Scholars conclude ‘beyond doubt’ that Shakespeare was main author of Edward III

“William Shakespeare was a black woman.” In 1985, Maya Angelou spoke these words as part of a keynote speech at a convention in Cedar Rapids, Iowa. There, she spoke of the role poetry played in her transition from muteness as a child and how she fantasized herself triumphantly delivering Portia’s speech from William Shakespeare’s The Merchant of Venice in front of her entire community at church. Though she never got the chance to perform that rendition, Angelou acknowledged her desire to deliver that rendition as part of a lifelong kinship with Shakespeare, a connection she continued to seek out throughout her life whenever she needed heartening or solace. In her eyes, Shakespeare wrote his emotionally desolate Sonnet 29 “for” her; how else could he have so aptly described the harsh realities of the Black feminine condition? “Of course he wrote it for me,” Angelou declared. “Of course, he was a Black woman. I understand that.

Plus, Francois Pinault plans a permanent collection at Venice's Palazzo Grassi. The post What London’s Sales Tell Us About the Market appeared first on Artnet News .

Charles Booth’s pioneering poverty maps of Victorian London show a vivid colour-coded warren of streets, alleyways and slums tightly packed together. Those marked black and dark blue were classed as being “very poor”, defined by “chronic want”. The light blue ones were poor – “18s to 21s a week for a moderate family”. Pink streets housed those who were “fairly comfortable”, and those where the wealthy lived were marked in yellow. The maps by the British social reformer are the 19th-century equivalent of the modern-day indices of deprivation, which rank every geographic area of the UK by its level of social and economic disadvantage. Comparing the two shows how much has changed in the past 150 years – but also what hasn’t. Historical slums have been cleared away and housing conditions have generally improved, but extreme poverty and extreme wealth continue to live side by side in the capital. Booth’s maps form the backbone of a new exhibition at Senate House library titled A Place to Call Home, which charts the history of housing and poverty in London over the past 200 years.

In November 2024, Michael Kiwanuka released his fourth album, Small Changes, an extremely poised and self-assured piece of work. After three gold albums, a Grammy nomination, a Mercury prize win and the ongoing success of Cold Little Heart, a 2017 single hoisted to virality and million-selling status in the US after its use in TV drama Big Little Lies, Kiwanuka – and his long-term production collaborators Danger Mouse and Inflo – evidently felt confident enough to release a beautiful but wilfully understated album. Recorded in LA, some impressive names lurked in the credits: legendary session musicians including bassist Pino Palladino and the drummer James Gadson, who played on Marvin Gaye’s I Want You and Donald Fagen’s The Nightfly; the similarly legendary R&B producer Jimmy Jam served as organist on three tracks. It attracted the kind of critical praise in which adjectives like “unhurried” and “meditative” figured heavily. But it also wasn’t the whole story. It turned out there was a second album, its songs written – or rather, jammed into existence by Kiwanuka and members of his live band – concurrently with Small Changes.