This week in the Voice, out today, Jessica Lussenhop looks at schools’ failure to address gay bullying but notes the paradigm shift in discipline: “Gay kids have long been a target of bullying. Until recently, incidents could be laughed off as ‘pranks,’ and no one suffered any consequences, save for the gay kid. But in the past few years, that has begun to change.”
In food, Tejal Rao tries Prima, and says of the East Village French fish bar: “They have not gussied up Prima with silly maritime knickknackery — knotted ropes, vintage photos of ships — to indicate that they are serving fish. Nor do they offer the seafood lover a prolonged, erotic, expensive experience to reaffirm the value of his obsession. Prima is for the everyday — for when a hard seat, a cold drink, and a hot fish will do you nicely.”
For Maura Johnston, Mica Levi, of London-based Micachu & the Shapes, showcases the intricacies of musical instruments: “The way she shifts not just between genres but between instruments and styles and idioms is a testament to her musical omnivorousness; she’s what Questlove has referred to as ‘shuffle culture’ made flesh, bingeing on any piece of music she can find so that she can remake it in her own image.”
Karina Longworth wraps up her writeup of Cannes in film, identify an identity crisis at the festival both in terms of selections and the event’s politics: “The festival’s main competition (as has been noted elsewhere exhaustively) did not include any features made by women — a deficiency which instigated a call for quotas, in essence suggesting the festival should be stripped of the right to determine its own identity.”
Michael Feingold checks out the revival of Athol Fugard’s 1989 play My Children! My Africa! and says that the play provides a prime example of strategic thinking for political playwrights: “The character whose viewpoint most of the audience is likely to share is also the one who commits an unforgivable act, resulting in terrible grief and loss. And his opponent, while espousing armed struggle for a cause with a totalitarian streak, not only forgives the unforgivable act but tries to save the perpetrator’s life. Human beings, Fugard knows, are more than their political views.”
And in art, Christian Viveros-Faune takes a trip to the belle epoque and looks at the Jewish Museum’s Edouard Vuillard exhibition: “A dressmaker’s son whose work belied a cultivated hypersensitivity (like Andy Warhol, he was a mama’s boy), he translated pointillism into an obsession with domestic patterning and the use of flat color into symbolically charged pictures that relied on short brushstrokes and shadow to create often creepily indistinct effects.”
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