Yesterday, an essay in The Cut went viral, just as it was designed to do. In any moment, but especially the current “divorce moment,” this piece is clickbait, a guaranteed hate-read, and fodder for collective outrage. In the essay, Grazie Sophia Christie writes about the benefits of having strategically married at a young age, and to an older man. At 20, she recognized an “unfairness” built into heterosexual women’s lives: they find themselves “clawing up the cliff-face of adulthood,” trying to discover themselves and establish a career, while racing against a ticking biological clock.

David Zwirner recently hired black gallerist Ebony L. Harris to run a new “all-black” commercial gallery in Manhattan. Major strides have been made towards getting black artists more attention, Zwirnertold the New York Times, but art world employment remains stunningly white.  Shouldn’t we then celebrate this announcement as what social justice for marginalized people looks like? Isn’t the world’s second-richest art dealer simply empowering Harris, and thus, empowering black people in the art world and beyond?

There’s something about finding out an artist’s real name is completely different from their stage name. Like you’re trying to tell me Chief Keef’s mom really just named him Keith Farrelle? That might be a bad example, but either way, these artists have some pretty epic birthnames and some interesting (or nonexistent) stories behind their more recognizable aliases. As a little quiz, I'll give you a couple real names and you see if you can guess the artist name:

For those who have read my posts on here or listened to our Broken Copier conversations, I think one of my most consistent messages is the importance of leaning into student choice and voice. I don’t believe our education system prioritizes student agency nearly enough; and I don’t believe our education system seeks out and responds to student feedback nearly enough. It might be weird, then, that one of my strongest beliefs about the foundation of a classroom community is the importance of assigned seats within it.

Conservative provocateur Glenn Greenwald takes pride in his consistency and principles—especially when it comes to taking the media to task.  Over the course of 16-year career, Greenwald has pilloried conservative and liberal media outlets alike for what he sees as their refusal to challenge power and ask hard questions. Those critiques have been biting, and often essential; and no corporate media outlet escaped criticism. Up until recently, it didn’t matter whether the targets were conservatives or liberals, Greenwald took them all on.