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class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz OQsGG"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Denis Lavant as Galoup Be Travail" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Denis Lavant, the role of Galoup Claire Denis’ film, echo the character of John Claggart om Herman Melville’s novella “Billy Budd, Sailor.”</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Jan Films</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">Claire Denis’s film “Be Travail,” a lumo tale of sire and spair the French Foreign Legn, had an unnny effect on me when I first watched some years after s release, 1999. I knew only that the movie was set the East Ain natn of Djibouti, which I had vised not long after the film was ma. That journey had been so far outsi the range of my ual experience that, later, my memori of the place felt unreal, and, when I saw Denis’s wi shots of arid mountas and lh seas, they worked on me like flashbacks to a lgerg dream. Also unnny was the mic that mbl on the soundtrack, shortly after the film begs—a sailors’ chos om Benjam Brten’s opera “Billy Budd,” an adaptatn of the eponymo <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">novella</a> by Herman Melville. The jectn of Brten’s languidly surgg mic to a balletic ceremony of sun-bronzed legnnair disoriented me further, as if one dream were vadg another. I soon realized that “Be Travail” was a variatn on Melville’s fable of reprsn and vlence. Our most potent athetic experienc are sometim those for which we are least prepared.</p><p class="paywall">Two s on, “Be Travail” has been ducted to the cematic shre of the Crern Collectn, a marker of the film’s stat as a morn classic. It feels, a way, olr than is, a geo relic of a perd when gay sire uld achieve only plete exprsn or had to be ncealed altogether. Denis’s movie seems like the pletn of an arc—the rise and cle of the tragedy of the closet as an artistic genre. Melville’s John Claggart, the master-at-arms whose obssn wh the handsome young sailor Billy turns stctive, is the archetypal self-hatg gay villa. In “Be Travail,” Claggart be the tightly wound French sergeant Galoup, although his trajectory follows a signifintly different urse.</p><p class="paywall">Melville began wrg his story around 1886 and had not que fished at the time of his ath, five years later. The actn tak place on board a Brish man-of-war, the perd between the peak of the French Revolutn and the outbreak of the Napoleonic Wars. Btal workg ndns the Royal Navy had spurred muti at Sphead and the Nore. The guilels Billy is prsed to service whout plat, but his stant populary among his fellow-sailors creat unease among the officers. Claggart tak advantage of that paranoid atmosphere by accg Billy of fomentg muty—a wholly unsubstantiated claim rooted Claggart’s rrosive envy of, and lt for, the sailor. The accatn reach Edward Vere, the bookish pta, who is spic of Claggart and admirg of Billy. When Billy is nonted, he fds himself robbed of speech, and n reply only by lashg out, killg Claggart wh one blow. Vere, standg over the body, exclaims, “Stck ad by an angel of God! Yet the angel mt hang!” When Billy is stng up on a yardarm, the sailors murmur their disntent; a display of martial disciple stav off any threat of muty.</p><p class="paywall">“Billy Budd, Sailor” was first published 1924, by which time gay inty was utly emergg as a topic lerature and cricism. F. O. Matthisen, his book “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Amerin Renaissance</a>,” om 1941, noted the “sexual element Claggart’s ambivalence,” and the character’s “extrible mixture of longg and malice.” Melville himself wr that “Claggart uld even have loved Billy but for fate and ban.” Five s later, the lerary scholar Eve Kosofsky Sedgwick, her book “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Epistemology of the Closet</a>,” brilliantly dissected the parallel yearngs of Vere, who, she not, do not wish to posss Billy but simply to have him on display: “The sir of Capta Vere are sir of the eye.” Vere observ that Billy is “a fe specimen of the <em>gen homo</em>, who the nu might have posed for a statue of young Adam before the Fall,” and tends to promote the sailor to a posn “that would more equently brg him unr his own observatn.”</p><p class="paywall">Dpe much gen elucidatn, Melville’s novella remas a cryptic document, s narrative voice uched the arch irony typil of the thor’s later fictn. Brten’s opera, which had s première 1951, is a more earnt unrtakg. Although the poser never openly clared himself gay, he was known to be sharg his life wh the tenor Peter Pears. The -thor of the libretto, alongsi Eric Crozier, was E. M. Forster, who had wrten his own tale of gay love, the form of the novel “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Mrice</a>.” The rult of their llaboratn uld plsibly be scribed as the first gay opera, although the text stays close to Melville’s sly, direct formulatns. Given that gay sex was crimalized the Uned Kgdom 1951, is difficult to image how much further they uld have gone.</p><p class="paywall">Many admirers of Brten’s mic, myself clud, have hated to embrace “Billy Budd,” which alternat uneasily between hearty naval spectacle and attempts at psychologil revelatn. Forster and Crozier’s libretto tends to fall flat when is forced to spell out, dramatic dialogue, what Melville evoked more obliquely his novella. Claggart’s Iago-like manifto of evil—“O bety, O handsomens, goodns! You are surely my power tonight … and I will stroy you”—is an unnvcg articulatn of an ner monologue that surely would have been more chaotic and raw. Melville lets image — ways he uld not have imaged. Brten’s Vere, meanwhile, is a more sympathetic, philosophilly troubled figure. Lost the adaptatn is the spicn harbored by the ship’s surgeon that Vere be “unhged” by Billy’s act. The expected procre would have been to subm the se to an admiral on land; the pta’s sistence on an immediate urt-martial has a whiff of overpensatn about , as if he is keen to hi his emotns behd a wall of rectu.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Nohels, Brten’s sre has many magnificent stretch, and the full-throated, multilayered male chos are perhaps s chief glory. In the first scene, as the sailors scb the ck, they sg a <a href=">low, draggg chant</a> of “O heave! O heave away, heave! O heave!”—the mic that is heard at tervals “Be Travail.” The ma element of the melody is a risg fifth, om F-sharp to C-sharp, over an orchtral drone of D and F-sharp. Billy, when he is prsed to service later the scene, troduc himself wh the same risg fifth, and he adopts the entire “O heave!” theme when he <a href=">bids farewell</a> to his old ship, which shar a name wh Thomas Pae’s pro-revolutnary pamphlet of 1791: “Farewell, old <em>Rights o’ Man</em>!” The mic therefore reprents the sufferg of ordary sailors unr the naval orr. When Billy is hanged, the workg song rurfac as a <a href=">wordls, growlg chos of prott</a>.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Brten’s masterstroke is a brief orchtral terlu evokg an offstage exchange between Vere and Billy, which the sailor learns his fate. Melville’s v narrator rms that “what took place at this terview was never known,” but ventur some gus anyway, suggtg that Vere “ught Billy to his heart.” In Peter Ustov’s film versn of “Billy Budd,” om 1962, the “closeted terview” is put onscreen, wh disastroly mundane rults: Vere forts Billy sad, fatherly ton. Brten stead offers up an <a href=">eerie kaleidospe</a> of thirty-four major and mor triads—a cryptic narrative of emotnal turmoil and tentative peace. The chords recur the epilogue, as the aged Vere looks back on the central drama of his life. (In Melville’s book, Vere is killed battle soon after Billy’s executn.) The implitn seems to be that Vere has achieved a measure of remptn. Yet, as the scholar J. P. E. Harper-Stt has <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">argued</a>, the pta’s belated reflectns hardly change the ld realy of the systemic vlence that the opera portrays—and which remaed force the Cold War md-set of 1951.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Dozens of cril mentari have expound lks between Melville’s story and “Be Travail,” but ltle has been said about Brten’s effect on the film. I spect that the opera’s fluence go beyond the perdic employment of the “O heave!” chos. Early the movie, we see Denis Lavant, the role of Galoup, wrg a notebook. Unlike Claggart, he has survived the central crisis of the story, and is rellg on a balny Marseille, where he leads a lonely life as a civilian: “I have time to kill now.” In this, he rembl Brten’s Vere, who suppli mournful narratn at the begng of the opera as well as at the end.</p><p class="paywall">To be sure, the film has s own Vere figure: a manr named Bno Fortier (Michel Subor), who matas a harned macho faça even as he shoots siwise glanc at the young bodi unr his mand. In one nighttime scene, Fortier nvers briefly wh a lean, fele soldier named Senta (Grégoire Col), who habs the Billy role. When Senta explas that he was found as a baby a stairwell, Fortier remarks that was a “good fd” (“<em>belle trouvaille</em>”)—this is how Billy is scribed Melville’s story and Brten’s opera. The tle of the film, meang “good work,” seems a play on that borrowed phrase. But Fortier is more a bystanr than a participant the central tensn between Galoup and Senta.</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Michel Subor and Denis Lavant facg off Be Travail" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">The legnnair “Be Travail” are a fightg force wh nothg to fight.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Jan Films</span></div></figure></le-embed><p class="paywall">“Be Travail” is often scribed as a homoerotic film, although nothg verifiably gay happens onscreen. The legnnair traipse about shirtls and perform exercis that remble morn dance more than ary procre, but the activy is more sexy than sexual. (Bernardo Montet <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">directed</a> the choreography.) Nor do Senta e across as a charismatic young god, as prentable as he is. Galoup himself—wh his pug-like brow, his raspg voice, his piercg ey, and his weathered-grane body—is arguably the most imprsive male specimen on display. There is somethg unexplaed about his obssn wh Senta, and when he stag the climactic crisis—he mistreats a Black soldier, gusg that Senta will step and fy the cha of mand—the vlence is glancg and the oute unclear.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="v8doxm"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="d4s0yi"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The nrosis at the heart of the film is that of the ary orr self. Fortier’s un is a fightg force wh nothg to fight; the legnnair spend their days swimmg, hikg, irong their drs wh, and prowlg the streets of Djibouti Cy. (A mi-briga of the Foreign Legn was based Djibouti om 1962 to 2011.) The atmosphere of a stymied cravg for actn has s analogue a liberately anticlimactic sequence Brten’s opera: the sight of a French igate aro a crcendo of patrtic bravado, until the wd di and the battle go unjoed. Denis draws a tellg ntrast between the regimented boredom of the legnnair’ liv and the mellow, purposeful rout of the Djibouti nativ. The Frenchmen blend to the sert terra wh their drab gear; the Djibouti women light up wh vibrant lor. Marta Tafse Kassa, who plays Galoup’s girliend, all but tak over the movie wh her glowg, queryg gaze.</p><p class="paywall">The recurrence of Brten’s “O heave!” chos, njunctn wh the betiful and potls movement exercis, bpeaks a longg for some other, more anic existence. A possible visn of that life explos the film’s astoundg fal scene, which Galoup, liberated om his iled rage, danc a wild, exuberant solo a disthèque. Gia Kourlas, an article on the choreography of “Be Travail,” <a href=">observ</a> that Galoup “danc as if someone were standg before him, and he reacts to every move of that phantom partner: Senta.” Lavant, a mentary clud wh the Crern release, scrib the dance as “a projectn of who Galoup might wish to be.” In that sense, may be a fantasy of an uncloseted gay life.</p><p class="paywall">Yet the endg retas a teasg ambiguy, keepg wh the sctable power of the origal story. We don’t know whether Galoup liv or di—whether he p his rage or is nsumed by . Melville’s “Billy Budd” ends wh l of poetry: “I am sleepy, and the oozy weeds about me twist.” We uld be seeg Galoup dancg at the bottom of the ocean, Claggart and Billy a sgle wrhg form.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="hq8kl"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/alex-ross"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/alex-ross">Alex Ross</a> has been the magaze’s mic cric sce 1996. His latt book is “<a href=">Wagnerism: Art and Polics the Shadow of Mic</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/movi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Movi</span></a><a href="/tag/claire-nis" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Claire Denis</span></a><a href="/tag/homosexualy" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Homosexualy</span></a><a href="/tag/billy-budd" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Billy Budd</span></a><a href="/tag/herman-melville" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Herman Melville</span></a><a href="/tag/benjam-brten" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Benjam Brten</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt feDzQf newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc grEaES newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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href="/culture/cultural-ment/the-hidn-sts-of-streamg-mic" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Hidn Costs of Streamg Mic" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery 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emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Alex Ross</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2020/09/21/black-scholars-nont-whe-supremacy--classil-mic" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Black Scholars Conont Whe Supremacy Classil Mic" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Cric at Large</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/magaze/2020/09/21/black-scholars-nont-whe-supremacy--classil-mic" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Black Scholars Conont Whe Supremacy Classil Mic</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">The field mt acknowledge a history of systemic racism while also givg new weight to Black posers, micians, and listeners.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" 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