling a lifelong love of both things in any child who picks it up.”
Beaton’s campaign has been supported by the John Muir Trust, which has produced free learning resources for teachers. . Beaton says she has been inundated with messages from teachers showing how they are adapting the book for lessons. “It’s amazing the variety of creative uses that teachers are putting it to – from literacy training and handwriting practice to outdoor activities and turning the poems into songs,” she said.
Macfarlane said: “The Lost Words was a book made in a spirit of hope, but even in our wildest dreams Jackie and I couldn’t have imagined the response it has received. Above all, we’re overjoyed to see it take root in classrooms round the country, and overwhelmed by the generosity of the campaigns that are springing up to get copies into every primary school in Scotland, Wales and various counties of England. If it helps close the gap even slightly between childhood and nature in this country, all the effort will have been worth it.”
Morris said she felt inspired to donate the book to counteract the depressing state of current affairs. “Things have been so dark in the news, and it’s quite a simple thing to do, a helpful thing, and I hope a beautiful thing to have. I like how it goes across political boundaries – it’s about the true sense of the word ‘politics’, it’s not about political parties.”
Beaton has exceeded her original fundraising target, but one final hurdle remains: how can one woman deliver books to more than 2,000 schools? Luckily she can store the books in a shipping container she used while building her own home. Volunteers, Rotary clubs and others will then help take the books to Scotland’s schools.
“Getting it into schools is just the first step,” said Beaton. “This book has so much potential to impact on people in different ways. I’m hoping all the kids in Scotland will have an engagement with nature through this. I firmly believe that being outdoors and connecting with nature helps people’s mental health.”
Four months after publication The Lost Words, a collection of poems by Robert Macfarlane and paintings by Jackie Morris, has already shipped 75,000 copies and won two literary prizes.
Now the book, aimed at reviving once-common “natural” words excised from the Oxford Junior Dictionary, will be discovered by a generation of children after a crowdfunding drive to place a copy in every school in Scotland.
Jane Beaton, a school bus driver and travel consultant from Strathyre, Stirling, was moved to raise £25,000 to give the book to all 2,681 schools in Scotland after “a spur of the moment” commitment on Twitter.
“When I first opened The Lost Words, I just thought: ‘What a magical book,’” said Beaton. Encouraged by tweets from Macfarlane and Morris – who has donated original artwork to the campaign – Beaton was amazed when the donations flooded in. “It must be the book – it’s just captured people in a way I haven’t seen before,” she said. “People have a feeling of positivity to it.”
The book’s poems, which Macfarlane likens to “spells” to conjure wild things, were already being adapted as a choral work by a children’s choir, while a theatrical performance will debut at a summer festival before touring schools. The text is also being stitched into embroidered braille and there are plans for celebrity readers to whisper the words through the trees of the National Forest in Derbyshire.
In Hertfordshire, the artist Alex Carlton donated a copy to her local school after her seven-year-old twins, Daisy and Dylan, were “enchanted” by it. “They devoured the book in one big spell-casting adventure but kept returning to it over the following few days,” she said. Their school “loved the book”, said Carlton. Her friends are planning to donate more copies to other local schools.
In Wales, the environmental group Penarth Greening was inspired by Beaton to donate nine copies to local primary schools. The author Susan Hill has taken copies into her local school, and a Norwich bookseller, Henry Layte, is donating 20 copies to local primary schools.
Layte, the founder of the Book Hive, said: “Owning a bookshop in Norwich and having small children of my own has made me all too aware that the threat to children’s access to both the outdoors and books is very real. Robert and Jackie’s masterpiece will not solve those issues overnight, but it is quite capable of instilling a lifelong love of both things in any child who picks it up.”
Beaton’s campaign has been supported by the John Muir Trust, which has produced free learning resources for teachers. . Beaton says she has been inundated with messages from teachers showing how they are adapting the book for lessons. “It’s amazing the variety of creative uses that teachers are putting it to – from literacy training and handwriting practice to outdoor activities and turning the poems into songs,” she said.
Macfarlane said: “The Lost Words was a book made in a spirit of hope, but even in our wildest dreams Jackie and I couldn’t have imagined the response it has received. Above all, we’re overjoyed to see it take root in classrooms round the country, and overwhelmed by the generosity of the campaigns that are springing up to get copies into every primary school in Scotland, Wales and various counties of England. If it helps close the gap even slightly between childhood and nature in this country, all the effort will have been worth it.”
Morris said she felt inspired to donate the book to counteract the depressing state of current affairs. “Things have been so dark in the news, and it’s quite a simple thing to do, a helpful thing, and I hope a beautiful thing to have. I like how it goes across political boundaries – it’s about the true sense of the word ‘politics’, it’s not about political parties.”
Beaton has exceeded her original fundraising target, but one final hurdle remains: how can one woman deliver books to more than 2,000 schools? Luckily she can store the books in a shipping container she used while building her own home. Volunteers, Rotary clubs and others will then help take the books to Scotland’s schools.
“Getting it into schools is just the first step,” said Beaton. “This book has so much potential to impact on people in different ways. I’m hoping all the kids in Scotland will have an engagement with nature through this. I firmly believe that being outdoors and connecting with nature helps people’s mental health.”
Wednesday, January 10, 2018
Power Dressing The Marvelous Mrs. Maisel Way
There’s no way that director Amy Sherman-Palladino could have predicted that her female-driven series The Marvelous Mrs. Maisel would premiere just two months before a historic Golden Globe Awards where actresses, actors, and activists wore black in solidarity with the #TimesUp movement and its fight against sexual harassment and inequality. There’s no way she could have predicted that Mrs. Maisel would take home two awards, either, including Best TV Series, Musical or Comedy—but let’s just call it serendipity.
Mrs. Maisel stars Rachel Brosnahan, who won the Golden Globe for Best Actress in a TV Series, Musical or Comedy, Sunday night for her role as Midge, a 26-year-old housewife in 1950s New York married to Joel, a financier-slash-aspiring-comedian. One night, Joel suddenly leaves her, explaining that he doesn’t want “this life” (the fancy apartment, fancy parties, fancy job) and says he’s having an affair with his secretary. On the verge of a quarter-life crisis, Midge finds herself drunk and on stage at their favorite club, The Gaslight—and it’s her awakening.
Mrs. Maisel follows her rocky new career as a female comic, and it’s full of Sherman-Palladino’s signature rapid-fire wit. As someone who’s seen every episode at least twice, I can attest that Brosnahan is seriously funny and charming—but Mrs. Maisel also touches on many of the frustrations outlined in the #TimesUp petition and that made Sunday night’s double win especially sweet. Midge’s intelligence is doubted both onstage and off; she’s told repeatedly that “women aren’t funny”; her parents blame her for Joel’s infidelity (at least in the beginning); and, like most of her friends, modern society has made her obsessive about her appearance. (Fans of the show will recall the scene where Midge wakes up at the crack of dawn to apply her makeup before Joel wakes up, or the part where she records her size-zero measurements in a journal every night.) As she develops her act, Midge becomes increasingly attuned to the injustices women face on a daily basis—from the rib-crushing girdles to the blatant misogyny—and is keenly aware that she’s working a lot harder than all the male comics out there. Her best jokes quickly become the ones about men and sex because she has the courage to vocalize what everyone is thinking.
Which is all to say that Mrs. Maisel is the feminist hit we need right now. But we’d be remiss not to mention how beautiful the show is, too, from the carefully-crafted ’50s interiors to the clothes. Midge has two looks: Her “uptown” wardrobe consists of Cristóbal Balenciaga-esque cocoon coats, nipped-waist dresses, skirt suits, pumps, and fascinators, but when she goes downtown, she changes into a black turtleneck and black pants (“like a Fellini girl,” to her mother’s confusion), plus a trench coat and flats. Throughout the show, Midge alternates between those two aesthetics in an attempt to find her onstage persona, and even tries out a fake name. But her wardrobe also represents her real-life identity crisis. On the one hand, she misses her Upper West Side life with Joel; but on the other, she deeply resents it—and knows she can never go back. In the final episode, ahead of her biggest performance yet, everything clicks. Midge takes the stage in a black cocktail dress, two strings of pearls, and opera-length gloves, then dives into a string of raunchy jokes about Joel with a few unladylike f-bombs thrown in for good measure. And at the end of her set, she introduces herself as simply “Mrs. Maisel.”
The story is galvanizing for young women right now—and you might just feel inspired to wear pearls and gloves, too. Sunday’s red carpet proved that power dressing comes in many forms, and yes, it can be glamorous! (We’re also into Midge’s pedal pushers and her knack for mixing jewel tones.) Above, we pulled five of our favorite Mrs. Maisel outfits and a few ways to get the look, so you can channel Midge’s unshakable confidence and spirit anytime. Luckily, the show is already confirmed for a second season, so there’s more great fashion—and filthy jokes—to come.
Mrs. Maisel stars Rachel Brosnahan, who won the Golden Globe for Best Actress in a TV Series, Musical or Comedy, Sunday night for her role as Midge, a 26-year-old housewife in 1950s New York married to Joel, a financier-slash-aspiring-comedian. One night, Joel suddenly leaves her, explaining that he doesn’t want “this life” (the fancy apartment, fancy parties, fancy job) and says he’s having an affair with his secretary. On the verge of a quarter-life crisis, Midge finds herself drunk and on stage at their favorite club, The Gaslight—and it’s her awakening.
Mrs. Maisel follows her rocky new career as a female comic, and it’s full of Sherman-Palladino’s signature rapid-fire wit. As someone who’s seen every episode at least twice, I can attest that Brosnahan is seriously funny and charming—but Mrs. Maisel also touches on many of the frustrations outlined in the #TimesUp petition and that made Sunday night’s double win especially sweet. Midge’s intelligence is doubted both onstage and off; she’s told repeatedly that “women aren’t funny”; her parents blame her for Joel’s infidelity (at least in the beginning); and, like most of her friends, modern society has made her obsessive about her appearance. (Fans of the show will recall the scene where Midge wakes up at the crack of dawn to apply her makeup before Joel wakes up, or the part where she records her size-zero measurements in a journal every night.) As she develops her act, Midge becomes increasingly attuned to the injustices women face on a daily basis—from the rib-crushing girdles to the blatant misogyny—and is keenly aware that she’s working a lot harder than all the male comics out there. Her best jokes quickly become the ones about men and sex because she has the courage to vocalize what everyone is thinking.
Which is all to say that Mrs. Maisel is the feminist hit we need right now. But we’d be remiss not to mention how beautiful the show is, too, from the carefully-crafted ’50s interiors to the clothes. Midge has two looks: Her “uptown” wardrobe consists of Cristóbal Balenciaga-esque cocoon coats, nipped-waist dresses, skirt suits, pumps, and fascinators, but when she goes downtown, she changes into a black turtleneck and black pants (“like a Fellini girl,” to her mother’s confusion), plus a trench coat and flats. Throughout the show, Midge alternates between those two aesthetics in an attempt to find her onstage persona, and even tries out a fake name. But her wardrobe also represents her real-life identity crisis. On the one hand, she misses her Upper West Side life with Joel; but on the other, she deeply resents it—and knows she can never go back. In the final episode, ahead of her biggest performance yet, everything clicks. Midge takes the stage in a black cocktail dress, two strings of pearls, and opera-length gloves, then dives into a string of raunchy jokes about Joel with a few unladylike f-bombs thrown in for good measure. And at the end of her set, she introduces herself as simply “Mrs. Maisel.”
The story is galvanizing for young women right now—and you might just feel inspired to wear pearls and gloves, too. Sunday’s red carpet proved that power dressing comes in many forms, and yes, it can be glamorous! (We’re also into Midge’s pedal pushers and her knack for mixing jewel tones.) Above, we pulled five of our favorite Mrs. Maisel outfits and a few ways to get the look, so you can channel Midge’s unshakable confidence and spirit anytime. Luckily, the show is already confirmed for a second season, so there’s more great fashion—and filthy jokes—to come.
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