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Every hour in Veracruz, the clock tower plays the original “La Bamba,” three centuries older than Ritchie Valens’ hit. Son jarocho, the genre behind it, was dismissed in the 1970s as “the music of drunken people”; now its fandangos draw dancers from Tokyo to Los Angeles, summed up in one word, convivencia — alive together (NPR). In Melbourne, Charles Lai has spent a decade running a free calendar of gallery openings, turning down offers to let galleries sponsor it because he wants to “keep my own counsel”; one critic, following his listings, hit seven shows by e-bike, from a converted lending library to Everfresh Studio, an artist collective back after its old space closed (The Guardian).
In Louisville, Nathan Balasubramanian, incoming academic chief for city schools, secretly ordered Manual High School’s “Ragtime” canceled over its racial slurs; the district reversed course that evening, after a viral outcry, though board member Linda Duncan says nobody told the superintendent (LPM). Conductor Andris Nelsons, pushed out by the Boston Symphony this year, got the opposite verdict in Leipzig, where the Gewandhaus orchestra just extended his contract to 2032 (The Boston Globe).
YouTube, TikTok and Meta are declining paid ads for documentarian Alex Gibney’s new film on Elon Musk, despite breaking none of their political-ad rules; distributor Bleecker Street is appealing, refused by Meta, while a film about a man trying to control the conversation makes its point before it opens Oct. 9 (The Hollywood Reporter).
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