by Eric J. Weiner
Slave Play is a comedy of sorts. It should be played as such. —Jeremy Harris
Jeremy Harris is a dark and stormy cocktail of Dave Chappelle, Augusto Boal, Boots Riley, and James Baldwin. The dark comedic energy that drives Slave Play, Harris’s provocative Broadway show about racism, sex, kinky fetishism, white supremacy, interracial relationships, slavery, the Antebellum South, post-colonialism, and psycho-sexual drama therapy, is the sort that makes you cry while laughing, tremble with anxiety, giggle from embarrassment, and question the sources of your own laughter. Slave Play riffs darkly on how black and white people in America live intimately together yet are essentially apart. Carrying the historical burdens of slavery and white supremacy into the 21st century, Harris shines a dark therapeutic light onto areas of our racial relations that are vibrating with pain and festering with pleasure.
Sitting restlessly within the tradition of black comedy while echoing Augusto Boal’s lesser known work Rainbow of Desire, Harris’s play pushes against some boundaries while obliterating others. He has created not a safe space but what one of the actors, Irene Sofia Lucio, calls a “brave” space:
I think that we’re all into safe spaces right now. But we might need more brave spaces, where people speak their truth and we start to lean in and listen to things that make us uncomfortable instead of walking away from each other. In a brave space, when you feel discomfort, you’re supposed to sit with it and acknowledge that that’s part of the process towards growth.
Slave Play’s provocative brew of dark humor, like the best Chappelle Show sketch, cuts deep into the social marrow of race and identity in America. During the presentation of the 2019 Mark Twain Prize for American Humor to Chappelle, Sarah Silverman commented that Chappelle’s “critical thinking is his art.” In a similar way, Slave Play is Harris’ critical thinking as dramatic black comedy. Read more »


Zanele Muholi. Ntozakhe II, Parktown, Johannesburg. 2016. 
Yesterday was James Joyce’s birthday. His one-hundred-and-thirty-seventh. Or would have been, if he hadn’t died, in Zurich, in January 1941, but were instead swelling the ranks of the current generation of supercentenarians, their increasing longevity bedeviling the demographics departments of local life insurers. Joyce is buried in Fluntern Cemetery on Mount Zurich, his grave marked by a wry-looking seated effigy, like a jocular, unaccommodated Lincoln Memorial; he is further commemorated in the eccentric orthography of the names of the city’s two rivers, the Limmat and the Sihl, in a plaque mounted on the point at which they diverge downstream from the Swiss National Museum, where the letter “i” in both names has been replaced with a “j”.
Banners waved, the converted preached and hawkers peddled hats, buttons, “Impeach This” sweatshirts and dodgy conspiracy theories. T
Welcome to Des Moines, where unmarked satellite trucks troll snowy streets, coffee houses and hotel lobbies are broadcast-ready, and legions of reporters and crew and a few political tourists have swept up and besieged an entire town. 
First off, let me just get this out of the way: we share too much data about ourselves knowingly with companies and they collect, use and share even more than most of us are aware of (read through those lengthy privacy notices recently?). And unless you live in Europe with its pretty extensive GDPR rules, or
Another not-necessarily-the-best-of-the-year mix, but there do seem to be a number of 2019 releases. Warning: this one’s pretty drony, so don’t be driving or anything. Sequencers next time, I promise! (A few anyway.)
You’ve been an on-again, off-again working band for a decade. During that period there have been numerous breakups and seemingly endless lineup changes. Then, after years of grinding and uncertainty, you finally hit it big in 1975. You earned it.
At least since Roe v. Wade was decided in 1973 the issue of Conscientious Objection (henceforth CO) has been an important one in the context of Catholic hospitals and women patients. Such hospitals object to the provision of abortions, contraceptives, sterilization, fertility care, and “gender-affirming care” such as hormone treatments and surgeries.


The United States continues to be virtually the
Sughra Raza. Rorschach on the River Li. Yangshuo, China, January, 2020.