Seems like old times with Phelpte

August 10, 2016

Michael Phelps won his 21st gold medal and the U.S. men’s swimming team took its fourth consecutive gold in the 4-x-200 meter relay Tuesday in Rio de Janeiro. In all four relays, the common denominator was Phelps and longtime teammate and rival Ryan Lochte. He and Phelps swam the third and anchor legs respectively. They are now the grand old men of swimming at 32 and 31. Seems like only yesterday they were teenagers crowned in laurel and giggling on the podium in Athens.

Phelps, who’s had his share of problems with alcohol, has a newfound maturity with fiancée Nicole Johnson and baby Boomer (so adorable). Some things, however, never change. Lochte, noted for his, shall we say, striking sartorial choices, dyed his hair ice-blue for the Rio Games. Instead it looks platinum.

Why do thoroughly gorgeous people tamper with Greco-Roman beauty?

Hair-brained

July 24, 2016

This has been a fabulous season for hair.

Let me clarify – not actual hair, which summer wreaks havoc on, turning fine locks limp and coarse tresses frizzy. No, despite its Donner Party-quality snowstorms, winter remains hair’s best season – low humidity, don’t you know.

But this is proving to be the summer of metaphoric hair. First, we have one of the great hair performers in history – Donald Trump, who accepted the nomination for president of the United States Thursday at a Republican National Convention that was by turns angry, hate-filled, surreal and meh. Then The New York Times – which often covers the city as if it were a foreign country – expressed surprise at some men here spending $800 on a haircut. The article was accompanied by a photograph of Roger Federer, whose stylists include Tim Rogers of Sally Hershberger’s downtown studio. ...

The hair up there: Trump and the age of transition

July 17, 2016

We live in wondrous, terrifying, complex, fascinating times. In the United States, we are about to embark on two political conventions – the Republican July 18-21 in Cleveland and the Democratic July 25-29 in Philadelphia – that offer productive change and stasis, the future and the past, though not in the ways you might imagine.

The motif of the presidential campaign is that Hillary Clinton, the Democratic presidential nominee, represents the same old-same old inside Washington, while Donald Trump, the Republican presidential nominee, is the fresh, brash outlier. But in fact, we’ve been looking in a mirror, and it’s the opposite. Clinton and the Dems, with their inclusive approach to race, gender and ethnicity, signal the future, and Trump – with his appeal to angry, white, working-class men – the past. ...

‘SHE’ and ‘the woman’s card’

May 2, 2016

With apologies to Dickens, this seems to be the best of times and the worst of times to be a woman.

At a moment when women dominate higher education and professional schools, they stand on the threshold of one of their own achieving for the first time the highest office in the United States and becoming the most powerful person on the face of the earth.

On the other hand, Hillary Clinton’s opponents seek either to demonize her and her sex, ridiculing her for playing “the woman’s card” (Donald Trump), or to throw chivalry into sharply false relief by confining women to the gilded cage of the pedestal (Ted Cruz) and the nostalgia of the kitchen (John Kasich).

And that’s the good news. Murder; rape; genital mutilation; sex slavery; child marriage; forced conscription into terrorists squads; a lack of access to education, employment, health care and reproductive rights; cyber death threats to and bullying of female sportswriters (a subtheme of my forthcoming novel, “The Penalty for Holding”) and, that old standby, unequal pay for more-than-equal work: The challenges and atrocities that women face are staggering.

All of which makes the incandescent “SHE: Deconstructing Female Identity” – at ArtsWestchester in White Plains, N.Y. through June 25 – a most timely exhibit indeed.

Organized by Kathleen Reckling, the brilliant gallery curator and an avowed feminist, “SHE” considers that identity and the woman’s card through what have traditionally been three power centers for women – their bodies/nature, the home/domesticity and fashion. ...

Of deflated balls, exposed appendages and concealed identities

March 6, 2016

It’s been a great week for news – sporting and otherwise – of the games men play.

First, it’s ba-aaack – Deflategate that is. You will recall that last September, federal court Judge Richard M. Berman ruled that the NFL had overstepped its bounds in its arbitration of Tom Brady’s four-game suspension for allegedly masterminding the deflation of footballs in the New England Patriots’ 2015 A.F.C. Championship win over the Indianapolis Colts.

Now a three-judge panel for the United States Court of Appeals, Second Circuit, has said, Not so fast. Taking a view similar to my own from the start of this delicious story, the panel seems less interested in the NFL’s triple role as judge, enforcer of punishments and arbitrator of appeals – a strange trifecta that would automatically make the league vulnerable to the charge of overstepping by the Players’ Union – than it is in the cover-up that always trips you up. To wit: What of Brady’s destroyed cell phone that might’ve contained incriminating information about his altered balls? ...

Gods among us: Male beauty and ‘Dieux du Stade’

February 17, 2016

What would Abigail Solomon-Godeau make of “Dieux du Stade,” the new book by photographer Fred Goudon, inspired by the “Dieux du Stade” calendars featuring members of the Stade Français Paris rugby club and athletes from other disciplines?

In her 1997 book “Male Trouble: A Crisis in Representation” (Thames and Hudson), the feminist art historian suggests that the nude male has been the primary sex symbol throughout art history, reaching an apotheosis in Neoclassical (turn-of-the-19th-century) Paris in the work of such artists as David, Ingres and especially Girodet, who often portrayed their subjects in the languid pose of women offered up for the male gaze. ...

Sister acts: The beauty trap, continued

January 11, 2016

At first glance, Carrie Fisher, a contemporary actress and author, and St. Teresa of Ávila, a 17th century philosopher, abbess and mystic, wouldn’t appear to have much in common (even though Fisher was reportedly a script doctor on “Sister Act”).

But the two both wound up in the particularly meaty Jan. 10 edition of The New York Times’ Week in Review as unwitting examples of how far women still have to go when it comes to being defined by men, particularly where their looks are concerned.

Fisher, who reprises her role as Princess Leia in “Star Wars: The Force Awakens,” found herself embroiled in an Internet brouhaha in which posters were unable to forgive the princess for aging – as if the Web were a particularly petulant Peter Pan. This prompted novelist Jennifer Weiner to write a piece in which she opined that we all need to let it go, including that endlessly self-improving Weight Watchers’ investor, Oprah. ...