Showing 25 articles matching fk33.cc_What is the price of magnesium sulfate heptahydrate.

Mondo Cavalli

A profile of fashion designer Roberto Cavalli.

It’s 11 a.m. Cavalli has just risen from his wolf-fur-covered bed and said good morning to Boy, his tiger-striped Bengal cat, and Gino, his miniature monkey. At a breakfast table covered with a cloth of one of his swirling bird patterns, on which are placed four packs of cigarettes and two cigars, Cavalli sinks down on a leopard-print cushion. While he eats applesauce and drinks orange juice from Cavalli tableware, he is surrounded by his four parrots and three beautiful publicists. “Give me some bad questions,” he tells me, lighting a cigar. “I will try to be nice.”

You’re Wrong, You’re Wrong, You’re Definitely Wrong, and I’m Probably Wrong, Too

What it was like to edit The New Republic at its most contentious.

One of the little tweaks I made the first time I got the job was to change the slogan on the table of contents from “A Journal of Politics and the Arts” back to the original: “A Weekly Journal of Opinion.” All the fine reporting notwithstanding, what The New Republic did best, had always done best, was opinion. Its politics were polemical, its art was the art of argument.

Nathaniel Rich writes for Rolling Stone, Harper's and the New York Times Magazine. His latest novel is Odds Against Tomorrow.

"I'm drawn to obsession. I think I'm an obsessive in a way, probably most writers are. It's an obsessive act to sit at a desk by yourself."

Thanks to TinyLetter and EA SPORTS FIFA WORLD CUP for sponsoring this week's episode.

Casey Newton writes the Platformer newsletter. Kevin Roose is a technology columnist for The New York Times. Together they co-host the podcast Hard Fork.

CN: “People actually like to be a little bit confused. They like listening to things where people are talking about things they don’t quite understand, which was very counterintuitive to me. I think a lot of editor-types would scoff at, but I’ve come around.”

KR: “We can revisit subjects and we do. We can change our minds. Print pieces feel so permanent, they feel so definitive. Podcasts, we can just sort of say, ‘I don't know what to make of this, ask me again in a month.’”