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Thứ Năm, 27 tháng 5, 2021

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Born in Jamaica, Rudd began his dancing career in Miami at the age of nine. He danced for the Alberta Ballet, Carolina Ballet, and Les Grands Ballets Canadiens de Montréal before he committed himself to choreography, and in 2015 he founded his own dance company, Ruddur Dance, with a mission to communicate social issues onstage. Last October, it caught the attention of Kevin McKenzie, artistic director of American Ballet Theatre, who asked Rudd to create a ballet for ABT’s repertory.

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“This being a gay work, I wanted to make sure that everyone in the cast was also gay. That was first and foremost,” says Rudd. “I wanted to make sure that I was offering an opportunity for a gay person to finally play a role that resembled the life that they lead.”

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The idea to launch Cãna, a premium brand of Brazil’s national spirit cachaça, came to its founders the way most good ideas do: at a small apartment in New York City, in conversation with friends. Nick Walker, a supply chain consultant, and Guilherme Junqueira, a production assistant for shoe designer Mari Giudicelli, both grew up in Rio de Janeiro and were living in New York City pursuing their respective careers. A night entertaining a friend from Texas led to the topic of Brazil. They told him of the country’s music, artists and culture, as well as its liquor. To Junqueira and Walker’s surprise, the friend hadn’t heard of cachaça, a popular Brazilian spirit used most commonly in caipirinhas. (Anthony Bourdain once said that a caipirinha alone is an argument for the greatness of the country.)

Cachaça is a unifying spirit, they explained, one that has been shared historically by all Brazilians, from cattle ranchers to corporate professionals. It’s beloved by everyone, and it functions as a bridge that brings different communities together—often in celebration. But when they went out to buy a bottle to share with their friend, they were surprised by the dearth of options. “In New York, where you can find absolutely anything, we couldn’t find a brand or a bottle resembling the quality we were used to in Rio,” says Junqueira. When their friend suggested they create their own, that’s all they needed to hear. They drew up the brand that very same night.

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When Broder describes her own passage into sobriety, which she eventually found her way to in her twenties, she does so in terms of joy—and appetite: “I wanted to sample what the world had to offer, and this included food.” This is the central conflict at work in Milk-Fed, the tension between skinny, miserable Rachel and her unabashedly fat lust object Miriam. Miriam is able to experience genuine pleasure in food—pleasure that satisfies in the moment, and, necessarily, passes—while Rachel can’t let herself enjoy even some soft-serve frozen yogurt without turning it into a full-on binge, followed by a starvation ritual.

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Food and sex can each be painful vices or sources of profound joy, depending on who’s partaking and how. The fat-skinny binary in Milk-Fed is complicated by Rachel and Miriam’s illicit, feverish attraction to one another, and it’s in their interaction that the best part of Broder’s writing—the sex!—announces itself with aplomb. Food and sex can each be painful vices or sources of profound joy, depending on who’s partaking and how, and the land of ascetic misery that Rachel dwells in when her eating disorder flares up looks all the more grim when it’s compared to the lush, abundant passion she’s briefly able to find with Miriam. Sex fills Rachel in a way that food never can, it’s implied—but what does it mean to substitute one sensory god for another?

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As ESPN noted, other women have played and scored in college football games, but not at the level of a major college program. Liz Heaston became the first woman to score in college football with two extra points for Willamette of NAIA on October 18, 1997. Katie Hnida was the first woman to score at the Football Bowl Subdivision level with two extra points for New Mexico on August 30, 2003. April Goss was the second, with an extra point for Kent State in 2015. Tonya Butler was the first woman to kick a field goal in an NCAA game for Division II West Alabama on September 13, 2003.

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Though Vanderbilt was blown out by Missouri by a score of 41-0 (and later lost to Tennessee by a score of 42-17, ending the season winless), Fuller, who wore a helmet emblazoned with the phrase Play like a girl, was happy to embrace the significance of her achievement. “It’s just so exciting that I can represent the little girls out there who want to do this or thought about playing football or any sport, really,” she said after the Missouri game.

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Le Sirenuse’s restaurant outpost in Miami, meanwhile, didn’t fare as well. In August, it was announced that Le Sirenuse at the Surf Club Miami would close. It was the only Le Sirenuse presence outside of Positano and for those who visited, it was paradisiacal. Joseph Dirand designed the space, filling the terracotta tiled room with soaring palm trees. “It was an unbelievable experience because the place is beautiful and the architecture is exquisite,” says Carla. “It was as close to what we are here and could possibly be in America. We left with the impression of having done something amazing.”

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Her husband and two sons, Francesco and Aldo, are eager to recreate the magic somewhere else, but it’s all theoretical at this point. “My kids are young and full of energy and my husband is a volcano himself, so maybe something will come sooner rather than later,” she says. In the meantime, Carla has her sights set on her beloved Positano—and it’s not a bad view. Luke Edward Hall feels the same way. The British bon vivant designer has continued his collaboration with Emporio Sirenuse of tableware that features the dome top of the church of Santa Maria Assunta, as seen from the terrace of Le Sirenuse. The vista, painted on mugs and plates, is rendered in Hall’s identifiable hand. It’s a perfect collaboration. The mythological figures he’s known to sketch would have sailed right past Le Sirenuse, after all.

Thứ Tư, 26 tháng 5, 2021

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-Lisa Frantz, Lisa Frantz Interiors and NYDC’s Access to Design “Lampshades are the new throw pillow. With fun prints, new pleating materials, and colored cords, lampshades are the trendy accessory of the moment, offering an immediate way to add color and interest to any room.”

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-Carleton Varney, Dorothy Draper & Co “This fun gourd-shaped porcelain lamp by the master of porcelain lamps, Christopher Spitzmiller, cannot help but put a smile on your face. Pools of light around a room are so much nicer than the harsh and flat light that comes from overhead can light in the ceiling.”

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-Erick Garcia, Maison Trouvaille “2021 is the year of the artisan and the time to buy statement objects for the home that make us feel good! Whether it is art, sculpture or a collected object from a favorite place or culture, buy pieces that evoke happiness.”

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The search for Jermain Charlo—a 23-year-old Indigenous woman who was last seen in Missoula, Montana—has been ongoing since 2018. That summer, Charlo headed downtown for a drink at a bar. When she left just after midnight, she walked down an alleyway and was never seen again.

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Charlo’s disappearance is the subject of a new podcast from Gimlet Media titled Stolen: The Search for Jermain. The eight-episode show is lead by award-winning journalist Connie Walker, who is Indigenous (Cree) from Okanese First Nation in Saskatchewan, Canada. In many ways, there’s no better person to investigate Charlo’s story than Walker: For over two decades, her work has centered on Indigenous people, focusing most recently on violence against Indigenous women—an issue across North America.