Moves Magazine November 2019

l i fe s t y l e fo r c i t y wo m en

M OV E S P OW E R WO M E N 2 019

D e ad Bir d s c li m at e warn i n g f rom the 60 s

She Has her Mother's Laugh

A Man For All Seasons Algorithms of hate

‘ Hel en a Bonh a m Ca r t er

C B

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That’s Beautiful

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LISMORE BARWARE WATERFORD.COM

contents

departments 020

backstage how we do it

022

contributors who does it

026

bitch shout it as loud as you like

030

dish second thoughts

038

cheers immigrants take the edge off

040 rockstar total fusion 044

rewind soundtracks and bette davis

048

fashion overexposed

056

profile wyatt russell

062

profile ryan eggold

070

profile o.t. fagbenle

Helena Bonham Carter photography by Sean Gleason

012

wempe.com

contents

features 034 feature mother’s laugh 060 feature gift wrap rhyming slang 066 feature the 28th amendment 076

cover story helena bonham carter

086 feature algorithms of oppression 089 power women 2019 the honorees 149

moves forum awards & reception

Helena Bonham Carter photography by Sean Gleason

014

mamoonah ellison PUBLISHER

richard ellison

EDITOR IN CHIEF

nicky black

ART DIRECTOR

phil rowe, assoc. editor pete barrett, ass. production editor elle green event content editor marie butler asst. editor sarah joan roston editorial asst. wendy wright, graphic design emmy best graphics editorial chesley turner, bill smyth, joe bannister, zoë stagg, ron dole, yasmin yaqub, christina ying features liz watson, dora oliver, elsie cleveland art department richard peters sarah jeffries pr & events evelyn galarza, monty reynolds admin office managers susan north, jessica mcginley office assistants anna johns, jo bell, jen parke web & tech support james johnson, zach bartley social media caroline campbell, melina sidou, photography tony gale, travis w keyes, nathan heyward,maksim axelrod sales marty ann robertson YES Sales Consultants, L.L.C. contributors: Tony Gale, Patrick Fraser, Travis Keyes, Karrie Porter, Nathan Johnson, Stephen Busken, Sean Gleason, Jeff Lipsky, Evan Duning, Chelsea Claydon, Emily Assiran, Bo Poulsen, Anna Shagalov, Kristin Herrera, Ryan Hall, Brooklin Rosenstock, David Edwards, Stewart, Chris Shanahan, Shanna Fisher, Dean Burnett, Paul Bloom, Nancy Isenberg, Carol Anderson, Timothy Snyder, Tomass, Laura Mareno, Matt Dunston, Jennifer Rocholl, Matt Monath, Emily Barnes, Orlando Behar, Paster, Ejaz, Callan Stokes, , David Sheff, Willam Davis, Chesley Turner, , Elle Morris, Celia Vargas, Zoe Stagg, Nathan Heyward, Frances Rossini, Sophia Fox-Sowell, Melissa Farley, Andrew Roth, Jeff Maksym, Matt Stubbs, Samantha Kelly, Zoe Stagg, Zee Krstic, Fiona Hill, Michael David Adams special thanks: US Army, US Air Force, Mary Kay Vrba, Sarah Lee, Halstead, Arnold Robinson, Megan Mattson, Netflix, Aflac, Brian Meier, Corcoran, Rogers and Cowan, Paula Bissonette, Discovery Channel, Kasey Kitchen, David Dormann, Marla Farrell, Maria Candida, Dan Pearce, Pandora Weldon, Zach Rosenfield, Bryna Rifkin & Narrative team, Claire Timmons, NEON, Melody Korenbrot, Chris Mazzilli, Ashley Sloan, Splashlight, Harold Widden, Sue Choi, Danielle Dinten, Fiskars, Michelle Caspers, Landsend, Think Dutchess, D’Arcy Brito, Sophie Taleghani, Becktive, Michelle Richards, Katie Feldman, Turner Networks, Audrey Adlam, Discovery Networks, Stan Rosenfield, Cindy Barraga, WW Norton, Harper Collins, Eve Sadoff, Joseph Anayati, Studio 60, Electric Pony Studios, Shelter PR, Platinum Properties, Lisa Cera, Alison Garman, Carri McClure, Penguin Books, Sonia Lee, The Wall Group,nTracey Mattingly, Robin Bouchet Benet, Tyler Albright, Susan Patricola, Rosemary Mercedes, Mia Santiago, Delaney D’Amore, Platinum Properties, Jillian @ Exclusive Artists, Mindy Saad, Wendy Iles, Criterion Group, Weiss Artists, The Wall Group, Giant Artists, David Stanwell, Solo Artists, The Rex Agency, Bective, Magnet Agency, Exclusive Artists, Artmix Beauty, Starworks Artists, Darin Barnes, Stephanie Gonzalez, Warner Bros Pictures, Next Models Paris, Uncle Tom Cobberly, WWRD, Crabtree & Evelyn, New York Moves Magazine p.o. box 4097 lexington ave., new york, ny, 10163 ph: 212.396.2394 fax: 212.202.7615 all contents © 2012 New York Moves Magazine reproduction without permission is prohibited.

ISSN 1553-8710

www.newyorkmoves.com Application to mail Periodicals postage rates is pending at New York, N.Y. and additional mailing offices. Send address changes to New York Moves, P.O. Box 4097 Lexington Ave., New York, N.Y. 10163.

New York Moves assumes no responsibility for content, text or artwork of advertisements other than those promoting New York Moves, placed in the magazine. The opinions and viewpoints of the contributors do not necessarily represent the opinions and viewpoints of New York Moves, L.L.C.

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Amelia Earhart

Ride in a biplane at The Old Rhinebeck Aerodrome, America’s first flying museum of antique aircraft.

Located in Red Hook, NY.

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Great stories begin here.

Start writing yours today at dutchesstourism.com

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backstage

Is the social media-ising of today’s world dumbing down (as the boomers would have us believe) or is it just us moving inexorably upwards and onwards to a different place?

After all many of those boomers - and that probably includes this writer - remember black rotary phones and party lines as the only option! Like their parents before them, it is all too much for the poor dears to take in.

Books have always been our adventures.

Fantasies that help us escape our reality and journey into our imagination for a few blissfully uninterrupted hours. Books stimulate our brain waves and exercise our mental agility to create fanciful places and fictional characters that often times become part of our very souls.

Social media on the other hand, is a black hole that projects a faux light.

We are too easily amused and too ill-equipped to deny the attraction of florescent pop-ups on our screen. It’s more than infatuation, way more than plain lifestyle adaptation. It’s a poison, a disease ridden addiction that’s seeping into the veins of this generation enough to immediately affect future generations.

People will no longer to go rehab for heroin or cocaine; they’ll go for Instagram and Twitter. Because really, what’s the difference? Shooting up your arm or shooting a picture and getting that instant rush from all the virtual strangers who “like” it.

Everywhere I look, I am bombarded by technology -- or rather, I’m mesmerized by how infatuated the younger generation is by technology. We are immersed in it. We’ve sold our souls to Apple and now we’re paying the price: monetarily and developmentally.

Money They are robbing us blind. Well, except for the fact that we’re voluntarily spending thousands of dollars on new products that are just a hair’s difference from the old ones. I guess Mother Nature and Miley Cyrus aren’t the only things that are bi-polar these days, so is the National Recession.

Development Successful human to human interactions are dwindling at an alarming rate.

By successful, I mean, two or more people that can interact in close range with each other without checking their phones for text messages or social media updates.

My friends and I have a pact. Whenever we go out, we each put our phones in the center of table. A sort of look-butdon’t-touch game. Whoever reaches for their phone first, pays the bill.

Try it sometime.

You may find it more challenging than you think. But that being said, the fact that my friends and I need this absurd rule in order to give our full attentions to moment at hand instead of the billions of phone moments in our hands, it’s really quite sad.

There’s always that temporary ten minutes of panic when you can’t find your phone. But after those agonizing minutes of dumping everything out of your bag, turning out every pocket and retracing your steps that inevitably lead you to believe that you’ve left your lifeline to the rest of the world back home, there’s relief.

Because now, you’re unreachable. No one knows where you are. No one can contact you. Your day will not be interrupted by vibrations or Hello Kitty’s meow. You’re free to simply live.

But to be in search of a fantasy is the same as wanting to escape our reality.

Are our lives so dull and monotonous that we need total strangers to validate our existence? Why are we unsatisfied by simply living and getting a runner’s high?

O

contributors

t r i b tO rs 022

TONY GALE is an award winning NYC based photographer, in addition to working with Moves he shoots for a variety of editorial, corporate and advertising clients. He is a Sony Artisan of Imagery, a Manfrotto Ambassador, an X-Rite Coloratti and the APA National President. For fun and work he travels and has been to all 50 states and all over the world.

TRAVIS W. KEYES forged his path into the world of photography after a career in nightlife and entertainment. Discovering a new sense of happiness and fulfillment in his work, he founded Travis W Keyes Photography and EventsOne photography in 2014. Travis is also the Chairman of the Board for APA/NYAmerican Photographic Artists.

STEPHEN BUSKEN is an Ohio born Los Angeles based photographer best known for his soulful portraiture colorful fashion stories and masterfully captured interiors.

Despite having photographed some of the most famous faces in the world, his favorite pictures are of his parents who he has photographed over the last twenty years.

KARRIE PORTER BOND started her photography career in 2001 with a vision to bring out the beauty and story of others. She runs her downtown Key West studio specializing in contemporary portraits and events. Having watched her mother go through the self-image struggles after a battle with cancer, she holds a special place for photographing women and girls. Over her career, she has received honors, awards, and recognition for her work – including most recently receiving two Portrait Masters Bronze Awards in early 2019 for her teen portraits. Karrie is also an active member of the Florida Keys community.

SEAN GLEASON (& HBC) was born in Washington DC and grew up in London where he is currently based. He studied photography at the renowned Bournemouth & Poole College of Art and went on to assist many great photographers including David Sims and Mario Sorrenti. He has shot for many of the worlds top publications including Elle, Interview, Vogue, Tatler, GQ, Esquire and Instyle, working with both models, celebrities and sportsmen.

Longtime contributor CHESLEY TURNER has interviewed a number of our Power Women (Susan Sarandon, Arianna Huffington, Robin Wright), and was delighted by the ebullience of the PW2019 Gala MC, Sukanya Krishnan. Chesley lives in Philadelphia and is the new Director at the National Shrine of Saint Rita of Cascia; she’s the first woman to hold the job.

That’s Beautiful

Crown Brilliant Collection

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ARRIS WEDGWOOD.COM

bitch

“...Silly snobbery has no home anyplace close to reasonableness...”

To better understand the reason why Hispanic women are portrayed in a certain way, we must grasp how the media has contributed to the lives of women. Certain stereotypes and gender norms have always defined women in these media.

Minority Report The way Latin women are portrayed in the media has always raised questions about how knowledgeable Americans are about the various culture groups within the Hispanic community. Hispanics are just one minority group who are depicted in the media, but these portrayals can lead to stereotyping and raise the question of identity among Latinos in the United States.

The term “minorities” is defined as a small group of people who are non-white, and live within the majority of the population of the United States.

The term minority not only leads a person to think the group is small, but also makes the group seem insignificant.

To first understand these stereotypes is to first know the impact the group has in the United States. The “group” known as Latin Americans is not small and in fact is increasing over time. Twelve million, foreign-born Latinos live here and the numbers are increasing three times faster than the U.S. population as a whole. Hispanic “is any person who either speaks Spanish as a first language or had some ancestor who did, even if this person speaks only English.” This group has descended from Latin America, a region stretching 7,000 miles southward from the Mexican/U.S. border to the tip of Tierra del Fuego on Cape Horn. The shared language, culture, and traditions among this large population are in a sense creating an independent nation in the United States.

Although there is a large, increasing population, media portrayal of Hispanics has likely caused Americans to form certain stereotypes and clichés. These appear on television and in film, but exclude Spanish literature, which is mostly recognized in theatre. Because this type of media portrayal has become part of our American culture, many people have accepted these stereotypes, clichés, and characters that are represented as common as American pie.

Hispanic women often share these misconceptions, creating identity confusion, i.e., what it means to be Latino/a in the United States. These stereotypes, especially how they are represented in television and film, leads to a silent almost passive racism.

Passive racism refers to the ongoing acceptance of stereotypes and clichés of Hispanics in the media. This type of racism arrives due to the lack of effort towards changing what the media have already created.

Several types of images create both traditional and contemporary standards for women. For example, both positive and negative images appeared among the population based upon how women were represented on television. The traditional stereotypical portrayal of women as caretakers and sex objects created mostly negative images of dumb blondes and silly housewives. On the flip side, positive traits of women show independence, strength and determination, and grew out of the contemporary representation of women on television as professionals.

Still, women have found themselves in a struggle.

The number of women presented on television is not nearly equal to that of men. While trying to reach a higher level in television and film, women are being underrepresented. For example, it is more likely for a man to be a spokesperson for a car advertisement than a woman. Women are represented as feminine in ads for hygiene products, as sex symbols on music videos, and are more often featured on children’s television programs.

Say What You Mean...Eh !

How much does the way we express ourselves really matter? Grammatical precision and sentence structure in verbal and written communication is often used to gauge a person’s intelligence or at least command of English and although I am for preserving the endless nuance of meaning good use of punctuation produces, I am also aware that English a live language, the main purpose of which is to interact accurately. So as long as we both agree that this is called a cup (even though it looks like a mountain to others) we are on the right track to understanding each other. Silly snobbery has no home anyplace close to reasonableness.

Joanna, Teacher, Upstate ( far Upstate, not just Westchester)

The term “spitfire” is often used to describe Hispanic women in many Latin roles. A “spitfire” is described as the damned woman with a wild temper, often left by her white hero and awaiting his return. Although Hispanic women do not always fit this image, the idea of the brunette Latina has always been a dominant physical quality of actresses playing Hispanic roles. Natalie Wood, an American actress, played “Maria,” a Puerto Rican girl, in West Side Story.

Some Hispanic women have had breakthroughs in television, but not nearly as many Hispanic men. Daisy Fuentes, Rosie Perez, Jennifer Lopez are just some of the major Latin actresses that have made the transition from television to movie mainstream. Although many dramas or sitcoms do not portray Hispanic women or even Hispanic men, network executives are anticipating developing shows highlighting Hispanic characters and their culture.

The need to link one’s ancestral past to present and future as a Hispanic American is very important. Any type institution (theatre, volunteer groups, or non-profit organizations) in your community may tie that missing link or piece of the puzzle that most Latin women try to seek or make sense of when living a non-traditional lifestyle.

Veronica, Architect, Queens

Rita Moreno

“...I AM INVINCIBLE, I AM STRONG, I AM WOMAN ... HEAR ME ROAR...”

Fuck the glass ceiling. In my mind, fighting for career power isn’t poor-little-woman- strugglesagainst- man’s-world, but more, watch-womantake-man’s-world-by-the-balls.

Climbing the ladder in the work place doesn’t have anything to do with whining about how disadvantaged women are, or about how society has pushed the working girl into a place of screwy double-standards and double-edged swords, and it certainly isn’t about spending longer than a mere second wishing things just weren’t so tough [insert Marilyn Monroe’s pouty lips circa Gentleman Prefer Blondes]. Because getting what you want at work- and in every other respect- is about savvy not setbacks, motivation not disadvantage, and, in this case: sex appeal. Well, sex appeal and winning a game in which men have just happened to get a head start. [But who needs a head start when you have lipstick and stockings?]

Flirtation is key when it comes to building relationships. Be it with man, woman, friend, lover, or boss, a ready smile, quick wit, and confident demeanor go a long way when promoting yourself; but fuck

“... Yes I’m looking at you J*** W*** 3 and the S**** franchise. Please I’d rather sit through ten girlie movies than be numbed by another shoot ‘em up. And I’m a fire fighter for fuck’s sake...” if I don’t sound like a self-help book waiting to be thrown up on, so let me move forward and get to the point: sexual undertones are everywhere. Why don’t we utilize them?

Women may finally be getting some serious recognition, respect, and high paying positions in the career world [and it’s no big surprise because we’re smarter than men, aren’t we?] but now, can we please stop pussy-footing around what men have already been doing for centuries? Schmoozing! Come on! Schmooze thy neighbor! Sexy it up! Stop letting the men do it and then tell you that you can’t. In fact stop letting the men do it, tell you that you can’t, and then have every other woman look down your nose at you if you do!

Feminism and post-feminism days are over [thank god] so we don’t have to listen to hippie women in birkenstocks and no bras reproaching our flirting as being detrimental and self-deprecating- but that doesn’t mean women don’t still see using sex appeal to our advantage as lewd and lascivious.

And in that sense we as women become our own worst enemy. For if we comply and act demure and cold and don’t let the sexy, not to be cheesy here but... shine, we are letting society box us in and shape us into boring- pod-creatures treading own the path already cut for us. Barf.

If we ourselves don’t destroy the notion that sexiness and flirtation is reserved only for sluts and prostitutes, who will? And let me remind you, in case you effing forgot: this is 2019. The glass ceiling days are behind us, and so is calling a girl a slut. Free love already happened [maybe you didn’t hear?] and the ceiling’s already been broken, it’s just a terrible pity it took so long because women on top often just do it better [and no, I’m not talking about that kind of on top, but I could comment on that as well.]

So what are women so scared of? Is it fear that swinging those hips and batting those eyelashes and landing a lunch meeting with the CEO before big-pec-Arnold down the hall does will make you look bad? Look bad to who? You’re grandmother? You’re friends? Yourself? Jesus, just look at Arnold. If he could swing hips and say witty things while looking glamorous and beautiful he would, but, alas for him and lucky for us, he can’t, so instead he’s asking to play golf, grab a beer, watch the game and talk about tits and work and golf all at the same time because he wants to impress the Boss man. So really, it’s all about sex in the end no matter what side of the fence you’re coming from. Time to cut the bullshit and end the perpetuation of double-standards in our respective fields of work. If we think flirtation is wrong, so will everyone else.

So let’s stop trying to be exactly who everyone thinks we should be and just be who we actually are: sexy, flirtatious, smart, working women.

Just try not to burn any bridges, but hey, bridges might be better than bras in this case.

Louise, Singer, Tribeca

What’s in store, Glor Getting dressed is like going into battle. And when you live in this City, you better be dressed to kill. Women are catty wenches, so the minute you walk into a room, you’re going to be sized up. Sad but true. But a few wardrobe staples will protect you from the heinous glare this fall.

It’s important that you always look put together and not like you spent two hours getting ready. You won’t have to break the bank either.

Well, maybe a little. Let’s start from the bottom shall we. Get ballet flats. Guess and Marc Jacobs make great pairs and they go great with everything, especially New York City streets. nobody wants to wear heels every single day to work. But the only other alternative is sneakers.

Remember in the eighties when you would see businesswomen wearing sneakers with their suits? Ugh. And then they topped it off with those disgusting Channel 13 tote bags. If it is heels everyday, make sure you get a decent pair.

Christian Louboutin or Gucci. They’ll take you from work to cocktails.

Jeans? That’s a no brainer. I prefer a little stretch. Get them to measure you at Saks. It doesn’t always mean you get a perfect fit but at least your thighs won’t look sausages. Same with nice pair of pants. If you don’t want black, go for charcoal gray instead. Always a classic look.

They’ll look so great with a silk camisole.

A little black dress. As necessary as the air that we breathe. Any style, silk, strapless, sleeveless, knee length, mini; it all comes to the same thing, simple elegance.

The right trench coat will always be in fashion.

Just make sure you pick a basic color, like black, beige, or blue.

As long as you have the basics right, it doesn’t matter if you shop at Barney’s or the Gap. They are timeless. A big leather satchel is great to own because it will hold everything. but it’s an investment piece. Speaking of pieces you should have a signature one. I have my grandmother’s diamond ring. Even if it’s just a pair of aviators, its still part of your personal style.

Big sunglasses are important though. that was just some of the basics to get you through the daily grind of living in the fashion capital of the world. Besides a barrel and suspenders is not exactly functional.

Domenica, Fashion Expert, Midtown

Such A Sensitive Soul Why is there an unending stream of movies that cater to the lowest common denominator?

I get that all the deeply stupid movies out there-I’m looking at you Movie Movies franchise--are profitable, but this mass proliferation of crap on the big screen has to be detrimental to the general publics’ mental facilities.

This problem goes beyond the mindless summer blockbuster; I’m not entirely opposed to shutting off my brain for an hour and forty-five minutes to watch a few robots blow each other up, but there is a line between mindless and mentally damaging.

I really shouldn’t walk out of a movie feeling like the lower half of my body has lost all function because my brain had started to ooze out of my nose.

I am even more disturbed to know that the lowest common denominator appears to be an alarming majority who enjoy watching S****** P***** complain about first world problems or T***** B**** dressed as a woman in a fat-suit.

I’ve lost track of how many times I tried, in vain, to turn off all the fucking smurf ads every time I took a cab this summer.

Are we supposed to find this shit entertaining?

Or is there a larger endemic that is at play here?

It’s depressing to think that such a large majority of people eschew movies that might make them think.

Are we so in hock to Big Business that we take ANYTHING they throw at us and gobble it up?

(I even have the tv set to fast forward whenever a movie involves more than two contiguous shootings. Yes I’m looking at you J*** W*** 3 and the S**** franchise. Please I’d rather sit through ten girlie movies than be numbed by another shoot ‘em up. And I’m a fire fighter for fuck’s sake.

Thomas, Fireman, Red Hook

dish

MAN FOR ALL SEASONS

by Diana L. Napier illustration by Gabriel Guma quote William Shakespeare My friends, Victor and Debra, recently entrusted their four-year-old daughter Lindsey to me for the weekend while they took a much needed vacation alone. They must have really needed to get away. They both know my idea of a balanced meal is butter with my popcorn, but the trip was a last-minute decision, and they had nowhere else to turn.

Vic and Deb have always been my relationship Sherpas – romance explorers sent ahead to test the terrain and report back. They not only love each other, they adore each other.

But when they dropped Lindsey off, Deb’s melancholy look and Vic’s slumped shoulders indicated something else entirely.

Was there trouble brewing in paradise? Was my idea of the perfect marriage going to hash itself out in some bed and breakfast upstate while I played Go Fish on my living room floor?

At bedtime, I googled Cinderella to read to Lindsey. (Sure the story has issues of a woman’s independence and conforming to male views of beauty, and let’s not forget the evil household chores, but she’s only four-years-old, and that’s better than wolves who eat grandmothers any day.)

030

As I finished the story and the handsome prince slid the glass slipper onto Cinderella’s size four foot, I reached to turn off the bedside light and quietly closed with the most famous line in fairytale lore: “And they lived happily ever after.” I gently rose to leave, and Lindsey immediately sat up and flicked the light back on.

“And then what?” Lindsey asked all anticipatory-like. “What happened next?”

Next? My little cherub-faced inquisitor impatiently expected me to finish a story that I thought I just had.

“Um, they bought a Classic Six on Central Park West, traded in the pumpkin coach for a Lexus, and pursued lucrative careers in the Arts.

Now off to sleep you go,” I said and scurried out of the room. But that was my fairytale, not Cinderella’s.

What did happen next? Why did the story end just when the prince and Cinderella met?

Can “happily ever after” really happen?

While I didn’t meet my Prince Charming at a royal ball (it was a friend’s second wedding), nor was I outfitted by a fairy godmother (I wore the same dress to her first wedding), our relationship maintains its appeal yearround. The enchantment prevails through our bright, sunny days and the gloomy, rainy nights; through bitter cold and sweltering heat. Just as the changing position of the Earth’s tilt is the cause that distinguishes fall, winter, spring, and summer, perhaps relationships have a tilt and positioning of their own that characterize the relationship’s season.

We that are true lovers run into strange capers; but as all is mortal in nature, so is all nature in love mortal in folly. It is as easy to count atomies as to resolve the propositions of a lover.

In the winters of our romance, though we may have visions of frolicking in the snow and ice-skating at Rockefeller Center while sleigh bells jingle and ring-ting tingle, sometimes it’s flu season. I’d rather hibernate with a venti latte and the DVD boxed set of 24 (season four) than emerge and make nice with my significant other.

It’s cold out there. But then, like a cozy fire, he emanates warmth and coaxes me out of hiding to snuggle and rub noses like the Inuits.

Sometimes our relationships are in a renewal phase. I don’t know if it’s hormones, pheromones, or little green gnomes, but like in the spring, something’s up (and I don’t mean the pollen count). We’re what my parents call

“frisky” and “sweet on” each other.

It’s what we know as “horny.”

Although I may have been with my mate for years, like love-struck teenagers, we flirt and flex until we’re flummoxed, and the air is charged with the excitement of new beginnings.

When things are hot and sultry, steamy and tropical, it’s the summer of our romance. Think Kathleen Turner in Body Heat. (If you haven’t seen it, rent it. Trust me.) I like to lie back, close my eyes, and soak up the rays of our passion, the faint taste of an iced citrus beverage just lingering on my balmed lips. Relationships boil, and like the blazing summer sun, it’s scorching. So I protect myself – I’m exposed, and this is the time when burns are most likely to happen. I apply a high SPF (sexy panty factor) liberally and wear a big, floppy hat (because it turns me on).

As temperatures cool, so our relationships settle into a quiet, melancholy

calm. We tumble and fall out of the grip of summer, and like leaves shedding from the trees, we drift back to Earth and expose the bare branches of our relationship once again. A slight breeze ruffles our hair and numbs our fingers. There are two things my guy and I can do: either hunker down, gather supplies, and prepare for the encroaching chill, or put on jackets, rake the leaves into a huge, colorful pile, and romp in it. (C’mon, when’s the last time you “romped”?) The leaves are like our memories together over the past year; we revel in them. And then I take a few of the perfect ones home to press into a book for safekeeping.

So maybe “happily ever after” means riding it out through all of a relationship’s seasons – you just have to check the temperature and dress accordingly.

Come Sunday, Lindsey and I were no worse for the wear – she may have had an updated take on the ending of Cinderella, but she was alive and well-fed.

And judging by the little slap-n-tickle I witnessed on their return, I’d say Prince Vic and Deberella departed in a cool fall, slid into a sizzling summer, and bounced back into a full-bloom spring.

The weather isn’t always predictable; neither is a relationship. Sometimes a little rain must fall, and you get caught without an umbrella. But rest assured, your summer solstice awaits.

Chappell Lofts

Located on Belmont Street, off Chalk Farm Road, in the heart of London’s vibrant Camden, Chappell Lofts is the conversion of the famous Victorian era Chappell Piano factory into spacious three and four bedroom loft apartments.

This unique address benefits from a spectacular Club Lounge providing residents with a private VIP entertainment venue for relaxation and entertaining. Facilities include a club lounge, bespoke cocktail bar/ DJ booth, party/club sound/lighting system; 183 inch cinema screen, swimming pool, spa pool and gymnasium. Residents will also benefit from a 24 hour concierge service, making sure residents needs are met with.

* Private entrance courtyard with hand laid reclaimed cobblestones * Manned security lodge * Specially cleaned and repointed eight storey façade of solid London multi-stock masonry and lime mortar *New bespoke insulated double glazed timber windows *Entrance foyer with oak parquet flooring, exposed feature brickwork,

THE BUILDING Built in 1866-67, the Chappell Piano Factory is a magnificent Victorian industrial building, benefiting from retained period features, voluminous interiors, high ceilings and large sash windows.

Founded in 1811 Chappell & Co provided pianos for nobility, gentry and musicians with clients including Beethoven, Strauss and Sibelius.

* antique factory lights and bespoke steel coffer with LED lighting to ceiling * Steel cantilevered staircase crafted from over 3,000 bespoke pieces * Lift shaft with brass cladding and concertina-design * 14-person passenger lift Bespoke design perimeter steel gates

For over 100 years the factory crafted the world’s finest pianos, and during World War 2 produced canopies and propellers for the legendary Supermarine Spitfires, eventually closing in 1970.

It then became the Chalk Farm Photographic Studios, for artists, photographers and models before undergoing a major refurbishment over the last three years to convert the building into smart offices with loft apartments above.

Lauren Rapacioli 0203 761 5377 or lauren@hadleigh.co.uk www.hadleigh.co.uk hadleigh_residential Hadleigh Residential

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feature

SHE HAS HER MOTHER S LAUGH The worst scares of my life have usually come in unfamiliar places. I still panic a bit when I remember traveling into a Suma- tran jungle only to discover my brother, Ben, had dengue fever. I lose a bit of breath any time I think about a night in Bujumbura when a friend and I got mugged. My fingers still curl when I recall a fossil-mad paleontologist leading me to the slick mossy edge of a Newfoundland cliff in search of Precambrian life. But the greatest scare of all, the one that made the world suddenly unfamiliar, swept over me while I was sitting with my wife, Grace, in the comfort of an obstetrician’s office.

selor, I was still blithe, still confident. The counselor could tell we didn’t want to be there, but she managed to keep the conversation alive. Down syndrome was not the only thing expectant parents should think about, she said. It was possible that the two of us carried genetic variations that we could pass down to our child, caus- ing other disorders. The counselor took out a piece of paper and drew a family tree, to show us how genes were inherited. “You don’t have to explain all that to us,” I assured her. After all, I wrote about things like genes for a living. I didn’t need a high school lecture.

Grace was pregnant with our first child, and our obstetrician had insisted we meet with a genetic counselor. We didn’t see the point. We felt untroubled in being carried along into the future, wherever we might end up. We knew Grace had a second heartbeat inside her, a healthy one, and that seemed enough to know.

We didn’t even want to find out if the baby was a girl or a boy. We would just debate names in two columns: Liam or Henry, Charlotte or Catherine.

“Well, let me ask you a little about your family,” she replied.

Still, our doctor insisted. And so one aft ernoon we went to an office in lower Manhattan, where we sat down with a middle-aged woman, perhaps a decade older than us. She was cheerful and clear, talking about our child’s health beyond what the thrum of a heartbeat could tell us. We were politely cool, wanting to end this appointment as soon as possible. We had already talked about the risks we faced starting a family in our thirties, the climbing odds that our children might have Down syndrome.

The “entire human genome” that Clinton was hailing didn’t come from any single person on Earth. It was an error-ridden draft, a collage of genetic material pieced together from a mix of people. And it had cost $3 billion. Rough as it was, however, its completion was a milestone in the history of science. A rough map is far better than no map at all. Scientists began to compare the human genome to the genomes of other species, in order to learn on a molecular level how we evolved from common ancestors. They could examine the twenty thousand–odd genes that encode human proteins, one at a time, to learn about how they helped make a human and how they helped make us sick.

We agreed that we’d deal with whatever challenges our child faced. I felt proud of my commitment. But now, when I look back at my younger self, I’m not so impressed. I didn’t know anything at the time about what it’s actually like raising a child with Down syndrome. A few years later, I would get to know some parents who were doing just that. Through them, I would get a glimpse of that life: of round after round of heart surgeries, of the struggle to teach children how to behave with outsiders, of the worries about a child’s future after one’s own death. But as we sat that day with our genetic coun-

034

By Carl Zimmer

It was 2001. A few months beforehand, two geneticists had come to the White House to stand next to President Bill Clinton for an announcement. “We are here to celebrate the completion of the first survey of the entire human genome,” Clinton said. “Without a doubt, this is the most important, most wondrous map ever produced by humankind.”

In 2001, Grace and I couldn’t expect to see the genome of our child, to examine in fine detail how our DNA combined into a new person. We might as well have imagined buying a nuclear submarine. Instead, our genetic counselor performed a kind of verbal genome sequencing. She asked us about our families. The stories we told her gave her hints about whether mutations lurked in our chromosomes that might mix into dangerous possibilities in our child.

Grace’s story was quick: Irish, through and

There has been an historic transformation in our understanding of precisely what we received from our parents and ancestors and how we can now steer the future of heredity in powerful ways almost unimaginable just a generation ago through. Her ancestors had arrived in the United States in the early twentieth century, from Galway on one side, Kerry and Derry on the other.

My story, as far as I understood it, was a muddle.

My father was Jewish, and his family had come from eastern Europe in the late 1800s. Since Zimmer was German, I assumed he must have some German ancestry, too. My mother’s family was mostly English with some German mixed in, and possibly some Irish—although a bizarre family story clattered down through the generations that our ancestor who claimed to be Irish was actually Welsh, because no one would want to admit to being Welsh. Oh, I added, someone on my mother’s side of the family had definitely come over on the Mayflower. I was under the impression that he fell off the ship and had to get shed out of the Atlantic. As I spoke, I could sense my smugness dissolving at its margins.

What did I really know about the people who had come before me? I could barely remember their names. How could I know anything about what I had inherited from them?

Our counselor explained that my Jewish ancestry might raise the possibility of Tay-Sachs disease, a nerve-destroying disorder caused by inheriting two mutant copies of a gene called HEXA. The fact that my mother wasn’t Jewish lowered the odds that I had the mutation. And even if I did, Grace’s Irish ancestry probably meant we had nothing to worry about. The more we talked about our genes, the more alien they felt to me. My mutations seemed to flicker in my DNA like red warning lights.

Maybe one of the lights was on a copy of my HEXA gene. Maybe I had others in genes that scientists had yet to name, but could still wreak havoc on our child. I had willingly become a conduit for heredity, allowing the biological past to make its way into the future. And yet I had no idea of what I was passing on.

Our counselor kept trying to flush out clues.

Did any relatives die of cancer? What kind?

How old were they? Anyone have a stroke? I tried to build a medical pedigree for her, but all I could recall were secondhand stories. I recalled William Zimmer, my father’s father, who died in his forties from a heart attack—I think a heart attack? But didn’t an old cousin once tell me about rumors of overwork and despair?

His wife, my grandmother, died of some kind of cancer, I knew. Was it her ovaries, or her lymph nodes? She had died years before I was born, and no one had wanted to burden me as a child with the oncological particulars.

How, I wondered, could someone like me, with so little grasp of his own heredity, be permitted

to have a child? It was then, in a panic, that I recalled an uncle I had never met. I didn’t even know he existed until I was a teenager. One day my mother told me about her brother, Harry, how she would visit Harry’s crib every morning to say hello. One morning, the crib was empty. The story left me flummoxed, outraged.

It wouldn’t be until I was much older that I’d appreciate how doctors in the 1950s ordered parents to put children like Harry in a home and move on with their lives. I had no grasp of the awkward shame that would make those children all the more invisible.

I tried to describe Uncle Harry to our genetic counselor, but I might as well have tried sketching a ghost. As I blathered on, I convinced myself that our child was in danger.

Whatever Harry had inherited from our ancestors had traveled silently into me. And from me it had traveled to my child, in whom it would cause some sort of disaster.

The counselor didn’t look worried as I spoke. at irritated me. She asked me if I knew anything about Harry’s condition. Was it fragile X? What did his hands and feet look like? I had no answers. I had never met him. I had never even tried to track him down. I suppose I had been frightened of him gazing at me as he would at any stranger. We might share some DNA, but did we share anything that really mattered?

“Well,” the counselor said calmly, “fragile X is carried on the X chro- mosome. So we don’t have to worry about that.”

Her calmness now looked to me like sheer incompetence. “How can you be so sure?” I asked.

“We would know,” she assured me. “How would we know?” I demanded.

The counselor smiled with the steadiness of a diplomat meeting a dictator.

“You’d be severely retarded,” she said.

She started to draw again, just to make sure I understood what she was saying. Women have two X chromosomes, she explained, and men have one X and one Y. A woman with a fragile X mutation on one copy of her X chromosome will be healthy, because her other X chromosome can compensate. Men have no backup.

If I carried the mutation, it would have been obvious from when I was a baby. I listened to the rest of her lesson without interrupting.

A few months later, Grace gave birth to our

child, a girl as it turned out. We named her Charlotte. When I carried her out of the hospital in a baby seat, I couldn’t believe that we were being entrusted with this life. She didn’t display any sign of a hereditary disease. She grew and thrived. I looked for heredity’s prints on Charlotte’s clay. I inspected her face, aligning photos of her with snapshots of Grace as a baby. Sometimes I thought I could hear heredity.

To my ear, at least, she has her mother’s laugh.

As I write this, Charlotte is now fifteen. She has a thirteen-year-old sister named Veronica.

Watching them grow up, I have pondered heredity even more. I wondered about the source of their different shades of skin color, the tint of their irises, Charlotte’s obsesion with the dark matter of the universe, or Veronica’s gift for singing. (“She didn’t get that from me.”

“Well, she certainly didn’t get it from me.”)

Those thoughts led me to wonder about heredity itself. It is a word that we all know.

Nobody needs an introduction to it, the way we might to meiosis or allele. We all feel like we’re on a first-name basis with heredity. We use it to make sense of some of the most important parts of our lives. Yet it means many different things to us, which often don’t line up with each other. Heredity is why we’re like our ancestors. Heredity is the inheritance of a gift, or of a curse. Heredity defines us through our biological past. It also gives us a chance at immortality by extending heredity into the future.

I began to dig into heredity’s history, and ended up in an underground palace. For millennia, humans have told stories about how the past gave rise to the present, how people resemble their parents—or, for some reason, do not. And yet no one used the word heredity as we do today before the 1700s. The modern concept of heredity, as a matter worthy of scientific investigation, didn’t gel for another century after that. Charles Darwin helped turn it into a scientific question, a question he did his best to answer. He failed spectacularly. In the early 1900s, the birth of genetics seemed to offer an answer at last. Gradually, people translated their old notions and values about heredity into a language of genes. As the technology for studying genes grew cheaper and faster, people became comfortable with examining their own DNA. They began to order genetic tests to link themselves to missing parents, to distant ancestors, to racial identities. Genes became the blessing and the curse that our ancestors bestowed on us.

“SHE HAS HER MOTHER’S LAUGH” published by Dutton, an imprint of The Penguin Publishing Group, a division of Penguin Random House, LLC. Copyright © 2018 by Carl Zimmer

continued on p 157

HOW IMMIGRANTS TOOK. . . cheers

The Good, The Bad @ the Ugly Alcohol has always been central to many different cultures around the world. It has been consumed as part of so many spiritual and religious rituals including an integral part of one of Jesus’ first miracles: water into wine. So, it’s no surprise that alcohol became such an important component of almost every country’s culture.

The British (who else!) developed a formerly medicinal liquid into one of the country’s most popular drinks, the Vikings used to enjoy copious amounts of beer as celebration in their meeting halls, while other European countries developed ouzo, vodka, absinthe all manner of liquers and from the East came sake and Chinese maotai.

(Although this one is said to be an acquired taste.)

And of course the French developed wine making into a fine art.

These culturally important spirits and traditions traveled to America with immigrants and have become a key part of our American culture, community and recreation time.

038

When the Pilgrims immigrated to America on the Mayflower they carried with them more ale than water. This was not any indication of an alcohol problem afflicting the immigrating people, but it was actually necessary to their survival since plain water could carry harmful bacteria and spread infectious disease throughout the ship. According to Dana Johnson from Birko, the ale they carried with them was safe to drink throughout the journey not only because of it’s low alcohol content, but also because it provided the struggling travelers with some of their needed calories.

Prior to European colonization, alcoholic beverages were made from fruit and vegetables that were native to North America such as blackberries, strawberries, squash, and celery. The Southwestern tribes of North America such as the Apache, Zuni, Pima, and Papago drank alcohol for rituals and cultural ceremonies only.

Drinking for pleasure and social engagement would become a custom with the arrival of the Spanish.

When Spanish explorer Ponce de Leon landed in Florida in 1513, Spanish and French Huguenot

settlers began making Muscadine wine. The wine process required a bit of adjustment, because the European grapes refused to adjust to North America’s wet climates. Eventually, Spanish and French wine makers found new grapes that were native to the U.S. and expanded their businesses with wineries across the nation.

Without Cuba and the Caribbean, we would not have rum! Americans loved it so much that it was the drink of choice for many of our country’s founding fathers who indulged on a regular, even daily basis. Cognac was said to be a considerable contributing factor in the framing of our Constitution. (However the rum based cocktail, Fish House Punch, was a favorite of our first president, George Washington and rumor has it one occasion, Washington drank so much he couldn’t write in his diary for three days.)

On the dark side of history the import of rum and cognac wouldn’t have been possible without the “Triangle Trade,” in which rum was traded for West African slaves. The trade continued in the West Indies for more molasses which

. . THE EDGE OFF

As we live through these most testing of times, we have a national identity made up entirely of migrants stretching thousands of years way back. I’m sorry... it’s who we are. By Christina Ying

The massive wave of immigrating Europeans in the mid-1800s brought over European beer, whiskey, gin and a wide variety of wines. It was the introduction of lager beer by the Germans that forever changed the way Americans drink beer. However this change in the drink that was almost a staple of everyday life was not initially welcomed with open arms. In 1851, a Philadelphia editor described lager as a “vile compound of dirt and poison” and was “worse, far worse, than rye whiskey; a mixture to madden and destroy.” Though on what unbiased basis it is not clear.

The Europeans continued to experience discrimination when it came to alcohol. Many were accustomed to spending Sundays with family and friends in beer gardens, mostly because it was their only day off. So when cities enforced an ordinance for the closing of beer gardens on Sundays it was considered to be highly discriminatory against the German-American population. Despite this initial discrimination, the German preference for beer was not received too negatively by the American public. This encouraged more German brewing and as many different flavors and strengths became available beer became the “opiate” of the masses and became the essential ingredient in American culture it is today. In addition to assimilating new immigrants into American society and establishing a beer culture, it is rumored (although denied by many many other claimants) that the Germans also invented cocktails. They were already making a version with “wine cups,” which have a combination of spirits, wines, liqueurs, and flavored syrups so when German immigrants began working at American bars the tradition of American mixology was born and “cocktail hour” became a go-to feature of the day.

was then made into more rum. This trading of rum and cognac was essential to the prosperity of colonial life becoming so popular that eventually every major city across the East Coast had a rum distillery.

Cocktails as we know it today were invented in the early 1800s. The first published definition of a cocktail appeared in The Balance and Columbian Repository of 1806 as “a stimulating liquor, composed of spirits of any kind, sugar, water, and bitters.” However, today’s cocktails as we know them would never have happened if it weren’t for ice. The commodity only became accessible during the early years of the nineteenth century with the help of one Frederic Tudor, with his revolutionary business for transporting ice.

During the 1830s and 1840s the ice trade expanded rapidly to England, India, South America, China and Australia and with this importing of ice from various countries around the world, Tudor made his vast fortune and changed the way we consume cocktails.

Places like San Francisco during the Gold Rush had a huge influx of new immigrant communities. It was unlike anywhere else in the world and without these social drinking spaces, not even bars but mostly makeshift tents with long trestle tables, there was no way these new immigrants would have adapted so readily and so quickly. True melting pots albeit with their own rigid social strata.

In addition to Southerners and Yankees living in the same spaces post Civil War, the streets were also filled with men from Australia, Mexico, China, Russia, Europe, and South America. Because of the Gold Rush, San Francisco became built up around real saloons as we know them and these served as social hubs for people from all around the world to meet and mingle and build community. Historically, the saloons and pubs in most American cities catered to immigrants and members of the working class thus producing a camaraderie and common cause that broke down national and ethnic barriers.

Then came the crunch. Prohibition!

During the 1800’s alchohol consumption in the newly formed republic reached what some saw as epidemic proportions not unlike the opioid crisis of

today. Public disorder, violence and sexual assaults coupled with saloon-based political corruption prompted fundamental religious believers and other prohibitionists in power to end the manufacture and sale of alcohol to, as they saw it, rid society of this evil. (There was also huge political bias in the vote to deny one set of supporters a basic daily need. The rich always had access to whatever they wanted.)

When Prohibition began immigrants from all walks worked in the illegal trade as distillers or distributors in the whiskey business. A Jewish immigrant from the United Kingdom, Jacob “Jack” Grohusko, one of the most significant cocktail bartenders in American cocktails, made waves with his cocktail concoctions in bars located in lower Manhattan. Grohusko subsequently published several editions of Jack’s Manual his handbook for crafting nearly 400 different cocktails, which was essential in the development of mixology (and the creative force that produced so many new mixes) all around the world.

Whiskey is an American staple. The production process however requires a lot of time, from the original mash, through the distilling and maturing in casks down to the bottling and distribution can, in the best of brands, often many years. This made decent whiskey, as opposed to the rot gut variety sold in the Old West, not always readily available to consumers and a local spirit from south of the border became their ideal choice of drink. Tequila After World War II, the U.S. initiated the Bracero programs which imported migrant workers from Mexico to work in the country temporarily or become naturalized citizens of the United States.

Many of the migrant workers brought their indigenous brand of hooch made from the agave plant with them. Tequila. It caught on! Now a global billion dollar industry tequila is the choice for shots from all stratas of society. From Park Avenue penthouses to Texas panhandle dives we are awash with this potent product. Seven out of every 10 liters of tequila produced in Mexico are exported abroad, with the United States purchasing 80%.

So, for better (I think so) or worse (there’s still prohitionists out there) immigrants changed the structure of US society with their own brand of white lightening. Today it may be under pressure from a rapidly expanding legal marijuana industry but the signs are still that our choice to take the edge off comes out of a bottle and the contents of that bottle have been influenced by centuries of overseas influence. Immigrants.

This brief look at the history of alcohol in the US highlights the contribution immigrants have made to our culture. In their pursuit of a better life, they found a way to adapt despite dealing with racism and discrimination. When you have a group of people who’s sole focus is to better themselves and their communities, they will elevate our culture. Because of immigrants some of our best memories are enjoyed over a sip or two of their efforts and we can’t help but acknowledge the colorful history that went into bringing those drinks to our tables.

rockstar

TOTAL FUSION

There is just no excuse for the S.A.D. devotees who refuse the world at their table. Dive in guys cuz you never know what you’re gonna get.

By Christina Ying

As more and more immigrants passed through Ellis Island, the vast mix of cultures that make up our country just got bigger and better. And that great melting pot which is at the heart of our American Experiment turned into the great cooking pot with each added national recipe, custom, and cuisine.

This beautiful amalgamation of national recipes gives us the delicious fusion dishes adapted from India, Africa, China, Italy, Mexico and so many other wonderful and strange ingredients that make up the vast American choice we enjoy today And as this vast influx of immigrants slowly integrated into the fabric of American life, influences from every corner of the world took hold in American culture. German, Scandinavian, Russian, Serbs, Slavs, Greeks, Poles, Turks and of course Jewish cuisine, all made an imprint and the main outlet for this were national dishes.

As the American Way took hold, many opened ethnic restaurants, which allowed the American public as a whole to taste and savor defining dishes from around the world without ever leaving their own hometown. .

Now for the unique and fascinating part. As America got more diverse, and people’s palettes became more in touch with a taste of the world, adaptations and fusions became the norm and true American dishes were invented.

And an American Cuisine was born.

Although television and multimedia may have exposed well-seasoned foodies to exotic eats, there are still many citizens who are strictly S.A.D., adherents to the “Standard American Diet”. When we think of American food, burgers, hot dogs, and macaroni and cheese are typical staples that come to mind. However these mundane examples also originated outside of the U.S. Hot dogs and hamburgers can be traced to German immigrants, pizza to Italy and U.S. president Thomas Jefferson discovered macaroni and cheese during his travels to France.

So even the foods that Americans favor have international roots, and we would be dishonest if we didn’t fully acknowledge how much immigrants have contributed to the American dining table.

According to published studies, Americans spent more than $3 billion last year eating ethnic food, a number that has continued to grow at 5% to 6% annually. This staggering sum and the continued

growth of specific ethnic communities continues to fuel the demand for authentic international cuisine. The most significant segments of this ethnic food industry explosion include Mexican, Chinese, Italian, and Japanese. For large cities such as New York and San Francisco, the selection of ethnic food is even more extensive and it is difficult to try and stump the local chamber of commerce with a request for some ridiculously obscure food only to be told “it’s on the corner of 21st and Park.”

The term ‘ethnic food’ itself is controversial.

According to author Krishnendu Ray, some Americans treat ethnic foods as inferior. “Despite complex ingredients and labor-intensive cooking methods that rival or even eclipse those associated with some of the most celebrated cuisines—think French, Spanish and Italian—we want our Indian food fast, and we want it cheap.” This prejudice toward ethnic food is associated largely with our feelings about the immigrants themselves. Historically, immigrants have been ostensibly welcomed but also excluded from society.

Many immigrants who were rejected in this way turned to the food industry to make a living. and survive by selling their delicious food for cheap.

Within the last half-century, Indian communities all throughout the U.S. have expanded exponentially while Chinese, Italian, and Mexican cuisines have been popular since the first wave of immigration. What most people don’t recognize is that Indian cuisine has been part of that history this whole time. The first Indian restaurants in America were spotted in the 1900s in New York and Chicago. According to the South Asian American Digital Archive, New York Times writer Helen Bullitt Lowry made one of the first Indian restaurant reviews in 1921. She peered into the restaurant, and described:

“Grave Indian gentlemen, with American clothes but with great turbans on their heads used to come in for their curry and rice. Six short weeks—and already the restaurant is half full of tourists, eagerly peering at each other for turbans and local color.”

Lowry at the time didn’t realize that she was describing the Taj Mahal Hindu Restaurant located at 243 W. 42nd Street. But from one obscure restaurant review to numerous culinary enthusiasts, Indian food has grown into one of the most popular takeouts and sit down cuisines to date, with over 400 Indian

restaurants in New York City alone.This tale of American food does not come without its harrowing struggle when slavery and racism raise their ugly heads.

When we think about the African influence in Southern cuisine, we cannot fail to acknowledge how the violent role of slavery forced that cultural integration. As pointed out by National Geographic, without the red pea, which is native to Africa, we wouldn’t have Hoppin John. Other foods such as okra, watermelon, black-eyed peas, and grits are all foods that originated in Africa.

According to the Smithsonian Institute, black cooks were bound to the fire 24 hours a day.

Some received formal training. As a result of this forced service and suffering these African American cooks created what we today know as American Southern food, which was a mixture of European, African, and Native American cuisines.

The United States has the oldest Chinatown in the world, which is in San Francisco. The Chinese immigrants in the 19th century changed American food as we know it. Many of the men came here to pursue a chance at gold in the golden state of California, but when they didn’t strike it rich they turned to feeding the prospectors instead, opening up among the first ethnic restaurants in the nation. For the many defeated miners, it was good tasting food at a low price. According to TIME magazine, people during this time declared that

“the best restaurants were kept by Chinese and the poorest and dearest by Americans.”

These first Chinese immigrant entrepreneurs were the pioneers for American international food culture. As time went by the Chinese menus adapted to American tastes, and on the reverse, more Americans embraced authentic Chinese cuisine.

Today according to the Chinese American Restaurant Association, there are more Chinese restaurants than Mcdonald’s in the United States.

From Spaghetti O’s to pizza, Americans cannot stop eating Italian food. Many Italians immigrated to the U.S. during the late 19th century. Without the exact ingredients of their homeland, Italian cooks were among the first to rapidly adapt as immigrants assimilated to America. No matter where the Italians settled, they created new and innovative cuisine. We wouldn’t have Philly Cheesesteaks or San Franciscan Cioppino without the Italians or the cooking methods that have made their food spectacular for hundreds of years. But the meat-based

Italian-American cuisine that we know today is not how the Italian immigrants always ate. During the late 19th century, Italian immigrants mostly came from regions struggling in poverty. Their diets back in Italy primarily consisted of organic vegetables and grains, with little access to meat and no red sauce. Italian restaurants became more popular after World War II as soldiers returning from Italy craved the food they fell in love with overseas. This led Italian immigrants to adapt recipes such as spaghetti and meatballs, ravioli, lasagna and manicotti, which became Italian American staples.

Mexicans have their own harrowing and complicated history with U.S. borders. At the end of the Mexican-American War in 1848, the United States gained 55% of Mexican territory. As more Mexicans remained in the United States, Mexican food became a daily staple of the American diet. According to CHD Expert, Mexican food is the third most popular menu type in the USA, representing 8 percent of the total national restaurant landscape. At the time of their 2014 study, Mexican food edged out the Hamburger for the third most common U.S. food.

In addition to bringing food from their native lands, immigrants have created excellent American staples.

Without immigrants, we would not have jelly beans, Greek yogurt or German immigrant, Godfrey Keebler’s Keebler cookies. Peggy Cherng and her husband (a Chinese immigrant) created Panda Express, the largest Chinese food chain in the United States. Immigrants not only found ways to bring their native cuisines to the U.S., but they used their culinary influence to make American food better.

Foods such as chop suey, fortune cookies, baked ziti, and mission-style burritos were all invented in the U.S. by immigrants. Mexican immigrant Richard Montañez, who worked as a janitor for Frito Lay took home some defective, un-dusted Cheetos and sprinkled some chili spices on them. After presenting it to the executives, Montanez’s Flamin’ Hot Cheetos became the #1 selling product by Frito Lay and is still an American favorite today.

From southeast Asia, Eastern Europe, Central America, to the Caribbean and even the South Pacific we have enjoyed the food of people who often work the hardest. Immigrants have held the country together and usually have done it in the shadows. While supporting their families and building solidarity in ethnic communities, immigrants have created a culinary culture that has made America delicious. These are people who risked their lives and left their loved ones for the American dream and we should be more than honored to experience their food.

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rewind

Power Women bette davis movies

THE LETTER (1940): “It’s strange that a man can live with a woman for ten years and not know the first thing about her.” The Letter takes place on a rubber plantation on the outskirts of Singapore. Everything is ideal and serene until the night is ripped apart by a gunshot committed by Leslie Crosbie (Bette Davis). Davis gives a stellar performance as the femme fatale with her complex portrayal of a passionate woman who kills her lover and torments her tycoon husband. Davis’s nails the noir genre conveying a character that is both a victim and malevolent wife.

WHATEVER HAPPENED TO BABY JANE? (1962): This film is infamous for serval reasons: one of them being that the film was the center of a massive feud between Bette Davis and her co-star Joan Crawford. Crawford and Davis could barely stand each other and continued to bad mouth one another to the press. The plot of the film revolves around a former child star who torments her paraplegic sister in their decaying Hollywood mansion. Davis created her own makeup for the lead role of “Baby Jane” Hudson, which perfectly highlighted the deranged nature of the character. Baby Jane sparked a genre of crazy lady psychological thrillers.

ALL ABOUT EVE (1950): All About Eve is widely considered to be one of the greatest films of all time.

Bette Davis plays Margo Channing, who is a respected, aging, Broadway star. Channing’s career is threatened by an adoring woman named Eve Harrington, who is suspiciously trying to take Channing’s career and personal relationship. The film received a record 14 Academy Award nominations and won six, including Best Picture. It is still the only film in history to receive four female acting nominations. The nominees include leads Bette Davis and Anne Baxter, and best-supporting actors, Celeste Holm and Theresa Ritter

THE CATERED AFFAIR (1956): Bette Davis stars as an embittered housewife named Agnes Hurley, who’s married to a Bronx cab driver. She’s a disheveled woman who thinks highly of herself and wants more for her daughter, played by Debbie Reynolds, who makes her on-screen debut in this film. The film deals with the ensuing money troubles and conflicts within the family, and Agnes is not connected with the reality of the situation and wants to focus on an expensive wedding ceremony for her daughter.

IN THIS OUR LIFE (1942): This film was the third of six films that Olivia de Havilland and Bette Davis starred in together. Davis plays Stanley, who rivals her sister Roy, played by de Havilland, in both romance and life. The night before her wedding, Stanley runs off with Roy’s husband, Peter. The two marry and settle in Baltimore, but she ultimately drives her sister’s husband to drinking and suicide.

When she returns home, she finds out that her sister has taken up with an old flame of hers. Not one to be outdone, Stanley tries to steal her former flame back from her sister and continues to wreak havoc on her family.

THE VIRGIN QUEEN (1955): Bette Davis plays Elizabeth I at the height of her reign, conveying the middle-aged virgin queen as a brutal, manipulative, and terrifying monarch. This historical drama focused on the relationship between Elizabeth I of England and Sir Walter Raleigh and was also the second time Davis played the English monarch. The Queen falls for Sir Walter and doesn’t want him to leave even though he falls in love with the beautiful Beth Throgmorton played by Joan Collins. .

NOW, VOYAGER (1942): Bette Davis is a Boston heiress named Charlotte Vale, who is a neurotic mess, primarily because of her domineering mother. After a short time in a sanatorium, she receives the attention of Dr. Jasquith. The psychiatrist aids Vale’s recovery and transformation into a modern, attractive, and glamorous woman, thus freeing herself from tyrannical shackles of her overbearing mother.

The film ranks at #23 in AFI’s 100 Greatest Love Stories of All Time. Davis’ closing line in the movie, “Oh, Jerry, don’t let’s ask for the moon… we have the stars!” is at #46 in AFI’s Greatest Movie Quotes of All Time.

JEZEBEL (1938): This film would be Bette Davis’ second and last Oscar-winning performance, and this film may have made up for the fact that she missed out on the lead for Gone With the Wind.

Davis plays a headstrong young Southern woman during the Antebellum period in 1852 New Orleans.

Her character, Julie Marsden, is engaged to banker Preston “Pres” Dillard, and she sabotages the relationship with her behavior and spends the rest of the film trying to gain him back.

THE WHALES OF AUGUST (1987): Bette Davis and Lillian Gish play elderly sisters near the end of their lives who never really grew close. At a seaside house in Maine where they annually spend their summers, the setting allows issues that took place in their youth to resurface, and open up jealousies and misunderstandings that slowly festered over the years. This film would be the second to last of Davis’s career, and when it screened at the 1987 Cannes Film Festival, which Gish attended, she got a 10-minute standing ovation.

DECEPTION (1946): Bette Davis stars as a piano teacher who believes that her fiancé was killed on the battlefield.

When her dead lover miraculously returns, they decide to marry, but a rebound love affair hinders her during his supposed death. For Davis, Deception marked the end of her Golden Age and was the last of the great Bette Davis/Warner Bros. collaborations.

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Power Women musiC FROM THE MOVIES

AALIYAH—TRY AGAIN With a rising musical career since she was a teenager, Aaliyah Haughton got her first major movie role in Romeo Must Die. Praised for its futuristic production by her mentor, Timbaland, “Try Again” reached number one on the Billboard charts on the week of June 17, 2000. It was the first song ever to take the number one spot on the Billboard Hot 100 based solely on the strength of its radio airplay. Unfortunately, her untimely death in 2002 put an end to the megastardom that awaited the beloved 22-year-old singer.

WHITNEY HOUSTON I WILL ALWAYS LOVE YOU It was a song that defined the 90’s. Originally written

by Dolly Parton, Houston Whitney Houston adapted the song her first feature film, The Bodyguard. The single spent 14 weeks at number one on the Billboard Hot 100 chart and is one of the best-selling singles of all time. Out of all of her career hits, “I Will Always Love You” surpassed her previous record of three weeks at number one in 1986. The song remains as the longest-running number-one single from a soundtrack album.

LISA LOEB STAY (I MISSED YOU) Lisa Loeb released “Stay (I Missed You)” in 1994 as the lead single to Reality Bites. Loeb’s neighbor and friend, actor Ethan Hawke, submitted “Stay” to cast member Ben Stiller, who was directing the film’s soundtrack—the single landed Loeb a major record deal. However, her career never surpassed her smash single, but we will forever revere her as one of the queens of Gen X.

COOLIO FT LV—GANGSTA’S PARADISE “Gangsta’s Paradise” was released on Coolio’s album of the same name and became part of the soundtrack for the 1995 film Dangerous Minds. A movie about troubled high school kids with a lifesaving teacher played by Michelle Pfeiffer, the film had mixed and mostly negative critical reception. However, it became a surprise box office success in the summer of 1995, and Coolio’s stardom rose right along with it. Despite the mixed reviews of the film and the song, “Gangsta’s Paradise” sold over 6 million copies worldwide, making it one of the best-selling singles of all time.

Righteous Brothers Unchained Melody Pottery was just never the same after this song. Associated with one of the sexiest, most poignant scenes in the film, Ghost, the Righteous Brothers single conveys both romantic sentiment and high octane sex appeal. It played perfectly in a scene where a shirtless Patrick Swayze cradles his love Demi Moore and a lump of wet clay. At the time of its original release, “Unchained Melody” reached number 14 on the Billboard charts. But after the film’s release in the summer of 1990, the single resurrected a newfound success and finally reached number one to become the best selling single of the year.

The album that solidified Madonna as a pop music icon, this one showcases the ballsy-ness that lay at her foundation as an artist. There wasn’t anything that Madonna was afraid or ashamed to sing about as a woman. She championed female empowerment on tracks like

CELINE DION—MY HEART WILL GO ON If you sat through the 3-hour smash hit Titanic in 1997, then you were no doubt moved to tears Celine Dion’s “My Heart Will Go On.” A film about two lovers from different classes that were never meant to be, the heartwrenching ballad was a mega-hit, reaching Number 1 on the Billboard chart and became one of the bestselling singles of all time. However, it’s sentiment has not aged well due to overplaying. Rolling Stone readers rated it as the 7th worst songs of the ‘90s in 2011.

BRYAN ADAMS EVERYTHING I DO (I DO IT FOR YOU) Canadian crooner, Brian Adams, recorded the sentimental smash hit for the 1991 film, Robin Hood: Prince of Thieves, and enjoyed an uninterrupted 16 weeks on the musical charts. Taking only 45 minutes to record, it was Adams’ most successful song and one of the best-selling singles of all time. Mixed with a beautiful piano intro and Adam’s stellar vocals, the song continues to be a wedding staple.

UB40—(I CAN’T HELP) FALLING IN LOVE WITH YOU This famous Elvis cover topped the charts for two weeks in 1993 which was UB40’s third and last chart-topping hit. UB40 were asked to record an Elvis tune of their choice for a new film called Honeymoon in Vegas. They chose “(I Can’t Help) Falling In Love With You” because it was a favorite song of the drummer’s. The song was selected for the sexy thriller, Sliver, starring Sharon Stone and Billy Baldwin. The band’s other hit, “Red Red Wine,” was also a cover, initially recorded by Neil Diamond.

SIMON AND GARFUNKEL—MRS. ROBINSON “Mrs. Robinson” was written for Simon & Garfunkel’s fourth studio album, Bookends, but most people associate with the 1967 film, The Graduate. The duo was already gaining popularity in the college circuit, and the film’s director Mike Nichols was a huge fan. During filming, he listened to the band obsessively.

That obsession drove him to meet with Columbia Records chairman Clive Davis to ask for permission to license Simon & Garfunkel music for his film. It became the song of the ‘60s that honors the most famous cougar of all time: Anne Bancroft aka Mrs. Robinson.

AEROSMITH I DON’T WANT TO MISS A THING Armageddon was an apocalyptic summer blockbuster in 1998. The song’s writer, Diane Warren said the title was inspired by watching a Barbara Walters interview featuring James Brolin and Barbra Streisand.

Brolin said he missed Streisand when they were asleep, and Warren wrote down the words: “I don’t want to miss a thing.” Upon the film’s release, the song debuted at number 1 on the U.S. Billboard Hot 100 and became Aerosmith’s first number 1 single.

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Ellis Mellilo Flynn Marie Ayshe Cheyne Buczek Eloise Eva Jayden @ Trump Model mgmt Niamh Hart Liv Ty @ Trump Model mgmt Flynn Marie Mabel Impossible Film

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New developments like blood-clotting bandages, protective “skin” that is impermeable to chemical or biological threats, and creating vaccines that guard against diseases like the Ebola virus are just some of the life-changing research the U.S. Army has helped advance. Most of that research takes place in state-of-the-art military medical facilities worldwide with access to some of the most high-tech medical equipment and procedures in the industry.

Become a leader in your field of medicine. Practice your passion for patient care and make decisions that impact global health. Develop clinical and leadership skills and gain the experience of a lifetime. Work with some of the most respected medical professionals and innovative equipment in the industry.

“I can’t imagine doing medicine differently.

I think the benefits for me outweigh the risks. The Army is [great for] continuing your education. I have the opportunity to apply for a fellowship, do another residency, or get a master’s degree in health care management that the Army would also pay for. That is hard to do in the civilian world once you have an established practice. In [the U.S. Army], you have the opportunity to make changes, and I think that’s a huge benefit.”

— Dr. Julie A. Hundertmark (LTC), M.D., Family Medicine Physician

Learn about the many ways you can serve in Army medicine by contacting Staff Sergeant Jamey Neher at 301-677-5489 or email jamey.f.neher.mil@mail.mil Find out more about career opportunities at healthcare.goarmy.com/op98

©2019. Paid for by the United States Army. All rights reserved.

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“OFF THE GRID” IS NOT NORMALLY AN APT DESCRIPTION FOR MOVIE STARS BUT WYATT RUSSELL COMES CLOSER THAN MOST. HE KNOWS WHAT LUXURY AND INDULGENCE AND PRIVILEGE ARE—JUST LOOK AT HIS LAST NAME. BUT LIKE HIS ILLUSTRIOUS PARENTS AND SIBLINGS, HE KNOWS, FOR SANITY’S SAKE, GROUNDED IS THE WAY TO GO. AS A RECENT ROAD TRIP THROUGH HALF A DOZEN NORTH WESTERN STATES IN A CAMPER VAN SORT OF ILLUSTRATES SO WELL.

“The nice thing about this [the van] is it’s cheap, the price of gas is usually good, and you’re cooking over the fire around the van or whatever.

You’re not spending a ton of money. It’s the only vacation probably when you end up saving money. You’re not buying clothes, you’re not buying things....”

YOU CAN’T SEE PAST IT, A CROSS BETWEEN HIS FAMOUS FATHER AND FAMOUS MOTHER, THE SON OF ACTORS KURT RUSSELL AND GOLDIE HAWN. HAZEL BLONDE HAIR, KURT’S EYES, GOLDIE’S SMILE. IT. IS. ALL. THERE. WYATT RUSSELL IS BACK FROM VACATION, WHERE HE WAS TRAVELING BY VAN UP THE OREGON COAST, CENTRAL OREGON, UTAH, AND A LITTLE BIT OF COLORADO AND NEVADA. AND ACTUALLY ARIZONA TOO. HE TOOK A BREAK WITH HIS FIANCE, MEREDITH, BUT HE’S HAPPY TO GET BACK TO THE DOGS THEY LEFT BEHIND. OH, HE’S REALLY EXCITED TO TALK ABOUT THAT VAN.

WYATT RUSSELL

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Now back to his parents. I would think most people wouldn’t trade places at all to be born into Hollywood royalty: nannies, MIA parents always working. Russell paints a different picture, one of a normal all-American life with the addition of riches and fame. “We went on a lot of family trips. Our parents were with us the whole time and my dad, he’s an outdoorsman, and he taught us to hunt, fish, ride horses, camp. It’s an important part of our lives.”

It’s Russell’s life’s arc that garners the most attention, having made the transition from being a hockey player to giving into the family profession of acting. Russell, 33, played pro-level hockey for the Richmond Sockeyes, Langley Hornets, Coquitlam Express, Chicago Steel, Brampton Capitals, and Groningen Grizzlies. He also played in college at the University of Alabama in Huntsville. Injuries sidelined his career and he well, went into acting. Why not. It seems fitting that he’d follow the rest of the kin: mother, father, half siblings Kate Hudson and Oliver Hudson.

But it was hockey that became easy for Russell. From the time he was young, he was creating the image of who he’d like to be, creating his own story. He saw how his parents were seen as important because of how other people treated them and it made him feel weird because he didn’t get why. People all around him were putting them on a pedestal, and it wasn’t something that he wanted to have happen to him. So at a very early age Russell discovered hockey. “It was really easy—I was a goalie—to judge the position I was in from the beginning, just from numbers: If you let in a lot of goals, that’s not good. If you block a lot of goals, that’s good.

If you win a game, that’s good. If you lose a game, that’s not good. It’s real binary in a way that people could start to see me as someone who was competent at something that was relatively difficult to do.”

The injuries took a toll on Russell and by 24, after playing in college and in Europe, that was it. “And so when I got hurt for the last time, it really just became a decision that I just made. I knew this was the end. Hockey was no longer going to give me what I needed in my ‘story’ that I wanted for myself anymore.”

The Woman in the Window is Hitchcockian to a fault, an upcoming American thriller with a killer cast in Amy Adams, Julianne Moore, Gary Oldman, and...Wyatt Russell. The movie is about an agoraphobic child psychologist who spies on her neighbors and witnesses a crime.

“I was going on vacation and sometimes I’ll get this thing when you get an audition and you go, ‘Oh fuck me,’” Russell laughs. “It was just one of those things where I didn’t want to give a shitty audition, I don’t want to do it half-ass and I have to self tape it and I’m leaving for vacation in two days. And at the time my girlfriend and I were literally leaving for vacation in an hour to go to Europe, and she says, ‘just fucking do it, come on.’ And so I did it real quick, I kind of had an idea. I had been thinking about it for a long time on how to do it and I did it straight. Joe thought it was interesting, we talked on Skype. I gave him my little schpiel and then we went through the rehearsal process and it was a fantastic experience. I feel I learned more on that movie than I have on most just because of the process of it.”

It took a lot of soul-searching and second-guessing during those injury years in the hockey rink. He went online and signed up for a film course at USC and fell in love with it. That’s when he knew the family business was calling. “I took this course and I really fell in love, but when I stopped playing hockey, I didn’t want to spend ten years of my life again, which is basically what I had just done, beating my head against a brick wall trying to get an idea made and I wanted to go and I wanted to make money. I wanted to learn while I was on set and I thought this was a much better way, being around people do their job. How the set really works.”

It’s that observational aspect of being an actor and observing how everybody is doing their job, Russell gets it, and wants to be a part of that energy, that process.

He’s currently producing a few projects with his brother, Oliver Hudson, and John Sahlberger, in a company they formed called Slow Burn. He also stars in Lodge 49, a show on AMC where Russell stars as Sean “Dud” Dudley, a drifting ex-surfer reeling from the loss of his father; Paul Giammatti is an executive producer.

“One of the things that’s very specific is he never smokes weed, he does not do drugs, because that would ruin the illusion. It’s always a funny thing. Drugs are an interesting thing in a movie when you use them as a device. It was very important that this character was not doing that, that it was coming from within a very specific place in his soul that was not manipulated or smoke screened with any type of drug.”

Russell will take his slapshot with The Woman in the Window and Lodge 49. Starring in a major film with an all-star cast, as well as the lead in his own television show, that looks like a goal to us. Injury-free.

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“... Before I got hurt playing hockey when I was about 20, I just thought ‘I’m just going to be a hockey player, that’s just what I’m going to do, there’s no other option.’ When I got hurt for the first time, it was a very bad injury, I was out for about six months, and I had to reassess.

Even if I make it to 35, that’s a long career in sports, and even if I got done, what do you do after?

What’s your marketable skill?

None ...”

rant

by Susan Roston photography by Jason Yates

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Let’s be brutally honest. The days are short as WalMart’s extended hours are long, yet amidst the frigid air, poorly plowed side streets, and germ saturated public transportation, people still venture out of their warm beds with a shiny, wrapped holiday present in tote. All of this in an effort to create some sort of memory lapse-inducing antidote to seasonal affective disorder (read: golden cellophane packages do not make a sufficient sun substitute). I fear that all of this hubbub is not in an effort to honor any one savior’s birth (Hillary Clinton is a Scorpio anyways); the sun-mourning snob in me resides in the camp that claims the holiday season is the love child of advertising and is all about a concerted group effort to boost profits.

That’s been pretty clear, well, for as long as I can remember. But what gets me, what kills me, is that for Americans being neck deep in the Holiday season means embracing a duality: I will be charitable and give back, and I will go shopping for gifts. And with news of horrific fires in San Diego County and a major drought in Georgia this fall, global warming seems to not only be the trendy charitable cause of choice, it is legitimately pressing. Yet still we insist on slaughtering millions of carbon consuming trees solely to make sure that our holiday gifts are wrapped in paper that coordinates with the arbitrary colors of the season.

Plus of course that detachable bow.

True, I have turned the phrase “gold, frankincense, and myrrh” perhaps more times than I’ve driven to the recycling center, but I don’t recall the homage process including tissue paper and scotch tape. Yet a gift is not legitimate, (somehow insulting to the recipient) unless it is artfully concealed beneath a thick layer of shiny, brand new wrapping paper, tied tightly with ribbon, and topped off with an additional (and separate) stick-on bow (take or leave the card).

This is part of the magical anticipation. This is all in the (fill in your winter solstice holiday of choice) spirit. Most importantly: this is Tradition. And it doesn’t stop here: the point is to have a whole selection of unique wrapping papers in a nauseatingly cliché pattern, all in an effort to make for an aesthetically pleasing photo. Don’t we now spend as much time at the store selecting wrapping paper simply to coat the presents that are ridiculously excessive in themselves?

I don’t really care if Kate’s Paperie has a recycled products section, come on, are we that blind? It is still a store that does nothing other than charge you for tree carcasses that have been processed into pure, blatant modes of packaging. Yet we go every year right after we hit up the other stores because the partridge-in-a-pear-tree themed roll at home has jagged edges. Unbelievable.

Come on, it is trendy right now to go green. Celebs faces are plastered up all over the F train tunnels, tabloid shows, and trash magazines featuring action shots of their flawless faces, stepping into their hybrid limos and grinning with their arms wrapped around solar panels (which will heat their freezing cold Hollywood homes). Though we all yawned and acted blasé when Al Gore first alerted us of the issues, oh you know, decades ago from his senatorial seat, as Americans we really only started to care when Leo, Oprah, Brad and the producers of America’s Next Top Model started to feign concern. So we recycle our water bottles, turn down the thermostat, even experiment with pungent composting practices because we are going to curb our carbon emissions. Why is the damn paper so difficult to let go of?

I get the Christian metaphor that may attempt to legitimize the wrapping of the presents. Anticipation is how the story goes. So instead of going out and buying something for someone and passing it over in the lobby of Best Buy, you take it home and let them know that their special Ashlee Simpson CD is coming, if they can just wait for it and pretend that they can’t tell that the rectangular prism concealed by a holly and Ivy print is a jeweled CD case. Pretty much exactly like waiting for the messiah. Bullshit. Are our psyches so fragile that we will be traumatized if we cannot tear our way (literally) into our holiday loot? Even as hurricanes are prevalent, the polar ice caps are melting, and I wear shorts in New York City in November?

I haven’t forgotten about the kids I work with that suffer from asthma because of exuberant pollution levels, the MTA air conditioning on full blast until the end of the year (almost), and that week when I didn’t hear from my friend in San Diego during the wildfires. To truly make a difference towards curbing climate change I know that we have to elect new officials (Election ’08 has to be one of the most significant in our history) but I want to be clear about what I care about and avoid hypocrisy when I can. This year I may just wrap my gifts in reusable gift bags or give wrap free homemade baked goods to contribute to my loved ones’ waistlines and high HDLs and LDLs instead of my carbon count. We are coming to that point if we want our children to experience the holidays in New York and elsewhere, we should consider slightly tweaking said tradition in an effort to keep Manhattan above water (literally) by preserving our forests and planting trees, not harvesting them in the name of ridiculous holiday excessiveness.

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Eggold... and his oh so sexy bedside manner

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S t a r o f t h e N e w Yo r k H o s p i t a l D r a m a , “New Amsterdam�, Ryan Eggold is just as good as he looks ...but twice as bad as he seems!

He dishes on healthcare, gun control, and education. Everything important in t h i s c o u n t r y. C e l e b r i t y ? Ye s . S o m e o n e who has a soul and empathy mixed with drive and smarts?

Definitely yes.

By Sarah Johns

Photography. Dorian Caster

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Actor Ryan Eggold would love to change the world. Or at the very least have his television show on NBC, New Amsterdam, change it, maybe ignite a conversation with people in the real world who can affect change.

Entering season two, Eggold stars as Dr. Max Goodwin, a medical director at a fictional American hospital. Goodwin’s drive is to provide quality healthcare for the patients who make their way through his doors, but skeptical staff aren’t sure because they’ve heard it before—too much bureaucracy clouds and prevents the staff from working in a fully-functioning environment with the best tools and coverage available to them. Come to think of it, much like our present day system. The show was inspired by Bellevue Hospital Center located in Kip’s B a y i n N e w Yo r k C i t y.

“In the US since the 70’s, healthcare has moved more towards a business and less towards a service that everybody can depend on,” says Eggold.

“A m e r i c a n e xce p t i o n a l i s m i s s o deeply ingrained into the culture and the country.”

It’s these types of thoughts that engulf Eggold, and create a common thread throughout each episode of New Amsterdam. The show can bring you to tears, the thought of healthcare in this country can have that effect on anyone nowadays. I honestly don’t know how Eggold does it but he does, although he’s used to being a part of the medical field: his mother is a doctor.

It’s education that Eggold feels should be heralded and looked u p t o i n o u r s o c i e t y . Te a c h e r s , teachers, teachers. They are the ones that make the difference in someone’s life… and in Eggold’s eyes, they don’t get their due. “I think they’re so under appreciated in our society,” cries Eggold. “Either their pay is so much less from what they deserve, especially when people like myself who have the privilege of working on a TV show and make so much more.

“It’s sort of an imbalance. Many teachers have affected my life.

A teacher I had in this little theater where I grew up when I just started dipping my toes in the [acting pool]. Just encour-

aged creativity and freedom and lack of judgment. I was one of those kids that liked attention and talked too much and get in trouble and she kind of rewarded me for it in a way and pushed it into a world where it made sense and I could make something out of it. I think there’s a version of that story for everybody.”

But like healthcare as well as education in this country, how are we getting it all wrong?

That both of these crucial systems that are necessary for survival are just another example of commercial entities bound to capitalism. Don’t we deserve better than this?

“In the U.S. there’s the desire to make as much money as possible sadly and it is such a part of the quote-on-quote American d re a m , ” s a y s Eg g o l d . “A s p i r i t u a l revolution is what the country needs. I don’t know if and when that will come. It’s such a different model in a country like Denmark with healthcare and education, especially college, and [their citizens] are taken care off and it’s built in the demographic of that society.”

It’s all about the money I tell Eggold. Politics and money, as we veer into the gun issue in America, an issue he feels very strongly about, how our world is very different than the days of our Forefathers who were coming out of violent revolutions.

Eggold insists he can talk about this topic for hours and hours but believes like so many Americans, don’t make weapons of mass murder available and ready for anyone.

Whatever societal worldwide problems we have, Eggold will let his talents do the talking. He plays the piano and the guitar, yet doesn’t have the time. In addition to New Amsterdam, Eggold is writing a project he eventually would want to direct.

But for now, New Amsterdam is all Eggold.

“I have to say this is the most generous and collaborative group of folks I’ve ever worked with in a sense that everybody is supportive of everyone else,” enthuses Eggold. “They’re always directing and trying to educate me and they are incredibly helpful and trying to make the job a little bit easier.

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The (and 28th Amendment five more...)

According to its preamble the Constitution of the United States was established by “the People” — not by the states — “in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity . . .” As Abraham Lincoln perceptively observed, it created a government “of the people, by the people, and for the people.”

The Union created by the Constitution was unquestionably “more perfect” than the one formed by the states when they signed the Articles of Confederation. Under the Articles there was no central government authorized to resolve disputes among individual citizens, to tax or to impose any direct obligations on individuals, or to regulate commerce between or among the separate states.

Like a treaty among multiple sovereigns, the Articles defined obligations that the former colonies assumed in their dealings with one another.

That article authorizes two methods of proposing new amendments — by two-thirds of both houses of Congress or by a convention for proposing

amendments called by the legislatures of twothirds of the states; and two methods of ratifying amendments — by the legislatures of three-fourths of the states, or by conventions in three-fourths of the states (this latter method has never been successfully used). Article V also prohibited two kinds of amendments. One of those prohibitions — the total ban on any amendment that would deprive any state, without its consent, “of its equal Suffrage in the Senate” — reveals that the framers viewed that body, rather than the executive or the judiciary, as the primary guardian of the sovereignty of the smaller states.

The second llimitation on the power to amend the constitution highlights the importance of the compromise that appeased the slave states. That limitation prohibited any amendment prior to 1808 that would allow Congress to regulate the importation of slaves. Article V did not, however, mention the bonus provided to the slave states in Article I’s formula for granting them representation in Congress. Even though slaves were not allowed to vote in any state in the South, three-fifths of them were counted for the purpose of determining the size of a state’s congressional delegation

and the number of its votes in the Electoral College. In 1800 that slave bonus gave Thomas Jefferson more than the eight votes that provided his margin of victory over John Adams in the Electoral College. Not only did that bonus determine the outcome of that presidential election, but it also affected the work of Congress in the ensuing years when the interests of slave states and free states differed.

The procedures for amending the Constitution set forth in Article V have been successfully employed only eighteen times during the nation’s history.

On the first occasion, the ten amendments, often described as the Bill of Rights, were all adopted at once; they placed specific limits on the powers of the new central government. Thus, the First Amendment begins with the command that “Congress shall make no law respecting an establishment of religion,” the preamble to the Second Amendment states that a “well regulated Militia [is] necessary to the security of a free State,” and the Third Amendment protects homeowners from the quartering of soldiers in time of peace. The Fourth Amendment protects individuals from unreasonable searches and seizures. The Fifth Amendment,

The Constitution was and is an excellent foundation for the stability and well being of the nation and its citizens. However as the first ten Amendments to the original, the Bill of Rights, and the seventeen additional changes show, it wasn't and isn't cast in stone. Former US Supreme Court Justice John Paul Stevens outlines its formation and framework and proposes six ways to save the United States of America... before we have a catastrophe.

By Justice John Paul Stevens

appropriately, includes five separate guarantees: (1) the right to indictment by a grand jury in felony or capital cases; (2) protection against self-incrimination or (3) double jeopardy; (4) the right not to be deprived of life, liberty, or property without due process of law; and (5) the right to just compensation when property is taken for public use. The six amendment protects the right to a prompt and public trial, the right to confront hostile witnesses, and the right to a lawyer. The seventh Amendment protects the right to a jury trial in civil cases, and the Eighth Amendment prohibits excessive fines and cruel and unusual punishments. The Ninth Amendment provides that the enumeration of specific rights in the Constitution “shall not be construed to deny or disparage others retained by the people.” And the Tenth Amendment provides that the “powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people.” It is undisputed that when they were adopted, the first ten amendments applied only to the federal government and placed no limits on the powers of the states.

Only two additional amendments were adopted prior to the Civil War. The Eleventh Amendment was a response to the Court’s decision in February of 1793 to accept jurisdiction of an action against the state of Georgia brought by a citizen of South Carolina named Chisholm to recover the price of military supplies sold to the state during the Revolutionary War. The amendment precludes federal jurisdiction over cases against a state brought by citizens of another state. Some critics of the Chisholm decision who believed that the common law doctrine of sovereign immunity should have foreclosed the suit have argued that the fact that the amendment was adopted so promptly proves that the Court’s decision came as a “shock” to the nation, which believed that the framers had left intact the sovereign immunity of the states for these types of suits. In fact, however, the amendment that was ultimately adopted was not proposed until March 4, 1794, more than a year after the Chisholm case was decided and more than eleven additional months elapsed before it was ratified. In contrast to that two year deliberative process the interval between the proposal on December 9th 1803 of the Twelfth Amendment which significantly revised the Electoral College procedures used to elect the president — and its ratification on June 15, 1804, was just a few days more than six months. President Abraham Lincoln played a major role in persuading Congress to propose the Thirteenth Amendment on January 31, 1865. That amendment, which abolished slavery, was not ratified by the states until December 6, well after his assassination on Good Friday in 1865. The Fourteenth Amendment, which awarded citizenship to the former slaves, was opposed by President Andrew Johnson and not ratified until July 9, 1868.

That amendment was immensely important, not only because it granted African Americans citizen-

ship, but also because it imposed on the states a federal duty to govern impartially. It provided that no state may “deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.”

Ulysses S.Grant was president on February 3 1870 when the Fifteenth Amendment which granted the former slaves the right to vote, was ratified.

By maintaining federal troops in the Southern states, Grant made it possible for the new class of voters to affect the results of a number of state elections. At the end of his second term, in 1877, however, presumably as a result of the compromise that settled the dispute over the outcome of the presidential election of 1876 by awarding the victory to Rutherford B. Hayes, the federal troops were withdrawn and white supremacist groups like the Ku Klux Klan effectively put an end to African American voting in the South for the next eighty years. During that period, while the threefifths slave bonus had been eliminated by Section 2 of the Fourteenth Amendment, the Southern states’ congressional delegations were enlarged by counting 100 percent of their African American populations, even though the discriminatory administration of local election laws combined with the terrorist tactics of the Klan prevented all but a few of them from actually voting. Thus, one could argue, the Southern states went from having a three-fifths bonus before the Civil War to having a five-fifths bonus during this period.

In 1913 two amendments to the Constitution were adopted. The sixteenth Amendment overruled the five-to-four decision of the Supreme Court in Pollock v Farmers Loan and Trust Co which held that a federal statute imposing a tax on income violated the constitutional prohibition against unapportioned “direct taxes”; that amendment is the source of the federal power to impose an income tax. The Seventeenth Amendment replaced the practice of having United States senators chosen by state legislatures with direct elections by the people.

The Eighteenth Amendment, prohibiting the manufacture, sale, or transportation of intoxicating liquors, became effective in 1919; it was repealed

by Section 1 of the Twenty-first Amendment in 1933. Section 2 of that amendment prohibited the transportation of intoxicating liquors into any state that prohibited their use. While nationwide prohibition, the Nineteenth Amendment gave women the right to vote, and the Twentieth Amendment advanced the commencement of the president’s term in office from March 4 to January 20.

The Twenty-second Amendment adopted in 1951, when Harry Truman was president, formally endorsed George Washington’s decision that two terms as president were sufficient and rejected the possibility that a candidate as popular as Truman’s

predecessor, Franklin Delano Roosevelt (who had been elected four times), might be elected more than twice. The Twenty-third Amendment gave the District of Columbia representation in the Congress and in the Electoral College. The ratification of the Twenty-fourth Amendment in 1964 finally abolished the poll tax in federal elections.

The Twenty-fifth Amendment, which became effective in 1967, specified for the first time the procedures to be followed to fill a vacancy in the office of vice president and to respond to the temporary or permanent incapacity of the president. Those procedures were followed by Richard Nixon when he nominated Gerald Ford to become vice president after Spiro Agnew resigned. That amendment also provided that Ford should become president when Nixon resigned. In 1971, the Twenty-sixth Amendment gave citizens who are eighteen years or older the right to vote in both federal and state elections.

In the past forty years only one amendment has been adopted: the Twenty-seventh, prohibiting Congress from changing its salary between elections. It was first submitted to the states in 1789 but was not ratified until two centuries later, in 1992. In those forty years, however, rules crafted by a slim majority of the members of the Supreme Court have had such a profound and unfortunate impact on our basic law that resort to the process of amendment is warranted. One of those rules has changed the character and increased the cost of campaigns for public office, a second has changed the composition of the Congress as well as that of many state legislatures, and two others have unwisely curtailed the powers of Congress.

Moreover, the Court’s death penalty jurisprudence, while improperly enhancing the risk of executing an innocent defendant, has simultaneously removed the principal justification for retaining that penalty. And the Court’s interpretation of the Second Amendment has given federal judges, rather than the people’s elected representatives, the final authority to define the permissible scope of civilian regulation of firearms.

I propose six amendments to the Constitution; the first four would nullify judge-made rules, the fifth would expedite the demise of the death penalty, and the sixth would confine the coverage of the Second Amendment to the area intended by its authors. The importance of reexamining some of these rules is already the subject of widespread public debate, but others have not received either the attention or the criticism that is warranted. For that reason, I shall begin with a discussion of the “anti-commandeering rule,” which prevents the federal government from utilizing critical state resources, thus impairing the federal government’s ability to respond to problems with a national dimension, and explain why it would be prudent to eliminate the rule before a preventable catastrophe occurs.

Six Amendments: How and Why We Should Change the Constitution by Justice John Paul Stevens Published by Hachett Books 2014

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“...Of course I face racism, of course I face other types of discrimination, but the one thing that I’m most concerned about generally are the lives in Africa and Asia and South America where for various reasons there is just a huge income inequality compared to the western nations...”

by Martine Roth photographer Emily Assiran

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It’s not often you talk to someone from the Yoruba tribe, an ethnic group from West Africa. Much less someone from said group that is starring in a soonto-be blockbuster superhero film. So stepping into the spotlight is OT Fagbenle, fresh off of landing a lead role starring opposite Scarlett Johansson in Black Widow, the latest stand alone installment in the Marvel Cinematic Universe. But although Fagbenle is not a household name (YET) doesn’t mean you haven’t seen him on your picture box. In fact, you’ve probably seen A LOT of him, starring as Luke in the Golden Globe and Emmy award winning drama series The Handmaid’s Tale, playing June Osborne’s (Elisabeth Moss) husband. Fagbenle also had lead roles in two UK series, Harlan Coben’s The Five on Netflix and The Interceptor for the BBC. But Fagbenle isn’t just a television-turned-movie actor. He’s also got theater chops. And a knack for directing. He led the National Theatre cast of August Wilson’s New York Drama Critic Circle award-winning play, Ma Rainey’s Black Bottom, to the Olivier Award. He was also nominated for Best Actor (alongside his alma mater Ralph Fiennes) for the illustrious Evening Standard Awards; Fagbenble’s short film Moth won Best Horror Sci-Fi at the London Film Festival. With appearances in Breaking and Entering opposite Jude Law, Robin Wright, and Juliette Binoche, and I Could Never Be Your Woman alongside Michelle Pfeiffer, Paul Rudd, and Saoirse Ronan, is there anything this guy can’t do?

To know about Fagbenle is to know his name, and where he came from, how his name changed over time due to colonization. “My name is originally longer, it was Ifagbenle and Ifa is the traditional religion of the Yoruba people and after that land was colonized by the British and the indigenous languages were banned, Christianity was brought in through my family hundreds of years ago and they distanced themselves from the Ifa religion.”

Born and raised in London, as well as places like Spain and Nigeria, Fagbenle played the saxophone in bands across Europe and performed at the Edinburgh Festival, Wembley Arena, and the Royal Albert Hall. At 16, he landed a role in a Nigerian adaptation of Macbeth and attended the Royal Academy of Dramatic Arts. After many theater performances across the UK—national tours of shows such as Ragamuffin, Romeo & Juliet, Porgy and Bess—he garnered multiple awards and nominations and grabbed the M.E.N. Theatre Award for Best Actor in a Leading Role for the Pulitzer Prize and Tony Award nominated play Six Degrees of Separation.

But Fagbenle is aware of his privilege and it is not lost on him. He knows of income equality and how different the West is. And it is of concern. He won’t hide behind celebrity and shelter himself and recently launched the charity organization ABC Foundation which is dedicated to providing tech opportunities to young women in Africa. “I’m aware that in this world there are those who have the least amount of power economically and politically,” says

“...I’m aware that in this world there are those who have the least amount of power economically and politically...I’m not inclined to spend a lot of time talking about the, ‘Woe is me...”

“... I just think we just live in the most extraordinary times, things are moving so fast and in terms of content there is such brilliant diversity of content and such high quality ...”

Fagbenle. “I’m not inclined to spend a lot of time talking about the, ‘Woe is me.’ Of course I face racism, of course I face other types of discrimination, but the one thing that I’m most concerned about generally are the lives in Africa and Asia and South America where for various reasons there is just a huge income inequality compared to the western nations.”

“I think about injustice. I think about the injustice of sexual violence in our countries and then I think about myself. It’s hard to divide one’s time according to what’s actually important, what actually matters. It’s not always obvious.”

He has seen a change in how black actors are seen on television and in the movies. More and more each day, the playing field in the industry is being leveled piece by piece and a large reason is our need to consume content, mainly with online streaming platforms. Good times indeed. “I just think we just live in the most extraordinary times, things are moving so fast and in terms of content there is such brilliant diversity of content and such high quality,” Fagbenle raves. “When I graduated in 2001, there wasn’t really a Black British actor that was known in America. Like there was no black movie and now we have Chiwetel Ejiofor, Daniel Kaluuya and you have David Oyelowo. The industry has grown so large and so diverse to encapsulate so many artists.”

Fagbenle’s big role is in The Handmaid’s Tale. He got the part rather quickly and laments on how many auditions after auditions an actor will go through and not get the part. This was different. “There’s so many times as an actor you do round after round of auditions and then it doesn’t work out, but I just got the audition sent to me and they asked me to put myself on tape,” laughs Fagbenle. “I recorded a couple of scenes in my kitchen and then I got the part. I was in Tanzania when I got the news.”

Black Widow is just the tip of the iceberg. More to come through the pipeline, his life has had hits and misses, and a few roles he wished he didn’t say no, highs and lows so to speak. One role in particular still makes him ache. “There were a couple of roles, either an audition or something I didn’t follow through on for various reasons. One was American Gods. I was asked to do short list audition for that and at the time I booked a part in a play at the Ascot Theater, a part that I wanted to play since I was 19 and in the theater the money you would make in six months is about one week you would make in one week on American Gods. I was really questioning quite hard.”

But it’s not about the roles he could’ve had, it’s about the future and his pursuit of two main projects: One is an African History project he’s developing; the second one is for his ABC Foundation, this year having delivered tech equipment to over 60 young women and helped support the establishment of a tech hub going into Zimbabwe. photographer Emily Assiran groomer Stacy Skinner stylist Mindy Saad

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“Let’s not even wait until I’m old to not give a fuck what people think.”

There’s a poem by Jenny Joseph that resonates with Helena Bonham Carter. It’s called, “The Warning,” and it contemplates what all of us self-aware, do-as-you-should, non-intrusive citizens of the world have to look forward to: a dotage where we do whatever the hell we want to do.

But for Helena Bonham Carter... well, why wait? “You just have to be comfortable and wear whatever you want. I never put too much thought into what other people are thinking, and that’s really the way to go. And having fun. And not taking things too seriously. The scrutiny of other people is to be taken lightly, I think. Does that make sense?”

Sure it does.

For a woman in a career that defines people by their looks, Bonham Carter admits there’s only so much control you have over being type-cast. “I’ve never been interested in being cast for what I look like, but inevitably you have to go with what you’re given. But I’ve done a hell of a lot to camouflage it over the years.” Remember Planet of the Apes?

“I’ve been a chimpanzee, for god’s sake.”

Interview by Spencer Heyfron Article by Chesley Turner Photography: Sean Gleason

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“.... As much as I love my kids, I couldn’t have

[stayed at home] full time and I wouldn’t have been that good at it, either. It’s better that they had a happy mother that was stimulated. And that I had a use beyond not being able to cook...”

As a mother of two—Billie, 15, and Mel, 11—Bonham Carter admits to the welcome change that motherhood brought to her career. “In a way, it’s a great relief because it’s no longer all about you. It’s a great escape, having children, because the acting profession can be incredibly, unhealthily narcissistic, I guess.” Having children means less flexibility with travel and film schedules, which culls the parts you can accept. “Originally you were out working because that was your passion and now it’s like, I’ve got a different passion. But you still have to work because [otherwise] you’d feel bored. As much as I love my kids, I couldn’t have [stayed at home] full time and I wouldn’t have been that good at it, either. It’s better that they had a happy mother that was stimulated.

And that I had a use beyond not being able to cook.”

In one of Bonham Carter’s next big roles, she picks up the Netflix-funded mantle that was broken in by another actress.

Taking over the portrayal of Princess Margaret in The Crown from Vanessa Kirby has been a challenge and a treasure. There is the dual challenge of portraying a well-known and welldocumented woman, and carrying on with a character already begun by another actress. To prepare, she read biographies and viewed footage, but also found close friends of the princess.

Roddy Llewellyn, the British baronet who was with Princess Margaret for eight years, was particularly generous with insights to help bring the portrayal to life.

“It was a real testament to her, because [her friends] so loved her and wanted to talk about her. There was a lot of residual love and happy memory.” She found the princess’s perfume, learned her tastes, and listened to the music she listened to.

“But I don’t think it was particularly her. It was very political, and what she thought they would like to hear. It was her behaving. She actually was very clear: she loved show tunes.”

But as the award-winning series makes clear, Princess Margaret’s circumstances in life dictated her behavior, even when she struggled against it. “She only spoke when she needed to. She moved very slowly. Frankly, that’s part of the job.

Being a royal at that point was just being seen, getting out of the car, going from point A to B wherever there was an opening. You were there to be seen so you walked very slowly. It was a symbol of status if you moved very slow. She had a real sense of performance, too, and it would change depending on different periods of her life.”

Bonham Carter was careful with bringing Princess Margaret back to the screen.

“When I feel like I know someone and I’m representing them, it’s a responsibility. You fill yourself with a lots of homework and then you let it intuitively sink in.” Returning to filming after a shooting hiatus, Bonham Carter was pleased that the character came back so quickly. “I

thought I’d have to resurrect her, but it doesn’t take long. We just do a readthrough and she drops straight back in.

The little looks and physical things and vocal things. It’s like wearing a cloak. It’s an atmosphere that descends over your skin. You’re never lonely when you’re acting. It’s like being with somebody.”

Based in London and completely European by blood, Bonham Carter is depressed by the entire prospect of Brexit. “I think

it’s catastrophic. This whole thing is a total nightmare and a waste of time.

It’s been misinterpreted and it’s a mess and it’s so scary. It’s a terrible idea. I’m firmly a remainer. I don’t understand any argument for leaving other than some arrogant identity crisis. I can understand why people are very angry if they’re not listened to, but...I would like to say, ‘Ok, you work it out. Do you really want the reality? Do you really want all these things to happen?

And how is it going to improve life for future generations?’”

Communication is lacking in political affairs on both sides of the Atlantic. “Some people haven’t been listened to, but there is no leader who got it right. No one can be understood if everyone just shouts at everybody, in any kind of conflict. We have to listen and work it out but with the lack of tolerance for someone else.”

Sounding not unlike a mother counseling two children at odds to interact like adults, she reaffirms, “respect is absolutely paramount, particularly with people who are different. You don’t just berate someone or ignore them or overlook them or go your own way like an isolationist. It just doesn’t work.”

The consequences of isolationism and arrogance on a nationwide scale is front-of-mind for Bonham Carter, who has been working recently on a documentary called, My Grandparents’ War. In the film, actors recount their grandparents’ experiences of WWII, recording the memories of a generation who were children during the terror that rocked continents. “It isn’t much longer until we’ll have no living memory of what it was like. There’s a certain eloquence that comes from that sort of innocence of experience, too.”

Bonham Carter’s great-grandfather, Herbert H. Asquith, was Prime Minister of Great Britain from 1908 to 1915. With that bloodline, she was often characterized as

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too posh at the beginning of her career.

“I think people just thought it was easier for me because I’m posh and obviously, well, it didn’t help me act. But I had a privileged life. I mean, life is easier if you have some money. But we weren’t all that wealthy and I was never conscious of being posh, to be honest, until the papers started writing about it. There’s a perception, but you just let it go. You can’t do a thing about how people perceive you.

You just let them carry on perceiving.”

When it comes down to it, she was less concerned with what others thought. She was just trying to get past her self-perception. “I didn’t feel particularly talented.

I think I probably took it personally because I thought, ‘Oh, they just think she’s bad because she’s posh.’ It doesn’t really matter. It’s just a label.”

With over two decades of acting experience, she’s played a Shakespearian ingenue, a lunatic witch, a classic film star, a slew of royals, and a madwomen who baked people into meat pies. “I’ve had East End, I’ve played Lovett, I did East End Jewish, I did Northern. I’ve done every single fucking accent there is, practically, in this country. It doesn’t matter. You’ve got to let go of whatever you’re perceived as.”

What’s much more important, what’s endemic, is who you actually are. And for Helena Bonham Carter, that’s the culmination of a remarkable cross-section of cultures and countries. “I’m very proud of where I came from. Not because they were posh but because they were amazing human beings. I’ve got a very English side, and then my mom’s side was French, Spanish, Jewish, Austrian... you know, total European. It’s a really very interesting mix.”

With the release of My Grandparents’ War in November, Bonham Carter isn’t only looking at those who have come before her in the family tree, but also those who will come after. “I look at my daughter and think, ‘You’re the receptacle of all these ancestors. All these powerful men, all stuffed into a young body.’ No wonder she’s a force.”

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“... I’ve never been

interested in being cast for what I look like, but inevitably you have to go with what you’re given. But I’ve done a hell of a lot to camouflage it over the years. Remember Planet of the Apes? I’ve been a chimpanzee, for god’s sake ...”

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Civility Power

Women motional2019 Emotio pw2019

advocates women's rights, social fairness and equal opportunity. It is a celebration of women from all spheres who endorse these aims and make a difference. An example and role model for future generations of young women, our nominees lead by example, are accommodating and flexible by nature, yet strong and immovable on points of principle; always determined but always aware of circumstance.

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me the good old days of heroes and vil-

Cele lains, the people you can bravo or hiss.

Capacity There was a truth

to them that all the

slick credulity of today cannot touch...”

BETTE DAVIS

Bette Davis’s career, which spanned some 60 years, included 86 films and 15 television movies. In addition to the countless honors and awards, she earned the respect and admiration of audiences and colleagues alike. She was best known for playing strong and often scheming characters. Her large, expressive eyes, exaggerated mannerisms, distinctive voice and diction, and ubiquitous cigarettes became her trademarks.

She is often credited with broadening the range of roles available to actresses as well. Fans still recite her most memorable lines, such as “fasten your seatbelts, it’s going to be a bumpy night!” (All About Eve, 1950), “You dirty swine!

I never cared for you—not once!” (Of Human Bondage, 1934) and “Jerry, don’t let’s ask for the moon. We have the stars.” ( Now, Voyager, 1942)

cuity Power Women 2019

Civilit

Cover: Helena Bonham Carter MC: Sukanya Krishnan

erity Virginia C. Addicott | Logistics SVP & President, Custom Critical and Global Operations, FedEx Kim Beardsley | VP, Worldwide Parts Services, John Deere

Joanne Collins Smee | SVP, Chief Commercial Officer, Xerox

Nancy Daniels | Chief Brand Officer, Discovery & Factual, Discovery Inc.

SUBRATA DE | Snr. Executive Producer & Showrunner, VICE Investigates, Hulu

Kerry Ehrin | Creator, Executive Producer, The Morning Show on Apple TV+

Charisse Evans | VP, Customer Experience Integration, Delta Air Lines

aNNE FINK | President, Global Foodservice, PepsiCo

Debbie Fiorino | Chief Operating Officer of Dream Vacations, CruiseOne & Cruises Inc.

Deirdre Fitzgerald | Executive Vice President, Global Apparel, New Balance Athletics

Amy Friedrich | President, U.S. Insurance Solutions, Principal Financial Group MaËlle Gavet | Entrepreneur, Former COO, Compass Real Estate

Cheryl Guerin | EVP, North America Marketing & Communications, Mastercard

MAJOR GENERAL Jeannie Leavitt | 1st Female US Fighter Pilot, Commander, Air Force Recruiting Service

CAPTAIN Kate McCue | First Female US Cruise Liner Captain, Celebrity Cruises NICOLA PALMER | Chief Product Development Officer, Verizon

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MEGAN STOWE | EMEA Strategic Sourcing & International Supplier Diversity & Inclusion Director, Intel LORI SUNDBERG | EVP, Chief Human Resource Officer, Western Digital

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091

A vility Charisse Evans

VP, Customer Experience Integration, Delta Air Lines “...Yes, women play an integral role in combatting climate change. When you look back at key events throughout history, women have stood up and championed change even when others were silent...“

PWQ: Is there any gender specific role for women to play in the Climate Change debate?

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Acuity Mary Kay Vrba

President & CEO, Dutchess Tourism, Inc.

Capac “...I try to lift all women up when I have a chance, whether through mentorship, advancement, monetary support or a good listening heart. I think corporations need more women on boards of directors, but we as women need to be more supportive of one another...“

PWQ: In what way do you work for women’s power and equality?

Ac Emoti

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“...The key to life is accepting challenges.

Once someone stops doing this, (s)he’s dead...”

Bette Davis

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EVP, Chief Human Resource Officer, Western Digital “...Yes. I do think that asking previous salary contributes to the gender pay gap between men and women. California was one of the first states that outlawed this practice and I am in favor of a nationwide ban.... “ PWQ: Do you think that asking previous salary requirements in job interviews contributes to the pay gap between women and men?

Equani pw2019

Ac Emoti

vility C Excepti Kerry Ehrin

Creator, Executive Producer, The Morning Show on Apple TV+

“...There are so many strong, amazing women that disappear with the tide and I identify with their struggles; their isolation and strength and perseverance when no one was taking care of them and they were taking care of everyone...“

PWQ: With which historical figure do you most identify?

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cuity ionality

Capacit Amy, Kerry & Lori

ionabilit Lori, Nancy & Amy

Equani

Charisse Evans

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Excep Nancy Daniels

Chief Brand Officer, Discovery & Factual, Discovery Inc.

pw2019

“...When any group feels their rights are being threatened in a significant way, activism begins to bubble up and individuals start banging on doors for their opportunity.

It is empowering, exciting and extremely important that we all feel we have the voice and the power to make changes.�

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She constantly asked me, ‘Why do you believe that? What facts and emotions influenced your thinking? What ideas did you build off of to reach your opinion?’ That advice has made me a better thinker, a better listener and a better leader...“

apacity PWQ: What is the best piece of advice you’ve ever been given?

motion Amy Friedrich

President, U.S. Insurance Solutions, Principal Financial Group

099

Acui Megan Stowe

pacity

EMEA Strategic Sourcing & International Supplier Diversity & Inclusion Director, Intel

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eleri “...As a society, we need to remember we all bring something to the table through diversity of thought. Women can do anything a man can do and in some cases bring a stronger skill-set to the table due to her different way of looking at things through feminine eyes....“

PWQ: In what way do you work for women’s power and equality?

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Anne Fink

President, Global Foodservice, PepsiCo

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ity “...Comfort is overrated. Not only is it overrated, people should actively make themselves uncomfortable. Because that’s when you experience the most growth, personally and professionally. If you feel that pit in your stomach, and your legs get the urge to carry you in the opposite direction as fast as they can, you’re doing it right. Carry on...“ PWQ: What do you consider to be the most overrated virtue?

Equa Ac

Cheryl Guerin

EVP, North America Marketing & Communications, Mastercard

Emoti

vility C Exceptio “...Another area I particularly have a passion for is focused on women entrepreneurship and small business. Women are a force to be reckoned with in the small business space, contributing over $3 trillion to today’s economy and opening over 1,800 businesses every day. It’s these women, and the women they inspire, that have true impact on society, on our communities and on economies....“ PWQ: How do you balance your efforts in pursuit of gender equality?

animit cuity

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“...There have been other times in my career where one comment such as ‘I think you can do more’ changed my thinking and the path of my career. I call that drive by coaching and inspiration.

One comment can change everything, for the good or the bad...“

Capacit PWQ: Was there a defining moment or experience in your life that led you to where you are today?

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VP, Worldwide Parts Services, John Deere

Em

vility Ac Except “...Life is a jest; and all things show it. I thought so once; but now I know it...�

Bette Davis

Teresa, Kim, Anne & Cheryl

motion-

Capa

cuity

tionabili Teresa L. White

President, Aflac U.S.

“... I think for women self doubt becomes the biggest enemy that we have. In some ways it’s a positive, in other ways it’s a negative.

From a positive perspective, we are always looking at ourselves and trying to improve ourselves and how we can get better at what we do. But then gone awry, then what happens is we basically don’t take the chance ... “ PWQ: why can’t women just ask the question and say give me a shot?

Em Capacity Excepti ivility Major General Jeannie Leavitt

First US Female Fighter Pilot & Commander, Air Force Recruiting Service

“...I had the opportunity to choose the first assignment. Many people warned me not to ask for a fighter [plane] since I was not allowed to fly it. I was pretty nervous when I stood up in that crowded auditorium and chose the assignment to fly the F-15E Strike Eagle. While I was told “no” at the time and chose a different aircraft, the DoD policy soon changed and my assignment changed to the F-15E.... “ PWQ: Was there a defining moment or experience in your life?

motional ionabilit Angela, & Tracy

Tracy & Jeannie

Emo Capacity Excepti ivility Tracy Preston

SVP, General Counsel, Corporate Secretary & Chief Compliance Officer, Neiman Marcus

A

“...Yes, there is a collective ownership in politics for women – for their leadership, skill, expertise, perspective and their voice. This has gained momentum, financial support and mentorship for women to run for political office and WIN... “ PWQ: Any changes in the political landscape for women?

otional ionabilit

Acu Maëlle Gavet

Entrepreneur, Former COO, Compass Real Estate

“...I feel very passionate about what I call the power of sisterhood. I do think that women are not enough leveraging the unbelievable power that they have… that we have when we’re together and I do think that one of my personal passions of mine is connecting woman...“ PWQ: Should there be a specific approach in pursuit of gender equality?

Emot C a p a

Excepti

Civili Angela & Tracy

tionality c i t y

Angela Roseboro

Chief Diversity Officer, Riot Games

ionabilit “...They are kind of my sheroes (US women’s soccer champions) in standing up. We just need to have more voices that are unafraid to speak. I would say this as my own opinion but if we’re not speaking up and saying things about how to get more women into places of power, and if we’re not being unapologetic for asking for that and for demanding for that, I don’t know if I can depend on others to do it....“

Acui

ity

PWQ: In what way do you work for women’s power and equality?

C a p a

Civil motionality Deirdre Fitzgerald EVP, Global Apparel, New Balance Athletics

“...Education informs and empowers.

A quality education must be accessible to everyone and be properly funded. I question the current cost of universities and don’t fully understand the expense rationalization...”

PWQ: Is Education one of the top three responsibilities of a civilized society? If so, why is it prohibitively expensive?

a c i t y

lity “...I admired the influence and impact Michelle Obama had while she was First Lady. She was an incredible role model and directly and indirectly touched so many people’s lives. The role of First Lady provides one with the freedom to focus on whatever causes are most important to you and have a national forum for your message...“ PWQ: If you could have someone else’s job for a day, who and what would it be?

Candace Woods

Acu

SVP & Chief Actuary, Prudential

vility C a p a Debbie Fiorino COO, Dream Vacations, CruiseOne & Cruises Inc.

Excep “...Eleanor Roosevelt. Regardless of your politics, when we look at Power Women, Eleanor was a woman who had power and used it to stand up for her beliefs and drive change. She battled with not having the typical body type or physical attractiveness – something we still battle with today as women...“ PWQ: With which historical figure do you most identify?

ionality

yc i t y Debbie & Candace

ptiona Virginia & Bellamy

Civi Logistics SVP & President, Custom Critical and Global Operations, FedEx

Virginia Addicott

“...As a society, we cannot continue to perpetuate the rules and norms that tend to exclude women from higher level or high impact roles.

For example, I have seen that many non-profit boards only want to add CEOs to their ranks. Unfortunately there are not many women CEOs!...”

nability PWQ: What do you think is the number one action for women’s power and equality?

ility Bellamy Young Actor, Singer, US Humane Society, The Shelter Pet Project

“...I feel we’re at a tipping point and I may be overly optimistic, but at least the conversation now is so…like the cacophony is getting louder about the injustice of only a few being able to have a delightful education, the social inequity which just perpetuates a socially unjust future. So, I want to pray that we are on the brink of rectification, you know?”

C a p a c

y

PWQ: Why is it so prohibitively expensive for education to be part of a civilized society?

Emotion

Civili

xception Joanne Collins Smee SVP, Chief Commercial Officer, Xerox

“...We should be taxing commerce for any pollution they introduce and providing tax credits for those firms and individuals that are actively limiting carbon emissions. The recent tax abatements given for buying electric vehicles are a good example of individuals being rewarded for lowering their carbon footprint...�

cuity E PWQ: Do you believe industry should factor into a ten-year plan for the costs involved in mitigating the effects of Climate Change?

ity

nability Subrata De

Snr. Executive Producer & Showrunner, VICE Investigates, Hulu

“...A “Power Woman” can be a mother who teaches her kids to be fearless and outspoken. She can be a boss who takes the time to pay it forward. She can be a woman who owns her role and identity and empowers others to do the same. Power women create spaces where people can thrive. And power women also generate powerful legacies, by creating pathways to success for themselves—and others...“

C a p a PWQ: What makes a Power Woman?

Emotionalit

Civili Kate McCue

First Female US Cruise Liner Captain, CelebrityCruises

E

“...I’m passionate about gender equality because I have been given the responsibility and platform to represent women in one of the oldest existing occupations, sailing the world’s oceans. By being a ‘first,’ it is an honor to pave the way for others everyday in everyway....“ PWQ: How do you balance your efforts in pursuit of gender equality?

cuity

ity “...it is critical that we reach the next generation to ensure young girls take advantage of opportunities with passion, skill, courage and confidence. It’s up to each of us to encourage young women to follow their abilities wherever those abilities takes them, to fully explore their interests, and continue to learn...“

Emotionali PWQ: How do we enhance the growth and presence of women in high profile positions?

C a p a

Nicola Palmer

Chief Product Development Officer, Verizon

Civility

motionalpw2019

Power Women 2019

Bankabil Emoti CONGRATULATIONS 2019 MOVES POWER WOMEN

WITH THANKS TO:

NEW YORK photography by Tony Gale, Travis W. Keyes; styling Megan Mattson, Maddison Hopkins; makeup and hair Jacqueline Cookson, Joli-Ann Cotray, Johnny Gonzalez, Tara Lauren, Gabriellisa Garcia, Jennifer Brent for Tracey Mattingly Agency using Glow Skin Beauty and Aveda, Mari Shten for Exclusive Artists shoot locations provided by Corcoran

LOS ANGELES photography by Stephen Busken; styling Kassidy Nagy; hair and makeup Colleen Guzinski, Olena Seregina; LONDON photography by Sean Gleason hair and makeup Pauline Briscoe location YoYo Studios

KEY WEST photography by Karrie Porter; styling Jenn Porter; hair and makeup Talie Ayerw, Debra Kleinman

clothing for the shoots provided by Lafayette 148, Ann Taylor, Manolo Blahnik, Camilla and Marc, Alexander McQueen from Neiman Marcus Hudson Yards, 3.1 Phillip Lim, Eileen Fisher, Wandering, Gerard Darel, Banana Republic, White House Black Market, Roland Mouret, Theory, Jennifer Zeuner, Alice & Olivia, d’Estree,Victoria Beckham, Brooks Brothers, Malone Souliers, Sezane, Eloquii, Vince, ALC

122 120

Col Jacqueline Cochran

Maj Gen Jeannie Leavitt

Col Eileen Collins

TRAILBLAZERS For more than 70 years, women have blazed new trails in aviation. In 1942, Jacqueline Cochran helped form the Woman Airforce Service Pilots (WASP).

Maj Gen Jeannie Leavitt became the Air Force’s first female fighter pilot in 1993, and later the first female Fighter Wing Commander. In 1995, Col Eileen Collins became the first female space shuttle pilot. Together, they’ve inspired a new generation of women leaders who are breaking new barriers every day.

WHO WILL BE NEXT?

FROM ALL YOUR WINGMEN, CONGRATULATIONS TO MAJ GEN JEANNIE LEAVITT FOR BEING HONORED AS ONE OF MOVES MAGAZINE’S POWER WOMEN OF THE YEAR.

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Gen Leavitt Print n/a

Michelle D .125 each side

Helena A

CONGRATULATIONS to Dutchess Tourism President & CEO

MARY KAY VRBA

Celebrating her recognition as a 2019 Moves Power Woman and her 25 years’ experience telling the story of Dutchess County, New York to travelers all across the world.

When does awesome become awe?

Xerox congratulates Joanne Collins Smee, Signature image quality on in-demand 2019 Power Woman. media. That’s the beauty of the new Xerox® Baltoro™ HF Inkjet Press.

With a powerhouse When brilliant, strong, determined women combination of High Fusion engines lead byprint example, everyone benefits. Xerox and ink, plus 100% Xerox-developed, is proud to haveXeroxfearless female leaders manufactured print heads, can a at theyou helm ofspark our organization.

Thank you, reaction like no other.Joanne, for your awe-inspiring influence and dedication, now and always.

xerox.com/baltoroHF xerox.com

© 2019 Xerox Corporation. All rights reserved. Xerox® and “Made To Think”

© 2019 Xerox Corporation. All rights reserved. Xerox®, “Baltoro” and “Made To Think” are trademarks of Xerox Corporation in the United States and/or other countries. are trademarks of Xerox Corporation in the United States and/or other countries.

CONGRATULATIONS NANCY DANIELS

Our fearless leader who is blazing trails for the next generation.

- Your Discovery family

Congratulations to Captain Kate McCue, the cruise world’s first and only American female captain, for being awarded 2019 Moves Power Woman.

©2019 Celebrity Cruises Inc. Ships’ registry: Malta and Ecuador.

MAKING MOVES. MAKING WAVES. MAKING HISTORY.

Join Captain Kate on board the transformational Celebrity Edge® and see why we’ve been voted Best Premium Cruise Line eleven years running.

Visit celebrity.com, call 1-800-CELEBRITY, or contact your travel advisor.

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7/31/19 5:18 PM

DEBBIE FIORINO

Chief Operating OfďŹ cer of Dream Vacations, CruiseOne and Cruises Inc. for your fearless leadership and focus on providing opportunities that help propel women toward greatness!

“ To be a Power Woman is to be a woman with

humility, confidence and ambition.�

New Balance thanks our own

Deirdre FitzGerald

for her dedication, leadership, and tireless advocacy for women in business.

Congratulations

Kim Beardsley One of our influential

power women,

leading the way for generations of women to come.

Principal® proudly salutes Amy Friedrich, a 2019 Moves Power Woman Amy Friedrich, president of U.S. Insurance Solutions at Principal, community volunteer, mother of teenage daughters, and advocate for being a good human.

©2019 Principal Financial Services, Inc. Principal, Principal and symbol design and Principal Financial Group are registered trademarks and service marks of Principal Financial Services, Inc., a Principal Financial Group company. Insurance products issued by Principal National Life Insurance Co (except in NY) and Principal Life Insurance Co. Plan administrative services offered by Principal Life.Securities offered through Principal Securities, Inc., 800-247-1737, Member SIPC and/or independent broker/dealers. Principal National, Principal Life, and Principal Securities are members of the Principal Financial Group®, Des Moines, IA 50392.

958718-092019

We salute Virginia Addicott and all the New York Moves 2019 Power Women

Š 2019 FedEx

VICE Media Group salutes Subrata De, the Emmy-winning VICE News team and all those advocating for equality in the newsroom and beyond.

A company is only as great as its people.

Prudential congratulates

Candace Woods, SVP and Chief Actuary for being named a New York Moves 2019 Power Woman.

Š 2019. Prudential, the Prudential logo, the Rock symbol and Bring Your Challenges are service marks of Prudential Financial, Inc. and its related entities, registered in many jurisdictions worldwide.

0307132-00002-00

THE WORLD IS CHANGED WITH YOU OUT IN IT. On behalf of Delta’s 80,000 employees, we’re honored to congratulate Charisse Evans, Delta’s V.P. of Customer Experience Integration, for the 2019 Power Women Leadership Nomination.

Thank you for your thoughtful leadership and the vital role you play in serving and connecting our customers around the world. #DeltaProud

Apple Congratulates

Kerry Ehrin Your Powerful Storytelling Inspires Us All With admiration, Your Friends at Apple TV+

LEADING BY EXAMPLE We salute Tracy M. Preston and each of the 2019 Power Women Awards Gala honorees for empowering and inspiring others with your many accomplishments and dedication.

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10/24/19 3:44 PM

www.lilithparis.com

www. ervk .org

the 21st century voice of the first lady of the world

Inspiring and empowering women and girls across the globe to be champions of social justice and humanitarian efforts, fulfilling Eleanor Roosevelt's vision to create a more just and equitable world. #whatwouldeleanordo

2019 Moves Mentor Awards Luncheon

000

moves mentor

MOVES MENTOR PRESENTATION LUNCHEON

Moves Magazine advocates for women’s rights, social fairness and equal opportunity to its readers. Since starting eighteen years ago, the ethos of the publication— and what serves as its beating heart—has been to always empower women: Lift up, encourage, but most of all, to call out the patriachy in the US. The ‘Moves Mentor’ award is in recognition of, and to specifically highlight, the role individual women leaders play in shaping and forming the next generation; the energy, experience and expertise used in mentoring today’s millennials into tomorrow’s executives.

At the 2019 Moves Mentor Awards Luncheon. Orange is the New Black star Taylor Schilling gave a stirring keynote while award winners Christy Pambianchi, Margaret Larezos, Tia Silas, Julie Larson-Green, Smita Pillai, Col. Lynn Marm, and Barbara Whye inspired the handpicked guests

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A Four-Step Process to Improve Leadership Development, Engagement and Knowledge Transfer.

“Lori Bachman’s MentorShift…A profound and lasting way to make a difference.”

DF Y P D S RE -REA W T LO RIN TP O N

—Mark Sanborn, NYT Best Selling Author, You Don’t Need a Title to Be a Leader

***

“Actionable insights that are full of heart.”

—Sam Horn, Washington Post best selling author, Got Your Attention?

***

“...a world-class mentoring.”

book

on

—Norm Augustine, Chairman and CEO, Lockheed Martin Corporation (ret)

***

“A refreshing perspective on mentoring that lasts.”

—Nina Nashif, CEO, Healthbox; World Economic Forum Young Global Leader; Crain’s Chicago “40 Under 40”

Coverwww.loribachman.com concept 7: 12/20/13 Written by Lori Bachman Foreword by Mark Sanborn

MentorShift is a must read for anyone wanting to raise their own impact as they help others rise

000

The 2019 Millennial Forum panel discussions and reception featured an inspiring group of women touching on topics such as the significance of female resilience, women and technology, how getting the job done is a woman’s forte, and why the success of a venture is not only measured in terms of winning and losing. Shark Tank star and Moves cover Daymond John was on hand to pitch in with his business acumen, while panelists Sarah Lee, Jessica Matthews, Jessica Federer, Mary Kay Vrba, Catherine Hernandez-Blades, Cynthia Armine-Klein, and Therese Bassett brought lively conversation to the forefront on a myriad of issues. photographers Maksim Axelrod, Nathan Heywood, Jehanzeb Hussain; videographers Fabienne Riccoboni and Emiliano Sanchez; event coordinators Catalina Perez, Veronica; technician Zach Bartley; audio Max Rice; location Manhattan Manor nyc

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cont’d

Algorithms of oppression continued from page 87

score the structural ways that racism and sexism are fundamental to what I have coined algorithmic oppression. I am writing in the spirit of other critical women of color, such as Latoya Peterson, cofounder of the blog Racialicious, who has opined that racism is the fundamental application program interface (API) of the Internet. Peterson has argued that anti-Blackness is the foundation on which all racism toward other groups is predicated. Racism is a standard protocol for organizing behavior on the web. As she has said, so perfectly, “The idea of a n*gger API makes me think of a racism API, which is one of our core arguments all along—oppression operates in the same formats, runs the same scripts over and over. It is tweaked to be context specific, but it’s all the same source code. And the key to its undoing is recognizing how many of us are ensnared in these same basic patterns and modifying our own actions. Peterson’s allegation is consistent with what many people feel about the hostility of the web toward people of color, particularly in its anti-Blackness, which any perusal of YouTube comments or other message boards will serve up. On one level, the everyday racism and commentary on the web is an abhorrent thing in itself, which has been detailed by others; but it is entirely different with the corporate platform vis-à-vis an algorithmically crafted web search that offers up racism and sexism as the first results. This process reflects a corporate logic of either willful neglect or a profit imperative that makes money from racism and sexism. This inquiry is the basis of this book.

In the following pages, I discuss how “hot,” “sugary,” or any other kind of “black pussy” can surface as the primary representation of Black girls and women on the first page of a Google search, and I suggest that something other than the best, most credible, or most reliable information output is driving Google. Of course, Google Search is an advertising company, not a reliable information company. At the very least, we must ask when we find these kinds of results, Is this the best information? For whom? We must ask ourselves who the intended audience is for a variety of things we find, and question the legitimacy of being in a “filter bubble, 156

when we do not want racism and sexism, yet they still find their way to us. The implications of algorithmic decision making of this sort extend to other types of queries in digital media platforms, and they are the beginning of a much-needed reassessment of information as a public good. We need a full-on reevaluation of the implications of our information resources being governed by corporate- controlled advertising companies. I am adding my voice to a number of scholars such as Helen Nissenbaum and Lucas Introna, Siva Vaid- hyanathan, Alex Halavais, Christian Fuchs, Frank Pasquale, Kate Craw- ford, Tarleton Gillespie, Sarah T. Roberts, Jaron Lanier, and Elad Segev, to name a few, who are raising critiques of other forms of corporate information control (including artificial intelligence) in hopes that more people will consider alternatives.

Over the years, I have concentrated my research on unveiling the many ways that African American people have been contained and constrained in classification systems, from Google’s commercial search engine to library databases. The development of this concentration was born of my research training in library and information science.

I think of these issues through the lenses of critical information studies and crit- ical race and gender studies. 154 As marketing and advertising have directly shaped the ways that marginalized people have come to be represented by digital records such as search results or social network activities, I have studied why it is that digital media platforms are resoundingly characterized as “neutral technologies” in the public domain and often, unfortunately, in academia.

Stories of “glitches” found in systems do not suggest that the organizing logics of the web could be broken but, rather, that these are occasional one-off moments when something goes terribly wrong with near-perfect systems. With the exception of the many scholars whom I reference throughout this work and the journalists, bloggers, and whistleblowers whom I will be remiss in not naming, very few people are taking notice.

We need all the voices to come to the fore and impact public policy on the most unregulated social experiment of our times: the Internet.

‘

SHE HAS HER MOTHER S LAUGH continued from page 35

“ Magisterial .”

—T H E AT L A N T I C

cont’d

“ Extraordinary.”

—T H E N E W YOR K T I M E S

“ Engrossing .”

—W I R E D

But very often genes cannot give us what we really want from heredity. Each of us carries an amalgam of fragments of DNA, stitched together from some of our many ancestors. Each piece has its own ancestry, traveling a different path back through human history. A particular fragment may sometimes be cause for worry, but most of our DNA influences who we are—our appearance, our height, our penchants—in inconceivably subtle ways.

While we may expect too much from our inherited genes, we also don’t give heredity the full credit it’s due. We’ve come to define heredity purely as the genes that parents pass down to their children. But heredity continues within us, as a single cell gives rise to a pedigree of trillions of cells that make up our entire bodies. And if we want to say we inherit genes from our ancestors—using a word that once referred to kingdoms and estates—then we should consider the possibility that we inherit other things that matter greatly to our existence, from the microbes that swarm our bodies to the technology we use to make life more comfortable for ourselves.

We should try to redefine the word heredity, to create a more generous definition that’s closer to nature than to our demands and fears.

I woke up one bright September morning and hoisted Charlotte, now two months old, from her crib.

As Grace caught up on her sleep, I carried Charlotte to the living room, trying to keep her quiet. She was irascible, and the only way I could calm her was to bounce her in my arms. To fill the morning hours, I

kept the television on: the chatter of local news and celebrity trivia, the pleasant weather forecast, a passing report of a small fire in an office at the World Trade Center.

Having been a father for all of two months had made me keenly aware of the ocean of words that surrounded my family. They flowed from our television and from the mouths of friends; they looked up from newspapers and leaped down from billboards. For now, Charlotte could not make sense of these words, but they were washing over her anyway, molding her developing brain to take on the capacity for language. She would inherit English from us, along with the genes in her cells.

She would inherit a world as well, a human-shaped environment that would help determine the opportunities and limits of her life. Before that morning, I felt familiar with that world. It would boast brain surgery and probes headed for Saturn. It would also be a world of spreading asphalt and shrinking forests. But the fire grew that morning, and the television hosts mentioned reports that a plane had crashed into it. I rocked Charlotte as the television wove between ads and cooking tips and a second plane crashing into the second tower. The day mushroomed into catastrophe.

Charlotte’s fussing faded into sleepy comfort. She looked up at me and I down at her. I realized how consumed I had become with wondering what versions of DNA she might have inherited from me. I kept my arms folded tightly around her, wondering now what sort of world she was inheriting.

A profoundly original perspective on what we pass along from generation to generation.

Read excerpt at PRH.com/hermotherslaugh 157

feature

basicinstinct

by Karen Hartline digital art by Denise

Envy. As I see it, in New York City, few emotions can be equally heralded for making this city the unique place we all cherish.

066

Not long ago, I was a New York City public school teacher. I’d get up every morning at 6AM, get on the M4 bus, and spend the entire ride thinking, I can’t do this. I could blame the overcrowded classrooms, financial strain, and bad management commonplace in the city’s public schools for the misery and fear I felt as I headed to work each day. But none of those things mattered once I closed my classroom door and faced my students. The reason for my unhappiness: I simply hated my job.

business-owners. I watched them come out of apartment houses on the Upper West Side and wondered what salary they made to enable them to afford such fancy doorman buildings. I would see the women’s shoes and wonder how much they cost – $500, $800, $1000? Likely, more than I made in a week in a job which, I was certain, inflicted more stress on a daily basis than they had experienced in their entire careers. Of course, it wasn’t reality that was playing with my mind each day as I fantasized about how everyone had it better than I did. The only part that was real was the result: I quit my job and found a career I love.

The M4 was not a minor character along my path toward a major career change.

Every morning, I would see other people going off to work, both on the bus and along the route. And I envied what I thought they did for a living. They were ad execs, artists, social workers, doctors, and

There’s something about being miserable about any aspect of life when you live in New York City – be it work, apartment, wardrobe, or even an order at a restaurant. One needs only to look around to find someone who’s got it better, or as important for a New Yorker, appears to. Once such greener pastures

catch the eye, one of two things takes over: utter gloom or complete determination to go for something better. Luckily for me, I gained a renewed sense of purpose and moved on. I suppose it took gumption to drop everything to be a writer, which probably falls in the top five least stable career choices. But I don’t attribute my resolve to having guts of steel. I have only my favorite deadly sin and the Best City to feed my envy.

Where else is every choice out there laid out in front of you, every day?

I remember when I was dragged to church as a child, asking my mother the meaning of the word “covet” – as in “thou shall not covet thy neighbor’s wife.” “Envy,” she told me. In our Catholic household, envy was a sin. But it wasn’t until I was older, old enough to choose not to go to church with my mother, that I began to question what was so bad about wanting what other people have. Taking what other people have is one thing, but desir-

is the coveting of other peoples’ possessions really what drives us in new york city? envy, unfairly seen as the most negative of the deadly sins, certainly accounts for its fair share of credit.

ing what they have and then going for it yourself is quite another. How does anyone grow into adulthood unless armed with envy for the things that others do and have?

Victor Hugo wrote, “The wicked envy and hate; it is their way of admiring.” This may be the best articulation of why envy is a sin.

The claim is that such longing for the talent, money, or look of another only breeds hate and anger at the one possessed of such fortune. It’s no surprise that Buddhism has an equivalent for envy, called issa – defined as “a feeling of discontent and resentment aroused by and in conjunction with desire for the possessions or qualities of another” – that is also condemned. Craving leads to suffering, making issa an unwholesome place to be.

One might apply the same description to our beloved city. Much of our population comes here in search of the fabulous life-

style portrayed in television, movies, and the grapevine of rumors similar to those that convinced early immigrants that American streets were paved with gold.

Anyone who has lived in New York knows full well that the kind of apartments, social scene, and clothing portrayed in entertainment are not so easily attainable. But thanks to the coveted New York lifestyle, however rare or even mythical some of us believe it to be, our reputation for being fast-paced, hardworking, and uncompromising is anything but fictional. So given that feelings of envy can inspire such drive for success as much as they can inflate feelings of bitterness, it is really the resulting state of mind that should be condemned as the sin.

To me, jealousy is envy’s evil twin. Jealous, one is planted in one’s feelings with no plans or motivation for escape. That, to me, is indeed a sin. There were days on the M4 when my feelings of resentment were

dense and unwavering. Yet without anyone to envy, I can’t say that I would have had the motivation to seek a better life for myself – something that would make me happy to go to work every day.

The alternative to envy, honest and unreserved applause for those who have achieved something we would like for ourselves, sounds a bit yuk and let’s face it, you’d have to be dead to be that detached.

And to what end? As long as the energy conjured from our feelings of envy are cultivated into a focused, relentless push toward what has been dangled in front of us, then our only sin may be the things we do to get there. And that opens up other, far more socially corrosive alternatives that just happen to take away your freedom to feed your little green friend.

After all, envy is not something that magically disappears and not being able to chase that particular dragon will kill you.

Dutchess County, NY Offers Young Entrepreneurs the Ultimate Work-Life Balance

... So Think Dutchess

Dutchess County offers an affordable alternative to New York City living that is attracting the attention of young talent and businesses alike.

Just 70 minutes to Beacon from New York City via Metro North Railroad and with easy access to major interstates, Dutchess is perfectly positioned to provide relief from lower metro area costs and congestion. Rich in history, outdoor amenities and resources for young entrepreneurs and growing businesses, Dutchess County is an incredible place to live and work.

Businesses getting their start in Dutchess County are in good company: IBM, Irving Farm Coffee, Crown Maple Syrup, Marshall & Sterling and ON Semiconductor are all among the many successful businesses that either began in, moved to or expanded within the area.

Last year, Think Dutchess Alliance for business hosted the winners of the NY Moves Power Women’s Forum for a familiarity tour to meet the businesses and leaders that have found success in Dutchess.

Aspiring entrepreneurs learned how Think Dutchess Alliance for Business supports businesses looking to start, relocate or expand in

the area, providing access, benefits and financing without the hassle of big city bureaucracy.

Additionally, our guests had the opportunity to hear first-hand what makes Dutchess a prime location for business meeting growing companies in tech, manufacturing, and other innovative fields. Entrepreneurs like Accessadoor, Unshattered and the Indoor Organic Gardens of Poughkeepsie highlighted the array of innovative start-ups that call Dutchess County home.

Home to three colleges among Princeton Review’s Best Colleges, Dutchess County provides an endless talent pipeline for employers in the community.

These students often stay in Dutchess County to find employment, contributing to a millennial population expected to grow 21% between 2010 and Sarah Lee2025.

Among the county’s talent pool are specialized CEO graduates from Dutchess-based Culinary Institute of Think Dutchess America and Marist’s Cloud Computing and Analytics Center, which has partnered with IBM for 30 years.

These specializations provide talent for Dutchess County’s agriculture & food and IT industries, key

industries in the area in addition to advanced manufacturing, aviation, creative industries, life sciences & healthcare and tourism & outdoor recreation.

But it’s not all about work; Dutchess County is a wonderful place to live. Simply spend a day strolling down Main Street in Beacon or brewery hopping in Poughkeepsie to find that the county is blazing its own trail in unique design, local food & craft beverage, art and architecture. Locals have endless options for how to spend their weekends, from visiting Dia:Beacon, the only other location of the trendy, Chelsea-based art museum, to catching your favorite film at one of our three drive-in movie theaters. A local favorite is the Walkway Over the Hudson, a pedestrian-only bridge stretching for a mile over the Hudson River with incredible views of the surrounding greenery for a view that just doesn’t exist in New York City, a theme apparent throughout Dutchess.

As our river cities are being reborn increasing offerings and opportunities, the county offers everything that the city cannot— work, home and life in balance.

www.thinkdutchess.com

www.4thstatemetals.com

www.accessadoor.com

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Ben & Jack’s ’ STEAKHOUSE

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219 EAST 44TH STREET, NEW YORK, NY 10017 | PHONE: (212) 682-5678 | WWW.BENANDJACKSSTEAKHOUSE.COM

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Master Chef Herve Mallvert

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Ruschell Boone Chef Brian Meier

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CJ Papa Celeste Rogers

Cristina Roosevelt Duggan

Ben & Jack’s Steakhouse

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THE WINNERS! Ruschell Boone and Brian Meier were the second team up and managed to do it with such charm and grace while making flawless dishes to take home the competition.

Ruschell Boone NY1 Chef Brian Meier Bar & Board

Calvi, a ten-time Emmy Award winner, is a familiar face amongst New York news anchors, as she is the co-anchor of CBS2 This Morning and CBS2 At Noon. Alibasic started his career at Ben & Jack’s as the prep cook at age 17, handling every role in the kitchen before becoming the steakhouse’s Executive Chef.

Mary Calvi and Admir Alibasic were the first team up so they had the burden of breaking the ice for our challenge.

Mary Calvi CBS Chef Admir Alibasic Ben and Jack’s Steakhouse

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Papa is the morning anchor for FiOS 1 News Morning Edition and was previously a sports anchor for Geico SportsNite. Rogers is a chef instructor, recipe developer, food writer, and culinary content producer, teaching cooking classes at Sur la Table.

CJ Papa and Celeste Rogers were the third team competing, and their tolerance for heat in the kitchen and grace under pressure was admirable.

CJ Papa FIOS 1 Chef Celeste Rogers Sur La Table

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Ruschell is an award-winning reporter and talk show host at NY1 News.

Meier is a trained chef from the Culinary Institute of America, and now is a leading real estate agent at Corcoran here in new York City.

Our eleventh year doing the Chef Challenge: three judges, three teams, three main ingredients, and three dishes completed in thirty minutes. Each team presented their dishes one-by-one and the judges each rated the chef teams, declaring Team Two Ruschell Boone and Brian Meier as the winners of Moves’ 2019 Chef Challenge. Power cover Billy Bob Thornton was on hand to celebrate at the after-party, and FDR and Eleanor Roosevelt’s great granddaughters Nina Roosevelt Collmer & Cristina Roosevelt Duggan—through a partnership with the Eleanor Roosevelt Center at Valkill—were on hand to help judge with Master Chef Herve Mallvert. Guests judges included Nicole Morris, Anna Shagalov, Moonah Ellison, Silvia Baldini, Vladimir Luzader, and Melissa Joy True.

photographer Tony Gale videographer Fabienne Riccoboni photographer bts Pablo Monsalve groomer Jacqueline Cookson location Ben & Jack’s Steakhouse nyc

BURKE &WILLS

Dining on the Upper West Side of Manhattan has many secrets and surprises for the unsuspecting but an Australian Cricket Club. Well not quite... but near enough for NYC

Burke & Wills, is a modern seasonal restaurant on the Upper West Side named after the pioneers who made an expedition across Australia in 1860, providing three different dining experiences for guests. With a casual bar at the front, a vaulted dining room towards the rear and on the second floor further acknowledgement of its Antipodean influences, The Manhattan Cricket Club, an exclusive and chic speakeasy style lounge.

Recently elected new Executive Chef, Jonathan Perez, is launching an innovative spring menu including a selection of specialty prix-fixe menus with Share Plates Mondays and the Sunday Roast menus. On Monday’s guests can select four plates such as steak tartare with shallots, capers, pimento aioli, served with potato crisps and chicken liver mousse with sweet and sour shallots. These dishes can be complemented by a carafe of red or white wine or one of their signature

punches.. Chef Perez whose previous credits include Daniel, Balthazar, Petrossian and Kingside, has given new life to the restaurant crafting a refined experience, spotlighting seasonal and original market-driven dishes inspired by the flavors of the Mediterranean and Australia.

At the front bar, signature snacks are served with choices such as the crispy crab beignet accompanied by harissa aioli; rich bone marrow with salsa verde, served with toast; and a neighborhood favorite of black garlic hummus, served with pita and crudités.

The Manhattan Cricket Club, where membership is your award, is located in an apartment restored to its original layout and aesthetic, and can be found right upstairs.

Upon entering, guests will find a wood paneled living room and library (with real books) with an oriental rug, gold brocade wallpa-

per, leather sofas, and all the comforts of home. A marble bar is filled with handcrafted tinctures, syrups and bitters, garnishes, imported teas, and the proper style of ice for each drink to create a perfect speakeasy experience. A Martini Service and a Calvisius Caviar program, featuring 10g servings of classic osetra caviar that may be paired with half bottles of Gruet Brut or Billecart-Salmon Brut Reserve champagne is also offered for guests to indulge.

Burke & Wills is located at 226 W 79th Street (between Broadway and Amsterdam), 646-823-9251, www.burkeandwillsny.com and is open seven days a week for cocktails, bar snacks, dinner, late night dining and weekend brunch. Happy Hour: Mon.Fri. 4pm – 8pm | Sat. – Sun. 5pm-7pm; Dinner: Mon. -Sun. 5:30pm – close; Bar: Mon. - Sun. 4pm – late; Weekend Brunch: Sat & Sun. 11am-3pm.

vaulted dining room

Manhattan Cricket Club Front Bar

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Manuel Garcia Rulfo

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Manuel Garcia - Rulfo

“...There’s a statement right there in the dialogue.

It’s the thing in between the lines.

Whatever it is, it’s something I want to tell...”

WORDS: SAMUEL BASSETT IMAGES: JEFF LIPSKY/NETFLIX

Manuel Garcia-Rulfo has spent most of his adult life in between two homes.

He studied here in the U.S. for brief periods, which included learning English in Vermont. His first major Hollywood hit was, Bless Me, Ultima in 2013. He’s also starred in the horror television series From Dusk till Dawn: The Series, and other films such as 2014’s Cake, 2015’s Sicario, 2016’s The Magnificent Seven, and 2017’s Murder on the Orient Express.

The Magnificent Seven presented Garcia-Rulfo with major Hollywood heavy hitters like Denzel Washington, Chris Pratt, and Ethan Hawke. He played a Mexican outlaw named Vasquez that delivered a cold as ice line, “Never trust a people who bury their dead above the ground.” Although it was a remake, the film’s director, Antoine Fuqua, wanted to approach the movie with more historical reality. With a cast consisting of mostly POC actors, Fuqua made sure that actors weren’t subjected to offensive stereotypes that often exist in Western films. It was a modern and progressive approach to a film genre built on racist caricatures, which ultimately exposed Garcia-Rulfo to more diverse roles. Deadline announced that Manuel Garcia-Rulfo will be starring in Aaron Schneider’s WWII film Greyhound, written by and starring Tom Hanks.

The exposure has also allowed him to be more selective of characters, no matter how big or small the role may be. “I did this film, a very small role with Steven Mcqueen. I loved the character even though it was very small, but you know, it’s Steve Mcqueen. I love his films and the people who were involved in the film.” When considering a project, Garcia-Rulfo considers the time to be the most important factor. “You have to think about the few months you’ll be doing this, even if you love the character.”

Born in Guadalajara, Jalisco, Mexico, Garcia-Rulfo grew up on a ranch and learned to ride horses. He attended

Universidad del Valle de Atemajac where he majored in communications before he realized his passion for filmmaking.

Garcia-Rulfo studied at the New York Film Academy. He initially trained to work behind the scenes, but then ended up in front of the camera. Garcia-Rulfo decided to return to Mexico to launch his acting career. “I started acting in the theater during high school, and I just fell in love with it. Then I came to LA and started for two years and then I came back to Mexico to keep studying it there.

The film making trajectory was a significant turn of events for him, as he grew up wanting to be a nature photographer.

“I love photography. When I was a kid I trained to be a photographer for the National Geographic,” he says. “Taking pictures of animals was my dream profession and then somehow—I fell in love with movies with films.”

His professional photography skills are exhibited on his Instagram page @manu_ rulfo, showcasing beautiful portraits, gorgeous scenery, and stills of everyday life. It’s a close glimpse into Manuel’s two worlds between here and Mexico. He has an eye for color and composition and could easily go back to the profession if he wanted to.

If you search the internet about GarciaRulfo’s personal life, you’ll be thoroughly disappointed. There are articles dedicated to the mystery of his romantic life.

Perhaps that’s the benefit of traveling between two countries for most of the year: Your private life can exist entirely under the radar even though he resides in both Mexico and Los Angeles. When asked his preference, he says, “They’re both amazing, you know, some things I love from one from Mexico and some things I love from LA. My family and all of my good friends from high school, and all of that are in Mexico. “ Garcia-Rulfo’s next big project is with Michael Bay in 6 Underground, which

will be shown on Netflix at the end of 2019. Manuel had the opportunity to work closely with Ryan Reynolds, who is starring in the film as well. “Ryan is the best. He’s the coolest guy. Like he’s too talented with comedy,” he says. “He comes with some jokes at the moment— so fast. Like a hundred million jokes.” The film focuses on six billionaires who fake their deaths to form an elite vigilante squad. With Netflix having 139 million subscribers worldwide and a colossal director attached to the project, the film is expected to be a huge success. “It’s a Michael Bay film, so you know it’s a huge film with lots of action,” says GarciaRulfo. “He’s perfect. It’s very beautiful.

Nobody does action like this guy.”

Known for his dark roles, Garcia-Rulfo says he would like to do a comedy sometime in the future, just to switch things up. Although he gets to exercise some of those comedic chops for 6 underground he says, “I would like to get more into the comedic realm. Although, I never thought I would be in comedy because I don’t think I’m funny. When I read a script something boils inside me,” he says. “There’s a statement right there in the dialogue. It’s the thing in between the lines. Whatever it is, it’s something I want to tell.

“They’re both amazing. You know some things I love from Mexico and some things I love from LA.

WE BELIEVE THAT ALL WOMEN SHOULD HAVE THE OPPORTUNITY TO SUCCEED. WE SUPPORT THE EMPOWERMENT OF WOMEN ACROSS THE GLOBE AND ARE HONORED TO BE TEAMING UP WITH THE ELEANOR ROOSEVELT CENTER TO DO JUST THAT - The Poulsen Shagalov Team

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Zeeko Zaki is an actor doing his level best to change racial and

religious misconceptions, false perceptions and media stereotypes. Playing a Muslim FBI agent making controversial decisions he is unwavering in his commitment to fairness and transparency. Now that's a brave human being.

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“...There is at least one person in the world that believes all Muslims are terrorists and if we can just change one person from thinking that to even just thinking ‘all Muslims are terrorists besides that one guy on FBI’ then it’s a snowball effect. We have to start somewhere...”

Three Questions with Zeeko Zaki 1. If there was one thing you could take to a desert island, what would that one thing be?

I would take a BBQ.

2. If you could have dinner with one person in the world, dead or alive, who would that one person be?

Denzel Washington. I am fascinated with him, before even considering getting into the industry. I definitely just feel like he carries such a gravity and a purpose in everything he does. I am inspired by him and would love to have dinner with him.

3. Where do you see yourself in 10 years?

Hopefully in the same trailer, or maybe a bigger one, I am sitting in right now and doing the show.

they know that a Dick Wolf-helmed program likes to set up shop on a network and well, hang around. Wolf is responsible for the Law & Order franchise, most notably the original Law & Order (20 years), Law & Order: Criminal Intent (10 years) and the still-going Law & Order: Special Victims Unit, which kicked off its 21st season in September. Wolf also created the Chicago franchise.

FBI is looking to become the latest jewel in the Wolf crown of owning primetime dramas. The show is about the New York office of the FBI and its agents. The producers changed the role to be an Arab-American Muslim and it was a hands-on collaborative effort to create the character.

“Being the first Arab-American Muslim protagonist on network television is this kind of overwhelming journey I’ve been on and the gravity on that platform and the gravity of that opportunity kind of started to sink in traveling the world and meeting fans from all over the place.”

As the first Arab-American Muslim to star in a network television series, the 29-year-old Pennsylvania-born Zeeko Zaki isn’t lost on stereotypes, rather he’s living a dream that he never thought possible. Zaki stars on Dick Wolf’s CBS drama FBI with Law & Order: Criminal Intent alum Jeremy Sisto and veteran actor and Moves Power Woman Sela Ward. For Zaki, it’s the opportunity of a lifetime.

“The role started as a Latino detective and then my manager took the audition from another client he had and just had me do it. He put it in the Dropbox of the casting office and it turned into a call back which turned into a screen test and at the end of it all the manager told me that they never asked me to audition in the first place, it was just kind of a leap of faith he took and I’m extremely grateful he did,” said Zaki.

FBI enters its second season in September and if history has anything to do with it, the show will be around for years. If anyone knows television

Zaki would read messages on social media, encouraging and uplifting posts from fans. His casting is bigger than just a role, to solidify a place in the zeitgeist to hopefully push this narrative of lack of representation for Arab-Americans in this country. He’d love to close the book on typecasting and show his side of the story. “It’s a time where we can tell better stories, happier stories, positive stories through the perspective of our religion and part of the world.”

Black Panther gave black kids a superhero to look up to and he’s trying to at least be one sort of character or role model that might have the same effect on brown people. Zaki didn’t realize how influential the networks are and feels it’s an honor to have them take this chance on him; keep these doors open and keep opening more.

“There is at least one person in the world that believes all Muslims are terrorists and if we can just change one person from thinking that to even just thinking ‘all Muslims are terrorists besides that one guy on FBI’ then it’s a snowball effect. We have to start somewhere. Someone reached out

who was ex-military and they said, ‘I just read your TIME piece and I’m ashamed to say that when I was fighting overseas that was absolutely my outlook.’ It doesn’t really matter to me the reaction from the masses as long as one reaction like that happens.”

Zaki grew up outside of Philadelphia, West Chester to be exact, where there’s no real industry for entertainment besides New York. His family is from Egypt and has always been funny and he was always just trying to make people laugh as a way of seeking acceptance. He recalls a few moments in his life where he was curious about going into the entertainment industry but never really saw it that way. Zaki did musicals in high school and saw how quickly people can come together and become a family because of how visible your vulnerabilities and insecurities are. “In the Arab community, you want to say your son is a doctor or lawyer, and this is a very true stereotype. And then my mother is very emotion-driven and she always told me ‘I see your name in lights one day Zeeko’ and I had support from both parents.”

What’s next for Zaki? He’s focused on developing his FBI character, peeling back layers, seeing more of what makes Omar tick. “I’m excited to explore moving forward, this season especially, bringing in those other layers. In season one, to me, as a new artist or this being my first big lead, there was a lot of round one insecurities I dealt with, vanity-wise. There’s room to develop and grow. For Season Two I feel a lot more confident in front of the camera and I’m finding that there’s always moments for humor to a degree for levity and to bring that into this character and to sort of find ways to fulfill my desire for unconditional acceptance to feel that in myself and to make sure other people across from me feel that,” Zaki admits. “I’m more excited about developing this character and making him something cemented in the world than I am finishing this job and going to play somebody else or do something else.”

And I guess that’s reasonable enough: focus on the present. At the end of the day Zaki knows best.

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Sukanya With a brain as sharp as a needle, and a laugh as sexy as silk stockings, Sukanya Krishnan, Moves Power Woman extraodinaire, just makes our world better.

by Chesley Turner

Changing the Rules.

In 2007, Sukanya Krishnan was named one of the New York Moves Power Women of the year. Since then, she’s knocked out 12 years of career building and family growth. Now, it’s time to take a beat, take a breath, and envision what’s next.

“I think the world has changed. You know, the #MeToo movement and everything like that.

Our consciousness as to what being powerful is has changed. And for me, what is powerful is being truthful. A truthfulness that is your own truth, following what is inside of you, whatever it is you’re going to create, however you see your life and shape it.”

Sukanya isn’t shy about her state of mind.

After two decades of New York City newscasting, the familiar fan favorite took a sudden step back, a surprise to many who were used to seeing her every day. But she knows exactly what she’s doing.

“I feel like I’ve been on this fighter jet every day. Like, shot out of a cannon every morning. And I’ve been go-go-go-go-going, and I never had real downtime. So this has been incredible.” She isn’t completely checked out.

Krishnan is still dipping a toe in radio and digital media. But for the most part, she’s taking a break. “I’ve just been thinking and redefining myself. And I know that sounds really selfish, but I’ve never been selfish! So that’s what I’m doing right now. It’s even hard for me to say it.”

But for her it’s important to take this break, particularly to determine who she wants to be. “There’s no way to really look at my potential and what is the next cycle and recreation of who I’m going to be if I don’t actually sit back and look at it.”

There’s never been time for self-searching before. “For so long, we just do what’s expected of us, or what we think life should be.

And we kind of fall into these traps.” Keeping up with the Joneses, or the producer’s preferences, or the public opinion took priority for so many years. That’s television. But she’s not a young and impressionable girl anymore.

photography by Tony Gale

Experience has changed the way she defines her life. “What I would have assumed ten years ago changes with age, with perspective. Power is truth. It’s standing in your own truth, your own life, whatever that is.” At 48, Sukanya is approaching a new decade and a new perspective on life. She’s taking the time she feels she richly deserves to find the truth of what her life will look like next.

“As I move into my 50s, how am I going to shape these two little minds that I waited so long to have?” Admitting her career development delayed the start of her family, she’s thinking about life differently. It’s less about what people think of her, and more about what she thinks of herself. “It’s all these things you get trapped with while you’re climbing the ladder to success and then you stop and go, ‘My God, I never really valued myself. I never really valued my time.” Especially in the television industry, she’s used to other people’s opinions being foisted on her—about her looks, her image, even her name. Enough is enough. “Who is that 48-year-old Sukanya Krishnan? Well, I’m trying to figure that out.

What’s gonna make me happy, ultimately?

What does that look like? I got so tired of being on Survivor Island. I was like, you know, I’m gonna get off. I’m gonna walk away, and I’m gonna gamble on me. I’m gonna figure out me, and I’m not gonna be worried about how people see it, perceive it, define it.”

At home, her two children, Kiran, aged ten and Shyla, aged six, keep her honest. “My son and my daughter, they’ve been so supportive.

It’s so weird. My daughter, she’s like, ‘You’re doing okay today, Mommy?’ And I’m like, ‘Yes, I’m doing great!’ And she goes, ‘Good. You look great. I’m happy you’re good.’”

Shyla’s more than just a great pep-talker, though. She is the one audience that her mother could never fool. “You know what, that little girl has made me stand in my truth in more ways than one. I mean, there’s something about having a girl baby in your family.

Boy does she hold you accountable. She’s a mirror every time I look at her. She’s a mirror if I’m being honest. She’s a mirror if I’m being truthful and happy.... What kind of person am I going to be? How am I role modeling?

She’s my mirror, and she has freed me of so many things. It’s incredible. And she’s helped me forgive myself for past mistakes and to help me heal.”

Perhaps because she has a young daughter, Sukanya is able to identify the things women give up as they grow older. She’s eager to gain some of that back. “I think somewhere along the line, women forget to dream. When we’re young girls, we have dreams. And then you stop that creative dreaming and that process and that hopefulness that you used to have.” But you can get it back if you try. “I think that’s what I’m doing right now. I’m dreaming again.

I’m dreaming of what my life might look like. I’m dreaming of what I want for my children. I’m dreaming of what I want for my family.”

It’s no surprise that the role models and power women in her own life impacted her at a young age. The influencer that stands out the most? The amazing Mrs. Lannigan.

“Ernestine Lannigan. She was the volleyball coach.” As a 13-year-old immigrant child matriculating in New York City’s vast, diverse, and unruly high school system in the 1980s, Sukanya was shy and unassuming. That is, until Mrs. Lannigan approached her in the school cafeteria and told her to come to volleyball try-outs. It didn’t matter that she’d never played a sport before. “I’ll teach you,” she was told. Krishnan started to bust out of her shell because a teacher took an interest. “It’s teachers and coaches who gave a crap about me and told me I mattered. When somebody else sees that fire inside of you and sees you for who you can really be.... That was a moment of awakening.”

Those role models and fire-starters set her on her path with confidence and charisma. The shy girl is long gone, replaced by a woman who’s been the voice of reason and comfort through times of real trouble and times of playful happiness. from 9/11 and Superstorm Sandy to interviews with Donny Osmond, she’s become a habit for so many New Yorkers.

Building a life comes with ups and downs, both professionally and personally. But for Sukanya, it’s important not to mistake the trials and errors of life for failure. “I believe that when things don’t work, it’s not meant to work at the moment. That’s not a loss, or being broken. It’s just not time yet.” She believes that the universe holds our choreography, and that our course is mapped out. We don’t need to stress quite so much about the small stuff. “It’s not failure.

It’s not that you’re broken or there’s something wrong with you. That’s something I think that women get a chance to realize with age.” With age comes wisdom, so they say. And while the 20-yearold is hustling, the 30-year old is becoming, the 40-year old is analyzing and redefining, the older you get, the more flexibility you have. “You know, people always say in your 50s and 60s things start getting better, because you really do accept yourself for exactly who you are. You are lighter. You forgive

easier. You don’t hold grudges. you don’t take things so personally. And all of that is power. And all of that gives you the ability to be free, to redefine, to recreate, to reimagine.

“That’s how I see power now.”

And while dreaming and taking time are definitely on the docket for this downtime, so is the simple joy of trusting herself. “I trust my gut now, more than ever. Before, I used to do things because it was the right thing to do, or because we needed money to pay the mortgage, or to put aside for the kids. I would do everything for everybody, even though my gut would be like: Step back. Time to not say yes to that. You’re worth more. You’re valuable, You are a valuable entity in New York City. Trust that.”

For Sukanya Krishnan, it’s time to redefine; to reimagine; to trust her gut. And she’s got the power to do it. “Life is about choices. Forever begins any day you want it to. Disappointments of the past?

Leave them behind. Personal decisions? Forget about them. Forget about anything that defines you. It’s time to do it differently. But this time, it’s just gonna be for me, and my kids. It’s not gonna be for anyone else.”

“... Our consciousness as to what being powerful is has changed. And for me, what is powerful is being truthful. A truthfulness that is your own truth, following what is inside of you, whatever it is you’re going to create, however you see your life and shape it ...”

rant

FIRST DO NO HARM

“Kids are different today” I hear ev’ry mother say Mother needs something today to calm her down And though she’s not really ill There’s a little yellow pill She goes running for the shelter of a mother’s little helper And it helps her on her way, gets her through her busy day words by Mick Jagger and Keith Richards

The overwhelming opioid addiction crisis fueled largely by unscrupulous clinicians and threatening all parts of the country and every stratum of the population is also in danger of masking the very real and often critical dilemma of those who are genuinely in need of care and treatment for depression and worse.

Attention working women: Have you or someone in your workplace environment experienced any of the following symptoms: exhibiting quiet and reserved behaviors such as skipping lunch or leaving the office early; becoming prone to making mistakes because of lack of sleep; crying; arriving at the office late or calling in sick; becoming unmotivated to finish tasks; having problems with coworkers…?

You might be nodding your head, saying, “Yeah, so? Who hasn’t?”

Or you could be one of the women suffering from a chronic combination of these symptoms and find them insurmountable as the twelve million women per year experiencing clinical depression. More importantly, you may be one of the 83% of diagnosed women claiming that this common mental affliction has become their biggest obstacle against success or advancement in the workplace, more so than sexism or motherhood or the glass ceiling.

There are plenty of reasons why emphasizing a woman’s biological predisposition for mood disorders opens an ugly Pandora’s box, possibly labeling women as having an inherent emotional weakness that makes them less desirable for hire. That’s all we need, right?

Whenever a woman gets prickly at a business meeting for business reasons, someone rolls their eyes and says, “Oh, those overactive Corticotrophin releasing factors again! Women!”

But whether it’s detrimental or informative, a scientific study on gender and stress from the National Institute of Mental Health may possibly pinpoint one of the reasons why so many women feel that something is“off,” and that no, it’s not “ just PMS.” The study, first published in Molecular Psychiatry and led by Debra Bangasser, Ph.D., found that brain scans from male and female rats displayed vastly difference results in how different genders handle stress triggers. While the female brain was more vulnerable to stress hormones, the most interesting aspect is that its receptors have a tendency to tough it out and take in more hormones

than the male brain. In other words, the female brain deals with it, even if it sometimes makes life a living hell. Although the male brain can adapt better to stress, it’s mostly because its receptors hide inside cells, due to a “molecular dance unique to the male brain” that involves “an enabling protein.” I imagine these results produced a good joke or two inside the testing labs….

The study has yet to be conducted on humans, but it is a much-needed step in understanding that women may not just be imagining things when they feel they might need outside help to handle seemingly unmanageable symptoms, and why, for some, medication might not be such a terrible idea. According to a 2003 National Mental Health Association report on depression in the workplace, 45% of women with severe depressive symptoms have never sought treatment for one reason or another.

The conclusion of the study was that overall, many women would benefit from evaluations and medications; one in five women to be exact.

That would be, admittedly, quite a lot of medicated individuals. With our country’s reputation for overmedicating itself, should most of us just push through the bad spells? Haven’t people been dealing with these kinds of symptoms for years, and do we want to become reliant on medications to have “normal” (whatever that is) mood functions?

Or is the condition a biological injustice and disadvantage that, if able to be diagnosed and treated with responsible supervision, we should be more open to eliminating through medicinal aid?

The “Yeah, so, who hasn’t been depressed/distracted/ hyperactive/anxious at one time in their life?” attitude is a popular one, and for good reason.

When researching an article or report on mental health medication in the United States, it’s difficult to start from a statistical base point.

Most exposés begin with a preconceived platform: “We overmedicate our children and ourselves” is the popular stance, and to be honest, the more interesting one.

It’s the one I would rather take, because

like anyone, I’m not the biggest fan of prescription companies or jumping to the conclusion that human rites of suffering should be eliminated through pills. Our “dark spots” are what make us human, so it’s difficult to know when enough is enough, or when too deep is too deep.

The negative side of medications do, of course, have basis in reality. There are instances of children having too many doctors and too many medications, procuring odd side effects and making parents throw their hands up in frustration with prescription carelessness. There are plenty of doctors who take the “one pill fits all” mentality to wrap up a patient’s file quickly and irresponsibly. But with so many safe medications on the market, this public opinion on medication is probably discouraging some people who really need help.

When Judith Warner set out to write a book on medications in America, she began conducting her research on the assumption that she would find blatant statistical support for the overmedicated argument. Instead she found that although there are the inevitable negative circumstances, medications have provided more good than harm. Her book, “We’ve got issues: Children and Parents in the Age of Medication,” emphasizes the point that only 5% of children are on medication, but 5% to 20% of children are reported to have mental disorders.

This seems high, but is almost complimentary to the one-in-five working women statistic and mood disorder statistics in general.

There is something to be said for coming out the other side of heartbreak or one of life’s disappointments on your own, medication free; heart bruised and liver enzymes elevated. Sometimes, however, the human capacity for grief and stress surpass our ability to continue the sociological need for constant productivity. And for those put off by gender statistics on how women handle depression and stress, it’s not so cut and dry.While F. Scott Fitzgerald was moaning about always feeling like his soul was “at three in the morning no matter the hour of day,” Eleanor Roosevelt was saying, “Work is always an antidote to depression.”

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By Moonah Ellison Photography by Nathan Johnson

James Badge Dale

Carlos Campos shirt

James Badge Dale’s 2019 is reaching the sort of buzz levels most actors strive for.

His face is the one you know, but can’t always quite get the name spot-on as an “instantly recognizable” Hollywood commodity. But boy is he coming up fast as that main stream lead.

The first time I saw Badge Dale on screen he was shooting Leonardo DiCaprio right between the eyes in Martin Scorsese’s 2006 Best Picture Oscar-winning film, The Departed, only to get whacked a few seconds later by Matt Damon’s character, Colin Sullivan.

Since then you’ve seen him in Iron Man 3 with Robert Downey, Jr., World War Z with Brad Pitt, and the big-budget World War II HBO miniseries The Pacific from Tom Hanks and Steven Spielberg. Or maybe you saw him in Parkland, the 2013 drama that centered on the JFK assassination, another Hanks-produced film.

But first, he’s got to get past the fall. And a deal of recent traveling.

He is feeling zen. Well, relaxed and rested when I caught him after a recent surfing trip to El Salvador, a trip planned to “clean that character off me and start over again and get acclimated to myself” as he puts it, a cleansing process. The hours of working have caught up to him. He went to El Salvador for the first time and immersed himself in the country’s local vibe.

“I met some amazingly beautiful people, some amazing local people that took me around. I worked on my Spanish and I learned about their history and their families and you make friendships that can last a lifetime,” he says with a grin in his voice.

Such a happy-go-lucky attitude is at the forefront of Badge Dale’s MO. Fresh off his trip, he’s back in LA when we talk, the San Fernando Valley to be exact, off on a long hike in the scorching heat. 700 degrees or feels like it, he claims tongue-in-cheek.

Or not.

He remembers these hills from high school.

“My family had this little ranch house up in the hills and all my friends lived in the San Fernando Valley. On Friday after school

[this page] blue shirt his own [opposite page, top] Custom Jorge Morales jacket, Carlos Campos shirt, Edwin USA jeans [opposite page, bottom] Carlos Campos shirt photographer Nathan Johnson stylist Jorge Morales groomer Kumi Craig location Burke & Willis nyc

I’d take my skateboard and I’d run down all these dirt paths from like Cold Water and Mulholland all the way down into like Ventura Boulevard and friends would pick me up and we’d just go cause trouble for 48 hours and then on Sunday I’d walk up all the trails back home.”

Life has been good to Badge Dale. He just shot his first television show in 10 years (the last was Rubicon on AMC), an eight-episode show called Hightown for Starz set to debut this fall, about heroin trade on Cape Cod. He plays a narcotics officer with personal demons and Badge Dale is no stranger to personal conquest. He had wild teenage years, was “out of control,” went to five high schools and got into a lot of trouble, got arrested and spent eight months in a group home.

His life changed when he was 18 years old and got a second chance at life. It’s risky material like Hightown, or Mickey and the Bear— an indie film debuting this fall where he plays a opioid-addicted, PTSD-inflicted veteran in constant conflict with his teen daughter in Montana—he doesn’t shy away from.

“I love independent film, I like getting down and dirty,” he says.

“When you’re out in the middle of Montana with a young film crew, no one’s doing it for money, everyone’s doing it for respect, everyone’s doing it for the right reason, everyone’s doing it to tell a good story,”

“Every once and a while a movie squeaks through and it gets seen and Mickey and the Bear looks like that movie right now.”

And he’s getting rave reviews for the role, a script that he felt in the pit of his stomach.

Variety says Badge Dale provides an “arresting role” and Hollywood Reporter says Badge Dale turns in a “superb” performance.

people I’ve met down the road from years ago, from guys I worked with on The Pacific, guys I worked with from Thirteen Hours.

There’s a lot of different kinds of threads going on in there, but at the end of the day when an actor takes a job, it’s yours and you gotta trust your instincts.”

It’s gritty roles like Hank that bring Badge Dale a sense of purpose in choosing roles.

And this one called to him. “There are moments when you read something and you become afraid. There are moments when you read something and you go, ‘Oh my God this is so risky. I don’t know if I can take this journey.’ But I thought I had something personal to bring to it.”

When making Mickey and the Bear, Badge Dale prepped three months, spending a lot of time with servicemen who have been overseas, a lot of time with people who have come back and who go back time and time again—servicemen who have a hard time assimilating back into society.

He also had a chance to bring personal experience to the role and learned a lot and went back to his past acting experiences and people he’s worked with to take it all in.

“I’ve spent a lot of time with people with traumatic brain injuries. I had some personal things to bring to it as I have a long history of concussions and I was talking to some

Camila Morrone, a lifelong model and fairly new to the acting world, plays his daughter Mickey. Badge Dale knows she’s going to be a star. “It’s a beautiful thing watching Cammy work, Cammy shows up,” he gushes. “She’s 21 years old, this is her third movie ever, her first lead role and we’re just meeting for the first time, I mean, you think about all these circumstances and she sat down and she had done extensive research and she personalized everything and she was like, ‘I’m Mickey.’ She trusted her own instincts and it was one of the greatest experiences of my acting life and career watching her change and how she did that work through this movie. I’m so proud of her.”

cover

Hey Bud! Billy Bob Thornton is the real deal!

No matter how deep you scratch, he is genuine; gold all the way.

Ask 100 people to describe Billy Bob Thornton, and you will get 100 different answers.

Is it the backwards Kangol and beatnik glasses of the early 2000s? The grizzled antihero of Bad News Bears and Bad Santa respectively? Or is it the present day, chilled-out rocker with a shock of silver hair? Whichever one you picture, you’re right. Thornton has smashed himself into a million pieces, because he had to. “I had no choice. I had to go forward with this no matter what happened, because it’s all I ever dreamed of, and once your dreams die, you die. I firmly believe that.” He’s mellow, his voice slow like motor oil seeping through gravel. “I never paid much attention to what people tell you are the obstacles, you know. It’s like if somebody says, ‘Well, yeah, you could try that, but that’s a tough world to get into’ or whatever and it’s like well, you have two choices —you can either try it or not try it.”

His upbringing in the woods of Arkansas was Spartan, but in his retelling, not unhappy.

It taught him to make the best of what he had. “If all you have in you is a creative bone, which is about all I’ve got—all I ever did was either play music or baseball or, you know, act in movies or whatever—and everything else I did was physical labor jobs, you know?

It’s not like I had it in me to be a stockbroker, that was never gonna happen.” What he did have in him, was everyone else. He’s played so many iconic roles, it’s like someone took a brick to a mirror; while they’re unrecognizable shards of the original, they still reflect him back if you look hard enough. The roles run the spectrum from art house to blockbuster, political strategist to institutionalized murderer, NASA executive to astronaut farmer. His own athletic ability gets a nod in turns as a baseball coach and football coach respectively, and then—there’s the Big Man himself.

Interview: Moonah Ellison Words: Zoe Stagg Photography: Patrick Fraser 025

Here’s a good trick question: Name the beloved Christmas movie with Billy Bob Thornton on the cast list? If the answer is Bad Santa, please come collect your lump of coal for not appreciating the BBT deep cuts. The real answer is: Love Actually. He played the U.S. president, and despite his broad portrayal, somehow it has aged into something downright statesmanlike. But of course, Bad Santa has also become a classic unto itself. “People don’t quite always get from Bad Santa, that the movie actually had a heart. At the end of the day, the guy sees himself in this poor kid, you know? You know he actually has a feeling for the kid, and towards the end of the movie, an actual Christmas-movie feeling. You know, even though it’s profane.” That stark juxtaposition works on screen. It’s less attractive in the dichotomous world we find ourselves in.

“There’s so many knee-jerk reactions these days, and there’s so much extremism.” Despite his seemingly edgy career, Thornton appreciates nuance. “It’s like nobody looks at what makes sense, because like politically, I might listen to somebody’s idea from the right and I go, ‘You know what, that’s not a bad idea.’ And then I listen to somebody’s idea from the left and I go, ‘Hey, you know what that’s a pretty good idea too.’” There’s room for polarization in art, less so when we’re trying to find a way to exist together.

“Change doesn’t necessarily mean that you have to just upset the apple cart and make everything one thing. But see, I think that’s more of the problem than anything, no one’s going towards the middle, everyone’s going to the East or the West or the right or the left.”

While today’s cultural battleground seems new and untested, it’s almost a historical reboot.

Thornton was 13 when Woodstock rocked our cultural identity, but he was already well grown into the political scene. “I remember the days of the protests and the Vietnam War and the whole thing.”

Taking cue from that political landscape, and the artistic one it cultivated, Thornton picked up a mic. Yes, he’s an Academy Award winner and celebrated actor—but he’s also a member of the Americana rock ’n’ roll band, The Boxmasters. He sings lead and tours, calling music his first love.

The music gives him a place to express himself, without a script. “You know, anytime you have an opportunity to write songs about something and it’s not to say that you can’t write boy-girl songs too, because I think that never goes away. You’re always gonna have relationship songs—but at the same time, I think you’re not worth your salt if you don’t at least write songs that are sociopolitical in nature, because it’s what’s going on in our world.” The Boxmasters have been jamming together for more than a decade. When he sings, the Billy Bob you thought you knew disappears.

He’s still and ageless, his voice somehow channeling another time.

“...One of the things we’re losing is our history. History is going back a shorter distance than ever.” And though it seems like he’s been everyone except himself for his entire career, the truth is, he’s been there all along. “Honestly, I’m an open book to any artist of any type who wants to talk to me about any knowledge that I may have that could be helpful, you know, I’m always there...”

“... I mean, you gotta at least do your part to make things a little better and I think you start in your own backyard with your own family, your own friends....�

“... When I was coming up, you didn’t know like 50,000 people or 5 million people hated you, you know, cuz how are you gonna find that out?...”

“...It’s like nobody looks at what makes sense, because like politically, I might listen to somebody’s idea from the right and I go, ‘You know what, that’s not a bad idea.’ And then I listen to somebody’s idea from the left and I go, ‘Hey, you know what that’s a pretty good idea too.’” There’s room for polarization in art, less so when we’re trying to find a way to exist together...”

While it might be easy to imagine a rocker raised in protest culture to take one look at where we are today, and do a hard drop out, Thornton holds on. “You have to have hope because, you know, if you don’t have hope then all you gotta do is just spin around and, you know, stare at the television. I mean, you gotta at least do your part to make things a little better and I think you start in your own backyard with your own family, your own friends.

You just sort of, try to rally the troops and make sure that you do what you can to make people happy around you and for the people you love. You know, let ‘em know that everyday.”

In the world where we literally let people know what we think of them in real time by applying tiny cartoon thumbs up or otherwise, social media is a modern complexity plaguing the human condition.

“When I was coming up, you didn’t know like 50,000 people or 5 million people hated you, you know, cuz how are you gonna find that out?” Hearing it described like that, it sounds idyllic. Here in the present though, it can’t be ignored—only put in perspective. “You can’t blame it on the thing itself you have to blame it, at the end of the day, on the people and how they use it. Because I’d much rather spend my time using the social network to promote happiness, peace, progress, you know, things like that than to promote cynicism and taking shots at people.”

We should all be a little more Thornton, online.

Online is where you find a lot of him these days, as season three of the Amazon Studios hit Goliath drops in October. While

streaming media was a departure from the traditional small-or-silver screens, Thornton has found in a way, what’s new is not unlike where he started—only better.

“I realized that places like Amazon are where you do independent film now. Not only that, on top of it, you have the opportunity to do an 8-hour independent film where you can really develop a story and develop characters.”

He claims he’s “essentially playing himself” in the show, and revels that the new season gives him the chance to hang out with his buddy. “I just don’t hang out with actors. I mostly hang out with my family to tell you the truth, and the guys in my band, so I’ve only got like a couple of actor friends that I ever even talk to or see and Dennis is one of them.” Dennis Quaid joins the cast of Goliath in its new season. “He lives like a mile from me and I’ve known the guy for, you know, 25, 30 years. It was great to be able to go to work with a guy you’ve known that long.”

Whether it’s longevity in friendships, or career, Thornton knows we have to grab the sands while we can. “One of the things we’re losing is our history. History is going back a shorter distance than ever.” And though it seems like he’s been everyone except himself for his entire career, the truth is, he’s been there all along. “Honestly, I’m an open book to any artist of any type who wants to talk to me about any knowledge that I may have that could be helpful, you know, I’m always there.”

To his friends, he’s “Bud.” To us, in whatever form he takes, he’s pure Billy Bob. photographer Patrick Fraser photo assistant Christopher Stotz groomer Carrie Angland location Sunset Marquis west hollywood, ca

Hello?

Rachel Carson predicted in the early Sixties (in her groundbreaking Silent Spring) what unregulated capitalism (with uncontrolled pesticide use) would do to the planet. We didn’t listen then and it happened. We are still not listening. Or worse, actually denying culpability. Great track record for the naked ape.

A Fable for Tomorrow There was once a town in the heart of America where all life seemed to live in harmony with its surroundings. The town lay in the midst of a checkerboard of prosperous farms, with fields of grain and hillsides of orchards where, in spring, white clouds of bloom drifted above the green fields. In autumn, oak and maple and birch set up a blaze of color that flamed and flickered across a backdrop of pines. Then foxes barked in the hills and deer silently crossed the fields, half hidden in the mists of the fall mornings.

Along the roads, laurel, viburnum and alder, great ferns and wildflowers delighted the traveler’s eye through much of the year. Even in winter the roadsides were places of beauty, where countless birds came to feed on the berries and on the seed heads of the dried weeds rising above the snow. The countryside was, in fact, famous for the abundance and variety of its bird life, and when the flood of migrants was pouring through in spring and fall people traveled from great distances to observe them. Others came to fish the streams,

which flowed clear and cold out of the hills and contained shady pools where trout lay. So it had been from the days many years ago when the first settlers raised their houses, sank their wells, and build their barns.

Then a strange blight crept over the area and everything began to change. Some evil spell had settled on the community: mysterious maladies swept the flocks of chickens; the cattle and sheep sickened and died. Everywhere was a shadow of death. The farmers spoke of much illness among their families. In the town the doctors had become more and more puzzles by new kinds of sickness appearing among their patients. There had been several sudden and unexplained deaths, not only among adults but even among the children, who would be stricken suddenly while at play and die within a few hours.

There was a strange stillness.

The birds, for example – where had they gone? Many people spoke of them, puzzled and disturbed. The feeding stations in the backyards were deserted.

The few birds seen anywhere were moribund; they trembled violently and could not fly. It

was a spring without voices.

On the mornings that had once throbbed with the dawn chorus of robins, catbirds, doves, jays, wrens, and scores of other bird voices there now no sound; only silence lay over the fields and woods and marsh.

On the farms the hens brooded, but no chicks hatched. The farmers complained that they were unable to raise any pigs – the litters were small and the young survived only a few days.

The apple trees were coming into bloom but no bees droned among the blossoms, so there was no pollination and there would be no fruit.

The roadsides, once so attractive, were now lined with browned and withered vegetation as though swept by fire. These, too, were silent, deserted by all living things.

Even the streams were now lifeless. Anglers no longer visited them, for all the fish had died.

In the gutters under the eaves and between the shingles of the roofs, a white granular powder still showed a few patches; some weeks before it had fallen like snow upon the roofs and the lawns, the fields and streams.

Deaf ? Blind ?

Or just plain Fr**ing Dumb

. . .

By Rachel Carson .No witchcraft, no enemy action had silenced the rebirth of new life in this stricken world. The people had done it themselves.

This town does not actually exist, but it might easily have a thousand counterparts in America or elsewhere in the world. I know of no community that has experienced all the misfortunes I describe. Yet every one of these disasters has actually happened somewhere, and many real communities have already suffered a substantial number of them. A grim specter has crept upon us almost unnoticed, and this imagined tragedy may easily become the stark reality we all shall know.

What has already silenced the voices of spring in countless towns in America? This book is an attempt to explain.

The Human Price As the tide of chemicals born of the Industrial Age has arisen to engulf our environment, a drastic change has come about in the nature of the most serious public health problems. Only yesterday mankind lived in fear of the scourges of smallpox, cholera, and plague that once

swept nations before them. Now our major concern is no longer with the disease organisms that once were omnipresent; sanitation, better living conditions, and new drugs have given us a high degree of control over infectious disease. Today we are concerned with a different kind of hazard that lurks in our environment—a hazard we ourselves have introduced into our world as our modern way of life has evolved.

The new environmental health problems are multiple—created by radiation in all its forms, born of the never-ending stream of chemicals of which pesticides are a part, chemicals now pervading the world in which we live, acting upon us directly and indirectly, separately and collectively. Their presence casts a shadow that is no less ominous because it is formless and obscure, no less frightening because it is simply impossible to predict the effects of lifetime exposure to chemical and physical agents that are not part of the biological experience of man.

Where do pesticide fit into the picture of environmental disease?

We have seen that they now contaminate soil, water, and food, that

they have the power to make our streams fishless and our gardens and woodlands silent and birdless.

Man, however much he may like to pretend the contrary, is part of nature. Can he escape a pollution that is now so thoroughly distributed throughout our world?

We know that even single exposures to these chemicals, if the amount is large enough, can precipitate acute poisoning. But this is not the major problem.

The sudden illness or death of farmers, spraymen, pilots, and others exposed to appreciable quantities of pesticides are tragic and should not occur. For the population as a whole, we must be more concerned with the delayed effects of absorbing small amounts of pesticides that invisibly contaminate our world.

Responsible public health officials have pointed out that the biological effects of chemicals are cumulative over long periods of tie, and that the hazard to the individual may depends on the sum of the exposures received throughout his lifetime. For these very reasons the danger is easily ignored. It is human nature to shrug off what may seem to us a vague threat of future disaster.

Excerpted from Silent Spring, an environmental science book by Rachel Carson and published by Houghton Mifflin on September 27, 1962

021

Strong. Diverse. Bold.

Extraordinary people with powerful ideas are a driving force at Aflac.

Nearly 65 years ago, our founders recognized strength in diversity.

We’re proud to say that today, 66% of Aflac’s employees are women and 45% are ethnic minorities.

Get to know us at aflac.com.

Aflac herein means American Family Life Assurance Company of Columbus and American Family Life Assurance Company of New York. WWHQ | 1932 Wynnton Road | Columbus, GA 31999.

Z190903

EXP 9/20

bitch

“... So get your spawn out of the way, and let me catch those damn flowers, I only have a few more years left in me before I give up and start raising cats...” gross, grow a little too long for him to ever get a job at Brooks Brothers or the Bear Stern building.

He attends readings at the Bowery Poetry Club and has never seen the inside of the Plaza.

This unlikely pair meets at relatively neutral ground, say, Shakespeare in the Park or the steps of the Public Library. They seem the poster children for opposite attraction: he loves her class, she loves his bohemianism. Sparks fly, yada, yada.. When they are alone together, all is bliss.

Love Conquers all ... Maybe!

Living on the Upper West Side, I’ve found that I tend to dread and avoid shopping, running errands, or socializing east of 6th avenue, and certainly only venture south of Houston in situations of grave necessity. On days when the New York wind chill forbids a scenic walk across the park, the very idea of taking the snail-paced cross-town bus, or, worse, disembarking the 1 at Times Square and battling the crowds towards the shuttle, depresses and debilitates me to the point of inertia. If escaping the task is an option, I duck into some cozy coffeeshop on Columbus and thank heaven.

There are other deterrents to trekking outside one’s familiar neighborhood. Descending from the tony uptown into bohemian downtown, one might feel overdressed and underpierced. Accustomed to judgmental stares from Gold Coast and Park Avenue snobs, one now meets judgmental stares from literarier-than-thou university students loitering at the Strand or on the grass at Union Square.

The roaches are different: bigger, bolder, more plentiful, more likely to charge at you.

But what happens when one has a task for which one feels obligated and even enthusiastic, to make the trek, to infiltrate foreign and sometimes hostile territory? What is the only topic on which the most jaded New Yorkers wax ever optimistic, for which they are willing to disrupt their stony routines and subject themselves to the hazards and inconveniences of travel? That’s right. Love.

Picture this: A well-mannered young Radcliffe-type has struck out on her own (with a little trust-fund help from her old-money ‘rents), won a job at a chic gallery in Chelsea, or as a handbag designer or couturier to small dogs (or whatever occupation is the current favorite career-of the month with upper set youth), and taken a modest studio somewhere in the lkzxdnvkljxbSlkCFNn b 80’s. She wears twin sets and pearls and kitten heels and fancies herself an edgier, modern Audrey Hepburn.

She definitely “fits in” with the general ethos of her neighborhood—clean, upwardly-mobile, classically elegant,…posh.

He is an artist, or a playwright, or an activist, and of course he waits tables to pay his bills and buy his supplies. He wears second-hand duds in black and urban camouflage and allows his hair, which is greasy enough to make him look sexy in that gallic-philosopher way but not so greasy as to be

It’s negotiating how to get together, and alone, which presents the problem. They start to bicker over at whose apartment they will spend nights.

Her studio can be named, “that than which nothing smaller may be conceived;” he rents the living room of a two-bedroom inhabited by two or even three other dubiously clean guys. Neither place conduces the sweetly private atmosphere necessary to romance. Furthermore, it takes at least two subway trains for one to visit the other, requiring struggling through the morass at the dreaded Times Square station. To resume one’s daily routine after a night spent at the other’s pad requires at least an extra hour head start.

Furthermore, it’s difficult for them to adjust to each other’s friends. Hers are sleek, coiffed, sorority-ish; they go to club openings and mourn the demise of Sex and the City. His carry placards in war protests and compare tatts. In other words, the friends are much like the stars of our story, only without the acute mutual attraction, and thus misunderstand and despise each other. Our hero and heroine spend a lot of time justifying their relationship to their respective buddies, who insist such a union is unwise and gauche. This isolates and irritates them both; they resent their friends’ astuteness and snap at each other when they make it home and can finally be alone together.

Each secretly wonders if all the differences and incompatibilities are signs from Fate that they should cleave their bond in twain (well, he wonders if they’re signs from Fate, she wonders if she’s unconsciously sought out the opposite of what she needs out of a fear of intimacy and a revulsion at the prospect of actually pleasing her parents with a more appropriate match—she was a psychology minor) .

But, ahhhhh…..how trivial these concerns seem when the noise of the city and the nay-sayers clears and each realizes that something rare and perfect has been found. What are long subway rides, sceptical friends, and horrified parents compared to finding someone whose inner aspects harmonize so perfectly with one’s own?

And shouldn’t one blanche to admit that one had almost thrown that harmony away over such petty differences? Considering the vastness of the world, and the tinyness of this island, does the term “long-distance relationship” really apply to Manhattan?

Let romance fail for greater things; if you find love outside your neighborhood (or even, ohmigod--borough!!), embrace those little obstacles as Fate’s way of making you appreciate that perfect love you found all the more. Let your friends scratch their heads, and leave your parents to their apoplexy, and read a damn book in your extra time on the train! Vive la Difference!

Brad, Writer, Hell’s Kitchen

me!

“Wedding Bell Blooo...hoos” Ok. You know that super aggressive chick at every wedding who bodychecks people to catch the bouquet? Yea. That’s me. I’m that girl. Call me superstitious, but I consider the throwing of the bouquet to be a serious business. Which is why mothers need to stop letting their little girls compete in this event. Tradition states that the woman who catches the bouquet will be the next to get married. I can’t compete with a 4 year old! If your little brat catches it, I won’t get married for another 14 years AT LEAST. I’m 32! By that time I’ll be 46, and I’m telling you, I’m not going to have the money to cosmetically keep everything as perky and youthful as it is right now. Because right now it’s great, but it takes a lot of work. So get your spawn out of the way, and let me catch those damn flowers, I only have a few more years left in me before I give up and start raising cats.

Maxine, Editor, Midtown

“All By Myself .. I wanna be...”

During my undergraduate years I made the salutary discovery that traveling alone has so many advantages over the much safer yet infinitely

“... In today’s world however we seem to have given ourselves over to abandoning that ongoing and constant choosing for a full blown “fuck it”...” more boring alternative of group activity. My brother bought me a ticket to Brazil as a birthday present; my brother the adventuring wanderer wanted me to face my fear. Having been backpacking before in groups, I packed my things, received my shots, bought my malaria pills, and, of course, got a new colorful bikini. Finally the day before I was scheduled to leave I was all ready (and to be honest) a little scared.

I loved it. Traveling alone gave me a sense of freedom I had never experienced before. I could do whatever I wanted whenever. More than that being alone allowed me to truly enjoy the place I was. If I had been with my friends, I would have met Brazilians but spent most of my time with people I already knew. It was in being alone that I met, and really spent time with, natives. I had to speak some Portugese everyday, I had to be truly in Brazil. Unlike the foreigners who go to Club Med for vacations (which allows you to be at home somewhere else, a place where the new country becomes simply the backdrop for a photo), being alone lets you step straight into the frame. And, then, a month into the trip, I learnt what traveling alone can really be like.

Sick to the bone with influenza, I stepped off the bus in Salvador feeling like death. Right next to me, in the most colorful bikini tops and shorter-than-short shorts, was a group of Brazilian students on vacation, girls with huge sunglasses and tiny bags, giggling at each other’s pointless (or so it seemed to me) jokes.

Noticing me crouching by the side of the bus leafing through my Lonely Planet guide to Brazil, one of them leaned down, awash with fruity fragrance, and asked, “Are you ok? Would you like some help?”

Thirty minutes later I sat on a ferry, doped up on some Brazilian headache medicine one of them was carrying, heading out to an island I had never heard of before. Sitting listening to them chatter in the background, I kept thinking back to all the things I had planned for Salvador, all the seemingly wonderful things I had left back on the mainland. But the moment we pulled up to island Morro de Sao Paulo, I realized I had inadvertently entered paradise. Following them to a little Bed and Breakfast near Beach One (surprisingly, the actual name of the beach), I felt my illness miraculously melting away.

Situated off the coast of Salvador, the island is a tiny utopia tucked away from wandering eyes.

With no cars but the noisy garbage truck which appeared out of nowhere and disappeared full of trash back into nothingness, and most people bikinied and barefoot, I barely noticed as the days wound into each other at a dangerously beautiful pace. Waking up at ten o’clock, I would dine with my new-found friends (medical students, as it turned out) on varieties of fruit hard to find back in my college city of Montreal.

Melons, mangos, and coconut water swam in limitless quantities of fresh cream. Bellies full of juicy fruit and sunshine, we would head to a

beach where gorgeous men and women (with me in the background) would lie working on tans and Frisbee games. Vendors walked by selling us new bikinis (which these doctors-to-be would buy almost daily to wear the next) and cheese grilled to gooey perfection.

As the sun went down we would head home and nap, tired from the beach and the eating. Come twilight the island awoke, filling the main street’s bars and restaurants like a carnival of party-goers.

Under a moon-filled sky we would all head back to Beach One to dance and drink, where vendors would sell everyone drinks made from fresh fruit and alcohol. By the time you were drunk, your body was too sugared up to care. At this point my new friends would find cute boys to dance with, pushing me towards them with glee. “It’s ok if you have a boyfriend back home. We are on vacation, yes? Let’s party!” In those moments of morality I would feel boring and immediately have another drink. Finally, I would head home to sleep it all off, anticipating my big breakfast of the morning.

After a few days had turned into a week, and a week into almost two, I ended up in a conversation with another tourist one day. “I got here and loved it so much, I thought I would stay for a few weeks to really enjoy it,” he said.

“I like it too… it’s easy to get lost here. How long have you been here now?” I asked him.

Six months.”

exactly the same time in history. There must be a common denominator in the mix that is affecting the human race regardless of race, color, creed, nationality, political hue etc., etc. All populations seem to be divided right down the middle: 50% left leaning and 50% for the right. And if one side says shit, the others say sugar. Have we reached a stage in our development from animals into humans (and yes I believe our brain capacity for reason and debate and our ability to think about thinking really does separate us from other animals) where we can no longer contain the dichotomy within our selves.

We have always had a conflict in our individual psyche between good and bad; a choice between self indulgence and doing the right thing. In today’s world however we seem to have given ourselves over to abandoning that ongoing and constant choosing for a full blown “fuck it” And it shows.

Even the most concientious and concerned citizen from either side who loves their mom and the family dog dig their toes in in the most stubborn and unreasonable fashion when faced with the same from the other side. Understandable? Yes. Sustainable? Er no. Somethings gotta give and the worry is it won’t be civil or civilized. My own mother used to intervene in intransigent family arguments with the threat, “I’ll knock all your silly heads together in a minute.” The threat usually did the trick. She’s been dead for 25 years now and there might well be a hint for us in that loss of common sense. We can only hope (in light of recent activities; climate strikes, gun control marches etc.) that we will come full circle when today’s kids are in charge and we again move forward in our humanity.

Harry, Accountant, UES

That afternoon I went back to my room and packed my things. As much as I loved utopia, I had the real Brazil to see and much more to do.

As much as making friends and going with the flow was fun, I wanted to be able to say that I had done more than lose myself on this wonderful island. On the ferry to the mainland, after the goodbyes and the pleas of my new-found friends to stay were all over, I looked back at the island and took a long deep breath.

Fantasy is good, but leaving can be even better.

John, Exec assistant, Gramercy “a little ole wine drinker, me” If you’re having a BYOB wedding I’m not coming.

Period. This isn’t a frat party, bro, you’re getting married. Look, I’m not stupid, I know the economy sucks. But aren’t there other things you could get rid of in place of an open bar. Lighting? Flowers?

FOOD? Anything?! Please, God, I’m traveling to the middle of nowhere Ohio, I bought you some stupid Norwegian cutlery from Bloomingdales, and I’m stuck sitting with your fiance’s old sorority sisters. Please do me the common courtesy of getting me properly tanked. Thanks.

“Out of the Mouths of Babes and Sucklings...”

Max, (Maxine’s other half), Editor, Midtown

Why has the world gone completely mad. Why does every country seem to be self immolating at 017

www.lilithparis.com

backstage

The Ecology of Replicators

Today, notwithstanding local school boards and various backwoods and boondocks of the United States, no educated person doubts the truth of evolution. Nor do they doubt the force of natural selection. Natural selection is not the only driver and guide of evolution. At least at the molecular level, random drift is also important; but selection is the only force capable of producing adaptation. When it comes to accounting for the stunning illusion of design in nature, there is no alternative to natural selection. If a biologist denies the importance of natural selection in evolution, it is pretty safe to assume not that he has some alternative theory but that he simply underrates adaptation as a dominant property of life that needs explaining. Probably he has never set foot in a tropical rainforest, or set eyes on a David Attenborough film.

Nowadays, questions about adaptation are high in the consciousness of field biologists. It has not always been so. My old maestro Niko Tinbergen wrote of an experience when he was a young man: “I still remember how perplexed I was upon being told off firmly by one of my zoology professors when I brought up the question of survival value after he had asked: “Has anyone any idea why so many birds flock more densely when they are attacked by a bird of prey?”” Today’s student is more likely to be perplexed about what the professor could possibly have meant by his question if not survival value. People in Tinbergen’s own field of ethology now complain of a stampeding backlash in the other direction, towards an overwhelming preoccupation with Darwinian survival value, at the expense of studies of behavioral mechanisms.

But still when I was learning biology at school, we were warned against a dire sin called ‘ teleology’.

This was actually a warning against Aristotelian final causes, not against Darwinian survival value.

Nevertheless, it perplexed me because I had never found final causes the slightest bit tempting. Any fool can see that a ‘ final cause’ is not a cause at all. It is just another name for the problem which, eventually, Darwin solved. Darwin showed how the illusion of a final cause could be produced by comprehensible efficient causes. His solution, refined by the giants of modern synthesis Including Ernst Mayr, has put paid to biology’s deepest mystery: the source of the illusion of design which pervades the living, but not the non-living world.

The illusions of design is at its strongest in the body shapes and behaviour patterns, the tissues and organs, the cells and molecules of individual creatures. The individuals of every species, without exception, show it powerfully. But there is another illusion of design which we notice at a higher level: the level of ecology. Design seems to reappear in the disposition of species themselves, in their arrangement into communities and ecosystems,

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dey

Dur l o r a C

in the dovetailing of species with species in the habitats which they share. There is a pattern in the intricate jigsaw of rainforest, say, or coral reef, which leads rhetoricians to preach disaster if but one component should be untimely ripp’d from the whole.

In extreme cases, such rhetoric takes on mystical tones. the planet is the womb of an Earth goddess, all life her body, the species her parts. Yet, without giving in to such hyperbole, there is a strong illusion of design at the community level, less compelling than within the individual organism but worth attention. The animals and plants that live together in an area seem to fit one another with something like the glove-like intimacy which the parts of an animal display as they mesh with other parts of the same organism.

A cheetah has the teeth of a carnivore, the claws of a carnivore, the eyes, ears, nose and brain of a carnivore, leg muscles that are suitable for chasing me, and guts that are primed to digest it. It’s parts are choreographed in a dance of carnivorous unity. Every sinew and cell of the big cat has meat-eater inscribed through its very texture, and we can be sure that this extends deep into the details of biochemistry. The corresponding parts of an antelope are equally unified with each other, but in pursuit of a different route to survival.

Guts designed to digest plant roughage would be ill served by claws and instincts designed to catch prey. And vice versa. A hybrid between a cheetah and an antelope would fall flat on its evolutionary face. Genetic tricks of the trade cannot be cut from one and pasted into the other. Their compatibility is with other tricks of the same trade.

Something similar can be said of communities of species. the language of the ecologist reflects this. Plants are primary producers. They trap energy from the Sun, and make it available to the rest of the community, via a chain a primary, secondary and even tertiary consumers, culminating in scavengers. Scavengers play a recycling ‘ role’ in the community. Every species, in this view of life, has a ’role’ to play. In some cases, if the performers of some role, such as scavengers, were removed, the whole Community would collapse. Or its ‘ balance’ would be upset and it might fluctuate wildly, out of ‘control’ until a new balance is set up, perhaps with a different species playing the same roles. Desert communities are different from rainforest communities and their component parts are ill-suited to other such communities just as—or so it seems—herbivores colons are ill-suited to carnivores teeth or hunting instincts. Coral reef communities are different from sea bottom communities, and their parts cannot be exchanged. Species become adapted to their community, not just to a particular physical region and climate. They become adapted to each other. The other species of the community are an important—perhaps the most important— feature of the environment to which each species becomes adapted.

From Science in the Soul by Richard Dawkins Published by Random House 2017 Dedicated to the memory of Christopher Hitchens

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WITH LOVE FROM AMSTERDAM.

The Original Spirit of Amsterdam

THE RED LIGHT NEGRONI

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contributors

t r i b tO rs 010

NATHAN JOHNSON is a New York City based photographer specializing in celebrity portraiture and fashion. He is the owner of DriftStudio (www.DriftStudioNYC. com) overlooking the High Line in West Chelsea. Nathan is also the Chief Creative Officer and producer of Full Armor Films, a New Orleans/New York-based production company. He is married to Broadway leading lady leadng lady, Laura Osnes.

SPENCER HEYFRON WAS born and raised in England, relocated to New York City to pursue a career in photogra- phy fteen years ago while producing portraits—his portrait of Will Arnett winning him a place in American Photography 27. Warm praise from celebrity subjects have included “Who’s the F**king Lumberjack” from Rahm Emmanuel; “That’s some f**king beard” from Broadway legend Patti Lupone; and “F**k man, you’re quick” from Samuel L. Jackson. Something in Spencer’s persona relaxes people! Must be the beard.

British photographer and filmmaker Patrick Fraser (with BBT who took this shot) has lived in California for the past 18 years.

He photographs editorial features for magazines like Vanity Fair, British Vogue and Esquire as well as color supplements The Sunday Times, Observer and Guardian. He has shot ad campaigns for many leading US brands including Google, Microsoft, Pinterest and Hilton Hotels to name a few.

His portrait work has been exhibited at the National Portrait Gallery in London. Patrick continues to make documentary and exper-

EVAN DUNING has been operating out of his own studio in downtown Los Angeles, The Dream Factory Los Angeles Studio, for over nine years.

He always strives to shatter the limits of his creativity and thrives on bustling new projects. His viral enthusiasm leaves none unmoved.

Emily’ ASSIRAN’s outgoing personality and adaptability has lead to an extensive portfolio of colorful and eye-popping imagery. She has photographed characters like Gillian Anderson, Rami Malek, Laura Linney, and John Krasinski. But whether she’s shooting celebrities, scientists, ranchers, or CEOs, Emily’s love of meeting new people and storytelling comes through in every shot.

JEFF LIPSKY is an advertising and editorial photographer based in Los Angeles California. He is known for his organic natural approach for shooting celebrities and lifestyle.

His career started after spending a decade in Telluride Co were he was a fly fishing guide and snowboarder.

Now he shoots for editorial clients such as Vanity Fair and Mens Journal. His commercial clients range from Jim Beam to Roxy. He lives in Pacific Palisades CA with his wife and 3 children.

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personal chef 2019 a foodie challenge

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feature envy - what is it good for?

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