July 7, 2015 Our Daily Correspondent Jumping Through By Sadie Stein Honoré Daumier, Danger de porter des jupons-ballons à l’époque des coups de vent (The Danger of Wearing Hoop Skirts), 1857. While walking near Lincoln Center, I was waylaid by a frantic-looking young man. I was discombobulated—I’d been deep in a meretricious podcast—and it took me a moment to get the buds out of my ears. He had to repeat what he’d been saying. “Oh my god, I’m so sorry,” he was saying. “This is like a bad movie. I can’t believe this. But I just—I’m sorry, I’m just really upset—I just had an Uber driver kick me out and drive off with, like, an entire collection. I’m sorry, I can’t believe I’m doing this. I was at ABT—the ballet. I’m a costumer. Oh my God, I’m sorry, I’m crying.” “Do you want to call 9-1-1?” I was already unlocking my screen. Read More
July 7, 2015 Look California Dreamin’ By Jeffery Gleaves Stanley Mouse and the sixties psych-rock aesthetic. Get Bent. If I were to pick half a dozen of the definitive 1960’s people, Stanley Mouse would be one of them. —Bill Graham Read any book about the sixties scene in San Francisco and you’ll run into Stanley “Mouse” Miller. Born in Fresno and raised in Detroit, Mouse moved to San Francisco in 1965, where he was commissioned by the concert organizer Bill Graham to illustrate the rock posters for which he would become best known. Mouse spent the years around the Summer of Love hocking T-shirts, designing posters for hundred-dollar commissions, running a successful hot-rod memorabilia company, and eventually designing album covers for the likes of the Grateful Dead, Journey, Neil Young, and Jimi Hendrix. A new book, California Dreams, pays tribute to Mouse’s imagination and colorful, explosive aesthetic. He honed his style on the hot-rod scene in Detroit, where he pinstriped cars, sold T-shirts featuring drag-racing characters, and custom painted dashboards for six-packs of beer, all while still in high school. His early art portrays the speed and metal of American automobiles, but it’s also heavily influenced by the deformed monsters who took center stage in the golden age of TV sci-fi circa the 1950s, a cathartic genre for post–A-bomb Americans and their cold war anxieties. Read More
July 7, 2015 Listen One Night in Lasgidi By Teju Cole Clubbing in Lagos. Image: Underdog Teju Cole wrote the following piece to accompany his new mixtape for Okayafrica’s “Africa in Your Earbuds” series, mixed by Chief Boima. It doesn’t really get good until about one A.M., but you do want to be there by then, because you’d like to get in at least two solid hours of dancing by the time the clubs shut down. Afterward you run the gauntlet of cops on Falomo Bridge. “Oga, anything for us?” “Ehn, don’t worry, on my way back.” And on the way back, you lie. “Officer, I already saw you before na. You no remember?” Naturally, you’re not trying to drive to the mainland at that hour. You’ve made arrangements to sleep in some island neighborhood, assuming you’re not rich enough to already live there: Ikoyi, V.I., Lekki 1, Lekki 2, Lekki 3, Ajah. At this hour, you’re taking the uncannily clear roads at speed, stopping not even for traffic lights. The breeze is blowing, the great lagoon sleeps. Twenty-one million people are in whatever form of shelter they call home, these human energies at rest, numerous as the stars above the endless city. The past two hours begin to come back to you, a blur of moves and bodies, and the two or three things you saw and were reluctant to believe, good things, bad things, badt guys, as Lagosians say, and bad gyals dem. Read More
July 7, 2015 On the Shelf Tough Cookies, and Other News By Jeffery Gleaves Joan Didion. Image via Flickr Joan Didion is twice the man you’ll ever be, so suggests a recent article in The Millions. Her masculine superiority lies in the “glacial emotional distance” of her prose, which is better than yours. Her coolness astounds: in her essay, “On Self-Respect,” she writes that people who have it, “are willing to invest something of themselves; they may not play at all, but when they do play, they know the odds.” Ottessa Moshfegh, winner of the 2013 Plimpton Prize, talks with Sarah Gerard about keeping a notebook: “When I’m writing to myself, I’m really trying to process something, and it usually has to do with writing out my delusion and then trying to interpret what that delusion might be in service of, and then trying to comfort myself about the anxiety that the delusion was helping me cope with.” Apple reversed its decision to ban historical video games that depict the battle flag of the Confederate States of America. Copies of Gone with the Wind and The Red Badge of Courage weren’t being pulped during the recent public outcry against flying the Confederate flag at certain state capitols, nor were Cold Mountain or Glory taken off the iTunes store. This reminds gamers, yet again, “that games are seen not as a scholarly pursuit, that they do not merit serious consideration alongside films and books on their subject matter.” While we’re talking about America, it seems our literary canon isn’t fit for television. Consider the numerous Jane Austen adaptations, the massive success of Downton Abbey, and the lack of a critically acclaimed film version of any Faulkner novel. Are American novels too dark for TV, or has Hollywood locked up the rights for most major American titles? As Rebecca Eaton, executive producer of Masterpiece, says, “The reasons that we haven’t are twofold … One is money, the second is money. And the third is money.” Which reminds me: culture isn’t free, but our post-Napster, digitalized-content world still operates as if it were. The trouble is, “if individual artists cannot make a living from their creative work, they will eventually throw in the towel,” and it’s important that “large corporations do not monopolize the cultural sphere.” Wrest control of culture from the ruling class. Buy a book.
July 6, 2015 Our Daily Correspondent Fourteen By Sadie Stein A building without a thirteenth floor. You can tell who has lived in my building for a while by their elevator behavior. Anyone who’s spent any time in that unreliable apparatus knows it to be molasses slow, and that there is a significant interval between the stop and the opening of the doors. For instance, if you say, “Have a good one!” as soon as the elevator reaches the floor, there will be an agonizingly long moment of awkward silence in which you both stare fixedly at the door, willing it to open. An old-timer, by contrast, will allow the moment of silence first, and then slip in the valediction at the last possible second. I usually walk. But on this occasion, I was riding. You see, I’d snuck up to the roof to collect a mothballed sweater I’d been secretly airing and didn’t feel like walking all the way down to the basement laundry room. I had already marked out the other occupants of the elevator as newbies, both because I’d never seen them, and because they essayed a premature good-bye to a departing tenant on twelve. They had a very cherubic baby with them. “What a little sweetie,” I said. “How old is he?” Read More
July 6, 2015 Arts & Culture Chez Donald Judd By Rebecca Bird Donald Judd moved into 101 Spring Street, in New York’s Soho neighborhood, in 1968. The area was then the “Wild West,” as artist Trisha Brown once put it: a wasteland in which anything was possible. Judd had purchased the five-story, century-old building for sixty-eight thousand dollars and immediately set about restoring its interior, floor by floor, detail by detail—a project that would take him nearly a quarter century to complete. (Today, it is the only single-use cast-iron building remaining in Soho.) He aimed to create open, minimal spaces for working and living in which all elements existed in harmony, both in the context of the building’s architecture and with regard to his own aesthetic. On the fourth floor, for instance, he reproduced the parallel wood planes of flooring on the ceiling; the room feels like a light-filled wooden box. Judd also intermixed nineteenth- and early twentieth-century objects—such as a cast-iron wood-burning stove, tin ceilings, an oak rolltop desk—and pieces from his substantial personal art collection, which includes sculpture, drawing, painting, furniture, and prints by John Chamberlain, Carl Andre, Lucas Samaras, Marcel Duchamp, Alvar Aalto, and others. Some of his interventions, however, are less formal: in the second-floor kitchen, a flap of wood on the wall opens to reveal a puppet theater Judd devised for his children. Read More