“He has the most who is most content with the least” - Diogenes, one of the founders of Cynicism
Two years ago, Tim Winton walked on stage at the Perth festival and delivered a blistering closing address that was, as he puts it now, “a bit like dropping a turd in the pool”. Perhaps some in the room had expected the Australian literary giant, Western Australia’s homegrown hero, to say something pretty and benign about the arts. Instead, Winton tore into fossil fuel giants Woodside and Chevron – both at that time long-term sponsors of Perth festival – with his plain-speaking, moral directness that comes through so clearly on the page.
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The Prince Documentary You Might Never See
“A creature of pure sex and mischief and silky ambiguity [but] also dark, vindictive and sad”.
For tens of millions of dollars, according to a source familiar with the negotiation, Netflix had secured from the estate exclusive access to Prince’s personal archive, referred to among Princeologists as “the vault.” It had been an actual room, in the basement of his fortresslike home and studio, Paisley Park, in Chanhassen, Minn., filled with unreleased recordings and concert footage and the master copies of all his music and drawings and photographs and who knew what else.
Over a year and a half, I had observed as Edelman continued to perfect his film, working to capture the essence of Prince, even as it became slowly, painfully clear that it would most likely never air. The Prince estate had changed hands, and the new executors objected to the project. Last spring, they saw a cut and, claiming that it misrepresented Prince, entered into a protracted battle with Netflix, which owns the rights to the film, to prevent its release. As of today, there is no indication that the film will ever come out. It has been like watching a monument being swallowed by the sea.
Read the full article on The New York Times.
