Damn with faint praise, assent with civil leer, And without sneering teach the rest to sneer; Willing to wound, and yet afraid to strike, Just hint a fault, and hesitate dislike; Alike reserv'd to blame, or to commend, A tim'rous foe, and a suspicious friend.
Oh, stuff the critics. I don't care. Too many people are snooty about classical. Look, I wasn't brought up in a home where we listened to classical music. It was a singing teacher that thought it would be best for my voice. Then I moved into crossover. And if that makes the music accessible to more people, then great.
'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
But love is much like a dam: if you allow a tiny crack to form through whichonly a trickle of water can pass, that trickle will quickly bring down the whole structure, and soon no one will be able to control the force of the current. For when those walls come down, then love takes over, and it no longer matters what is possible or impossible; it doesn't even matter whether we can keep the loved one at our side. To love is to lose control.
Do you want to be a gentleman, to spite her or to gain her over? Because, if it is to spite her, I should think - but you know best - that might be better and more independently done by caring nothing for her words. And if it is to gain her over, I should think - but you know best - she was not worth gaining over.