February 29, 2016 Our Daily Correspondent Leap Year By Sadie Stein Another leap year in another time. Before Sadie was a baby name or even a dog name, hearing it would elicit one of two responses: singing (either “Sexy Sadie” or “Sadie Sadie, married lady”) or references to Sadie Hawkins. Since for most of my childhood I had pretensions to neither man-hungry spinsterhood, sexiness, nor marriage, I found all of these references obscurely humiliating. Sadie Hawkins Day—which falls on February 29 and only on February 29—was the worst one. All those desperate old maids chasing after unwilling mediocre men once every four years struck me as deeply troubling, not unlike Ginnifer Goodwin’s character in He’s Just Not That Into You, which is not to be confused with the equally execrable Leap Year. Why did they want them so much? Why were the guys so reluctant? Why was this one day considered so unnatural? Read More
February 29, 2016 On Dance Where the Boyz Are By Jeff Seroy The challenges of an all-male ballet troupe. Like Oulipo fiction or gluten-free bakeries, an all-male ballet troupe draws its allure from what’s missing. You wonder: Can they really pull it off? How not bad can it be? After all, Balanchine, in oracular mode, once said that “Ballet is woman”; he later added, “You put a man and a woman on stage, already it’s a story.” So what happens when you put ten men on stage together? Last week’s Ballet Boyz run at the Joyce Theater in New York provided an answer of sorts. Read More
February 29, 2016 On the Shelf The Year in Odd Book Titles, and Other News By Dan Piepenbring Another year, another volume of My Struggle, another news cycle rich in Knausgaard. Here he reflects on the shame of writing about himself: “Building a fiction room requires either great strength or great ignorance … To me all writing is blind and intuitive, either it works or it doesn’t, and the explanation as to how a novel turns out the way it does is always a rationalization after the event. What works always wins over in the end, seemingly of its own accord. So when, after ten years of trying, I sat down one day and wrote a few pages about something that happened to me, something I felt so ashamed about I had never mentioned it to a living soul, and did so using my own name, I had no idea why I went there, nor did I to begin with connect it in any way to the novel I wanted to write, it was just something I did.” Voting is open for the Oddest Book Title of the Year. This is direct democracy in action, people. Will it be Reading from Behind: A Cultural History of the Anus? Or perhaps Behind the Binoculars: Interviews with Acclaimed Birdwatchers? Or the dark horse, Paper Folding with Children? Get out there to the polls and make a difference. Today in role models: Remember when Mark Zuckerberg started his “book club” and it seemed as if the very act of reading was doomed to serve as part of the Silicon Valley lifestyle-guru agenda? Well. It was. And it gets even worse, Matt Haber reports: “Mr. Zuckerberg’s efforts have made him the object of fascination and emulation among a subset of millennials in and around the tech industry … ‘I run three experiments each year inspired by Zuckerberg,’ said Dave Fontenot, 22, a San Francisco resident who used to be an agent for engineers, but who said he is currently ‘focusing on myself.’ This year, Mr. Fontenot aims to improve his posture, meditate and spend more time alone. He also trained himself to send thank-you notes, either handwritten or as voice recordings via text, inspired by Mr. Zuckerberg. ‘For a period of time, I wasn’t thanking people at all, but then, for one of the most powerful person in the world to do it, I was like, Wow,’ Mr. Fontenot said.” Today in Pearl Jam: Eddie Vedder’s unlikeliest contribution to the culture has been an enduring image of the archetypal school shooter: Remember the music video for “Jeremy,” in which a teenager raises a gun at the front of a classroom? The song was about teen suicide, but because MTV censored the original video, it’s become part of “the cultural script of school shooters.” Daniel Wenger writes: “I asked the director, Mark Pellington, who went on to direct many other videos and films, about this misreading of his work. He said that people were responding to a ‘Xerox of a Xerox of a Xerox,’ as the story was translated from life to song to screen … Eddie Vedder identified ‘Jeremy’ as part of a lineage of ‘teenage death songs.’ The music biographer Graeme Thomson has written that the genre marks ‘the first time in modern musical culture youth equates with introspection and unhappiness.’ One of the early anthems was ‘Black Denim Trousers and Motorcycle Boots,’ recorded by the Cheers, in 1955.” And today in reminders that George Plimpton was a helluva guy—“George Plimpton—he didn’t disappoint me, aye? I was really taken by him, Timmy. He was sort of an exaggeration of himself. With his big hair, his suit, his accent. But what I will remember about this day is that he was so kindly. And he loved you. He stopped doing what he was doing to pay homage and respect to you and I liked that because I love you, too. Me, I would always pay homage and respect to you. But who am I? I’m just Sunny. The fact that he did it—this is George Plimpton. I know he’s not better than I, not worse than I, but he wasn’t full of himself, aye?”
February 26, 2016 This Week’s Reading Staff Picks: China, Children, Church By The Paris Review Gary Panter. Printed Matter, one of the best art bookstores on earth, recently moved into spacious new digs, which means their legion of artists’ books, posters, zines, and whatnot has room to breathe. So, too, do their exhibitions—great news for the current show, “The Rozz Tox Effect,” an astonishing survey of publications produced by Gary Panter over the past forty-four years. On view (and for sale) are issues of Slash and Raw and Wet, copies of Jimbo books, Pee-Dog zines, a Screamers print, the stunning comic Alamo Courts from 1977, and much more. What makes this exhibition deeply weird is the ridiculous amount of Pee-Wee Herman ephemera Panter has culled from his own collection: lunch boxes, children’s clothes, coloring books, Colorforms, suspenders, dolls, and placemats—all manner of commercial objects he helped create as an extension of his role as set designer for the show. Panter’s output is voluminous and kaleidoscopic, and yet I’m constantly reminded how it’s all of a piece, sprung from the mind of one man. —Nicole Rudick Read More
February 26, 2016 Our Daily Correspondent Bhaer in Film, Part 5 By Sadie Stein This week, Sadie is taking an in-depth look at Professor Bhaer, the most divisive character in Little Women. Read Part 1, Part 2, Part 3, and Part 4. Today: Professor Bhaer in film and TV adaptations of Little Women. 1933: There aren’t many Bhaer-centric clips available online for this Katharine Hepburn version; its fans are clearly and firmly in the #TeamLaurie camp. At the two-minute mark in the trailer, though, you can see the professor in action. And what action it is! Bhaer, “blundering in,” is played in this version by the Hungarian actor Paul Lucas. He is kind of sleazy and unctuous and dandified in a way that makes any Bhaer partisan—or indeed, any lover of fairness—tremble with indignation. Even so, he gets points for using actual dialogue from the book, and whoever casted him should be lauded for drawing, kind of, from Bhaer’s actual region of the world. Rating: 🐻 One Bhaer Read More