Faith Hahn

The most frequent complaint I hear about streaming services is that they don’t pay artists fairly. Michael Pelczynski, the former Vice President of Strategy at SoundCloud, took that complaint personally. Over his five years with the streaming service, he helped conceive and implement a novel payment scheme that received much praise.

In an hour-long... See more

Poetry is an essential part of society—but only as itself and not as a vehicle for something else.

One of the reasons we haven’t heard much about Pejačević until recently is because of her untimely death at the age of thirty-eight, just a month after giving birth to her only child. Given medical provision in the 1920s, it was always a risk for a woman to be pregnant in her late thirties. Perhaps with this in mind, Pejačević wrote a poignant... See more

Hermeneutic labor is the burdensome activity of: understanding and coherently expressing one's own feelings, desires, intentions, and motivations; discerning those of others; and inventing solutions for relational issues arising from interpersonal tensions. I argue that hermeneutic labor disproportionately falls on women's shoulders in... See more

The story, Kelley writes, is “the tale of what happens when working-class consumption of popular culture overrides the interests or concerns of popular culture workers . . . a story about the limits of solidarity . . . [set by] consumers whose own self-interest may actually clash with the demands of laboring artists.”

Whatever initial appeal this argument has, it owes to the unpleasantness of corporate drudgery in general, not to the predicament of female corporate drudges in particular. Invariably, the job that features in articles like Andrews’s is soul-sucking, pointless and therefore presumed to have been chosen solely for the prestige it confers (although... See more

You must go down into the world of mortals like a ray of light, like a shower of refreshing rain; you must illuminate it like Apollo, shake it to its depths and give it a new life like Zeus, otherwise you are not worthy of your heaven.

The qualities of the Met’s new pieces—literalness, signposting, pat plotlines, an impatience with the slightest ambiguity—are key tenets of second-screen television. They are also irreconcilable with good opera, in which text and music subvert one another and pieces permit manifold interpretations. In Don Giovanni, for example, Mozart quite

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