Dolly Parton - I Will Always Love You (IN MEMORIAM)

 

If I should stay
I would only be in your way
So I'll go, but I know
I'll think of you every step of the way

And I will always love you

 

Milton Nascimento - Tudo o que você podia ser

 

Com sol e chuva

 Você sonhava 

Que ia ser melhor depois 

Você queria ser o grande herói das estradas 

Tudo o que você queria ser

Fenomeno Curyoso

 

MOR

NANDO MOTTA

MIGUEL PAIVA

LAFA

CAZO

AROEIRA

Liniker e os Caramelows - Amarela Paixão

 

Amarela paixão, pegou minha mão e disse Que eu era a mais linda canção, dúvida não existe Assim com tempo para respirar Afogo teu sono de manhã, ponho os meus pés nos seus

What Dolly Told Me

 

 

 

 

By Jad Abumrad

I was lucky enough to interview Dolly Parton a dozen times, on two continents, and she began nearly every interview with some version of this: “Ask me anything you want to ask me, and I’ll tell you what I want you to hear!”

It was genuinely funny, funnier each time she said it, and she’d punctuate each punchline with a staccato giggle that’d swoop upward in pitch, ending in a glassy register that was uniquely hers.

At the time, I took this to be one of her many crowd-tested Dollyisms. Those words ring differently since I learned of her death on Tuesday, at 80 — less a quip, more a motto. A sentence that encapsulates a life.

There are two somewhat conflicting but both very Dolly ideas neatly juxtaposed in that one phrase.

The first part — “ask me anything” — says: I welcome you, I see you. And she did. Everyone felt at home at a Dolly concert. Men in trucker hats (and sometimes Confederate flags) stood next to men in drag. “Big-haired church ladies” stood next to women holding hands and little girls wearing coats of many colors, everyone shoulder to shoulder, singing “I Will Always Love You.”

It’s no surprise that she was nicknamed St. Dolly. It’s a wonderfully layered term of endearment. A reference to her faith? Yes. An ironic nod to her sometimes raunchy sense of humor? Definitely.

But St. Dolly is also meant earnestly. She did practice a unique brand of radical acceptance. No one would ever be thrown out of the Big Dolly Tent.

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The second part — “I’ll tell you what I want you to hear” — points us in a different direction: I am in control here.

I believe this is the part of Dolly people don’t focus on enough. This is a woman who created a several-hundred-million-dollar media empire mining stories of her past. She used humor and charm to control every interview. If a male talk-show host made a joke about her figure, she’d make an even better joke about it. She was always two steps ahead of you. She never allowed herself to be a part of a story of which she was not the author.

My first interview with Dolly (for what would become the nine-part podcast series “Dolly Parton’s America”) happened on Jan. 15, 2018. She steamrolled me by recounting one delightful story after another. I could barely get a question in.

“You asked one question, and I’ve talked for two hours.”

Upward swoop laugh.

The previous night I read her memoir, “Dolly: My Life and Other Unfinished Business,” a compendium of Tennessee Mountain nostalgia from her childhood. In the interview, many of the same stories came out, rapid-fire. The time she was 6 or 7 years old and jumped over a fence, landing on a broken Mason jar that sliced some of her toes almost clean off. (Luckily, her mother sewed them back on.) How in the dead of winter she and many of her siblings would huddle together in one bed, not minding when they peed on one another because it kept them warm. She talked about June bugs and the smell of honeysuckle.

As a scrawny Arab kid growing up in a Southern Baptist universe in Nashville during the Persian Gulf war, I’ve always been suspicious of the Southern propensity to wax nostalgic about better days. Those stories typically have an alienating effect on me. Not so with Dolly. To sit with her was to watch (and then inevitably join) a person so completely inhabiting an earlier time that suddenly the air around you changed, the oxygen molecules shifted polarity. You saw the June bugs she was seeing and smelled the honeysuckle.

At the time, I asked her why she kept returning to those stories. They are my truth, she said. I believed her and yet wondered what was being left out.

The Dolly story I keep coming back to these days has to do with how she got her start.

In 1967, a 21-year-old Dolly Parton arrives on a set in Nashville to fill the role of backup singer for Porter Wagoner, the biggest name in country music television. His TV variety show reached over three million people at its peak. At first, viewers complained about Dolly and resented her for displacing a previous backup singer, Norma Jean.

Before long, though, Dolly was all anyone wanted to see. Long story short: Her relationship with Mr. Wagoner disintegrates. He disparages her in the press and sues her for $3 million when she leaves.

In one of our interviews, I opened my laptop and called up a publicity photo and inelegantly pointed out the obvious: how Mr. Wagoner in his pimp jacket has his arm around her as if he owned her. Her response surprised me.

Well, it’s more complicated than that. I mean, just think about it. He had had this hit show for years. He didn’t need me to have his hit show. He wasn’t expecting me to be all that I was, either. When he hired me as a singer, he was just hiring what he thought was a right pretty little girl. But I was a serious writer. He didn’t know that. I was a serious entertainer. He didn’t know that. He didn’t know how many dreams I had.

There it was again, Dolly’s particular gift, to present two opposing thoughts, juxtaposed.

She said it without judgment. He simply didn’t know. She held his confusion and pain while pointing out that she was separate from him and would not sacrifice her ambition for anyone.

Trailing Dolly around the world, I witnessed so many small moments in which she owned her power without the slightest hint of fight.

On Feb. 17, 2019, I interviewed Dolly in a hotel room in London, moments before the opening night of “9 to 5: The Musical” at the Savoy Theater. The interview wasn’t going well. Members of her entourage moved in and out of the room with an urgency bordering on panic, stirring the air and making it hard to concentrate. Their nerves were understandable. Outside the window, we heard angry chanting and overlapping sirens. A citywide climate protest had brought London to a standstill. As a consequence, Dolly’s manager had formulated an almost military-style minute-by-minute movement sheet for how his team would transport her from the hotel room into a car and down a sequence of carefully mapped back roads to deposit her at the red carpet precisely 14 minutes before the show started, as I recall. The movement sheet had us leaving the hotel at 6:39 p.m.

At precisely 6:39 p.m., her manager — a lovely man but broad-shouldered and quite intimidating — walked into the room, looked me dead in the eye and drew his finger across his neck with such force that I leaped out of my seat. The message was clear. The interview is over. Disappear.

My position in the Dollyverse had always felt tenuous. I could kid myself and say that I’d earned the right to be there because of my decades in journalism. The truth is the only reason I was allowed in the room was nepotism. Many years ago, through a twist of fate, my dad became Dolly’s temporary doctor. Over the years, they became friends, then great friends. (He was with her in her last moments.) So this was a favor to him.

I immediately accepted my dismissal as both inevitable and proper. But Dolly smiled and quietly nodded at me to sit back down. She held up five fingers, as if to say, “We can talk for five more minutes.”

I knew that she didn’t have five more minutes. But she knew that the interview needed something more. A moment of surprise and grace.

As the city erupted outside and her manager turned white and left the room, Dolly sat calmly, determined to enjoy the final moments of our conversation. She would leave only when she was ready. And she did.

THE NEW YORK TIMES 

  

Tim Curry, Star of ‘Rocky Horror’ and Much More, Dies at 80

 

 

 

 

 

 

 

The actor’s gift for garish eccentricity was indelibly appropriate for the outlandish, cross-dressing mad scientist Frank-N-Furter.

“I guarantee you, if it matters, that I have experienced true love, true heartbreak and everything in between, including no small amount of wreckage,” he wrote in his 2025 memoir, “Vagabond.” “Which, naturally, helps inform who I am. I have loved and been loved and I hope you have, too. But I’m not interested in your romances.” 

 read obit By Bruce Weber

 

Hoje | Today

 

Dolly Parton, Linda Rondstadt & Emmylou Harris - After The Gold Rush (Neil Young)

 

There was a fanfarre blowing to the sun That was floating on the breeze. Look at Mother Nature on the run in the nineteen seventies.

Lee Friedlander Is Funny. Seriously

 

"At 92, Lee Friedlander is a reigning master of street photography. One morning in the spring, I sat in the comfortable kitchen of his shingle-and-stone house in New City, N.Y., and flipped through the pages of “Life Still” (Aperture, 2026), the most recent book of more than 60 he has published. (The title plays off “still life” and “still alive.”) Whenever I asked what made him take a particular picture — what made his shutter click — his answers were consistent. “It’s really funny!” he would say. With the clear implication that I’d have to be dense not to see that.

A book gives Friedlander the opportunity to put pictures together so that they bounce off each other. “Books are my medium,” he said. “I’d rather be in books than on the wall. You can pick them up, put them in your pocket, take them where you want to go.” “Life Still” is composed of spreads of paired photographs that rhyme like couplets. If one picture is funny, the laugh is heightened when two are placed together and share the joke."

read the interview by ARTHUR LUBOW
and see the gallery of photographs

Lee Friedlander Is Funny. Seriously. - The New York Times

Tim Curry - I Do The Rock - 1979 (IN MEMORIAM)

 

Edith Sitwell giving readings

14 Moscow Road

Osbert's giving champagne parties

Sachie's got a cold

Gertrude's hanging pictures

Alice making tea

Me, I do the only thing that still

Makes sense to me

I do the Rock

I do the Rock Rock

Kitten & Penguin | O Gatinho e o Pinguim

 

Sing Muse ! Artful Weaving

 

"Whatever its flaws, Nolan’s work indicated that he might indeed be the right person to take on Odysseus, another multifaceted hero characterized at once by admirable cleverness and dark behaviors, and the Odyssey, a text characterized by temporal disjuncts and narrative playfulness. The result, a $250 million, three-hour-long behemoth, the first movie to be shot entirely in the IMAX format, is, like Batman Begins, a darkly psychologizing updating of a classic; like Memento, it toys with themes of memory and forgetting while, like Oppenheimer, it twists a profusion of narrative and temporal arcs. And like the sack of unruly winds that Aeolus, the divine custodian of the winds, entrusts to Odysseus in book 10—only to have it opened by the hero’s suspicious crewmen, with disastrous results—it is in the end a mixed bag: at once a vehicle for the director’s virtues and, as with The Return, a case study of the weaknesses inherent in attempting to modernize a work many of whose values remain, for all its timelessness, stubbornly archaic."

read review by DANIEL MENDELSOHN  

 

 

Recorde Mundial

KLEBER

 

Flávio Bozo mente e distorce com mais convicção que o pai

BERNARDO MELLO FRANCO

Flávio Bolsonaro deu uma nova contribuição à teoria de Darwin. Mostrou-se mais assertivo que o pai ao mentir, distorcer e renegar o que já disse. É a evolução da espécie.

Em entrevista à TV Globo, o candidato do PL fingiu desconhecer os fatos que levaram o capitão à cadeia. Descreveu como “golpe da Disney” a co

nspiração que destruiu as sedes dos Três Poderes e quase arrastou o país para uma nova ditadura.

O senador ainda chamou de petista o ex-comandante da Aeronáutica que, depois de votar em Jair Bolsonaro, recusou-se a manchar a farda para impedir a alternância de poder.

Questionado sobre o pedido de R$ 134 milhões a Daniel Vorcaro, Flávio descreveu o cambalacho como “relação privada”. “Não tem absolutamente nada de irregular”, recitou. O senador simulou esquecer que exerce cargo público e foi flagrado tomando dinheiro de um especialista em corromper autoridades.

Também fingiu não saber que parte da fortuna do banqueiro, a quem tratava como “irmão”, era subtraída de fundos de previdência geridos por seus aliados. Só o governo do Rio, sob comando do bolsonarista Cláudio Castro, enterrou mais de R$ 3 bilhões em papéis do Master.

Sem corar, Flávio definiu o filme sobre o pai, usado para justificar as transferências de Vorcaro, como uma “obra-prima” do cinema. Para quem já viu o trailer de “Dark Horse”, esta pode ter sido a maior das cascatas da noite.

O Zero Um mentiu com convicção sobre Adriano da Nóbrega. Disse ter condecorado o matador de aluguel com a Medalha Tiradentes porque o considerava um “policial exemplar”, embora estivesse preso por homicídio. Acrescentou que o homenageado teria matado um traficante — na verdade, executou um guardador de carros que havia denunciado outros milicianos.

De volta às ruas, Adriano se tornou o mais notório pistoleiro do Rio. Sua mulher e sua mãe foram empregadas no gabinete de Flávio na Alerj. As duas recebiam sem trabalhar, mostraram as investigações do esquema da rachadinha.

Instado a detalhar planos para a economia, o senador renegou as medidas impopulares que seus coordenadores de campanha têm prometido em jantares com donos de bancos e corretoras. Prefer

iu se refugiar em promessas vagas como “combater a roubalheira” e reduzir o número de ministérios

Ele também desconversou sobre declarações em que negou o aquecimento global e sustentou que o mundo passaria por um “resfriamento”. Por pouco não sai do estúdio correndo para abraçar uma árvore.

Numa das primeiras propagandas como presidenciável, Flávio usou inteligência artificial para encarnar o aviador de Tom Cruise em “Top Gun”. Na entrevista aos apresentadores do JN, lembrou outro personagem: Pinóquio, o boneco de madeira cujo nariz cresce a cada mentira.

Desde o fim do século XIX, pais leem a história escrita pelo italiano Carlo Collodi para ensinar aos filhos o valor da honestidade. Avesso aos livros, Jair poderia ter recorrido ao filme da Disney para educar o Zero Um e seus irmãos.

SHEARWATER - Even Song

 

Racing through the dark ahead
Saw a path, it made no sense
Thought it was an accident
Climbing higher above me
Even so

Recifense Thiago Lucas conquista o Grande Prêmio do 53º Salão Internacional de Humor de Piracicaba - Salão Internacional de Humor de Piracicaba

 

 

veja a galeria dos premiados > 

Recifense Thiago Lucas conquista o Grande Prêmio do 53º Salão Internacional de Humor de Piracicaba - Salão Internacional de Humor de Piracicaba

Exclusivo: as revelações de Amanda Ungaro a Hildegard Angel sobre a elite global e o escândalo Epstein

 

 

“Quando eu viajei no avião do Epstein, por exemplo, tinha quase 30 meninas menores de idade. E não eram meninas com perfil de modelo; eram meninas que tinham cara de estudantes, meninas normais. Eu fiquei em choque quando depois soube do que se tratava.” 

Exclusivo: as revelações de Amanda Ungaro a Hildegard Angel sobre a elite global e o escândalo Epstein – Brasil 247

Christ Church Gipsy Hill

 

Vlafio Solbonaro responde

 

MOR 

GALVAO

MIGUEL PAIVA 

GENILDO

AMORIM

Andrea Ernest Dias e Tomás Improta — Choro Bandido (Edu Lobo) = in memoriam Tomas improta

 

 

 

Dolly Parton - Down from Dover

 

My body aches the time is here

It's lonely in this place where I'm lying

Our baby has been born but something's wrong

It's much too still I hear no crying

I guess in some strange way she knew

She'd never have a father's arms to hold her

And dying was her way of telling me

He wasn't coming down from Dover

Yayoi Kusama usou a loucura como força política

 

"O bom artista, no entanto, vive da construção de mundos, e Kusama foi a arquiteta de um universo ao mesmo tempo prosaico e deslumbrante, o corpo nu coberto de bolinhas coloridas, banal talvez, elementar —uma forma geométrica universal, o Sol, a carne viva da gente, uma pulsão de vida, tudo isso debaixo da luz de um domingo no parque ou animado pela luz negra da boate.

Yayoi Kusama, talvez mesmo que a contragosto, ou no hermetismo de seu refúgio voluntário no lar dos loucos, foi nada menos que um farol transante nas trevas do mundo da arte que se leva a sério demais."

leia critica de SILAS MARTI > 

Yayoi Kusama usou a loucura como força política - 27/08/2026 - Ilustrada - Folha

‘It was a damn unicorn’: the pioneering, divisive power of Paul Simon’s Graceland at 40

  

"Kahn believes that Simon had the musicians’ labor rights in mind. “He wanted to have them participate, he wanted them to be credited and he wanted them to be compensated,” said Kahn, emphatically noting that Simon paid the South African musicians triple the daily rate of musicians in American unions. “Did he do it perfectly? No. But there wasn’t a set formula of how to approach this.” Simon has still faced backlash over the years about Graceland’s songwriting credits from several musicians who appeared on the album, including Los Lobos, Rockin’ Dopsie and the Zydeco Twisters, and even guitarist Ray Phiri, who helped construct the album’s title track. Against charges of cultural appropriation, Graceland advocates have suggested that Simon’s work in South Africa helped bring these bands, such as Ladysmith Black Mambazo, who round out the starry-eyed Diamonds on the Soles of Her Shoes, to a larger audience."

READ REVIEW BY ETHAN BECK  

‘It was a damn unicorn’: the pioneering, divisive power of Paul Simon’s Graceland at 40 | Paul Simon | The Guardian

Jon Ossoff went low on Natalie Harp. The plan worked

 

"Still, Harp herself might be less unsettling than the near certainty that there are others like her – White House staffers and federal bureaucrats and petty functionaries of the Maga machine – who have made flattery of Trump a large portion, if not the entirety, of their jobs. "

READ COLUMN BY MOIRA DONEGAN 

Jon Ossoff went low on Natalie Harp. The plan worked | Moira Donegan | The Guardian

Climate crisis could be destabilising mountain areas like Nepal, experts warn

 

"Scientists are still examining the precise mechanics of the Himalayan disaster, but many observe that glaciers and permafrost around the world are being weakened by global heating, caused by the burning of gas, oil and coal."

read report by JONATHAN WATTS  

Climate crisis could be destabilising mountain areas like Nepal, experts warn | Nepal-Tibet flood disaster | The Guardian

Ghent professors challenged expertise of Jason Arday’s plagiarism accuser |

 

 

"In an April 2023 Substack post titled “How to take back academia”, Cofnas outlined ways to “remove” academics he described as “wokesters” by “showing that they don’t satisfy minimal criteria”.

In response to allegations of plagiarism, Arday, whose treatment has been described as a “racist feeding frenzy”, admitted “mistakes”, but said he had faced unacceptable cruelty."

read more>  

Ghent professors challenged expertise of Jason Arday’s plagiarism accuser | Jason Arday | The Guardian

James Yorkston & The Second Hand Orchestra - Ella Mary Leather

 

And this is where that beggar, he attacked you
You wanted me to come back here later
And piss on his bags
But I put you off by pouring you vodka after vodka

VAZANTE

 

O resultado da sabatina

FRED

RICO]

 

GENILDO

 

GEUVAR

 

MIGUEL PAIVA

 

 

21 Gipsy Hill

 

Nelson Rodrigues

KLEBER 

Dolly Parton, Superstar Whose Songs Spoke to Millions, Dies at 80

 

 

 

 

 

 

 

"Known for her outsize persona, appearance and talent, she rose from rural poverty to become a top-selling singer, songwriter and entrepreneur.

But perhaps even more remarkable than the profusion of accolades and awards was Ms. Parton’s unstinting generosity of spirit — her commitment, born of deep religious convictions and an immense heart, to seeing the humanity in all people. "

READ OBIT BY Bill Friskics-Warren

 

Israel’s Ben-Gvir posts video of gallows site for hanging Palestinians

 

 

 

"Reports of the construction of the gallows, which will execute only Palestinians convicted of terror offences in the military courts system, and not Jewish extremists, follows the passage of a new law earlier this year. The law requires military courts to apply the death penalty as the only available sentence, unless the court finds special circumstances allowing for life imprisonment. "

Israel’s Ben-Gvir posts video of gallows site for hanging Palestinians | Israel | The Guardian

MARAL - Come Around

 

Gipsy Hill

 

Almoço com Lula

MIGUEL PAIVA 

 

 

 

AROEIRA

 

 

 

Dolly Parton - Stairway to Heaven (in memoriam)

There's a lady who's sure all that glitters is gold And she's buying a stairway to Heaven When she gets there she knows, if the stores are all closed With a word she can get what she came for Ooh, ooh, and she's buying a stairway to Heaven

Tim Curry - Sweet Transvestite (1975) - IN MEMORIAM

 

I'm just a sweet transvestite From Transexual, Transylvania Why don't you stay for the night? (Night) Or maybe a bite? (Bite)

Dave Marsh, Rock Critic Who Loved Springsteen and Hated the Dead, Dies at 76

 A passionately opinionated veteran of Creem and Rolling Stone, he was part of a generation of writers who influenced how the world saw the golden age of rock.

 

"With tastes that ran from the Supremes to the Sex Pistols — with heavy helpings of garage rock, soul, R&B and heartland rock from Bob Seger along the way — Mr. Marsh, proud of his blue-collar origins, was a music populist as well as what Mr. Landau called a “classicist” who steered clear of ephemeral fashions.

The mission of rock, he once wrote, was to bring “a glorious possibility, a chance to communicate across all the gaps in our society — gaps of class, race, region, gender, generation, education.”

Threatening Friends and Courting Enemies in Trump’s ‘Upside-Down World’

The president’s hostility to allies like Oman, Canada and South Korea, and his affection for adversaries like North Korea, may still shock some. But it comes as little surprise after a decade of upheaval.  

“Increasingly, the bullying rhetoric is being priced in by countries around the world,” Mr. Fontaine said. “They don’t dismiss it, but they don’t take the threats literally either. As more and more unfulfilled threats are issued, people listen less. It undermines the president’s credibility.”

READ ANALYSIS BY PETER BAKER  

 

 

After a Scholar’s Awful Death, Mistaken Calls for Censorship

 

Michelle Goldberg

 Last year, Jack Grove, a reporter for Times Higher Education, a British magazine, was preparing an article about plagiarism allegations against the star academic Jason Arday. It would have been a big story because Arday, who in 2023 became Cambridge’s youngest-ever Black professor, was a minor celebrity, thanks in part to his seemingly extraordinary biography.

Among other things, Arday said that he’d gotten his Ph.D. despite severe autism that left him nonverbal until he was 11 and unable to read until he was 18. He’d claimed to have run 600 miles in six days, which would have made him one of the world’s most accomplished ultramarathoners.

Grove sent Arday three emails with questions about both his work and his history. Arday responded by hiring one of Britain’s leading defamation firms — one known for, among other things, trying to quash investigations into Scientology — and reporting Grove to the police for harassment. As Grove later wrote, an officer told him not to contact Arday again because it was affecting the professor’s mental health. The magazine, fearing expensive litigation, killed the piece.

But the story didn’t go away. It made its way to Nathan Cofnas, a former Cambridge research associate who’d been fired for racist blog posts. Cofnas published his review of Arday’s intellectual misdeeds last month, and it exploded in the British press, particularly on the right, which saw the scandal as an indictment not just of Arday or Cambridge, but of academic diversity policies writ large. Cambridge announced an internal investigation, and Arday resigned.

But the coverage, much of it gleefully vicious, continued, in part because of the publication of Arday’s new memoir, “Great and Unfortunate Things,” this month. On Friday Arday was found dead in what was widely assumed to be a suicide.

Sign up for the Opinion Today newsletter  Get expert analysis of the news and a guide to the big ideas shaping the world every weekday morning.

In the wake of Arday’s death, many on the left are blaming the media. “The media lynched Jason Arday,” declared Ibram X. Kendi. The head of a Cambridge college called for an official inquiry into the “media onslaught.”

Important British progressives, including Zack Polanski, leader of the Green Party, and several Labour M.P.s, signed an open letter demanding some sort of official oversight of journalistic decision making. “Self-regulation of the press has comprehensively failed,” it said. The writer Will Self called, in an open letter to Prime Minister Andy Burnham, for the police to begin “impounding computers,” presumably belonging to people involved in covering the scandal.

Those pressing for new controls on the press are making a serious mistake. Some who once championed Arday seem to be trying to deflect from their own embarrassing credulity, and it is unlikely to work. A deep resentment of both growing societal diversity and bureaucratic diversity initiatives, or D.E.I., fuels the right; it’s why Arday’s story was such catnip to the conservative press. But heavy-handed progressive attempts to stifle questions about those initiatives — to use institutional power to police the boundaries of public discourse about race, gender and religion — have a way of making that resentment even more politically potent.

That’s what happened in America, where a ferocious cultural backlash — much of it involving complaints of left-wing censoriousness — helped spawn the nightmare of Donald Trump’s second presidency. And it could happen in Britain, where Nigel Farage’s nativist Reform U.K. party is amassing frightening strength. This is a particularly bad moment to let the right claim the mantle of free speech.

Like most of Europe, Britain tends to have a less absolutist attitude toward free speech than America does, so the idea of increasing public regulation might appear less threatening there. Still, recent American experience teaches that any limits on speech countenanced by the left will be turned against leftists a hundredfold when the right is in power.

America is now rife with laws banning lessons about race and gender that cause “psychological distress” to dominant groups. When you live in a country whose leader is trying to regulate the press into abject submission, it’s easy to see why it’s dangerous to justify more state oversight of the media.

There’s no doubt that the press coverage of the Arday affair was ugly and overwhelming. But the fault doesn’t just lie with rapacious yellow journalists. It also belongs to the institutions, Cambridge chief among them, that elevated Arday while ignoring obvious signs that he was a fabulist. (As The New York Times has reported, his “supposedly remarkable trajectory from nonverbal preteen to Ph.D. had no precedent in medical literature,” and turned out to be untrue.)

Cambridge hired Arday — from a pool of finalists that included two more senior women of color — at a moment when it was facing persistent questions about Black underrepresentation. Handsome and charismatic, an intellectual Horatio Alger, he offered the university a P.R. coup.

Many of the people who didn’t bother questioning Arday’s backstory should have known better; today their oversight looks less like respect than condescension, as if no one took him seriously enough to think hard about what he was saying. “Arday was treated not as a scholar but as a mascot,” Jason Okundaye wrote in the left-leaning Guardian.

In retrospect, it would have been much better for all concerned if the story of his scholarly mistakes and biographical inventions had broken in a careful, professional outlet like Times Higher Education, instead of festering until it turned into a right-wing parable. Cofnas’s article catalyzed a journalistic feeding frenzy not just because it seemed to show evidence of plagiarism and falsehood, but also because it claimed there’d been a cover-up, and cover-ups tend to drive reporters wild.

For people on the left, it’s sure easier to talk about the feral excesses of the right-wing press than the willful gullibility of certain elite progressives. But both contributed to the Arday disaster. Denying that won’t protect the left. It will just leave leftists out on a limb that grows ever more shaky.

NEW YORK TIMES  

, A Odisseia parece feita sob medida para as sensibilidades artísticas de Nolan

 

"Saltando entre linhas narrativas que acompanham Telêmaco, Penélope e Odisseu não apenas em lugares distintos, mas em diversos tempos, A Odisseia parece feita sob medida para as sensibilidades artísticas de Nolan, que ainda tem a chance de explorar outros temas e recursos favoritos como traumas do passado, o peso das memórias sobre o presente (e como estas nem sempre são objetivas), ansiedades despertadas por esposas em perigo, personagens que se encarregam de narrar suas trajetórias e, claro, a imagem da água e o constante perigo de afogamento (uma obsessão que observei, por exemplo, ao escrever sobre Dunkirk). Navegando com destreza entre os desafios enfrentados pelos três personagens, o cineasta já comprova esta fluidez ao introduzir o filme em uma longa sequência expositiva que, embalada pela fantástica trilha de Ludwig Göransson, se rende ao silêncio quando finalmente encontramos o herói recolhendo destroços de um barco sem parecer compreender exatamente o que faz, dando continuidade à introdução in medias res sem perder o ritmo."

LEIA A CRÍTICA DE PABLO VILLAÇA 

A Odisseia | Crítica por Pablo Villaça - Cinema em Cena

PAQUETÁ

 

Efeito Kassab

KLEBER

 

M odo sem filtro

FRAGA