nunu


profiles

Anyone read The New Yorker profile on Phoenix sheriff Joe Arpaio this week? He’s the guy that is conducting a pathological crackdown on illegal immigrants (and there is rampant racial profiling of people who are legal) and employs prison tactics designed to humiliate – you may have heard of his parades of prisoners in pink uniforms—and also dresses them in archaic black and white striped uniforms—or his chain gangs in the blazing furnaces of Phoenix and his “tent city” prisons in the desert (with interior temps nearing 130 degrees, reports William Finnegan in the piece). Per New Yorker style, the piece lets Arpaio dig his own hole by showing what a pathetic publicity hound he is while also illustrating his appalling orchestrations of this “theater of cruelty.” Reading it, I found it shocking that a bigger deal hasn’t been made of him in the conversation about torture.

Earlier this summer, I got a very small, but potent taste of Arpaio’s Phoenix, just as I was leaving, in the airport. I gave my I.D. to the homeland security agent before going through security, as usual. He looked at my driver’s license, then looked at me, then looked at it again—again, pretty standard—then he looked up at me again and said, “And you are?”

I looked at him, completely confused—because he’s holding my I.D., right, so, why is he asking for my name? (Isn’t that the usual response to a “And you are” question?) So I say, “Um, I am…Renata Espinosa?” I phrase it as a question because I’m not sure what kind of answer he is looking for. “I can see that on your I.D.,” he says, and then he repeats the question again.

I realize that he wants to know my ethnic background—though here I am with a valid form of U.S. identification—and I’m annoyed that he doesn’t just ask, or that he insists on asking such a vague question. It makes me wonder if this is designed to unsettle the person who is being asked, so that they automatically get nervous and look guilty…of something. This time I respond, “I am going to New York City,” which is still not the answer he is looking for.

Again he asks the same stupid, vague question.

“That’s a very open-ended question,” I tell him.

He’s not being particularly mean, just insistent, and I start wondering if he’s just messing with me for fun, because he’s bored. He’s actually smiling and I don’t know whether I’m supposed to smile, too, like this is some big joke, or whether I’ll get in trouble if I do. So finally I say, “You want to know my ethnic background?” He nods yes. “Mexican and Spanish,” to which he says, “That’s what I thought,” and then he lets me through.

fact-based food

Spending time at my dad and stepmom’s house yields interesting information about food, as they are both passionate cooks. Subsequently, they have a lot of food-related magazines lying around. One of my favorites is Cook’s Illustrated, with its no-nonsense New England-y take on food preparation. It’s what happens when Protestants get their hands on what could otherwise be a very decadent Catholic supper.

The best parts of the magazine are, of course, the delicate illustrations of gadgets, produce, cookware and quick tip how-to (contrast the tiny color photographs on the last page of the issue’s featured recipes, which make the food look very Betty Crocker, in a bad way).

Today’s most fascinating facts and tips involve onions and apples:

#1 Did you know that the way you cut an onion affects its flavor? I did not. Apparently cutting with the grain (pole to pole) makes the onions less pungent than cutting across the equator. Wow! This has to do with odorous substances that are released when the cells of the onion are disrupted. Onions cut against the grain = more disrupted cells. But if you’re dicing them, I guess, all bets are off. (On a related note, I recommend slicing with the grain first when you’re dicing. The onion holds together better when you’re doing your second perpendicular cut).

#2 To keep a cake moist (when it’s underneath a cake dome), place a whole apple alongside the sliced part. The moisture from the apple is like a built-in humidifier.

And one more fact, courtesy my stepmom when I had my “oh wow” moment with the onion, if you chiffonade a basil leaf and want to keep it from going brown when you cut it, slice parallel to the vein instead of across it. This is useful if you’re topping pizza with it, and want maximum decorative effect.

fun facts about the new yorker’s jon lee anderson

A panel discussion this afternoon at the Nieman Foundation conference featured The New Yorker’s Jon Lee Anderson (he of Che Guevara: A Revolutionary Life fame, newly adapted for the screen by Steven Soderbergh) and senior editor Amy Davidson. The main thing I took away from it–well, actually, two things–is 1) Jon Lee Anderson is the shit and 2) If you want to do what Jon Lee Anderson does as a journalist, the only advice they can give to you is: Be Jon Lee Anderson. Apparently, you just have to have his instincts to get the goods. Cool, good to know.

Other interesting points:

•When Anderson was in Zimbabwe recently, reporting on the Mugabe regime, he wore only Adidas tracksuits. “Football hooligan chic,” he called it. Why? Because while he was waiting for his flight to Zimbabwe in “bucolic, rural England” all his clothes were stolen as he sat engrossed in all the Sunday newspapers . When he arrived, he looked around and saw that this is what all the men were wearing. So much for all those Dunhill suits he’s packed! (I wanted to ask him why he’d packed Dunhill suits, but I suppose it would be necessary in order to gain an audience with Mugabe, right?)

•When he reported on Katrina right after it happened, he had three days to report the story and one day to write it. Normally Anderson spends three weeks (minimum, often more like six) reporting a story and another two to three weeks writing it up. Because wireless/internet/etc. was so spotty at that point in New Orleans, he had to send his copy in chunks to Davidson by literally driving back and forth in front of a Sheraton hotel that still had wireless, trying to find one bar.

•”Maybe I represent a kindred spirit,” said Anderson, speculating on why dictators or other similarly difficult subjects have opened up to him in interviews. On Pinochet: “I saw how Pinochet saw himself through his henchman,” who he had to dance around for two weeks before being granted an interview with P. himself, “so I was able to get him to talk.” Like, find out what hobbies your dictator has and get him to talk about them! (Baking cupcakes, raising kittens, gardening, you know.)

•When Anderson was 17, he thought he wanted to become a guerilla.

•Sometimes other guerillas think he is one.

•After three weeks in a place, Anderson says he hits a routine, which means things stop looking fresh. Unless the point of the story has something to do with understanding that routine, it’s usually time to step back and get out with the information that you have.

So, yes, I would like to become like Jon Lee Anderson. Or maybe the Jon Lee Anderson of fashion. That’s a war zone, too, right? Yeah.

v magazine, you’re positively glowing! stephen gan explains why.

I have a memory of my brother holding a Skeletor mask up to a lamp to release its glow-in-the-dark powers. Its glow worked for approximately five minutes at a time, then it was time to recharge all over again. Eventually, whatever it was that made it glow stopped working altogether. My brother did not stop wearing the mask.

This is not my brother, but this is the Skeletor mask he wore.

(This is not my brother, but this is the Skeletor mask he wore.)

So glow-in-the-dark is pretty powerful stuff. Powerful enough to inspire newsstand sales of print magazines? Stephen Gan, editor-in-chief and creative director of oversized gem V magazine, says yes, so they printed the cover of their latest issue, featuring Natalia Vodianova and Luke Grimes shot by Mario Testino, using a special UV gloss that makes it glow.

Here, Gan tells the nunu between shows in Paris why you will be standing next to a lamp ad infinitum with V in hand and which fall 2009 collection is his favorite so far. Also after the jump, a preview of V’s Vodianova spread. Continue reading ‘v magazine, you’re positively glowing! stephen gan explains why.’

an interview with ohne titel for blend magazine

I interviewed Flora Gill and Alexa Adams for Amsterdam-based magazine Blend. They are the geniuses behind Ohne Titel, one of the best new labels to emerge in New York. These women may not have the same buzz as Rodarte yet - in my mind the closest comparison - but believe me, they soon will. Interview below.

OHNE TITEL
text: Renata Espinosa

Right now there are very few designers that one can truly call inventors. While there are those who might push for a return to basics, this strikes one as counterintuitive—no one is suffering at the hands of a t-shirt shortage or from lack of a pair of jeans. Only the innovators will survive. A burned up economy presents a commercial challenge that hunts for a muse and a torchbearer. Fortunately, the fashion world has Ohne Titel: Alexa Adams and Flora Gill. Their work is palpably new yet prehistoric; recognizable yet purposefully revised. The first thing that strikes you when you see Ohne Titel’s clothes from a distance is how well-conceived the silhouette is—it redefines the body without eradicating it. Anatomy and design intertwine, a sort of futuristic second skin where clothing functions as an extension of and a reference to the body. Their clothes are complex and intellectual—if one were to visualize a mathematical equation as a work of art, it would be one of Adams’ and Gill’s exquisitely rendered knits—but that’s not why they’re such design geniuses. It’s because they actually succeed in taking the conceptual and turning it into something extremely wearable and flattering.

Ohne Titel, Spring/Summer 2009. Photo by Amy Troost.

Ohne Titel, Spring/Summer 2009. Photo by Amy Troost.

Continue reading ‘an interview with ohne titel for blend magazine’

david foster wallace & the new yorker

An excerpt from David Foster Wallace’s last unfinished novel, The Pale King, about mindful tedium and the IRS (to be published next year) and a new profile of DFW.

libertine is the future

“Amen to that,” says Cindy Greene when I pay compliments to their continued use of recycled materials—she and Johnson Hartig got their start screenprinting Midwestern thrift store finds. “And we shook off the skull.” Formerly their signature image, which spawned many imitators high and low.

Recycling ideas or eras is tricky business, and fashion designers do it a lot. (This season, the ’80s. Groan. Strawberry, Forever 21, H&M, Rainbow…I could go on and on about the cheapie tweenager stores for whom the ’80s has been and continues to be a staple. But hey, if you want to give $1200 to Marc Jacobs to do it for you, be my guest!) But to make use of actual recycled goods—this should be the real future in fashion.

At Libertine, the future meets the past, like rummagers sorting through a dump in the English countryside and applying their pictographic language. Books are something you wear, not read. Also aptly timed: This Italo Calvino short story in the New Yorker this week.

triplecanopy launches

Triplecanopy, a smart new pub with contributors culled from n + 1, Artforum, et al, launches today at Gowanus Studio Space in Brooklyn. See especially Basic Instinct: Poems, taken verbatim from Descriptive Video Service (audio versions of films created for the visually impaired) and rearranged into verse:

“Now a white horse gallops through a dawning blue sky, // its mane fluttering in the wind. / It sprouts wings and soars up and over a golden triangle / enclosing the words TRI STAR PICTURES.”

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