Good morning!

Great things happening in the world! We're all doing just fine!

Says Vogue: "Just Friday, The Guardian reported that Swedish model Arvida Byström received rape threats after she appeared in the Adidas Originals campaign with unshaved legs, even though her blonde hair and petite frame otherwise match most existing beauty norms."

Interesting how randos with keyboards (and, presumably, fingers) still toss out rape threats at the drop of a hat, isn't it? Interesting how that remains the default go-to response to any woman who steps over the arbitrary line they've drawn for acceptable behavior and/or comportment for 49.588% of the world's population?

These are all exclams and question marks of aggression, btw. Do not mistake me.

In other news, my name is Kari, I'm 48 years old, and I like Dave Matthews. Hope you can handle it!

3 things for today

Like all writers, I don't get plot. I don't understand it, I don't like it, whenever I try to come up with it outside of a story, it makes me crazy. So one thing I've found is that if you spend a lot of time creating and then revising one of these voice-driven monologues, and really working with it as text, you know, trying to make it sing, what happens I think is that the lens gets very fine. And a very small tendency in the person as a character will sort of get heightened a little bit, and that's where plot comes from.

Linda Holmes wrote a beautiful piece on Anthony Bourdain yesterday, and in it she mentions that he had been one of her guides, along with Roger Ebert: someone who demonstrated for her how a life could be lived ("a guide to being, as to paraphrase John Muir, in the world rather than just on it"). George Saunders is this for me—a generous voice of calm and reason, as well as a gentle nudge, and a necessary reminder that there are many, many ways to be a writer.

2: I always walk out of a heist movie feeling taller and stronger and a little aggressive, like I'm tough enough to evade a police chase or punch a worthy perp in the chops and sail away with a cool million. Ocean's 8 is no great heist movie (nor a great movie period: objectively, it is not a very good movie), but it was great fun, and a heist movie, so I will let it pass. There's something about watching a group of confident, breezy hucksters perform utterly frivolous magic tricks on scandalously wealthy villains and/or corporate entities—and get away with it—that just really fires me up.

Serious query though: what's the difference between a heist and a caper? I feel it’s largely a matter of tone, or sensibility, but can't quite put my finger on the divide, only that capers feel more madcap, more screwball, more Cary Grant. More Muppet? That's my general theory, anyway; feel free to crowdsource this one amongst yourself.

3: I was reminded again this morning via SiriusXM's THE BRIDGE that sometimes the old joys are the best (as is SiriusXM's THE BRIDGE):

The story behind the story

Another chapter in my long-running obsession with this song... Word on the street is they rehearsed this performance only once, over the phone. I'm not sure if I made that up or if I actually read it somewhere, but I like it to be true.

“Flowers” was never intended to be a pop song, let alone a duet with legendary singers. Diamond first wrote it as the theme song to an ill-fated ’70s soap opera spoof. When the tune was no longer needed, he and his co-writers turned it into a pop song — which Diamond released in 1977 and Streisand covered in early 1978.

But if a DJ in Kentucky hadn’t created his own mashup of the two versions, splicing them together to create a “divorce present” for his wife, it probably never would’ve become such a hit. Word got out after the mashup was created, creating enough buzz that Streisand and Diamond recorded it as a proper duet in late 1978. The song spent a few weeks on top of the Hot 100 chart. Perhaps its message held special poignance for those caught in the throes of the ’70s divorce revolution.

Source: https://www.ozy.com/performance/the-grammy...