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I was lucky enough to be asked to draw these two gorgeous dogs. Both in graphite pencil on A4 paper.
A lawsuit targeted a school district and the State of Florida over restricting access to a book about a penguin family with two fathers.
Matt and Sam explore the “crisis of masculinity” in America through books on the subject by Senator Josh Hawley and Harvard political theorist Harvey Mansfield.
Maggie Tokuda-Hall declined Scholastic’s offer to license her book, “Love in the Library,” on the condition that she edit her author’s note to remove a description of past and present instances of racism.
We laid my brother Pete to rest today. They brought him out in a bespoke coffin his wife Cheryl designed. It had a red top, and its white sides were covered in Pete’s quirky figure drawings. He’d have loved it.
Several of us had written about Pete, and the officiant read our statements to the assembly. Our words were sweet and funny and loving and not at all conventional. (How could they be? The man was anything but.)
Then Pete’s friend Andy Davy delivered the eulogy. It was not about the musician’s musician or the beloved music teacher but the private man: his warmth, his intelligence, the intensity of his friendship.
Cheryl wrote the final tribute. It was the saddest and most beautiful of all. The officiant read it to us so Cheryl would not have to speak.
Then, as the auditorium loudspeakers played—what else?—a Pete Zeldman drum solo, the curtains closed on the lonely little red-topped coffin, and the people rose and filed slowly away.
The post His Service appeared first on Zeldman on Web and Interaction Design.
Last March I fell in love with riding a bicycle, and since then, I’ve blogged about my adventures here and there.
A batch of thoughts and things I’ve learned off the top of my head, many inspired by Grant Petersen’s Just Ride and Bicycle Sentences, which have a kind of punk, unfussy ethos that meshes with my own:
1. If you’re new to biking, just go to the bike shop and try out some bikes and buy whatever’s in your budget. Don’t fuss over it too much. After six months of riding you’ll know what you really need and want.
2. Better to ride up a hill than to ride into the wind. You’ll overtake the hill eventually, but you can’t overtake the wind. Also: Everywhere seems flat until you try to bike it. There is no flat. (Kevin Kelly said this to me.)
3. Get a basket or a pannier. I always ride with one of my bags now. You never know what you’ll want to pick up when you’re out riding. Biking is this perfect pace between walking and driving — you take in more than you would walking, but it’s still easy to spot things and stop and investigate.
4. Start a bike gang. It will make you happy. Easiest way to do this is start riding regularly — taking off at the same time and place — with one other person. Pretty soon you’ll have a gang. Give your bike gang a stupid name. My bike gang is called The Turtles, because our sensei, Hank, aka Master Splinter, who is 75, always says, “Off like a herd of turtles!”
5. A two-hour ride is plenty long. Anything longer than that is vanity and wankery and needs to be broken up with lunch or beers. Better for a ride to be too short than too long.
6. If your friend asks you if you want to ride, drop everything, if you can, and go out. Always worth it. Some of the best rides I’ve had were with my pal Marty in the middle of the afternoon when we probably should’ve been working.
7. I don’t know what it is about men, but two men can ride and have an intimate conversation with each other, but 3 quickly becomes a locker room, somehow, unless somebody’s being left out. (I like to ride in the back when we have 3, it’s like having ambient chatter and camaraderie, but I can withdraw into my thoughts a bit.) Even numbers, like 4 riders, means you can pair up and have conversations.
8. Keep a bike that you can hop on without much fuss so you can go out for short rides whenever you want. It’s nice to have a simple, fun, extra toy-like bike for errands and joy rides.
9. Look out for dogs, children, and Lexuses. All wildly unpredictable.
10. Riding a bicycle is a beautiful paradox — it requires you to become one with the machine while also making you feel more human.
I probably have more that I’ll remember the minute I hit “publish” on this post, but that feels like enough for now.
Nobody said it better than Mark Twain: “Get a bicycle. You will not regret it, if you live.”
Happy riding.
My bike gang calls ourselves “The Turtles” so this is extra meaningful to me ? ? https://t.co/sLUHtz1IuG
— Austin Kleon (@austinkleon) March 27, 2023
Christos Petrou takes a look at the Guest Editor model for publishing and its recent impact on Hindawi and MDPI, as Clarivate has delisted some of their journals.
The post Guest Post – Of Special Issues and Journal Purges appeared first on The Scholarly Kitchen.
The pet industry grew rapidly over the past three years as people, stuck at home during the pandemic, decided to add a furry friend to their families. Analysts say this industry, where spending was $118 billion in 2019, isn’t done with big growth and predict it will more than double by 2030 to $277 billion.
This category is very dog-dominated — dog owners spend, on average, $1,480 per year, while an average of $902 is spent annually by cat owners; therefore, there are a lot of dog-focused products, including food.
Some startups in the pet space have tried to give equal footing to both dogs and cats, for example, The Farmer’s Dog, which direct-to-consumer cat food brand Smalls co-founder and CEO Matt Michaelson says is a close competitor. However, there are relatively few that cater just to cats. Smalls is among a small group that includes Cat Person, Ziggy, Made by Nacho and KatKin.
“It became really clear that during the pandemic, adoption was skyrocketing,” Michaelson told TechCrunch. “Cat adoption really outpaced dog adoption, so we expected the category to heat up and that there would be more innovation at this point. However, we’re still really alone in bringing fresh food to the category and to cat parents. That was a surprise to us. We think there’s a continuing manifestation of the cultural bias against cats and toward dogs in the U.S.”
Five years and over four product introductions later, Michaelson and co-founder Calvin Bohn are guiding the company to take matters into its own hands and expand by opening a first-of-its-kind cat café and launching into retail, Michaelson said. This was buoyed by $19 million in Series B funding in a round that closed in mid-2022.
The company has now raised a total of $34 million, which includes a $9 million Series A that TechCrunch covered in 2020. Michaelson didn’t disclose valuation for the most recent round, but did call it an “up round.”
The Series B is led by existing investors Founder Collective, Companion Fund and Left Lane Capital and also includes new investors like Valor Capital, 301 INC, General Mills’ venture capital arm and The Ohio State University’s endowment fund.
In addition to the cat café, which will open in New York in the fall, and retail launch, the new capital enables Smalls to grow its headcount by 25%. The company has 50 people currently.
The brand has doubled year over year in both customers and revenue since 2017, growing to eight figures in sales to feed more than 100,000 cats. Amid all that growth, Smalls also has a path to profitability, Michaelson said.
“We are still a tiny sliver of a $12 billion category,” Michaelson said. “Anyone can advertise on TV or the subway, but only Smalls could open a cat café and it make sense. That’s one example of many things we want to do to build the brand. The other piece is continuing to invest in product innovation. Fresh food is a very fast-growing category, and we think there’s plenty of room in it, but we need to stay one step and two steps ahead of the category to continue to bring healthier food and healthier products to market.”
Fresh funding gives cat food brand Smalls avenue into retail for the first time by Christine Hall originally published on TechCrunch
I don't know about you, but this song and the problem it addresses are totally relatable. In my world, I often sit down to work and then get distracted by Henry Rollins' adorable face, so I have to stop what I'm doing to pet him and ask him 20 times why he's so cute. — Read the rest
In this interview, Amanda Petrusich talks with Nick Cave about grief, resilience, religion, music, and Faith, Hope and Carnage, a book based on his conversations with journalist Seán O’Hagan. Sure, these are topics you’d expect in a Q&A with the Australian singer-songwriter, but that doesn’t make it any less rich or moving. I like their exchange about channeling spirituality or some kind of “enigmatic otherness” when making music, and dealing with loss over time, which Cave says gives us a deeper understanding of being human. His thoughts on AI, ChatGPT, and art also bring music to my ears.
Art has to do with our limitations, our frailties, and our faults as human beings. It’s the distance we can travel away from our own frailties. That’s what is so awesome about art: that we deeply flawed creatures can sometimes do extraordinary things. A.I. just doesn’t have any of that stuff going on. Ultimately, it has no limitations, so therefore can’t inhabit the true transcendent artistic experience. It has nothing to transcend! It feels like such a mockery of what it is to be human. A.I. may very well save the world, but it can’t save our souls. That’s what true art is for. That’s the difference. So, I don’t know, in my humble opinion ChatGPT should just fuck off and leave songwriting alone.
Today may possibly be the happiest (and cutest) national day in the world – it’s National Puppy Day! Being a new pet parent can be overwhelming, I’ve been there… So if you’re welcoming home a new puppy, or just looking to spoil your current one, here are 7 essential items to cover all your bases. After all, their happiness is your happiness! Plus, they’re all tested and approved by #dogintern, Koda, and trust me, she’s a picky one.
Did you know that puppies sleep for about 18 hours a day? All that rest is when their brain, body, and immune system are doing the most developing, so it’s no surprise that a comfy bed is the #1 thing they’ll be needing. Unlike most foam beds that trap heat, Koda especially loves Newton Baby’s Pet Bed, which features the same Wovenaire technology as their award-winning mattress. Koda’s an Aussie-mix with two fur coats, so she really appreciates a bed that keeps her comfy without getting her too warm! It’s designed to be 100% breathable, washable, and better sleep for your pup. (Extra emphasis on ‘washable’ because we all know accidents are prone to happen with new puppies.) For puppies that paw – not to worry because the bed cover is also scratch-resistant!
Timeless, simple, and made of food-grade stainless steel that’s dishwasher safe, Wild One’s bowls are perfect for mealtimes. The nonslip silicone base keeps the bowls from moving around, but if you want to go one step further, they also have matching silicone placemats to catch any spillage! With a messy drinker like Koda, the placemat is a lifesaver. It keeps my floors clean and dry, and it’s so easy to wipe down. Available in 2 sizes, with the option of neutrals (Black or Tan) or a pop of color (Lilac or their seasonal addition, Spruce)!
With all that puppy energy, long walks are a great way to tire them out. Maxbone’s GO! With Ease Hands Free Leash is perfect for us hoomans because 1) the leash distance is adjustable and 2) it can be worn around the waist or shoulder, making it one less thing to worry about while you’re training your puppy to heel. It can still be used as a regular leash if you don’t want to go hands-free, but I love the fact that it’s versatile to however YOU want to use it! Pair it with the matching Signature Collar + the GO! With Ease Pouch, and you two will be the most stylish duo on the block. Call me extra, but the Pouch is such an easy way to elevate your walking game since it can be attached to the leash. (Step aside, Lululemon Fanny Pack!) Load it up with your phone, credit cards, keys, and poop bags, and you’re good to go!
It’s hard to avoid your puppy tracking in dirt and germs from outside, but at least Dandylion makes it easy to clean! Their Clean Paws No-Rinse Foaming Cleanser has become my second best friend as it instantly washes Koda’s paws without the need to rinse. The foamy formulation and soft silicone bristles allow for a gentle deep cleanse with plant-based ingredients that soothe, nourish, and provide anti-microbial benefits! Just simply remove the cap, pump out some foam, and gently massage into those hard-to-reach areas. Wipe dry and your puppy’s ready to roam free again. I love that they have a refill bottle so that when you’re through with the bottle, you can reuse your pump to stay eco-friendly!
A daily routine extended to your puppy – personalized supplements for dogs have become a thing. Vet-formulated and pet-approved, Dandy has supplements that you can customize from scratch or simply choose pre-made packs to eliminate any guesswork. They also have a short quiz you can take, which gives you a vet recommendation based on your pup’s unique needs! For me, it’s been an uphill battle with Koda’s allergies, so I appreciate that their vet-formulated packs are a quick and easy no-brainer for me. They’re even available at some retailers so we never have to worry about going a day without them. Depending on your pup, choose from Allergy, Anxiety, or Wellness Care to target their concerns. (They also have Joint Care for anyone with older dogs!)
As mentioned before, this short puppy period is full of development. Physical fun and exercise help their little bodies develop, while mental challenges help grow their brains. Fable’s Enrichment Set includes The Game and 2 Falcon Toys, which allow for interactive or independent play. Their Twin Falcon Toy is also a great option if you’re looking for a two-in-one. Enrichment isn’t just limited to mealtime; the open cavities on the Falcons can be stuffed with spreads like peanut butter, but don’t worry about the mess – the toys are top rack dishwasher safe! (Just try to skip the heated dry cycle.) Koda’s a huge lover of peanut butter and non-fat Greek yogurt, so she always knows what time it is when I bring out her Twin Falcon!
Durable, non-toxic, and easy to clean, Fable’s Signature Balls are an upgrade from your typical tennis ball. They aren’t just for a good chase, they’re also great for mental stimulation! The two openings minimize choking risk, but you can also fill it up with spreads to keep your pup busy. Hand wash with soap and water, and they’re good as new.
It’s also nice to mention that Winnie Lou gives back to the dog community by donating some of their proceeds to local rescues each quarter. Koda herself was a rescue, so brownie points there!
Maivy Tran is a California native and if she’s not brainstorming narratives or curating content, she’s probably at the dog park with her pup Koda. See the BTS of her life over on Instagram.
This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!
Shanghai’s Fiu Gallery welcomes visitors to experience life in London – roughly 5,700 miles away. Contemporary British artist Peter Judson’s Wonder Around East London exhibition stays true to his playful, colorful, energetic style. Daily objects are transformed into “visual energy” that Judson uses to innovate and explore further, extending lightness, liveliness, and joy to visitors.
In Wonder Around East London, Judson hopes the audience can shift their focus from the functionality of the objects to the beauty of the artwork itself. “There are two things I want to express, and I also want the show to work on two levels. Firstly, to create an aesthetically punchy and interactive experience that can be enjoyed by all. Secondly, I wanted the show to act as a catalyst to a way of thinking,” shared Judson. “Observation is so profoundly linked with conscious and subconscious assumptions. I wanted to use color, abstraction, reduction, and scale as a way to break these assumptions and try to force the audience to view the world around us in a new context.”
The ultimate takeaway is quite simple: “I would love it if anyone leaving the show were to walk home and begin to see the city they live in in a new way. To spot some minute detail they may have normally not noticed and appreciate it regardless of context. To see the object in isolation and maybe find a new appreciation for the world that we live in.”
To learn more about Wonder Around East London, visit peterjudson.com.
When my mother was pregnant with my younger brother Pete, my father took her to see West Side Story in New York. My mom said every time the orchestra played, Pete kicked in her womb, keeping perfect time. Some people are born to play the drums. Pete played before he was born. He never stopped.
He loved music and courted danger. At age two, one day, he took my father’s LPs out of the record cabinet, spread them on the floor, and walked on them. When my father came home, he spanked Pete. The next day, Pete did the same thing again. And again, my father punished him. Every day it was the same. One day my mother tried to intervene as my brother was just starting to lay out a fresh pile of LPs. “Peter,” she said. “Do you want Daddy to spank you?” My brother shivered in fear. And continued to spread the records on the floor. Finally, my father put a combination lock on his record cabinet. My brother picked the lock.
Pete had his own ideas. Most were better than walking on Dad’s records. Many were brilliant. Some people march to their own drum. Pete marched to a whole set.
You could not stop him. He was full of life, full of energy. My idea of a great summer vacation was inhaling the musty aroma of books in an air conditioned library. But my brother was out from sunup till sundown—running around, making friends, buying candy for all the other kids in the neighborhood out of his tiny allowance. He loved other people. He paid attention to them.
I have a lifetime of stories about him. So does everyone who knew him. He was full of life, full of energy, a clock that never wound down. And now, he’s gone, leaving a Pete Zeldman shaped hole in the universe.
Goodbye, brother. I love you. I will keep your memory close. And maybe when time ends for me, too, I will see you again.
Written for Funeral Service, 31 March, 2023.
The post Valediction appeared first on Zeldman on Web and Interaction Design.
Peter Doig, Canal Painting, 2022–2023, on the cover of issue no. 243. © Peter Doig. Courtesy of the artist and TRAMPS; photograph by Prudence Cuming.
For the cover of our seventieth-anniversary issue, we commissioned a painting by the artist Peter Doig, of a boy eating his breakfast beside a London canal. Our contributing editor Matthew Higgs spoke with Doig about his influences and fried eggs.
INTERVIEWER
How did the cover image come about?
PETER DOIG
I’d made a birthday card for my son Locker—a more cartoony version of what became the painting. I quite liked the subject: he’s sitting at a café on the towpath of the canal in East London. Everyone who knows London knows the canal—we take it for granted. I can’t think of any paintings of it, but it seems to me a sort of classic painting subject.
I started working on the image alongside a big painting I was making for an exhibition at the Courtauld. I was thinking about how my work relates to the Impressionist galleries there, which contain Cézanne, Gauguin, Daumier, Van Gogh, Seurat, et cetera. I had begun many of the paintings before I was invited to make the exhibition, but most of them had a long, long way to go before being finished. I’d brought all my paintings to my London studio from New York and Trinidad, and all of a sudden I had more paintings in progress than I think I’d had in probably thirty-odd years. It was quite exciting in a way, but then I had to make an edit, to decide which ones I was going to concentrate on, because I was getting carried away and I was never going to finish everything. The canal painting was the one very, very new one. That’s why I liked it for the Review—and because, although I thought of the image as very much a London painting, somehow after I made it I was reminded of Paris, and of French painting more than of English painting.
INTERVIEWER
Is it important that the viewer knows the boy is your son?
DOIG
Perhaps for people who know him. I’ve got quite a large family, and so it’s important to me that when I make a painting that depicts one of my children, the others can relate to it and feel that they understand why I did it. In the painting of Locker, I wanted to capture a person at that stage in life, the way Cézanne did when he used his son as a model. Another one of the paintings in the Courtauld exhibition features my daughter Alice in a hammock surrounded by greenery. I began working on the painting in 2014—I know that because I recently found a photograph of Alice standing in her primary school uniform looking at it when I very first started it. I finished it this year in my studio in just a few hours, after having returned to it after all those years. One of my other kids saw it and said that I had absolutely captured Alice at that age. That’s why I left it not quite finished, with translucent tones—I wanted it to feel almost ghostly. She’s now a grown woman, and it captures the passage of time.
INTERVIEWER
What’s the significance of the canal?
DOIG
The canal, up until fairly recently, was a place of dread. After the industrial revolution, the canal no longer served the buildings on it, so for a long time stepping onto the towpath at night meant risking a mugging or worse. That has changed and is changing. The painting’s setting is a real café very close to where we live at present, and where I’ve spent quite a bit of time over the last few years, looking westward at the view through the bridge. Sitting there I realized how beautiful it is, and how much like a painting it is already. I also thought of paintings by Manet and others—paintings of railways and train stations, with figures in the foreground.
INTERVIEWER
The Impressionists painted some of the earliest depictions of what we understand as modernity.
DOIG
I was looking at Manet’s painting A Bar at the Folies-Bergère. Behind the girl at the bar, there are two globes in the background, two spheres. It’s not obvious at first, but they are electrical lights, and Manet painted them in very, very sharp focus, whereas everything else in the painting is quite blurred. I suppose at the time Manet made the painting the viewer would have been really surprised by this very modern element entering a work of art. In my painting, the eggs are a bit like that—in a way, the eggs are the most contemporary thing in the painting.
Matthew Higgs is a contributing editor of The Paris Review.
It’s only Wednesday and I’ve had a couple of occasions this week to refer to Nonviolent Communication (NVC) and the FONT framework that I learned in workshops run by Outlandish. I’d highly recommend that you also attend their Reframing Conflict sessions.
I’m publishing this post so that I’ve got something to point people towards during conversations in which I reference FONT and NVC.
Let’s begin by defining terms:
Nonviolent Communication (NVC) is an approach to communication based on principles of nonviolence. It is not a technique to end disagreements, but rather a method designed to increase empathy and improve the quality of life of those who utilize the method and the people around them.
[…]
NVC is a communication tool with the goal of firstly creating empathy in the conversation. The idea is that once there is empathy between the parties in the conversation, it will be much easier to talk about a solution which satisfies all parties’ fundamental needs. The goal is interpersonal harmony and obtaining knowledge for future cooperation. Notable concepts include rejecting coercive forms of discourse, gathering facts through observing without evaluating, genuinely and concretely expressing feelings and needs, and formulating effective and empathetic requests.
Wikipedia
I have to be honest, I thought this was some real hippy-dippy stuff when I first read it. But the FONT framework in particular changed my mind. As Pete Burden and Abi Handley explain:
“FONT” is not a single model – it is a bricolage; it draws on:
Marshall Rosenberg’s Nonviolent Communication, Gervase Bushe’s Clear Language, Thomas Gordon’s work on I-statements and requests.
Ideas from several people (such as Bill Isaacs and Diana McLain Smith) at the MIT Dialogue and Harvard Negotiation projects ; David Grove’s Clean Language; Agazarian and Simon’s System for Analysing Verbal Interaction (SAVI™); Bill Torbert’s collaborative enquiry.
And work by Arnold Mindell, Bob Kegan, Carl Rogers, David Cooperrider, David Kantor, Douglas Stone, Lisa Lahey, Mary Follett, Reg Revans, Robert Plutchik, Stephen Hayes, Susan Wheelan, Richard Schwartz and many, many more.
So what is it? How does it work?
FONT is an easy way to remember the four constituent parts, but when you use this as an approach, you actually use it in this order:
Since I attended the workshop, I’ve used this approach in both professional and personal conflict situations. Sometimes I’ve done it verbally, starting with “I noticed that…” whereas other times I’ve gone through the FONT process in written form to prepare me for a potentially-awkward conversation.
Step 1: Observe the situation objectively — focus on the specific behaviour that’s causing the issue, rather than making assumptions or jumping to conclusions. For example, if a colleague is frequently interrupting you during meetings, observe that behaviour without making any assumptions about their intentions or motivations.
Step 2: State your thoughts — try and articulate what you are thinking or have noticed in an uncontroversial way. For example, you could say to your colleague, “I notice that you often have a lot that you want to communicate during meetings.”
Step 3: Identify your feelings — are you feeling frustrated, angry, or upset? By identifying your emotions, you can communicate more effectively and avoid becoming defensive or confrontational. For example, you might say “I feel frustrated when you interrupt me during meetings because I want to make sure my ideas are heard.”
Step 4: Articulate your needs — what do you need in order to feel more comfortable or productive in the situation? This is an opportunity to express your needs in a positive and constructive way. For example, you might say “I need to have uninterrupted speaking time during meetings so that I can share my ideas and feel heard.”
Step 5: Make a request — this is an opportunity to ask for what you need in a constructive and positive way. For example, you might say “can we agree that everyone will have an opportunity to speak uninterrupted during our meetings?”
As a side note, it’s worth mentioning that “I noticed that…” is a bit of a magic phrase. For example, there are cars which travel too fast down the 20mph street next to my house. I tend to get annoyed at this and have a tendency to shout at the drivers, but my neighbour has a better approach. He smiles, asks them to wind down their window, and says something like, “I noticed that you seemed to be in a hurry?” His going on to explain that the road has a 20mph speed limit feels overall like a less confrontational approach.
In closing, one of the things I’ve learned during my career to date is that coercion and manipulation tends is a hallmark of hierarchical and paternalist organisations. We can do without it:
Nonviolent Communication holds that most conflicts between individuals or groups arise from miscommunication about their human needs, due to coercive or manipulative language that aims to induce fear, guilt, shame, etc. These “violent” modes of communication, when used during a conflict, divert the attention of the participants away from clarifying their needs, their feelings, their perceptions, and their requests, thus perpetuating the conflict.
Wikipedia
People may bristle at the accusation that many of our ‘normal’ ways of communication tend to be violent but, it’s worth thinking about adding the FONT framework and nonviolent communication techniques to our toolboxes. I think my family, friends, and colleagues would still say I’m perhaps a little too quick to anger, but at least I now have tools to defuse situations that would previously feel out of my control!
The post FONT and Nonviolent Communication first appeared on Open Thinkering.
The Puppets of Barnaby Dixon move through space in an incredibly realistic way. Not only are Dixon's puppets beautifully constructed, but the way he's able to maneuver them is perfectly fluid and seamless. It's hard to believe there's a man controlling these tiny creatures, as they all look so alive. — Read the rest
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Growing up with movie-buff parents, the Academy Awards were required viewing, even when I was too young to watch any of the nominated films. The ceremony had an alluring sense of self-importance: All those beautiful people in their beautiful clothes, talking about the power of art, as millions of people around the world watched. I still vividly remember the year my parents shooed me off to bed when the show ran late (as it usually does), then hearing the muffled soundtrack of a movie I’d actually seen. Had it just won Best Picture? I tiptoed back to the living room to check, and my father beckoned me over to watch the acceptance speeches. Some milestones, it turns out, are more important than a good night’s sleep.
When I was older, I started hosting low-key Oscar parties for friends, having spent the preceding months catching up on as many nominated movies as I could. The show became less Hollywood spectacle and more highly contested sports playoff: We placed bets, cheered on our favorites, and groaned over what we saw as bad calls. No matter the results, we always had plenty to argue about, because there were always more losers than winners — people unjustly robbed of an honor they deserved.
But was it simply a matter of supply and demand? The Academy Awards stir up controversy because there’s too much talent fighting over too little recognition. The indignant coverage of each year’s Oscar “snubs” glosses over a humbling reality: Most professional actors, directors, and screenwriters will never be nominated for an Oscar, let alone win one. It’s a ruthless numbers game.
The Academy Awards are also a magnet for contentious social issues, the movies being a reflection of the society in which they’re made. The debate over whether the Oscars should be less “political” has gone on for more than 50 years (and has been mostly lost by the “non-political” side). When April Reign created the hashtag #OscarsSoWhite in 2015, she set off a discussion about representation that continues to this day. In 2017, there were calls to cancel the ceremony when some nominees couldn’t enter the country due to Donald Trump’s executive order banning immigration from certain —majority Muslim — countries. After Harvey Weinstein was finally called to account for his treatment of women, a group of actresses who’d gone public with their accusations introduced a #MeToo segment at the 2018 ceremony. It was a powerful statement that the movie industry, if (very) belatedly, was taking women’s concerns seriously.
The winners at this year’s Oscars will inevitably say something polarizing, odd, semi-incoherent, inspiring, and/or heartwarming in their acceptance speeches. And that’s why I keep watching. There’s a vulnerability in those moments that cuts through the Hollywood illusion, reminding me that everyone who makes it onto that stage is a person who has finally — improbably — had a dream come true. The Academy Awards have always been both inspiring and controversial, as the stories on this list make clear.
Hattie McDaniel made history by being the first Black performer to win an Academy Award in 1940. Unfortunately, that honor was complicated by the role she played: Scarlett O’Hara’s servant, the sassy but loving “Mammy,” in Gone with the Wind. The film was a hugely popular hit and won a then-record eight Oscars, including Best Picture. But even in the pre-Civil Rights era, McDaniel was criticized by the National Association for the Advancement of Colored Peoples (NAACP) for degrading her race, as cultural critic Lynda Cowell makes clear in this commentary about Black female stereotypes.
McDaniel’s response that she’d rather be “paid $700 a week playing a maid than $7 working as one” was tart and to the point. Sadly, the night of her greatest triumph was marred by the casual racism that was endemic even in supposedly open-minded California. At the dinner ceremony, McDaniel was forced to sit at a remote table, separate from her co-stars, and she wasn’t invited to the celebration party afterward, which was held at a “no Blacks allowed” nightclub.
Cowell used to dismiss McDaniel as “a funny Black woman who provided the light relief in a three-hour long film,” while the petite Dorothy Dandridge was “the kind of light-skinned lovely every Black girl should aspire to be.” In this enlightening piece, she explains how she eventually realized that both were subject to the same racist limitations in their careers.
Mammy, cartoon or otherwise, was a character that had been a part of America’s collective imagination for a while. After appearing in Harriet Beecher Stowe’s 1852 book, Uncle Tom’s Cabin, Mammy started to get around. Despite the fact that slaves were given very little to eat and were often worked into early graves, the notion of the large, middle-aged, dark-skinned Black woman who loved her owners more than life itself became cherished. And why wouldn’t it? With no husband, children or family to ever speak of, this loyal, motherly, sexless husk of a human being posed little threat to white society. It was McDaniel’s portrayal of Mammy that came to embody a character that still sets the standard for Black actresses today.
One of the first — and most controversial — political statements delivered at the Oscars was made in 1973 by a young woman named Sacheen Littlefeather. When Marlon Brando was announced as the winner for Best Actor in The Godfather, she strode onto the stage in a buckskin dress and announced that Brando had asked her to reject the award on his behalf, as a protest against Hollywood’s treatment of Native Americans. She identified herself as being of Apache heritage, and though she was booed that evening, she soon became an inspirational figure in the Indian rights movement.
But what if all her years of activism were based on a lie? Whitaker, a lecturer on American Indian Studies at California State University, met with Littlefeather for a possible book project and ultimately came to doubt the woman’s claim of Native heritage, a doubt she kept to herself for fear of “outing” someone who’d become a role model for so many. After Littlefeather’s death in late 2022, two of her sisters confirmed Whitaker’s suspicions. Whitaker’s account is on the shorter side, but her personal experience with Littlefeather gives it particular resonance. Rather than shaming Littlefeather for lying, Whitaker explores the reasons why she did, and what she gained from it.
Littlefeather became a cultural icon in large part because she made a life playing to the Indian Princess stereotype, and she certainly looked the part. This was especially true during the Oscars incident, in which she adorned herself in full Native dress, for example, because it sent an unmistakable message about the image she was trying to portray. It should be noted that the outfit was not of traditional Apache or Yaqui design, nor was her hairstyle.
The stereotype Littlefeather embodied depended on non-Native people not knowing what they were looking at, or knowing what constitutes legitimate American Indian identity.
When Midnight Cowboy won Best Picture in 1970, it solidified a change that had been rippling through American culture throughout the 1960s: Shiny Hollywood escapism was out, gritty realism was in. But did an X-rated movie starring two relatively unknown actors really deserve the industry’s highest honor?
In this essay, film critic Koraljka Suton argues that Midnight Cowboy should be remembered for more than its edgy rating. “Midnight Cowboy [was] the first and only X-rated movie in history to have won an Oscar for Best Picture,” she writes. “Two years later, the rating was changed back to R without a single scene having been altered or cut.”
Why? Because the initial X rating had nothing to do with explicit sex scenes (there were none), but rather, the movie industry’s distaste for anything that hinted at homosexuality. The scene where Jon Voight’s character (Buck) gets paid to receive a blowjob was mostly implied, but it was shocking enough to make people walk out of the theater and create a public outcry. His co-star Dustin Hoffman was afraid he might never work again.
But the controversy might have also attracted curious moviegoers who discovered a more moving film than they expected — which might explain that Oscar. Suton makes a convincing case that Midnight Cowboy deserves to be remembered as a poignant story of two outsiders who find support in each other, not the supposedly shocking movie an X rating implies.
Schlesinger’s film is, ultimately, not at all about sexuality, although it did break new ground in terms of its acknowledgment of various sexual preferences and practices, but rather about the importance of connection and true intimacy. In a world that gave them nothing and expected nothing from them, Rizzo and Buck were, to steal a quote from Cormac McCarthy’s The Road, “each the other’s world entire”—and we were given the opportunity to take a glimpse inside and really feel what it means to survive, as opposed to thrive.
Saving Private Ryan entered the 1999 Academy Awards as the undisputed favorite. A huge commercial success, it also met all the expected criteria for a prestige drama: a beloved leading man (Tom Hanks), a respected director (Steven Spielberg), and a sweeping, emotional story that capitalized on nostalgia for World War II’s “Greatest Generation.”
When it lost Best Picture to the charming but relatively lightweight romantic comedy Shakespeare in Love, though, the ground beneath Hollywood shifted. This wasn’t simply a surprise upset, but proof that an Oscar could be won with the right marketing strategy. As David Crow explains in this entertaining, behind-the-scenes account, the now-notorious producer Harvey Weinstein crafted a relentless, no-holds-barred campaign to boost Shakespeare’s chances — and the fact that it worked convinced other studios to follow his lead.
Miramax started a whisper campaign saying everything good about Saving Private Ryan occurred within the first 15-20 minutes on the beaches of Normandy, and the rest was sentimental hokum. It worked. Spielberg did not campaign like it’s the Monday before election day, and Weinstein did.
While Weinstein is thankfully gone, the crude lessons learned by Shakespeare in Love’s win over Saving Private Ryan are not. Awards seasons generally begin in early September with the Venice Film Festival and the Toronto International Film Festival … It then continues with each film being released between October and December, mounting months-long rollouts that never really end until Oscar night. Coupled with corporate studio interests leaning ever more heavily on “four-quadrant” blockbusters that are built on franchises, this system has created an environment where Oscar movies are often little-seen limited releases, and mainstream populist films are more concerned with superpowers than prestige … The generally accepted wisdom that Oscar movies and popular movies are mutually exclusive remains intact.
Dargis, the Times’s co-chief film critic, remembers the 2010 Academy Awards as the “Bigelow Oscars,” with Kathryn Bigelow becoming the first woman to win Best Director for The Hurt Locker. “I hate the Oscars when I don’t love them,” she writes, “but that night I swooned.” Could Bigelow’s breakthrough inspire a wave of female filmmakers and producers to finally wield power behind the scenes?
It didn’t happen immediately, or all that smoothly. But as Dargis surveys the cultural landscape of the past 20 years, she sees undeniable progress. Female writers and directors who once would have been limited to romantic comedies are working on blockbuster action films, while creative powerhouses like Ava DuVernay have built their own versions of a mini-studio, directing, producing, and supporting other young creative talents.
Not all that long ago, I thought it would be best if the entire machine blew up, that the big studios just got it over with and died, making room for others to build something different and better. Certainly, the movie industry seems to be doing a fine job of self-combusting. Yet the truth is that despite the statistics and awards, the movie world looks different than it did 30, 20, even 10 years ago. The world looks different. There is, as I’ve suggested, no one reason for the shift in how we think about women and film, but it is a good and hopeful shift. Change has been slow. But change is here because women have followed their muses, honed their craft and heeded their voices no matter the hurdles before them and, in doing so, they have changed ideas about cinematic representation, about who gets to be the hero on set and onscreen.
Elizabeth Blackwell is the author of While Beauty Slept, On a Cold Dark Sea, and Red Mistress. She lives outside Chicago with her family and stacks of books she is absolutely, positively going to read one day.
Editor: Carolyn Wells
Copy editor: Peter Rubin
Well-known maker and homesteader Caleb Kraft was having trouble with his chickens constantly being eaten by wild critters. So, he got a goose, who he named Lucy, to help protect them. He probably didn't anticipate two things: One, how hard he would fall in love with Lucy, and that she would end up becoming a TikTok star, getting millions of views on her posts. — Read the rest
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