{"id":124481,"date":"2018-04-20T13:02:10","date_gmt":"2018-04-20T17:02:10","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=124481"},"modified":"2018-04-20T13:45:50","modified_gmt":"2018-04-20T17:45:50","slug":"staff-picks-kendrick-cardi-covers-and-cautionary-tales","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/04\/20\/staff-picks-kendrick-cardi-covers-and-cautionary-tales\/","title":{"rendered":"Staff Picks: Kendrick, Cardi Covers, and Cautionary Tales"},"content":{"rendered":"
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Photo: Elise Swain, The Intercept<\/em>.<\/p><\/div>\n

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I thought radio plays went the way of rabbit-ear antennae, but this week I listened to an audio drama of\u00a0Evening at the Talk House<\/em><\/a>, adapted from Wallace Shawn\u2019s 2015 stage play. The Intercept<\/em> is presenting it as part of their podcast, in three thirty-some-minute episodes. The play opens as a group of actors and writers gather on the tenth anniversary of a play on which most worked; the setting is the Talk House, a once popular, now failing watering hole for the theater set. In the intervening decade, individual fortunes have shifted, in some cases radically. But as the conversation unfolds, we come to understand that the time in which the play is set is not quite our own: there is talk of everyday citizens, these players included, \u201ctargeting\u201d foreign individuals who \u201cwould like to harm us\u201d\u2014that is, a government-sponsored program of murdering strangers because there is the vague\u00a0possibility<\/em>\u00a0they don\u2019t like us. Much more is revealed about this fascist state of affairs, but I don\u2019t want to spoil it. In his review of the 2017 Broadway staging, Ben Brantley lamented that as a group portrait and in its clubby atmosphere, the play allowed the audience some distance from the \u201cgrim, all-implicating ironies.\u201d But listening to the characters expose massive moral and ethical failings and then seek to relieve their guilt by implicating each other collapsed any distance between the players and me; I was overhearing a disturbing conversation to which I could offer no rejoinder. And my silence felt like complicity. \u2014Nicole Rudick\u00a0<\/strong><\/p>\n

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When I was very little, and for a long time, I insisted I would be a paleontologist when I grew up. As an adult, I\u2019ve done nothing at all to satisfy this childhood assertion except read Steve Brusatte\u2019s The Rise and Fall of the Dinosaurs<\/em><\/a>, which comes out next week. My personal and thorough failure to follow a fairly simple dream is a bit of a sore spot for me, so it\u2019s lucky that Brusatte is unrelentingly kind in tone and generous in description, explaining enough so that the reader (this humanities B.A.) understands the subject (dinosaurs) to the best of their (my) ability, without overburdening them (me) with the hard stuff. Brusatte is not shy to say, We don\u2019t know, and his memoirlike writing is silly and lovable, making for one big adventure. \u2014Eleanor Pritchett<\/strong><\/p>\n

When I\u2019m living away from home, I take comfort in reading Scottish voices. For my recent move to New York, that meant revisiting a favorite collection of poetry: Tom Pow\u2019s<\/a> Rough Seas<\/em>, published in 1987. This debut from one of Scotland\u2019s dearest living poets owes a lot to this city\u2014the last section is entirely devoted to his time here\u2014though it\u2019s his\u00a0formative experiences in Scotland that first tell us how our poet sees the world and how often the quiet sadness of life accompanies its joys. About love, in particular, Pow has always written plainly, handsomely, and without sentimentality; he is alive to love\u2019s contradictions and to the flaws of lovers. Rough Seas<\/em> is an attempt to reconcile love with its imperfections. That reconciliation is a tense one; uncertainty lingers, and there\u2019s an ever-present fear it might be \u201cas easy to believe we never really \/ loved each other as that \/ we ever did.\u201d A few years have passed since Rough Seas, <\/em>and Pow\u2019s recent work suggests a poet better harmonized with life\u2019s inconsistencies. The voice has aged, calmed, and grown surer. It suits him, and the poems in his most recent chapbook, the wonderful At the Well of Love<\/em><\/a>, count among his best. From Rough Seas<\/em>, read his poem about the New York Natural History Museum, visit the elephants he describes in one of the darkened halls there, and remember the quiet sadness he communicates through them. Remember, too, the quiet joy that their sadness promises. \u2014Robin Jones<\/strong><\/p>\n

A couple of weeks ago, I discovered a new podcast and am now an addict. Art Law<\/a><\/em>\u00a0tells truly unexpected stories. So far, there are only three episodes, but I\u2019ve already learned that forgery artists who have cats are easier to catch, real-estate developers are sometimes foiled by graffiti artists, and not all museums can be counted on to preserve, well, the art. Both hosts, Steve Schindler and Katie Wilson-Milne, lawyers at Schindler, Cohen, & Hochman (the firm which sponsors the podcast), are gifted with the ability to spin a really good yarn. SC&H is a boutique firm that addresses, among other things, legal issues in transactions and litigations in the art world. For those of us who are obsessed with the art market, this intersection between law and art is fertile ground. Existing episodes include: \u201cMoral Rights in Street Art: The 5Pointz Story,\u201d \u201cWhat Can Science Tell Us About Art,\u201d and \u201cCan A Museum Sell Your Art: The Berkshire Museum Saga As a Cautionary Tale.\u201d I\u2019m on the edge of my seat waiting for the next. \u2014Claire Williams Martinez<\/strong><\/p>\n

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For a drummer, keeping time to recordings is part of how you practice. It\u2019s frustrating when you get ahead or behind the song, but when you lock in, it\u2019s much more fun than practicing to a metronome. That said, I never thought that watching some random drummer play along to recordings would be entertaining. That was before I stumbled upon the Pocket Queen. In the first\u2014and maybe still the most mind-blowing\u2014video I watched, the Pocket Queen plays along to Outkast\u2019s cover of \u201cMy Favorite Things<\/a>.\u201d\u00a0I also recommend her performance of the other\u00a0Love Below<\/em>\u00a0track \u201cSpread<\/a>\u201d\u00a0and Prince\u2019s \u201cI Would Die 4 U<\/a>.\u201d The Pocket Queen\u2019s civilian name is Taylor Gordon. She\u2019s New Orleans\u2013born, Los Angeles\u2013based. What I love about her videos is not just how she makes it look so easy but how she literally watches you watch her: she\u2019s always grinning into the camera\u2014as if her technical skill and general awesomeness were so extreme she might start laughing. Recently, she partnered with Sunhouse, a company that makes sensors that go on drumheads and trigger samples from a laptop\u2014meaning that she now has the unholy power to remix Cardi B<\/a> with her drum set. Years after Moe Tucker, Sheila E., and Sandy West from the Runaways, drumming is still a male-dominated profession. The Pocket Queen is shattering the clear plastic drum shield, and for now, she is still under the radar enough that you can actually take drum lessons from her and contribute to her Patreon<\/a> page. This era will not last forever. I\u2019d get in her good graces pronto. \u2014Brent Katz<\/strong><\/p>\n

Shooting an entire movie on an iPhone might seem like a gimmick, but it becomes clear, minutes into Steven Soderbergh\u2019s new phone-filmed thriller,\u00a0Unsane, <\/em>that the director is playing a very conscious game. Unsane <\/em>is the story of a young professional (Claire Foy) who, paranoid and traumatized by a stalker, unwittingly lands herself in a mental hospital, where she becomes convinced that her stalker has gotten a job as one of the orderlies. But the story is almost beside the point. What Soderbergh really seems interested in is the iPhone itself and its formal relation to the viewer. In most videos shot with an iPhone\u2014street scenes, vlogs, tutorials\u2014the person filming and the camera itself are acknowledged elements of the scene. Both are corporeally present, whereas in most professional films the presence of the physical camera is hidden, moving about like a transparent eye, and the maker\u2019s hand is felt primarily as an abstraction, in editing patterns and shot composition. As a result, the early conventional scenes of Unsane<\/em> are made strange and ominous by virtue of the medium\u2014seeing an iPhone video, the viewer instinctively intuits that the camera, and a watcher behind it, are present. Paranoia is inherent. A slightly fish-eye shot of Claire Foy on the phone feels less like a film shot and more like surveillance footage. The overarching mystery of the film\u2014is she delusional?\u2014is resolved surprisingly early, but the tension does not abate, for the real tension is formal. An amorphous dread lingers like smog: as our worry for the protagonist\u2019s sanity abates, the paranoia of the medium persists. Whether or not we, the audience, have a grasp on reality becomes the queasy, thrilling question. \u2014Matt Levin <\/strong><\/p>\n

Kendrick Lamar received the Pulitzer Prize in Music this week for his album\u00a0DAMN.<\/em>\u00a0He should have received it in 2012 for his song \u201cCartoons and Cereal<\/a>.\u201d \u2014Brian Ransom<\/strong><\/p>\n

\u00a0\"\"<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

  I thought radio plays went the way of rabbit-ear antennae, but this week I listened to an audio drama of\u00a0Evening at the Talk House, adapted from Wallace Shawn\u2019s 2015 stage play. The Intercept is presenting it as part of their podcast, in three thirty-some-minute episodes. The play opens as a group of actors and […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[33809,33816,33815,33803,33811,30267,33807,33806,33810,10773,33813,33804,33812,33805,33808,33814],"class_list":["post-124481","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-art-law","tag-cartoons-and-cereal","tag-damn","tag-evening-at-the-talk-house","tag-katie-wilson-milne","tag-kendrick-lamar","tag-rough-seas","tag-steve-brusatte","tag-steve-schindler","tag-steven-soderbergh","tag-taylor-gordon","tag-the-intercept","tag-the-pocket-queen","tag-the-rise-and-fall-of-the-dinosaurs","tag-tom-pow","tag-unsane"],"acf":[],"yoast_head":"\nStaff Picks: Kendrick, Cardi Covers, and Cautionary Tales<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The 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