![]() ![]() This year was a bit different to other years with a greater focus on young bands, rather than the more established acts. Survival is a very well established event on the Indigenous and Australian music scene. This month we focus on the music of Survival, an annual music festival held in Sydney. By the way, he graces our March cover, 100,000 Cleo readers are not wrong. He’s cool, stylish and a world class achiever. He’s such a male role model, especially for us fellas who, well, don’t play football all that well. He is Kyle Vander-Kuyp Most Eligible Bachelor for 1998. And Cleo readers say he’s Australia’s biggest spunk as well. To support our journalism and get unlimited access to our coverage.He can run, hurdle, represent Australia in international athletics as well as achieve world class times. Want more stories like this one? Subscribe now If you prefer to read in print, you can also find this article in the May 23, 2022, issue of Thank you for subscribing and supporting our journalism. “The pieces have this arresting quality,” she says, “and you really feel the voice speaking directly to you.” According to deputy editor Lidija Haas, the image is of a piece with the magazine’s new ethos as well as the material they’re trying to bring in. The magazine skipped its fall 2021 issue to focus on resettling into the Chelsea office and implementing the redesign, emerging from the hiatus with a bright watercolor of two red cherries by Rose Wylie on the winter 2021 cover. Stokes is comfortable taking time to get things right. And they have this patience about them: an understanding that to get to honesty, it’s going to take a lot of time.” “They’re really inefficient,” she says of the interviews. Stokes had to gently hurry the interview to conclusion. Kincaid is the subject of the “Art of Fiction” interview with Darryl Pinckney in the spring 2022 issue, the product of seven years of conversations. The Review recently held the Spring Revel, its yearly fund-raising event, where Jamaica Kincaid was presented with a lifetime-achievement award. ![]() ![]() Her team, too, is small and intimate, she says, giving their project a “cottage-industry feel.” ![]() The result is a text equally suited to being displayed on a coffee table or stuffed in a coat pocket. “I wanted it to be an exquisite object that wasn’t precious and to feel really classic but not at all nostalgic,” Stokes says. The book is now smaller and softer, moving away from the glamorous yet forbidding aura of the magazine’s past. The shift can be felt in the Paris Review’s Pentagram-led re-design. Now, under recently appointed editor Emily Stokes, the Review has experienced an overhaul with changes ranging from the staffing (it has an almost entirely new editorial team) to the furniture (gone is the office pool table upon which Stein used to stand and make toasts). The Paris Review has come a long way from its founding team of “Tall Young Men,” in the words of Irwin Shaw, a man solicited by the Review because, according to the first managing editor, he was a “hard-drinking writer with a good-looking wife.” The magazine’s early parties included “call girls for decoration,” as Gay Talese noted, a louche legacy that endured through the editorship of Lorin Stein, who resigned in 2017 following reports of sexual misconduct and was replaced by the novelist Emily Nemens. Back row: Amanda Gersten, Na Kim, Lidija Haas, Jay Graham, and Oriana Ullman. Front row (from left): Niela Orr, Lori Dorr, Matthew Higgs, Emily Stokes, Sophie Haigney, Jane Breakell, and Olivia Kan-Sperling. ![]()
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