Esquire - April 2016 MY

MALAYSIA 

MAN AT HIS BEST www.esquire.my

APRIL 2016

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HENRY TAKE THE ESQUIRE FITNESS CHALLENGE

NOEL GALLAGHER

TO SUPERMAN

CAVILL GLOBAL FASHION

BEING MUSLIM IN REDNECK AMERICA

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B e fo r e w e b e g

M A H B: Fi

M A H B: Di

 Ane w loo kforaclea ne ran d  sim p lerm ag azine.

Som e�ilm stow atch outfo r thism on th.

Th eim p o rtan ce o facam era. Plus:Ag uid eintovirtualreality.

M a n a t

M A H B : T V

M A H B : H e a l

Jum p on tothe co uc hand catch  som eofthese show s.Plus:Th e joysofp re-spoiled television.

Th eEsq uire�itnesschalleng e.

s b e s t: B o o k s

D avid Bo w ieand ho w  w ritersw rite.

al

M A H B : H a rd w a r

V id eod id n’tkillthe rad iostar.

C hivasR eg al’sMasterB lend er C olinScottw illtake yo utothe ex tram ile.Plus:R eviveyourself w ithsom eg in.

M A H B : T h e B i g P ic t u r e M A H B : F o o d

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M A H B : D r in k

R ussellN orm an servesup som e Irishg ood ness.

Th eArab Sp ring thro ug h theeyesofp hotog raph er MoisesS am an . C o n

O n t h e c o v e r :

n u e d

o n p a g e 1 8

H en ryC avillp h o to g rap h ed b yB rian B ow en S m ith/Au g ust/C lickPh o to s.

C O R B IS

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C o n

n u e d

o m

p a g e 1 6 M A H B : T h e B ig Q u e s t o n

M A H B :

W illw eeve rseeself-driving cars?

C om plicated m ech anicsand a sneakp ee kinto o urfavourite p ickso fthem onth.

M A H B : ID

W aystoim proveyou rroo m s an d three easy�ixe sforabe tter �low ing interio r.

M A H B: Styl

M A H B :G ro o m

M A H B : T ra v e l

To m B arb er’sg uid eto Verb ier.

M A H B :A T h o u s a n d W o rd s

So m eb ag s,tiesan d d esig ne r lab elesse ntialstokee p yo urstyle ga m estron g .

M A H B : T h e I n te r e s t i g T h i

H ow aco lou rch ang ed the  co urseofm ed ica lhistory.

a tc h e s

M A H B : A u

o m o t v e

Th elatestMcLarenan d areview  ofthe ne w G LC .

Ceci n’est p as un crayon. Words by Kuah Jenhan C o n

n u e d o n p a g e 2

n g

H yd rateyou rselfan d thenhitthe sp astokee p yo urskinsup p le and co m p lexion glow ing .

C O R B IS

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C o n

n u e d

o m

p a g e 1 8 T h e

e a l M u s l

Ir v i g M a n u a l

The Sh akespe arean MaH Bgu ide  fortheEsq uirem an an dco ffee 101.

h a t I v e

e a r n e d : K h a i r il B a h a r

s o

In d o c h in a t h e b a c k s t o r y

T e x a

W iththe riseo fp aran oiaand  fea rg rip p ing ev eryo n e,th e Muslim co m m un ityin Texa s w eig h ino nw h atit’slike to live in o neo fth em ostheav ily p olarised statesinthe U S.

O nhisexp erien ce sg row ing up  inLon d on ,co m icb oo ks,m ov ies an d co llec ting stuff .

By Colby Buzzell

Interviewed by Sim Wie Boon

T h e s ta g e w a s s e t. A n d w

Fo llow the jo urne yo fthis p ho tojo urna listasherid es thro ug h the trailso ffou r m ag ica lco u ntriesove rthe co u rseo f10 d ays. By David Bowd en

H e n r y C a v

u r n e d u p . A n d

h e p e o p

Y e s ’. A

t

d th en

st ex

e s a i ed

Ro ckstarN oelG allag hertalksto  usab outthe hig hsan d low sof O asis,hism arriag e,m id -lifecrisis an d alo tm ore. By

lex Bilmes

Su p erm an ac torH en ryC avill letsusinonhisrise from b ullied  fatkidtom anofsteel,w itha q uick d etourto asex fen ce along thew ay. By Rich ard Benson

P h o

o e s s a y :E x p o s u

 Aseriesd oc um en ting the taleof MariyaD io rd ich uk w ho w asb orn inKiev,�ive m o nthsafterthe  C herno b yld isasterusing rollso f �ilm found atthe sitem akesfor an interesting ye tso m b retale. By Kazuma Ob ara

a t I v e le a r n e d K a re e m

A b d u l

a b b a r

O np laying b all,co nve rting  toIslam ,an d rac ism . Interviewed by Mike Sager C o n

n u e d

o n p a g e 2 2

C O R B IS

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C o n

n u e d f ro m

p a g e 2 0 S t y le : F a s h

S ty le : A r o u n d

h e

o r ld 2

n es se

al

 Astressed m an ’sg uid eto travelclothe s.

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Jou rne yfro m theEa sttothe W estw iththe sed ash ing g en ts.

a tc h e s : A n e le g a n t a

a i

It’sthattim eo fthe ye arag ain fo rusto lo okatw hatS IH H has tooff erus.

S ty le : Y o u a r e w h a t y o u c a r r S ty le : T h e h o u s e t h a t R a

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PalazzoR alp hLaurenm arks an o thersucc essfulch ap terfor am an ’svisionthatex tend sw ell be yon dfashion .

Fo urb ag sfo rfouro cc asio nsfor onestylish g uy.(Th at’syo u.)

S ty le : P o p g o e s t h e s e a s o n

Shad eso fg rey,red ,b lue, tealan d ye llow .

Esq

re 10

W iththishea tw ave b rew ing , w e’reonlyhap p yw henitsw et.

L a s t R e s o r t a t c h e s : B e a u t ie s a n

Th eLand m ark,Lon d on

h e s p e e d

D esp itetheasso ciatio no f chronog raph w atche sand  sp orts,atthe end ofthe d ay,as long asitloo ksg ood o nyo ur w rist,itrea llydoesn ’tm atter.

B e fo r e w e g o

 Ane w m on thlyq uizfo rsom e lastm inu tem ind g am es.

a tc h e s : D e a d o n t i

B eforethequ artz,therew asthe d ea d b ea tco m p lication .

C O R B IS

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And now for some thi ng not co pletely different A T E S Q U I R E T O W E R S we kinda feel like a fella who has just shaved his head and bought a new suit. We think we look pretty good, but you’re never quite sure what your mates will think. Why do we feel this way? Well, we’ve made a few changes to the magazine. The most significant ones are in the Man at His Best section, in what those publishing-types imaginatively call the Front of Book. (Can you guess what they call the back of the magazine? Yeah, that’s why they’re paid the big bucks.) Not only does Man at His Best look a bit different in terms of design, it is also different in terms of content. Allow me to explain. We’ve squeezed some extra pages into the section and filled them with, we think, some really great content. From now on, and in every issue, you’ll find the latest—and the best—in gadgets, cars, interior design, travel, photography, and food and drink. We’ve also included pages on what to watch and listen to. So, when it comes to all the latest stuff, we’ve got  your back. The section looks different too. It is, I hope you’ll agree, beautifully clean, with an air of elegance. We have our scrumptious design team, headed by Rebecca Chew, to thank for this. For not only have they created these seriously gorgeous pages, but they also keep the writers amused with their choice of everyday office wear. (They are creative types. Think kaftans and berets. Together). But it’s not only the magazine that’s had some work done; we’ve launched a new website too. Still located at esquire.my, the site has been completely redesigned and reinvigorated, and the content freshened up under a new, easier navigation system. Our main navigation headers are now: Style; Watches; Women; Man at His Best; Long Reads; and Street Style. I could say more, but it would be better, and appreciated, if you could head over there yourself to check it out, and tell us what you think. We have our web team, headed by Shermian Lim and her team of trained chimps, to thank for the new website. For not only have they created those sleek new pages, but also keep the writers amused with their choice of everyday office wear. (They are IT types. Think Star Wars T-shirts and, erm, Star Wars T-shirts. Mostly black). So, new content in a redesigned magazine, alongside a newly reinvigorated website. It’s been a busy couple of months. Fingers crossed, you’ll agree it was worth it... Until next month. H E R E

    E     R     O     F     E     B

Simon Burgess Editor-In-Chief 

 ONTRI

U T O RS D a v id B o w d e n

K a zu m a O b a r

B orninAu straliab utb ase d  inAsiafo rthe p ast20 ye ars, B ow d en isafree lan ce p hotojournalistsp ecialising intrav el,foo d  an d the en viron m en t.O verthe  p astfew years,hehasp ub lished  ap hotog rap hicb oo kseries(En ch an ing Malaysia,Enchanting Singapore,Ench anting Borneo) em p hasising o nthe vib ran tan d  m ulticulturalb eau tyofMalaysia, Sing ap oreand Bo rne o.

B ased inU K an d Japa n,O b ara be ga ndo cu m en ting the Jap ane setsun am ian d nu clea r d isasterin20 11throu g hp ho tog rap hing fro m insid eFu kush im a D aiich inuclearp ow erp lan t.H e co ntinued hisp ursuitofnuclear lab o urissue san d isnow focu sed  ontheC herno bylnuc lea rd isaster.H isw orkshaveap p eared in asThe G uardian, ie Zei ,B B C , C N N andm anym ore.

ILLU S T R A T IO N B Y C H E E YA N G O N G ;K A Z U MA O B A R A P H O T O G R R A P H B Y N O R I H I K O IS H II

E D ITORIAL

 A D V E R TI S IN G

O P E R A TI O N S

editor@ esq uire.my

advertising@ esquire.my

accounts@ mongoose asia.com

HE ARS T�MAG A Z INE S� INTE RNATIONAL

Editor-in-Chief

Account Directors

Head Of Operation

President/ CEO

Simon Burgess

Ashley Loh ,Nich olas Ng

Deputy Editor

Sim W ie Boon

MA RK E TIN G �& � COMMUNICATIONS

Watch Editor

marketing@ esquire.my

Leo n g W o n g

Marketing Executive

Web Editor

Kyren Thomas

Shermian Lim Fashion Editor

E V E NTS

Ian Loh

events@ mongooseasia.com

Fashion Assistant

amy Yee

uncan Edwards

Junior Accounts Executive

Senior Vice President/CFO/

Siti F azilah Yun us

General Manager

Simon Horne Accounts Assistant

Norsh ak ila Ab ulah

Senior Vice President/ Director of Licensing and

HR Manager

Bad rulzaman Satibi

Business Development

autam Ran i

IT Support Engineer

Senior Vice President/

Reshwan tSing h D hil on

International Publishing Director

Jeann et e C han Circulation Manager

Head of Events

Sarah C hong

Amee Ha im-Iliya Intern

Ign atius JC Ed win

Editorial Director Circulation Assistant

Assistant Manager, Events

NawafRahman

Alyssa Naza eq

Senior Vice President/

Mohd K hairie AbdulK arim Mohd Sukri

im St. C air Bodd en Fashion/Entert ainment Director

risten Ing ersol

 A R T

Dispatch

production@ mongoo seasia.com

WE BSITE esquire.my

Muhammad Fitri BadrulSham, Mohd K hairilHa izie Mohd Z amzam

Senior International Edition Editor

Luis eronese

Art Director Web Manager

Rebecca C hew

Elana C hee Mei Ling Associate Art Director Digital Marketing Manager

athryn Tan

AverellLeiki ng

Senior Designer

Aini Suraya Nasaruddin

Web Developer

an Nad zirah Bt. Zulkhe i

Production Executive

Nor Fa ridah Mustaf

Senior Web Designer

VincentChua

MANAG E ME NT mongooseasia.com Group CEO

raham Paling

Editors-in-chief Chief Operating O� icer

Mark Harvey Chief Content O� icer

Ma tt ew Bell tti

CONTRIBUTING WR ITE RS �& �S TYL IS TS Anna Peele, Azuma, Alex Bilmes,

E SQ UIRE INTE RNATIONAL� E D ITIONS�

Editorial Director

Lynette O w

Angel Gwee, Antonia Deff enu, Barry Sonnenfeld, C arissa Morais, Colby

Group Business

Buzzell, Catherine Hayward, Chris

Development Director

Anderson, Christie Simoson, C hris

Patrick Brenn an

Benns, David Bowden, Eugene Lim, Janie Cai, Jeremy Lawrence, Joey Yap,

International Business

Kana Oguchi, Kuah Jenhan, Lestari

Development Director

Hairul, Lim Siu Fang, Mari Shte n,

Richard Beatty

Mhd Alif, Mass Luciano, Mike Sager, Matthew Priest, Russell Norman,

Executive Publisher

Rachel Fellows, Suyen, Stephen

Intan Sha inas b e Meor Za ilan

Marche, Sam Mclean, Sam Mclean, Tom Barber, Takafumi Kawasaki

CONTRIBUTING� P HOTOG RAP HE RS �& � ILLUSTRATORS�

Bulga ria: Hristo Zapryanov h i na :Li Haipeng ombia: Francisco J Escobar S zech Repub ic: Jiri Roth reece: Kostas N Tsitsas H on g K o n g : Kwong Lung Kit Indonesia: Dwi Sutarjantono azakhstan: Ildar Khaibullin Korea: Heesik Min Latin America:Manuel Mart ínez Torres Mid e Ea st eremy Lawrence Netherlan ds: Arno Kantelberg Philipp ines: Erwin Romulo Polan d: Filip Niedent hal Romania: Andrei Theodor Iovu Russia: Igor Sadreev Singapore: Zul Andra Spain:Andrés Rodriguez Taiwan: Steve Chen Thailan d: Panu Burusratanapant Turkey: Togan Noyan nited ingdo m:Alex Bilmes ietnam: Nguyen Thanh Nhan nited States:David Granger

Agata Pec, Adam Nickel, Benedict Morgan, Brent Humphreys, Chee Yang Ong, Ching, Dmitry Zhuravlev, Dju-Lian Chang, Doug Inglish, Damien Weighill, Heinz Kluetmeier, Imagerom, Kim Nun, Li, Luke Kirwan, Lipwei, Marcus Wong, Norihiko Ishii, Remie Geo roi, Scott Grummett, Steve Schapiro, Skye Tan, Simon Emmett , Tavis Coburn, Xerxes, Yohei Yamaguchi

Published by Mongoose Publishing Sdn Bhd (580 05 1K), Level 36 Menara AmBank, 8 Jalan Yap Kwan Seng, 504 50 Kuala Lumpur; Tel: 03 2166 66 50 ; Fax: 03� 2166 66 51. Printed an d c olour separation by Times Off set (M) Sdn Bhd(194695 W), Bangunan Times Publishing, Lot 46 Subang Hi Tech Industrial Park, Batu Tiga 400 00 , Shah Alam. The views expressed in the articles published are not necessarily those of Mongoose Publishing Sdn Bhd (580 05 1 K). While every reasonable care is taken in compiling the magazine, the publisher shall not be held liable for any omission, error or inaccuracy. Please notify the publisher in writing of any such omission, error or inaccuracy. Editiorial contributors are welcome, but unsolicited materials are submitted at the sender’s risk. The publisher cannot accept any resposibility for loss or damage. All rights reserved by Mongoose Publishing Sdn Bhd (580 05 1 K). No part of this publication may be reproduced in any form without the pub lisher’s permission in writing. KDN PP17226/0 1 2013(0 31365).

A proud memeber of

26

M A H B

Books

owi

b y St e v e Sc h a p i

 A n ew p ho to g raphic book o n Bowie capture s the artist at a crea tive hig h. Words b y Sam M cLean

     t      s      e      B            n      a     M      T       S      I      A      H

P H O TO G R A P H S B Y S T E V E S C H A P IR O

an and d D avid B ow ie,en ensc scon on ced in th the eU S, S,w as as ev evo o lvin gye yet tag again ain in h issp spec ectacu tacu lar jou rne rneyas yas on e eo o fp op m u sic’sm o st stcreat creatiivean veandd  b rillian tm in d s.B ow ie eh h ad ad in trod rodu u ced th e eww orl orldd  toMaj Majo orTo rT om ,live ved d t th h eli elifeof eo fZ igg ggyS ySttardu ard u st st,, and an d h ad ad ju stlau aun n ch ched ed A lad add d in San e;th e eal albu bu m s w eresoon eresoo n tofollow . Pin U psand iamond ogs  Am usical our de orce,B ow iew asal also sow id el ely yregard ga rded ed asafashi ash ion ico con n ,p u sh shi in g gt th een ve vellop eo f sex u alityan d styl style. e. Later Lat er  th at at sam e year year, , ph otogra otograph ph er er Steve Steve Sch Sc h ap iroseize seized d u p on ararein vi vit tation from B ow ie'sm an ag ager erfora ap p riva vat te ep p h o tosession w ith th e p op s st tarin Lo LosAn sAn ge gel les.T h efru efruiitof oftth atd atd ay ay’’s coll col labo ration be bet tw een B ow iean and d Sch ap apiirow ou ld  p rovi ovid d e esom som eof eoft th e em m ost ost icon ic cal albu m a art rtan and d m agazi agazin n es esh h oo oot ts sprod prod u cedt cedth h at atdecad decade, e,in clud in gartfo rth e ealbu albu m sStation to Stationan andd Low. Itw o u ld al also sop p rovi rovid d e ei im age ages sfo rth isn ew p h otograph grap h icb o ok ,BowiebySteve Steve Sch Sc h ap apiiro. T h efirst efi rstp h o to sessio n st started artedat atfou r riin th e afterno ern o on an d w en tth rou gh th en igh tu n tild aw n . B ow ie ew w en ent tth rou rough gh cou n tless ess cost costuu m e ech chan anges, ges, each eac h o n e eseem seem in gl gly yb b efi ttin g gan an en tirely ynn ew an d  u n kn ow n B ow ie epe pers rson on a.Most Most in cr cred ediibl ble, e,from  ava avan n tag age ep p o in tsom e e4 4 0 ye years arslater ater,,w asth e eco cosstu m e ean an d d o od les eso o fapart aparti icu cul lar arsess sessiio n :B ow ie d ressed ressed in b lu e esl slack san d crop crop p ed sh shiirt rt,,p ai ainn ted  w ith d iag ago o n al al w h itest estrip es,an d scrib b lin gw h at ap p earsto b ead iagram from th eK ab abbb al alah ah .T h ey show up againi nint nthevi hevideo deo acc accom om pan yingt ngthh e son g“Laz “Lazaru arus” s”on th eBlackstaralbu m .  At  Atapres press slaun chforthis hisboo k,aB ow iesup ererfan alert alerted ed th ep u b lish shers erstothe the rem ark arkab abllesim ilari arit tiesbe esbet tw ee een n B ow ie’s sl lastvide video os,p articu larl arly y “Laza “La zaru rus, s,”an d th ep h o tosh sho oo tth atco comm p risesth e b u lkofth isn ew b oo k. T h es esem em ost ostl lyn ever ever-bef beforeore-pu pu bl bliish ed im ages ages represen rep resent tB ow ie eat ath ism ostcreative vean andd in spired spired sel self f,an and d off erar erararegl aregli im p sein toa aco colllab aboorative ve p rocess rocess th at at cr creat eated ed p h en enom om en enal alicon conog ogrrap aphh y yiin  th eB eB ow ie eoeu oeuvr vre. e.“From th e em m om ent entBB ow ie ear ar-riv rived ,w ese seem em ed toh ititoff .In cred cre d iblyin tell telligen t, calm calm ,an and d fi lled ed w ith id eas,”rem em bersSch Sch ap apiiro. “H etalked alotab abo ou tA leisterC row ley,w h oseeso eso-teric teri cw ritin gsh ew as as h eav avi ilyin toatth theetim e. e. “W h en enD D avidh dh ear eard dt th at atIh Ih ad adph ph otographed otographed  B u st ster erK K ea eat ton ,on e eo ofh isgrea great testh eroes, ero es,w e eiin stan stan tlybec ecam am efrien d s.” B ow ie and Schapi Schapir ro kidded and laughed ab ou tsh sho o otin gas gaseri eriesof esofcl clo o se-u se-upp p ortrait rtraits soon  aputridgreenbackgroundbecausetheyfeltit w as ast th e ew w orst orst p ossibl ble eba back ckg g rou roun n d col colou ou rfor ora a T H E

Y E A R

IS

7 4

Steve Schapiro’s career has spanned

m ag agaz aziin eco cove ver, r,an d sothe sothey ysh shooton efo ralark— ark — th e eiim ag age eeven even tu al allly ybb eca ecamm e ea aPeoplem agazine agazine co cove ver rin 1976 .  Adel  Adeliigh tforB ow iefan sof ofall allinte nten n sities esand an d d eg egrees, rees,Bowiep rov id esa esarare rarello okata arem rem arkarkab ablle emm u sica callgen iu sin th the eth thro roes eso ofcreati creative ve ex exp loration .   owi  by Ste ve Sc hap iro is av ailable now, pub lished  by po werHouse Boo ks.

over 50 years and he has captur ed some of the world ’s most iconic images of the great and the good, including: Martin Luther King, Robert DeNiro, John F Kennedy, Cassius Clay, Dustin Ho man, Marlon Brando, Andy Warhol and obert

edford

B o o k s :H :H o w w ri te rs rs w ri te

M A H B

ou ve been m eaning to

tart writing that novel since 199 , but life keeps getting in

the way. So we spoke to three of the biggest names in publishing about their craft, just to give you a bit of help...

Interviews by Jeremy Lawrence and Matthew Priest

 A N T O N Y �B E E V O R M ILIT A R Y�H Y�H IS T O R IA N ,� ,�6 9

 isn’t always instant creativity. Today, I’m catching up with tax forms. T h e r e i s n o e x c u s e for not writing when it’s nonfiction. I usually start writing by 8:30��, take an hour o for a walk and also a quick snooze after lunch. Then I’ll work until about 7:30��. M y s t u d y is a c o n v e e d a r   that has a wood burning stove and is lined with bookshelves. My wife, who is also a writer, has her own study in the house. It s w e r f l o e a r r e d   to another writer. We edit each other and it works very well. In the  beginning  beginning you have have to be fairly tactful, tactful, but now she will come back with the manuscript that has a line alongside a paragraph simply saying, don’t understand or boring. M y c o p y e o r iiss a Q C  who suddenly went totally deaf and gave up his job. He will say things like, “On page 369 you say this, but on page 97 you said something di erent”. erent”. It is those sort of contradiccontradictions that a lawyer is brilliant at picking up. T h e o l d a d v ic e f o m H e m n g a y   and G arcía Márquez, about how you’ve got to get that first paragraph right, is something I’ve found to be true. of history readers changed in the T h e e x p e c t a t o n A

 A B O U T �  A N T O N Y  BEEVOR Th e Eng ish military military historian is a former o icer with with t e 11th 11th Hussa rs. His best-kn own works are Stalingrad  and Berlin

The Downfall

,which have been praised for for eir viv id styl style, their treatmentof e ord in ary lives ofcombatants and civilians civilians a nd he use ofSovietarchive oc uments. His latest b o o k ,Ardennes 19

19

: Hitler ’s Last

Gamble  is

outno w.

r it i t e r ’s ’s l if if e

late ’80s and ’90s. Society was shifting towards an emphasis on the individual rather than the collective, and this was reflected in the way history was written. People didn’t just want a top-down version of events; they became interested in history in a far wider sense, including the fate of civilians in waringrad ad I realised that if I fare. So when I wrote  Stalingr was going to convey the consequences of decisions  by Stalin and Hitler on ordinary ordinary people then I had to integrate history from above with history from  below  below. I think think that’s that’s when I really found my my voice. voice.   the writing of hisC o p u e r s a ls o a n s fo r m e d tory. Many of these books would have taken at least two years longer in the era of the typewriter and hand-written notes. I a m a l a y s e x c i e d when my pre-existing assumptions prove to be wrong. It means you avoiding that terrible temptation of selecting material to support your thesis. H s t r y n e v e r never repeats itself. It may sometimes rhyme a little but that is all. Historical parallels are the biggest danger we have in our postwar world, whether it is the media, or politicians trying to sound like Churchill and Roosevelt. That might seem like a paradox coming from me, but WWII has become a rather dangerous subject in that it has become the reference point for every crisis. For example, to to argue that the battle against D aesh is the equivalent of WWIII is completely misleading. A s t o r i a n  must fight against generalisation, categorisation and caricatures of groups by propagandists. It is one of the most important things that we can possibly do, because this is what the perpetrators are trying to do all the time. H st ry ca n o   ever be a branch of literature. Historians have a duty to understand, and then convey that understanding, rather than make moral judgements. Y o u y o u n e r s ta n d e v if such a thing exists. D oes madness exist? I mean, do we excuse eveeverybody on the grounds of an unhappy upbringing or some sort of D NA problem? Can evil be argued away? Or is evil just a crazed religious concept? These are all huge questions. M a lc h c e  is the essence of human drama which is why so many novels and movies have been set in WWII. It was a conflict that involved more moral choice than almost any other period in our history, history, especially for those countries that had been occupied by an enemy. We live in a society where there is very little moral condemnation, so this interest in historical fiction, where real moral choices are presented, is not surprising.  GETTY

plex pl ex idea. I once presented presented a TV se ies about about u n-

IA N �R �R AN K IN C R IM E �W R IT E R ,� ,�5 5

derstandin derstandin g evil . I tr vell vell ed th e wor ld speaking speaking to psychologists, theologians, exorcists and people

I a l

o   ut to wr it e the perf perf ct novel. novel. When I

a y s s e

fail, I

tart over over

gain.

ure t hat I ca

point out an acti acti on and and sa , “t hat i s an act act of

I was a bit obses obsessive. sive. I read comi comi cs, cs, but i

A s a k i

on death death r ow. Toda Toda , I ’m pr etty

vil

but it’s much harder to say that a human is irre-

wasn’t wasn’t enough enough for me to just r ad them, I w ould

deemably evil.

wr it e them as well . I ’d sit sit in my bedroom a and nd wor

T h e t

away, creating an alternative universe that was far

is glowi ng, most most author s

more excit excit ing than the universe I was li ving in.

ti ve comme comment. nt. T he crit icism always ti cks wit h you.

G ro w

n g

I preten pretende ded d to fi t i n. In high scho school, ol,

u p

th e teacher teacher w ould r ead ead out my stories stor ies in class, and and

I a v o

T h e re

w a s

rent.

d r e a d

e where where I

grew grew up, so so I would haunt t he loc l l ibr ary. ary. I w ould

h r e a d

n g

n l n e

g r e v ie w

il l

i  s that even if it

xate on the one neganega-

k r e v e w s .   You can get

ived a day day late. l ate. o r s t p a r ta   bout being an aut aut hor is selfself- doubt.

T h e

b o o k s h o p   in the vill

n o

e w

a one-star one-star revi ew on A mazon beca because use he book ar-

it would be embarrassing. At that age, you don’t want to be marked marked out out as diff

u b

I t doesn’t doesn’t matt er how well -know n you are, or how many millions of books you’ve sold, whenever you

go here tw o ti mes a week, and and devour books. I

sit down to start the next book you’re absolutely

gave me acces access s to a wor d of stor es, es, and I became became

terrifi

d that this time the words words won’t won’t come come out. out.

fascinated with storytelling.

B e in in g

a n a u t h o r m e a n s t  hat you can can be a chil d all

I h a v e n o i

e a w   here th e Inspe I nspector ctor Rebus Rebus characcharac-

of your life. Kids are told by the adults that they

ter came fr om. I ti ll have have the ori ori ginal ginal not s where

have to stop playing and grow up; to throw away

Knots

th eir oys and stop stop making m aking up stor ies. As a novelist,

I

cribbled down down t he idea for my fi rst nov

Th e notes said: said: ‘main and rosses. The

character: may-

be a cop?’

I neve neverr lost lost that abil abil it H u m

I n e v e r k n e w

R e b u s   would stick around around when I

a n b e i n g s a r e h u n g r y f  or

tor ies. ies. They tell us

about ourselves, and they tell us about the world.

rst rst wrote the boo book. k. I knew knew very very l itt le abo about ut crime

We love narr ative ati ve

ction. What What I was tr ying to do do was was wr it e the grea grea

T

e

st l e I t

  was in Starbucks this morning.

Scotti h novel. novel. Alt hough hough I fail ed to do that, what I

Th ey a ked me what my name was, was, I said hat my

did was nd a character character that was going going to be wi th

name was Spar acus.

me for my enti enti re li fe. P e o

e o

t  hat the author and the charac-

e n

ter are identi cal, cal, but we a e no . Rebus Rebus and I grew up in diff

rent rent worlds, worlds, unde underr diff

rent rent circum tanc tanc--

. He woul d t hink I was a wishy-wa hy li beral. beral. I s ta c k

y n o v e

on shelves in chronological or-

der, der, but I ’m not as bad bad as other author s I know w ho go a ound r ea angin anging g oth er peo p eopl ple’ e’s s shelves shelves It

a s n

u   nti l t he eight eight h Rebus Rebus book book t hat I

tart ed

ga ning ni ng any any succes succes . I t w as hen I won t he Gold Gold Dagge Daggerr [f or t he be t UK cri me novel], novel], and start start ed becoming becoming bett bett r known. R e s e a r c h i n g a n o v e l i  s the b

t bi t. I would t lk t

lots of cops and ex-cops based in Edinburgh. Some

 A B O U T � IA N �R �R AN K IN

of t heir tor ies I coul dn’t use beca because use th ey were too outr ageo ageous us.. Fict ion has o be reali reali

ic, w hereas hereas the

real wor ld someti sometimes mes is completely un beli beli evab evable. le. A c i y p

o d u c e s t h e k in d

o f c r

ferent societies societies nd cultur kin d of cr imi nal. nal. I

m f

i  t deserves. Dif-

, produce a diff cinated at at di cov

rent ing

what Edinburgh was like in the ’70s, and seeing how the criminal underworld has developed over the decades since then. E v

’ s a n

a s y

d

o s a y

but it is such a com-

esp ite ite orig ina y set ing out o write write he reat Sco ish no vel’h is series of bo oks eaturi eaturing ng Edinburgh-based detective John Rebus ha s seen Ian Rankin sellmore tha tha 20 milion milion oo ks spawn two TV-shows an d win mul ip e writing awards.

M A H B

Po

s b ri

i  nt o contact contact wi th people, people, prob-

s y

lems and and cr ise . I ’s an i ncredibly colourf ul backbackdrop because it stretches from the centre of power to the most rural of places. You come into contact wi th a wider S o m e

rr y of people than most jobs

s a y   t hat being being an auth auth or i s a lonely job. I

don’t don’t fi nd it lonely lonely beca becaus use eI

m wi th t he cha charac rac--

ters in the book. If you love th em and and believe in hem, then t hey become become eal eal t o you. T h e

p

c e s s

o f

w

  can be very i olati ng,

very i nt ense ense and very dr aini ng. It takes up a huge amount amount of t ime. h o ry   ou a e int eres ed in oth er people and and

A s a n a u

other oth er experi ences ences in a prof essional sense sense. Sin Since ce I became an author, there hasn’t been a single moment w here I ’ve been been bored. Even Even sit sit ti ng at at a bus top, there is somethi somethi ng going on that you can can

nd

nr ichi ng and and i nteresti nteresti ng. S o m e a u th o r

 like people, others are more inter-

ted in wh t i s going going on around around t hem. I prefer t pend a lot of t ime li tening to ot hers talk. M y w

n g

o c e s s i  s much f eer eer oday. oday. Occa Occasionsion-

ll y I wi ll hear a li ne, ne, or half a phra e and and scri scri bble it down on a shee sheett of paper paper

MIC H A E L�D O B B S P O LI T IC IA N �AU T H O R ,� ,�6 7

nd put it in my pocket. pocket.

At t he end end of th e day day I empty my p ockets and se what I ’ve ot i n there—I li terall terall y end end up wi th l ots

I s ta r t

d

r i

House House

ards  by accident and

f

had no int ension ension of becoming a wr it er. I was bored

on them.

on hol iday, iday, so so I

E

at down and chall chall enged enged myself myself to

wr it e a book. book. It was just some somethi thi ng to

ll a g p. I

had no intension intension of fi nishing it, let alone alone gett gett ing it published. published. g a b

o k

trade, and while they have made a huge impact, he number of sales seem seem to have pl ateaued. ateaued. I

s l k e c l

n g

a m

u n

a i

Thou-

wh o want t o curl u p in a co ner and read read an an ac ual

sands of people may have done it before you but

physical physical book.

th t doe n’t matter. When you g t to t he top i ’s

F o r y e a

special special moment for you to savour. savour.

what do I do now? How do I

I

 Aft e r a UK po litic al caree r in in both the Thatcher and Major governments, D obbs turned turned to writing novels “to see if I could do it”. With the enormous success of  his political political drama H o u se se o f C a rd rd s , the answer to that question has been a resounding “yes”.

b o o k s   were expected to wipe out the book

seems that there is still a large number of people

a t tr i

te

Ho u se se

f

Shakespeare’s Shakespear e’s Julius

 A B O U T � MIC H A E L� L� DO BBS

of ti ny piec s of of paper paper wi th il legible legible words wri tt

a rd rd s   to being a bit like

aesar. I ’s a s ory about a

  I ’ve woken up thi nki ng: “Oh my God, God, xpr

s my creati creati vit

today and and earn earn a livi ng out of i t?” t?” I t can can be a fr ightening pr ocess ocess, but you need that sense sense of of t err or t

powerful man, man, and and how he is hacke hacked d t o death in th

get the best out of yourself creatively.

capital by his own best friends.

T V

d ra m

  is bigger than ever. But that doesn’t

  of characters that really grabs

mean that traditional storytelling is being eroded.

people’s attenti att enti on. That’s Th at’s wh at Shake Shakespe speare are did

I t sti ll requir es creati creati vit y and and people people who are able able

with M acbetha   nd

to write. Far from feeling oppressed by this new

I

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one, one, but wi th a lot of boulders on the way. way. I thi nk

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people people underes underesti ti mate mate just just how diffi

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the luck I ’ve had had wi th e d   by drama and politics be-

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but I think ards, but

it’s a bit like the story of ‘a golfer’. He knows that

cause in any area of power, you have people of am-

he’s a lucky golfer, but the harder he practices, the

bit ion; people people who are in a hur y; and and people people wh

lucki er he become become . I have have worked very hard for

are und er gr eat eat pr essure. essure. You You see a whole wh ole spec-

my success success, but I never never once unde esti mated th

tr um of human moti on and and vulnerabil vulnerabil it

good good for une that I ’ve had had along along t he way

CO R BIS

H a rd w a re :S ta tio n m a ste rs Switch

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igitalrad io an d revo ution ise y ur ho me listenin .

1. T I V O L I A U D I O 1 A neat y pac kag ed, award-winnin g unit wit allt e c on ectivity o a ul on soun d system. The matching speaker turns itinto a stereo. tivoliaudio.co.uk

2. REVO SUPERCONNECT Serio usly sleek, easy to use a d g reatsound ing . C an d oub e up as a B uetoo speaker for your ph on e or lap op . revo.co.uk

t was announced in M ay last year that nearly half of all radio listening is now done via the digital format. W hy?

here once we were li mited to a few radio stationsthat

might play one good song in 10, i ’s now pos ible to listen to stations wit h playlists expertly tailored to your speci c taste. Got a thing for ’80s power ballads? here’s tation for t hat. Adore Nort hern Soul? One for that, too. Got a penchant for euphori Balkan oompah? Er, good luck with that. Anyway, to help you discover the beauty of digital radio, here’s Esquire’s rundown of the best digital radios to buy right now— and a few stations to dial up.

PH T

RA PH S BY B EN E I C T M O R A N

3 .�R U A R K �R 1�M 1�M K 3 The wal ut shel sh ello ers fan astic ac ustic ustic qua ity, ity, he ro od ialco ntrol ntrols s keep it oo king slick,an he n ew R1 R1 no w has Bluet oth aud io streamin streamin and can even charge your phone.

ru rk ud io com

4 .�R O B E R T S �R �R E V I V A L �IS T R E A M �2 Itmigh oo k ret retro,b utwith utwith W i-Fi internetrad internetrad io co nn ectivity this c an une in o ov er 16 000 internat internation ion alrad io station ation s.

robertsr dio co uk

 A N D �T H E �P �P IC K � O F �T H E �W �W E B � S T AT IO N S ... KEXP, KE XP, Seatt le Alternative and indierock— the US answer to 6M usi usic. c. Ambient Sleeping Pill, New Jersey Trippy, soothing sounds to help you nod o . Resonance FM, London Like an alternative Radio 4, with artsbased talk by day, madly eclectic music by night. Dublab, LA

5 .�G E N E V A �M O D E L �X S �D A B +

A vehicle for DJ

Ideal Id eal r t e regular regular travel travel er,this co mp ac ol away unit will�it l�it in yo ur lug ag e when you’re away,an away,an d also o he job job very nicely nicely ack at ho me.

experiments. Expect

genev l b com

weird mixes and occasional guest star slots. Earbits, LA The sta

judge

submitted tracks, then play the best— not a bad way to hear new sounds sounds..

M A H B

Film Picks of the

onth

Catch supehe roe s a nd America’s America’s new sweetheart in in theatres theatres near you.

C A P T A I N A M E R IC A : :C IV ILW A R resh resh off e succe success ss of Deadpool ,and with several more more ms slated for releasein easein 2016,Mar 2016,Marveld veld es Captain n Ame ica Civi l War War ,which skip a beatwith Captai picks up where Aveng s Age A ge of Ult on lef off . Th e m se sees S eve Rogers ��� �� � aptain aptain Ame America, as ayed ayed by b y C ris Evan s,facing acin g a new n ew chal ch alenge enge rom within he ranks of he Avenger vengers s and and he governgovernment,which ends up pitting him againstTony Stark �� � Iron Iro n Man (RobertD (RobertD owney Jr.)an Jr.)and d a whole ot of ot er superheroes superheroes.. ils is may may ook oo k like an orgy orgy overload of superheroes,we're ustgl ust glad ey aly al y go Spi eys ey s eyes eyes righ is time. B A T M A N V S U P E R M A N :D A W N O F J U S T I C E Manki Man ki d aces aces a new n ew t reat as Batman (Ben (Ben Af eck) aces off Su erman erman (Henry C avil in an epic ep ic clash o gian s. D eeming e alien too p owerful or h umanity,Batman ,Batman seem seems s be on brin br ingin gin g t e man of s ee o his knees knees. ith ith W ond er W oman oman al adot and Aqua Aqua Man (Jas (Jason on Momoa) oin ing in g t e racas,be sure sure of a proper pro per figh fi gh o t e e d. ils C might be late ate in o t e superhero superhero te team at e game comp co mpared ared o Marv M arvel el,trai ,trai ers and an d ost ers have shown that Batman v Supe man Dawn of Justice willdefin ld efin itey ite y be an epic epi c big bi g screen screen movie movi e.

e Evil uee uee res respectively. Roun Roundi di g off e star-s ud ed cast is Emily Emily Blun as Frey F reya, a, e Ice ueen,al ueen,also so Rave R ave a’s sis er,an er,and d Jessica Jessica C astain as Sara,the Sara,the Hun sman sman s lover ov er.. T e one on e person at you won be see seein ing, g, owever is K rist ri sten S ewart who play playe ed S ow W ite ite,given ,given er rat er scandal ous on-setantics with director RupertSanders that ed to to e breakdown breakdo wn ofbo of bo h eir relatio atio ship s. KEANU If you’re a fan fan of In ernet comedy you should be amiliar wi Key and Pee . Satirical irical art ers in crime crime eegan Michae ey and Jordan Hawort Pee e ave made made he eap to to the big scre scree en wit is action action comedy comedy t at sees Re s (Pee e) et iten K eanu taken from from his h is homeb ho meby y a streetg reetgan ang. g. Toget er with with h is riend arence ey ,he ,h e ecides oseas ose as a drug ealer to retrieve retrieve e missin missing g cat,but cat,but e pair pai r soon d emse mse ves ves in over t eir h eads.

T H E B O S S  Ano er come y t at romises romises more t an its its fair share shar e of ely ely laugh s t is mon h is Melissa McC arthy’ thy’s The Boss,in ,i n which whi ch she takes on e role of Mich Mi chel ele e arnel arn el,a ,a busin ess ess mog mogulwh ulwho o is is convi con vict ct ed of inside in siderr tradin tradin g. As she prepares prepares to rebran ersel ersel as America’s lat lates es sweet sweet eart af er h er release rom prison p rison ,n ot everyon everyone e is convin con vin ced ced by T H E H U N T S M A N :W IN T E R ’S W A R  A f ow-up ow-up to 2012’s surpri surp rise se hi Snow White and er sudd sudd en urnaround. urnaroun d. W e re no sure if e m the Huntsman The unt man Winter’s Wi nter’s War War   sees is a wry ook oo k at a cert certain ain ublic ublic fi gure w o experiexp erihris Hems Hemsworth and harlize The Th eron reprising reprising enced enced a simi ar ate cough* Martha *cough* Steweir roles as Eric, Er ic, e Hun sman sman and an d Ravenn a, art*cough* butit but it ooks oo ks like ike a suresure- re hi .

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lump up the couc h and stoc stoc k up on snacks snacks because because you nee to c atch t hese TV TV shows shows in April.

ick s of

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him both financially and personally. Watch as he GAME OF TH RONES SEASON SEASON 6 hrones  Need we say more? G ame ofT hrones   returns for makes a last-ditch bid at redemption, with his famits sixth run, and this time round, the writers get ily and a new salvage team in tow. a pass at deciding their own plot as author author G eorge RR Martin is still in the process of writing the SILI CO N VALLEY VALLEY SEASON SEASON 3  book upon which it should sho uld be based. With numer-  After Season 2 ended on a sad note, fans hope to alley returning ey  returning to its lighter side when ous teasers and theories (RLJ and Cleganebowl see Sil see Silicon V all anyone?) floating about, we can’t wait to see what the new season premieres on April 24. (Who are horrible fates will befall our beloved characters we kidding? This is a comedy; of course, it will pick this time. up, right?) After losing his position in the company that he built from scratch and being betrayed by Monica (Amanda Crew), will Richard (Thomas BANSHEE SEASON SEASON 4 The final season, which was originally slated to pre- Middleditch) join forces with former business rimiere in January, finally reaches its bloody conclu-  val, G avin Belson (Matt Ross), to take his CE O posion this month, if the rumours are to be believed. sition back? We’ll have to wait and see. Will protagonist Lucas Hood (played by Antony Starr) end up being offed by crime lord l ord P roctor (Ul- FEAR OF THE WALKIN G DEAD SEASON SEASON ead ’s highly rich Thomsen)? What shocking twists can the series The second season of T he Walking D ead’s Walking D ead remakers throw at us this time? And what role is Eliza Eli za successful prequel Fear of the Wal D ushku going going to play? turns to satiate your late-night zombie-binging needs, and it looks like the show’s characters might  be taking to the high seas, as the teaser posters apBILLIO BILLIO N D OLLAR WRECK WRECK illion io n pear to suggest. The success of all things Walking E xplore the murky secrets of the ocean as B ill D oll ollar Wreck  Wreck  follows the adventures of Captain D ead ead  pretty much proves that we continue to have Martin Bayerle, Bayerle, as he hunts for a USD 1 billion ship- a macabre fascination with zombies and the apocawreck, in an all-consuming quest that has ruined lypse. lypse. Oh, and good TV as well.

M A  HB

V

he joys of prespoile d television

Spoiler alerts: The Cold War ends. JFK is assassinated. OJ gets away with it. Words b y A nn a Pe e le

  of e r y-90s procedurals,which could e watched o y when they were broadcast os   trained us to exect shock wh ile ech ology cruely enab ed us o exp erience television at our eisure and share its twists in real ime. Th is con ict created t e spoiler-avoi an in sufferab e:watch Breaking Bad whenever you wan ,butd on tstick your fi gers in your ears if I bri g up wh at app e ed to Jesses junkie girlfriend. Surprise is more fun en masse at’s why eres no reason o D R t e EFA Euro or O s cars— and there are obviously shows worth t e ass e of being viewed in eir origin al ime slot, like Games of Thrones and hacker thriller r Robot But ere are more t an 00 scrip ed series. Assuming you en oy ul-time emp yme ,tha is more hours ofte evision an you have free ime in a year;no matter how much you wantto,itis literal y imp ssib e to keep up,or to escap e t e twee s ose who seem o. T ree midseason shows off er a bet er way s incre ible spy d rama The Ame cans he same n etwork s sel -e an atory The People v OJ Simpson: Ame ican Cr me S ory and Hulu’s 11 22 63 an adap ation of S eph en K ing’s nove wherein James Franco ays a goateed ad ul education eacher who travels back to 1960 via a magic close in an e ort o p revent he K enn edy assassination . Al are based on istorical events, A F T E R

T H E

S O O T H IN G

B A N A L IT Y

so we know h ow they wil end. (No we I s spoiler-prooftelevision. A clearcut erminus isn ess fun o reach. T e easure-in ucing op amine released when you’re surprised is also prod uced wh en you’re exp ect in g to feelsurprise . Justas research subjects act drun k wh en given cran berry juice in a ab made o look like a bar,you watch J b ubbering in e back o e whi e Bronco whi e im K ardashian’s ad reads his suicid e no e at a live press con er e ce organ ised by RobertShapiro (John Travol a, who wil need to build a new trop hy case an you’re back in 1994, starin g at e elevision an wondering what he he lis going on . Because e e d was never the poi . As Americans s owrunn er Joel ields poin s out,“W e al are walki g down e hal way toward eat ,a non e of us know how long it is. W hen you have se se of inevitability en questio s of ow you ive life al g e way become more relevan .” ispensing with speculation aboutwhose ass wil warm t e Iron T rone helps you focus on ings ike, say e in er lives of characters you coul spend seven years with. So James ranco is not going to save JF ,but kn owin g of is failure doesn’ make its unfurlin essenjoyab e. Itmay even make i more e yab e. r at eas keep me from having to wear a blinker ood on Twit er if I miss an episod e because I m catching up on Fargo.

i it l C

mera s sti lm

er

he dig ital m an returns and addresses the smartph one era. Words by

arry Sonnenfeld

G E T C A L L S from chairpeopleofm ajor m otion -picturestudiosw henI’m takingabath.I don’tknow ifthisisacoinciden ceorbecau seItake alotofbaths.Regardless,neverarethecallsjobrelated.In stead,I’m grilledonw hich cam erathey shouldbuytheirsecretaryorkid. Idon’tm ind.T hedefi nitionofafilm directoris som eonew ithopinionsabouteverything.Itellpeoplew heretositan dstand,how fasttotalk.Athom e, ItellSw eetie(thew ife)w hatfridgedraw ertoput thebutterin.(H erresp onse:“B arry.G etajob.”) B ecauseSw eetieandIw ereplanningaroadtrip from Telluride,C olorado,w herew elive,toMarfa, Texas,Ifigu redthatatatim ew heneveryphonehas asophisticatedcam era(Iow nthree),Ishou lddeterm ineifyouorIreallyneedan ythingelse. H ere’sthething:m ostsm artphonesarefantastic.T heytakesharp,colourfulphotos.T heyarealw aysw ithyou .T heyarephon es.Ifyou view you r shotsonlyonascreen ,you’reoften finew ithyour iPhon e6sPlusorG alaxyN ote5.(B utw hydoesn’t theiPhoneshootstillsin16x9?W eird.) H ow ever,som etim esasm artph oneisn’tgood enou gh .D edicatedcam erastakebetterphotosof m ovingobjects,faces,andtheoutdoors.Iloved threeonm ytrip. I O F T E N

Ifyouw anttophotographthingsthatm ove andarefaraw ay,likeyourkid’sfootballgam eor aonce-in-a-lifetim esafari,getthe[ Panasonic  Lu m ixD MC -F Z 100 0.It’sbiggerthanaphon ebu t incrediblyversatile,w ithasharpLeicalensthatcan zoom aton(from aw ide-angle25� � toatelephoto 400� � ).Allthreecam erasandsm artphon esfilm  4K video,bu tthatm od e’sshu tterspeed doesn’t preventeachfram efrom gettingblurredw hen yourkidscoresorthatcheetahstartsrun ningat you.T heFZ 1000fixesthisw ithits4kphotom ode, w hichallow syoutosho ot30 8� �photospersecondatw hatevershutterspeed youneedtoclearly freezetheaction .Youp icktheph otoyouw ant anddiscardtherest.(E ach cam eraItestedlets yousendselectedphotostoyoursm artphon evia W i-Fi,clun kily.) Ifyouw antsom ethingthatfitsinyourpocket, carrythe [ SonyR X 100 IV .E ven thou gh asm artphone’scam eram ayhaveagreatfieldofview ,its lensisonlyabout5� � — avery,veryw idelensthat inclose-upscanturn thefacialch aracteristicsofa pugintothoseofadachshu nd.T heR X 100 IV has theequivalentofa24-to-70� � zoom lens,w hichis m uchm oreflattering.Italsohasbothasharppopupview finderandanLC D screenthatflips180degreesforselfiesw iththatpug. Ifyouareseriousaboutphotograp hyan drich , the So nya7R IIisthew aytogo.Itisfairly sm allforitsam azingcap abilities:it’sam irrorlesscam eraw itha42-m egfull-fram e(thesam e sizeasthefilm fram eofa35� � cam era)sensor thatallow syoutoprinten orm ou sim ages.Itcan  alsopracticallyseeinthedark— w ithoutthegreen  tonesofnigh tvision.SinceI’m afraidofbears, ghosts,an d,really,allthingsIcan’tco ntrol,w hen  Iw alkm ydogintheblack Telluridenigh t,Iusuallycarryaflashligh tthatcouldblindanything thattried toattackm eexceptan extraterrestrial from averybrightplan et.B utonce,Iheldthea7R  IIinfron tofm einsteadan d“saw ”intothedarkness.T hough itm igh tnotbebesttouseaan expen sivecam eraasanigh t-visionscopeorw eapon, itkeptm esafe. B utthereisanotherreason touseadedicated cam era:youholdittoyoureye.T hisisim portant. Itfacilitatesfram ingandconcen tration.Youavoid thetelephonepoleinthecornerandstraighten thehorizon.You com poseaphotoinsteadofjust takeone.Itfeelsgood .D uringm y2,400�� trip, Irarelyreach edform ysm artphon es.  Barry Sonnenfeld is an Emmy Award–winning television d irector and the director of Get Shortya   nd the Men in

lack  ilms.

D ig i ta l: Th e v a g u e ly u n s e t tle d m a n ’s g u i d e to v i r tu a l r e a l ity  

M A  HB

Amon e tech y’s b ig est it es:itind uces n ausea,causes l eliness, emand s co mp ete surre er o t e mach ine. Yo u kn w,n o b ig d eal.)

Words b y Steph en M arche

That’s what t hey c ll

side oneself. Ecstasy. VR is controlled

it , the se rchers who hi de inside th ir

ecs asy— he dream of ar t since it s n-

attended in Toronto this past autumn,

he ds ts,

cept ion, r eali ed in a plasti c headset.

when the fi lmmak rs a ked me, “W ha

D R O P P IN G

IN

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consuming visions. I n vi rt ual reali ty,

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did you thi nk?” it wasn’t a b ckhande

dropping in is the moment when you

tr olled ec tasy wi ll do to us. Oculus Rift

request for approval. They literally did

forget t he fact that you’re in someth ing

will ship somewhere in the vicinity of

not know what their products were do-

and are just in it. For me, the moment

ve mil li on unit s in 2016, nd tiny bits

ing to m . Befor e each experi ence, I had

rr ives in a li tt le ov r a minute, but i ’s

of VR are already starting to attach to

to sign a waiver. If a VR fi lm dr ops

ction

other forms of media: The New York

fr ame, it can make the viewer t hr ow up.

and the phrase itself have created the

Times, a United Nations guide to a refu-

A sudden acc lerati on or a dip i nto t he

impression that virtual reality is like

gee camp, a tie-in to The M artian. You

uncanny valley of facial detail can caus

reali ty. I t i n’t. I t i s no alt rnate uni-

will soon be able to watch a baseball

severe disori entati on. Simple que ions

verse you can inh abit , or if it is, then we

game on the fi eld thr ough your eyes

have not yet been answered. What is an

have had alternate universes since we

and I can onl y assume hat t he VR ver-

establishing shot when the viewer can

di erent for everyone. Science

ed pain in g on the i nside of caves

wi ll be one of

walk around in it? Can you cut away

Dr opping in i s like the moment a boo

th e de ning gaming events of 2020. The

when inhabiting a singular perspective

or a

medium of vi tual r

is the essence of VR? How many cuts?

lm swall ows you, a technologi-

ion of Grand Theft Aut

li ty h s

ri ved s

call y enabled version of th e experi enc

quickly that even basic facts about its

the Greeks called ekstasis, to stand out-

workings are mysterious. At FI VAR

How long can people stand to be inside he machines?

I LL U S T RAT I N B Y T A I S C

BURN

T hetrickofdroppinginissosubtle an dsoim m ersivethatitpassesw itho ut notice.D uringoneshortIw atched ,the setputm einan em ptym ovietheatre, soIdidw hatIalw aysdoinan em pty m ovietheatre:Iputm yfootupagainst thebackofthech airinfrontofm ean d nearlyfelloff m yow nbecau seitdidn’t exist. Sum m er blockbusters spend hundred sofm illionsofdollarstom ake crow ds“jum poutoftheirseats.”T his isthefirstfactofthenew m ed ium ,the sou rceofitsdruglikepow er:V R isa physiologicalartform . P hysiologicalbutbodiless.Touring theruinsofSyria.B lastingtothem oon inApollo11.Flyingoverbrow nbears huntingsalm on and riversofm olten lava in K am chatka, R ussia. T hese w erealldistinctexperiences,butthey shared onefeature:Icouldseethrou gh  m yow nbod y.Lookingdow nthrough  yourow nch estorlegsontoaforestis notbirdlike,norisitahu m ansensation.Itisthevisionofadrone.Youare thebodilesseye.Atim elesseye,too.Afterafilm thatIw astoldlasted10m inutes,Iw assureIhadspenton lytw o m inutesdroppedin.W hen Iaskedthe w om anw how asnextinlinehow lon g shethoughtshehadbeenintheheadset,shesaidtw o.Sodidthem an w ho follow edher.T hereseem stobesom e connection— totallyunclearatthem om ent— betw eentrickingyou rbodyand losingyoursenseoftim e.T heselfin V R isagaze,tim eless,incorporeal. T hem ostintriguingV R film Isaw  iscalledI Am You.Itw asm ad ebyE lli

R aynai,aT oronto-basedV R film m akerw ho playedm ehism oviethrough hisphone.Itbeginsfrom theou tside, w atch ingayoungcoupleinastuden tyapartm en t.T heyarediscussingtheir plan stogoforC hinesefood;theyare aw kw ard.T hen ,inapoo rlyexplained bitofscien cefiction,theyputonheadsetsthatallow them tobeinsidethe head oftheotherperson.Ienterthe view pointoftheyoungm an.Incon trasttotheopen nessofotherV R m ovies,herem ygazeisgu ided .T hescreen isblackun lessIm ovem yhead and eyesdow n,unlessIfollow theview of theyou ngm anIhaveinhabited.W hat thisyoungm an seesistheyoungw om an ,an dhelooksintohereyes,an dhe strokesherarm ,andshestrokeshis arm .Ifou nditunspeakablym oving.It brou gh tbackthesen sation ofbeinga youngstuden tbesideabeau tifulw om an ,w ithnothingtodobuttouch each otheran dthinkaboutach eapplaceto goforlunch .Itw assexual,butitw as theoppositeofpornograph y.Itprovided theillusionoften dern ess.Itw as notjustm em orable;itw asasifIhad rem em bered it,asifInow possesseda new m em ory. W hentheLu m ièrebrothersshow ed on eoftheirfi rstfi lm s,L’Arrivée d’un rain en gare de La iotat,inthe1890s, atrainroaringattheaudien cereported lycau sedpeopletojum pou tofthe w ay.W enolon gerjum pou tofthew ay oftrainsinfi lm s.Perhap sth isnew  respon setoV R w illw earoff .B utV R  doesnotfeellikejustanotherdevel-

opm entalon gthespectrum ofrepresentation.It’sm oreafinality,anend point.R ichardW agner,inh isessay “T heArtw orkoftheF uture,”dream ed oftotalart, esamtkun stwerk.T otal arthasarrived .Butitistheloneliest art.T hecrow dsatV R festivalsare gathered togethertobeapart,w atchingpeoplesolostino therp eople’s dream sthattheyhaveforgotten there areotherpeople.N ohu m anism ore vulnerablethan adream erinaheadset,caged infantasy.V R h asadistinct cu rren tofm elanch olyinit:W hatifw e gotthetotalillusionw ecravedandit w asn’tenou gh? V R istheartform ofanew relationshiptotechnology,oneinw hich screens surroundandcon sum eratherthanpresen tan doff er.AniPhoneispurew illto pow er,fluidtechnicalm astery.B utw ith anAppleW atch,youarem asteredby tech nology.Itbuzzesyourfleshrather thanyourflesh buzzingit.Inthecom ing In ternetofThings,youw illnotpress buttons— buttonsw illpressyou.B utitis unclear,asofnow ,w hetherpeoplew ant tobepressedan dbuzzed .V irtualreality m ayw ellbethem om entw henou rflesh rebels,finally,againstthescreensthat riseuptosw allow it. T hepow erofvirtualreality’slucid dream isthepow erofan isolated god inaw orldofitsow ncreation,atotal artthatdem andson lythatitsaudien cebealonean dbodiless,or,inother w ords,inhum an .W ecan liveinsidean  all-consum ingfan tasy;thepriceisthat w eareall-consum ed. 

 A �TO U R �O F �P A S T�V IR T UA L�R E A L IT IE S

Ayahuasca: This hallucinogenic

Link light trainer: S old to amuse-

Cyberbase SU 200 0: V irtuality ’s

brew, made from Amazonian

ment parks before being used to

early-’90 s arena-like gaming

plants, has been curing various

train World War II pilots.

console included a joystick for

View-Master: Released in 193 9.

Dactyl Nightmarea   nd Shoot for Loot

ills for centuries. Common side eff ects: visions and vomiting. Stereoscope

pictured)

The 19t h-

playing

Sensorama: Patent ed in 1962,

Virtual Boy: Nintendo’s transport-

century version of armchair tour-

this machine featured vibrations,

able console came in only two

ism, featuring images of faraway

odour s, wind , audio. You could

colou rs—red and black. Released

locales and funny or erotic scenes

say, motorcycle through Brooklyn,

in 199 5. Discont inued in 1996.

smelling pizza.

H e a lth :T h e E sq u ire fitn e ssc h a lle n ge

M A H B

A 10- art series on

T H E F O U N D A T I O N :  What do w e mean

by

w to

et stron er,faster,h eal ier and

foundati on for a he lt hy fut ure; and th

et er at every ag e.

is in decent shape, works out when he can and harbours no major complaints;

ness?I ’s about str ength, of cour se

ayo Clini c, one of t he worl d’s grea

and stamina and vitality and looking

hospitals, whose specialists will tackle

physicall , he is not all t hat di

our very best with our clothes on and

a diff erent medical t opic every i

ue

fr om a sli ghtly out-of -shape 26-ye r- old

lso bout protecti ng

giving advice on how we can age better

or an active older guy, and he’ll be our

and enhancing t he only body we’ve got.

through diet, lifestyle and the wonders

ba eline.) Every month moving for ward,

I ’s about our healt h, and it ’s wh y we’ve

of mode n (and ancient) science

th e Chall enge wi ll get a li tt le harder, in-

. But fi tness is

rent

part nered wit h tw o world- be ters in the

This instalment of the Esquire Fit-

troducing tougher exercises, and those

wellness business: Equinox, the luxury-

ne s Chall ng , the fi rst of 10, is fi lled

who foll ow thr ough the programme wi ll

gym heavyweight , w hose Vice-President

with everyday movements—ifting, car-

be strong and healthy enough to do just

of H ealt h and H uman Perform nce, Da-

ryi ng, bending, t wi ti ng— nd H

ri

bout anything. Anythi ng wi ll be pos i-

vid Harris, will recommend new exer-

designed t he exe cises wi h t he averag

ble, and that, above ll els , is what fi t-

cises every mont h t o create a rock-soli

25-year-old man in mind. (Such a man

ness s about

S U G G E S T E D E Q U IP M E N T

Resistance band:

Foam roller:

Ru er,91.2 to 1.5M on . Make ita G ray ook:The loop on each end wraps around your biceps.

Blue or g reen med ium den sity,wit some squishiness and ive to i .

Suspension strap:

Free weights:

Nothing too co mp icated.

ViPR tube:

Kettlebell:

Pronounced “viper”. This weig ed ub e lets you shiftan d cho p in di erent anes of motion .

Start with 28KG itshoul e ch aleng ing o shrug your sho ul er while ho ing itwith on e han d. Ad ust wei ht acco rding y.

1.2 to 1.5 M  lon g, with two han es on o ne end and a wallan ch or o n he o her. W e like TR s.

T H E

A R M

U P

Three stretch es to extend your rang e of motion an d oo sen tigh ness in your join s and spin e.

Start with a foam ro er. Lying ac e up n e or,c entre the roler b enea h your mid ac k so hat itis p erpend icular to your b od y. Restyour hand s behind your head an d rollup and do wn he spin e,p ausing to rollb ack an d forth at igh or kno ed areas. Repeat on your g utes/hip . ne minute. 1.

.Lying ace up ,with oth legs straigh up in the air and each hand gripping a resistance ban d, oo p the band around the bot om of on e foo and pulld ownward to create some ensio n in he an . Slowly lower the o her leg o the �oo r— keeping oth legs as straigh as po ssible— and hen b ring he moving leg b ack o the up righ starting sition . Alerna ing eg s, do wo sets of eight reps.

Fin ish in the ch il s po se,with b h el ows on he g round beneath your chest. Keeping on e el ow on he � oo r,place on e han d b ehin your head and ,lead ing with the el ow o fyour ree ha nd ,ro ate your torso un ilyour el ow is p inting o he ceiling . Return to the start. Repeat on he other side. Two sets of ive reps. 3.

I TH S P E I AL P AR TN E RS E Q I N X R L S G R EAT ES T HE ALT H C L U B A ND T HE M AY O L IN IC R L S G R EAT ES T H S P ITA L

T H E W O R K O U T T h r e e d a y s a w e e k ,

x in g

u p

h e o r d e r a s y o u g o . T o o e a s y ? In c r e a s e w e i g h t a n d

o r re p s . T o o h a r d ? C u t d o w n .

1 Kettl ebell deadlif • S

an

he

ng an

2 Floor crawl

ove r a 28 e

n

ke tteb

ne

l

th

•

h yo ur h ee s,

ssum

e a c h y o u r h ip s b a c k a s y o u b e n d a r d , re m

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• To

h e h a n d

e  i

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h

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o a stan

g

R e tu r n t o t h e s t a r ng

ng

se b

a n eu

o r w a rd , w

al

an k p osi a p a r t. W ei

h

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e t u r n it

osi e h an

t ust un

o the l

4 TRX row

co

e t e n s i n in t h e

so

ee sets of ei

h t re p s o n

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ng

he

y o u r o th e r a r

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y to

a n d

b a c k .

h i

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an a w

h e o t h e r s id e o f t h e b o u t

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osi

s are

e the n ece ssar

p in g

e e t fo r w a r d a s y o u l e a n

, an r

5 Half-kneeling : ViPR Chop

h y o u r s u s p e n s io n s t a p a n c h o

a ll a n d e a c h h a n d g

ck u p a 15

e y

h y o u r s p i e t o c re a

• W

er-

er yo ur arm

ne d

• Th

,

. M ake su

al

, a is e o n e

h e o p p o s i e a rm

h y o u r sp in e

g e t n to t h e

h y o u r fe e t s h o u l e o

n c ra w

e e s e t s o f e i h t re p s .

o n a b e n c h a n d

on

ut no

si

3 Plank-positi on: Weighted row • P la c e o n e h a n d

on ,

h e  lo o r

t)

b e n d n g

si

o

ack o n yo ur hi s and

e n d in g • Th

eg

ul y ex

h a n d s a n d p u s h y o u r h ip s f o r w a r d ,

si

g

k n e e a n d

a s p vi g

s lo w

ch

h e s p in e •

e the p an k p osi

yo ur hi

e d

a h a n

e ,

a c k . F ro m

on , sq ue eze yo ur sho ul

o

h e

• n a h al kn ee

a lk y o u

a h a n g

n g

e r b la d e s a n d p u l

y o u r s e lf u p

• W tho si e o f e x te n

• Return to t e h an

g

si

n in a c o

ed

• Th

t r tat he n g

g yo

,

s h o u l • Th

d

e h an

es o f an

o

od y.

e i h t , c lo s e r t r s o , ra i s e

he e

u b e a b o v e y o u r le f t s h o u l h e

h t s i e o u t .

n o n e  lu i d

ee sets of 10 rep s.

si

o w n , a c ro s s y o u r t

a n n e r a n d re p e a t ea ch si e.

g

V iP R tu b e a t c h e s t

so,

h o p

er w hi

h e

u b

ow ard the

t h ip .

o n , a is e t h e t u b e o v e r y o u

e r a g a in a n d r e p e a t

ee sets

f 1 2 re p s o n e a c h s i e .

8 Strength push-up 6 Suitcase carry •

o ld a 2 8 t h a n g

tt

• S n e

ack w

h y

h y o u r o th e r h a n d

s. Th s sou

h t is p u l n g

a lk i

,

r 2 5 s te p s a n d

a r r y it

s a l g n e d . R e p e a t w

RNING

h e

e h an

.

ee se ei

ell n o

e a s y o u k e e p y o u r s

s h o u ld e • W

ke tt

b y y o u r s

s tr a i Th

7 Split squat: ViPR lateral shift

e ig h

r r

e d s id e a n d

, t is t o o

s e a s ie r t a n at ng

t s. f

yo ur sp ne

y o u a re ro t a te d

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V iP R t

•

e s c e n d

l

.

a ll

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eturni g

• Th

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t s ta n c e a n d h o d o p

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e up

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t

t shi n yo ur bo g

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g yo ssu re the y .)

o  iv e s e c o t s ta r t

art n the

an k p

e c t ly b e n e a y o u r c h e s t to

r t a n t to r e s is t t e s to e x e r t

t c h le g s ( r o p o

n g m

• S he ha nd

ei

o y o u r le f t

V iP R a t e m

ub e

N S B Y R EM IE

t

torso. (

• S

I LL U S T RAT I

n a sp

n

h e n

ea vy.

an d

si

,

h y

h yo ur sho ul h e  lo o

,

ers.

u ll y o u r s h

r

an

s you ul

ow er er

a d e s to g e t h e r . •

o ld he n

ve a

an k p • Th

h e si

o t to m

p o s i o n

a y f ro m n w

o r o n e s e c o n

h e  lo o

, e t u r n in g

h y o u r e l o w s fu l y e x t e n

, a n d o the ed

ee sets of 10 rep s.

s b efore si

eft kn ee to the l

, sh

e ri

ee sets of ei

t

ep s.

45

M A H B

Fo

d T

e uck

f

e Iris

Inneed o fafeel-g o o d d ish,R ussellN o rm an co o ksaclassicstew — d o n’tfo rg et theG uinn ess. ord s by

ussell Norm an

P H O T O G R A P H S B Y S C O T T G R U MME T T

G O D , I H A T E W IN T E R   in the U K .

of snow ,but I have also w alked around Every year,w hen the sun sets on June Soho in a T -shirt and nursed a sunburnt 21,I fall into a pit of despond, know - nose.P sychologically,how ever,it is the ing fromthat point onw ards the days first time in the year w hen there really aregetting shorter and so b egins the in- does seem to be a sense that salvation is exorable decline tow ards the darkness. close.T hose hearty roasts,slow -braised I w illusually attempt a quip,something meats and casseroles that w arm the like “the nights are draw ing in”.N o one bones and soothe the soulhave seen you laughs.W hen people tell me to “cheer through the w inter w ilderness. up” and “look on the b right side,” or “the N ow ,there’s a date in the middle of summer isstillahead of us,” I just can’t the month that gives you occasion for a see it.I’m preoccupied w ith gloom. last hurrah.St Patrick’s D ay (on M arch I have a similar problem w ith half- 17) is perfect for indulging in a pint of empty glasses.T hey are never half-full, G uinness,some rock oysters and a bow l I’m afraid.I don’t care how happy you of that peasant masterpiece,Irish stew . are or how positive you feel,their de- L ike all good soups, it requires modfining quality is emp tiness,not fullness. est preparation, and once it’s on the Colleagues,friends andfamily w illp er- stovetop,you only need keep half an eye sist in trying to convince me otherw ise on it. but a half-empty glass is, and alw ays But despite w hat many think,Irish w illbe,half-empty. stew is not really about the lamb; it’s T hings don’t get any better on D e- about the spuds.It is,in fact,a tale of cember 21,either.T he w inter solstice tw o tatties.T o make a good Irish stew arrives w ith a little festive cheer,grant- you must use tw o contrasting types of ed, but mostly w ith portent and the potato:one floury,the other w axy.T he promise of another tw o months of cold, reason for this is that the floury spuds misery and darkness. It is enough to start to disintegrate and add silkiness to get you speed-dialling the Samaritans. the broth, w hile the w axy ones retain W inter sucks. their shape to contribute texture and T hings start to look up a little in bite.You w illneed to prepare the stock M arch,but it is such an odd month and a day in advance,but if you really can’t it regularly confuses me. I’ve frozen face the bones and the effort,I supp ose my tits off in icy w inds and one metre you could use lamb stock cubes instead

(M arco Pierre W hite tells me they are allthe rage).Just dissolve them into 1.5� ofboiling w ater. Finally,you need an appropriate beverage.Callme eccentric,but I like a mug of strong tea w ith my stew .If you’re going the fullIrish,though,it has to be a flagon of G uinness. But for feck’s sake,make sure it’s not half-empty.  Russell Norman runs a number of restaurants in London. russe norman co ; @ RussellNorman_ IRISH STE Serves four to six or the stock make the day before): lamb bones, cut

•

• 1 la r g e

,

a lv e

• 1 la r g e c a r r o t , • 1 s t ic k c • 6

a c k p e p

• S m a ll

artered

ry,

rtere

e r co r n s

an

l  l a t p a r s le y , c

ed

or the stew lamb neck, cut into chunks

• • 5 0 • 5 0

e l y e l o w

ry po

atoe s

e g , M a r is P

a x y p o

a to e s

e g ,

er)

e s i e e

or Charlotte) •

carrots

• 4 m e d iu m

o n io n s

• La r g e k n o b

o f b u

• S m a ll h a n d

u l

• H a n

u l ch o

e r ck e d

e d

h y

e s h c

e le a v e s v e

• F la k y s e a s a

Instructions:

1.For the stock, take a very large saucepan and submerge all the stock ingredients in 3 L of cold water. Add a very generous pinch of salt, bring to the boil, then reduce the heat and simmer, with lid off, for two hours. Strain the stock throug h a sieve, d iscard the solids and return the liquid to the p an. Bring to avigo rous simm er until the stock has reduce d to 1.5 L. Allow to c ool, cover and store in the fridge. 2 . Next day, peel the potatoes, cut into bitesized pieces, but keep the two types separate, covered with clean cold water to stop them  bro wning . P ee l and cu t the ca rrots into sm all  bite s; pe el and slice the onio ns into rings . 3 . Heat the b utter in a very large sauc epan a nd  brown the lamb nec k. P lace the ca rrots, o nions and � loury potatoe s into the pan, stir a few times and a dd two or three g ene rous pinche s of � laky salt. Add the stock and b ring to a stea dy bo il for 10 minutes, skimming the sc um from the surface. 4 . Reduce the heat to a hearty simmer and continue to stir occasionally for a further 15 minutes. Now add the waxy potatoes and simmer for 20 minutes . Add the thyme, stir, co ver � irmly and take off the hea t. Wait 20 minutes b efore  you rem ove the lid, s tir ag ain, se rve and sc atte r over the c hopped chives.

47

MA HB

ink s

o the xt ra

As Chivas Regal releases its irst non-age

il tat ement whisk , Chivas Regal Extra,

squire speaks to its Master Blender Colin Scott t o ind out how the ble nd is taking things to the next level.

Words b y S arah Chong 

E S Q U I R E : W

hatw entintotheplanningforC hivasR egalE xtra? C O L I N S C O T T :  AtC hivasB rothers, there’salw aysb een thetradition of havinganinven toryofagedw hiskies, andtod ay,w eh aveoversixm illion  casksofw hiskyquietlym aturinginour w areh ousesinScotlan d.From theseincred iblestocks,ourinventoryteam advisesusofallthecasks,bothm altan d grain,thatareavailab le,sothatw ecan thenselecttheexactw hiskiesrequired  tocreatetherich an dgenerousflavours ofC hivasR egalE xtra.T hiscarefulselection isallabou tthem anycom plex flavou rsineachw hiskythatw illreflecttheC hivashousestyle,an dtheart ofblen dingb ringsallthesediff erent w hiskiestogetherinthefinalblen d. Tellusm oreabou tC hivasR egal E S Q E xtra’sno-agestatem ent. C S : T hem aturationprocessplaysan essentialpartinthecreationofallour w hiskies.O urapproach istoevolveand anticipateconsum erdem andforinnovation.Asaresult,w eneedtoadopta flexibleapp roach tocreatingnew flavoursbeyon dourexistingrange.C hivasR egalcontinuestoretainstron gage statem en tsacrosstherange,an dC hivas R egalE xtra’squalityliesinitsrich an d generou staste,w hichw e’vecreatedby includingintheblendsom eofou rfinestw hiskiesthathavebeen m aturedin sherrycasks.W ehaveseenan excellen t responsefrom ourcustom ersw hoare en joyingthisnew areaofexploration. E S Q : W hatsetsC hivasR egalE xtra apartfrom otherexpressions? C S : It’sofparam ou ntim portancethat C hivasR egalE xtraiscreatedandblen dedintheC hivashousestyleofsm oothnessandrich ness,butequallyim portant thatitdeliversadiff erenttasteexperiencew ithinthatstyle.Itisanexception allyrichandgen erousblend,and speciallycrafted w ithintheblen d,there isanextralayerofsom eofourrarest m altw hiskies,asw ellasafurtherlayer offinew hiskiesthathavebeen m atured insherrycasks.Ithasarich fruitiness ofripepears,cream ytoff eean dahintof gingerthattakesyoutoanew level.

H ow doyou know w henyougeta blen drigh t? C S W ehavecontrolsam plesforallour Scotchw hiskiesandensurethatevery batchofw hiskym atchesthecon trol, sothattheh igh quality,thecom plex flavo ursandthetasteexperien cesofall ou rScotchw hiskiesrem aincon sistent today,tom orrow an dintothefuture. O fthem anyyearsinthew hisky E S Q industry,w hat’syourproudestm om ent? C S : D uringm ym anyyearsatC hivas,I havehadthegoodfortun etow orkw ith som eofthefin estScotchw hiskiesin thew orld.IthinkIam m ostproudof C hivasR egal18YearO ld,w hichIcreatedin1997. W hatisthebestpartofthenext E S Q thingthatyou’reabouttodo? C S : T here’salw ayssom ethingexciting ab outthenex tthing,an ditisoftentravel-related.Ihavenoton lyd iscovered diff erentcountriesan dcu ltures,butalso m anyfascinatingandincrediblepeople, w how anttoknow m oreabou tC hivas. ESQ

T hem ostrew ardingpartisw henthey tasteC hivasR egalforthefirsttim ean d asm ilebreaksacrosstheirfaces.Atthat point,Iknow m yjobisdone! E S Q : W hatisyou rbiggestpetpeeve aboutthew aypeopletreatw hisky? C S : Som epeopleinsiston neverfinding ou tw hatreallyhappensw henaskedto ad dalittlew atertotheirScotch! 

ri n k s

ri g i a l g i n

A G&T wit h enhanced lavours is all you need to revive you. Words by Rachel

ellows

E SQ U IRE ’S� G IN �A N D � TONIC •

M L  M o n k e y 4 7 g i

• 15 n d

M L  F e v e r T r e e

a n

o n

• c e c u • S

c w a t e r e s

c e s o f cu c u m

b e

PHOTOGRAPH BY AGATA PEC

 A S K F O R MO N K E Y  47 gin and your barman w ill

respond w ith a know ing smile.T he drink hails from G ermany’s Black Forest and the “47” refers to the number of botanicals in the recipe,w hich includes all the usualsuspects such as juniper,along w ith unlikely ingredients including dog rose, lavender, N orw ay spruce,marshmallow plant andpimento. T he flavour is thus incomparable: at once fruity, w oody, spicy, lively, refreshing— everything you w ant a superior gin to be. T his versatility suits countless garnishes, but w e like the coolness of simple cucumber. Teamed w ith Fever-Tree tonic (the best you’llfind),it makes a distinguished take on a trusted classic and,since “47” also refers to the A BV,it’lldo the job in no time,too.

49

M A H B

T h e B ig P ic tu re Moises Saman did not set out to be a con lict pho togr apher. It was the adventure of being in remote and extreme situations that called to him; photography merely provided an excuse. After an internship at

Newsday, he went on a self-

inanced tri p to Kosovo,

more interested in the lifestyle of a roving p hotojournalist than the int ricacies of t he last Balkan war. But somewhere in b etween Afghanistan and Iraq, photography became a medium of com mentary for Saman. “I’m not saying phot ography can change the world ” h e says. “But at least, you can be a factor in t he discourse about w hat’s happening or nearly four years, Saman lived and wo rked in the Mi ddle

The New York Times The New Yorkera   nd Time, among other s. His images are now collected in Discordia The Arab Spring, a book th at serves not as a ast during th e Arab Spring , freelancing for

best-of compilation, but as a visual journal by a wit ness of con lict. In favouring ambiguous phot ographs over dramatic page-ones, Saman’s nuanced perspec tive invit es dialogue rather than neat resolutions. “Over the years, the many revolutions overlapped and in my mind b ecame one blur, one story i n itself. In order to tell this story the w ay I experienced it, I felt the need t o transcend a linear journalistic langu age, and instead create a new narrative that combined the multitude of voices, emotions and the lasting uncert ainty I felt.

amels ata c amel market,Birqash, Egyp ,2011.

50

D iscordia: The Arab Spring  is published b y G ra iche Antiga. discordiathebook.com

MA N U M PH T S ; W

RD S B Y RE BE C C A C H E

M A H B

T h e B ig P ic tu re Moises Saman did not set out to be a con lict pho togr apher. It was the adventure of being in remote and extreme situations that called to him; photography merely provided an excuse. After an internship at

Newsday, he went on a self-

inanced tri p to Kosovo,

more interested in the lifestyle of a roving p hotojournalist than the int ricacies of t he last Balkan war. But somewhere in b etween Afghanistan and Iraq, photography became a medium of com mentary for Saman. “I’m not saying phot ography can change the world ” h e says. “But at least, you can be a factor in t he discourse about w hat’s happening or nearly four years, Saman lived and wo rked in the Mi ddle

The New York Times The New Yorkera   nd Time, among other s. His images are now collected in Discordia The Arab Spring, a book th at serves not as a ast during th e Arab Spring , freelancing for

best-of compilation, but as a visual journal by a wit ness of con lict. In favouring ambiguous phot ographs over dramatic page-ones, Saman’s nuanced perspec tive invit es dialogue rather than neat resolutions. “Over the years, the many revolutions overlapped and in my mind b ecame one blur, one story i n itself. In order to tell this story the w ay I experienced it, I felt the need t o transcend a linear journalistic langu age, and instead create a new narrative that combined the multitude of voices, emotions and the lasting uncert ainty I felt.

amels ata c amel market,Birqash, Egyp ,2011.

50

D iscordia: The Arab Spring  is published b y G ra iche Antiga. discordiathebook.com

MA N U M PH T S ; W

RD S B Y RE BE C C A C H E

ID :T h e ro o m sw e liv e in

M A H B

Because your bed roo m and iving r m and even b athro m can b e atleast a lit e b et er,which willmake you feel et er,to .

F IR S T : F O U N D A T I O N S

A good room

gives you a feeling that you forget is

[ 1 ] Room & Board

sofa;

th ere. I ’s not j ust th e simpl e plea ure of

o o m

r d .c o

).

co

picked. Or knowing you can navigate it

table;

e table c b

ri ght. But if you thi nk about your needs you’ll

Next, something sturdy: a marble

relaxing on a recli ner w hose colour you in power-outage dark ness wi th out tub-

n d b o

acalester leather

C   B2 Slab

rbl e co

). (Or granit .) I ’s a hard

. c o m

ur face th at las s far l onger th n wood.

nd yours lf str idi ng forw rd.

So that momentum. With it, atop a foundation, you can shift. Buck tradition. Get a simple yet almost sculptural lamp (

Rejuvenation tand

oor lamp;

bing your t oe. I ’s deeper. I ’s that low

Now energy. There’s little vitality in

hum of feeling safe, and in control, and

imi larit , not ev n w it h t wo it ms tha

like you have one thing you can rely on

are leather. Even less if it is a leather

at any time of any day, and that it was

set. (Never buy a set. A set is a decision

) that is classic and reliable yet also

you who built that r li ble thing.

made by one person for many people.)

aspirational, and welcomes others to

I nstead, a fabric chair

th at feeli ng you know—as in: it ’s eve y-

What goes in a good room, then,

  CB2 Suitor

should age but more importantly im-

chair;

prove

ates in erest and energy even wh en in

with

you

over

decades—ike

leather does. Apply that thinking to the most prominent element of the room:

c b

), by b ing diff

. c o m

rent, cre-

Wi th th ree piece , you have momentum— hough it ’d be good to note: me

or young, either. Echo the classic with

often don’t trust their taste with this

mli ned version of a Chesterfi eld

). Then set the neutrals

o n . c o m

alight with a bright-red bar table ( B&B I talia Alcor

tor ge unit

b e b i t

li

.

th ing, at once And that’s wh ere you start.

neutral t one

the sofa. But don’t go for something old, a str

r e ju v e n

tu . Not at fi rst. You won’t always be

ith John Krenek and Jamie Nibloc k,co owners of Spruce esign + D ecor sprucedesigndecor.com )in Rhinebeck,New York,and ExitNineteen in Kingston, New York,a nd he interior d eco rators Esquire’s esign irector rusts the mo st other than himsel .

E TT Y

ID T

t mig

t e

et er

hree easy ixes to co mm on mistakes, wit hout any new furnit ure.

 YE S

NO 1

please, since I missed it thanks to Scotty here. I

L E T IT B R E A T H E

M ost people as ume that pushing as much furni-

the chairs are spaced apart opposite the couch

tur e aspos ible plumb up against the wall will make

(and again, away from the wall), people have a

a room seem more spacious. But leaving 30� �

clear, easy path to both, and a few secondary but

or s

between the wall and your couch or chairs actu-

simple and safe routes to the sofa.

ally makes everything feel less forced—ike there’s enough room to have a little fr eedom. This helps

3

evenly shrink any awkward dead zones that result

M ost designers hate that people design entire

from attempting to maximi e fl oor space. t als

rooms that focus on the T V instead of conversa-

makes everyone feel closer, since they are.

tion.

A B O U T T H E T V

hey sugge t putting it o

to the side, or in a

cabinet so that it can be hidden. Though we think 2

A L K T H IS

just positioning the seating, so that it encourages

A Y

All good paths are apparent and di rect, and pleas

talking as much as watching, is a fi ne compro-

not in fr ont of the TV ri ht now, dammit rewind

mise, since a lot of people do watch T V a lot.

T H E �E N D O R S E M E N T :  T H E �V IS U A L �H A N D B O O K �O F �B U IL D IN G �A N D �R E M O D E L L IN G  ,�B Y �C H A R L IE �W IN G

Th ere’salo ttob eco m p elled b yin this b o o k.Th e“N ailsan d Th eirU ses”d iag ram , fo rinstan ce .The“Mo istureC o n ten tan d  Sh rinkag eofH ardw oo dsand So ftw oo ds” ch art.Th ein stru ctio n sfo rrun n ing  d rain p ip es.B u tthe se ctio n tha tw illm o st im m ed iatelych an g eyo u rrelatio nsh ip w ith  the roo m sinw hich yo u live istheb o o k’s�irst ch ap ter:“D esig n .”W h atC h arlieW ing m ea n s b yd esig n isno tw h atan in terio rd esig ner m ean sb yd esig n ,n oten tirely,atleast. “H o u sesared esig n ed fo rth eco m fo rtan d  safetyo fh um an b ein g s,”W in g w rites.“H o u se d im en sio n sm u st,the refo re,b erelated to

hu m an d im en sion s.”W hich isb othob viou s an d p ro fo u n d .Th ech ap terestab lish essim p le rulesforw hyasp acejustfee lsrig ht.You  w an ttob eab letow alkp astase atin g are a?  You n ee d o n em etreb eh in d th ech airs.You  w an ten o u g hsp ac eto w o rkin yo u rkitch en ?  You n ee d 6 0  CM o fco u n terto p b etw ee n yo u  an d the w all.You w anttoin stallab athtub  g rabb arfo rw h en G rand m aco m esto visit? P utitn oh ig h ertha n 9 0  CM .Allthe ch ap ters are w eirdlyrea d ab le,b u tthe �irstch ap ter u n co ve rsth em ysteryo fw hyw elike to b ein a roo m .It’sn otju stthe p aintan d the p ictures— it’sthe spa ce .— R O SS McC AMMO N

 Aruleto b reak : ceilin g s Mo stp eo p lethin k ce ilin g sm u stb e w h ite.N o ttru e.You  ca n p ain tth em , tho ug hkno w that th eco lo u ryo u u se w illre�lectan d tin t w h at’sb elo w .(A h u n terg ree n w ill m ake eve ryon e’sskin lo o kalittleg reen er.) B etterye t,w allp ap er th em w ith asu b tle pa ttern— on etha t co uld p erha p srun  do w naprom inen t w alltothe�lo o r.

M A H B

T h e i n t e r e st i n g t h i n g How the colour u v e h as s v ed y o u r l i f e If you have ever been t reated by a doc tor

ay thanks to the colour mauve

for your prescription.

Words by Sam McLean

 t at you hear gran diose claims abouta co our,except erhaps how t at ew blue shirt se s off your eyes so we . But con sider this: e colour mauve has saved your life or, at e very least,saved e life someb y cl se to you. I s quite a claim for a d elicate shad e of in kish urp e,b ut a genuine one,n on et eless. A ow us to recount. Th e year is 1856 and Augus ilhelm von Hof mann had an idea. It was known thatquinine had positive e ecton malaria,and e believed t atif e could d a way to produce quinineartificialy,t e is fortune would be made. And so h e ired a group ofpeop e attoday would be known as chemists. emistry,at at ime,was very much in its in ancy. V irtualy no ing was known about e subect and as such, ese young ch emis ry pio eers were s umbling around in he dark, mixin g t ings oget er,no ing t eresuls,and oping for ebest.  Am erica nS usa nn ah  Mu sh attJon es,atthe  e of ese researchers was a young man ag eof116ye arsan d  caled W il iam Henry Perki . T e 18-year-old was 23 2d ay s,iscurren tly busy mixing and observing when he noticed somethe w orld ’sold est p erson .Sh ew asb o rn  ing t atexcited im. A e bot om of one ofh is inthe 189 0 s(189 9, tob eexac t),ap erio d  glass jars was a residue with such a striki g h ue o ftim ekn ow n asthe atitstopped im in is tracks. He had discovere Mauve D ec ad e,tha nks a new colour. tothe p op ularityof Perkin took this to Hofmann,who was dismissthisnew co lo ur. IT I S N ’T O F T E N

ive of e iscovery ifitwas quinine,he was in erested. But Perkin saw its beauty,an d its commercia ote ial. So h e walked away from Ho mann s e erprise in ord er to con ce rate on is new discovery. At at ime ere was no such thin g as commercial yes in e clot ing in ustry,wh ich used atural colouran s,i cludi g crushed insects,in stead. Perkin was about o ch ange allt at. He patented h is discovery gave it a French ame (mauve) o a d o i s alure,a d egan se ing his new,easily manufactured coloured dye to the clothing industry. His fortune was made when ueen ictoria took a fancy to t e colour an d began wearing itin the form ofa hair ribbon,making mauve e ormously pop ular across t e ,Euro e and he U S. But ow h as t is saved your life? As soon as Perkin began manufacturing his ro uct,others realised the pote ialof chemistry and so was born— as a directconseque ce ofPerkin and is creation e modern day p armaceutical in us ry. Every ing t at is made and co sumed od ay rom as irin to statins— al came about because of Perkin and mauve. So the next ime you op your itte blue pil ,d on orget o say t anks to mauve.

EVERETT CO LLECTIO

Th e ig uesti on Wi ll w e ver see self-dr iv in g car B o b Lutz,retired fo rm erV ice-C h airm ano fG en eralMoto rs,b est-selling autho r, m o tivatio n alsp eake ran d theleastb o ring au toexe cutive in th ehisto ryo fthe in d ustry,d iscu ssesau ton o m o uscars. Interview by yler onfoy

E S Q U I R E :  How do you feelaboutthe idea ofa fully

automated car?  Even ough I m a hugely e usiastic B O B LU T automo ive ent usiastand ove cars and can timagine my ife wit out a co ection o e automobi e I o realise at we are not goi g to solve humanity’s surface- ran sportation ro ems in e future wit out goi g auton omous. Today’s cars are too big,too cumbersome and the human driver is too slow in his or her response times. e romance ofd riving and cars E S Q  D o you hink willbe lost? B L  W hen my dad was growing up in Europe,they ad allt ese pres igious trains,and ere were train magazines and rain books. Realy rich peop e had private rail cars at e railroads would p ut in e rain or them. But ow nobody gives a damn. A train is a rain is a rai . I s un easant,smely irty il main ained. Th e glamour has go e out of rains,and he glamour wil be gone out of cars. Pe e clin g to h ist ry. E S Q  T eres a romance to at istory. B L  You’llose e romance ofgoin g on a road rip. I think for dating purposes,autonomous cars will robably be preferable to od ay’s drivin g. Hel of a l safer. e auto in us ry willsurvive? E S Q  D o you t ink If everyon e is makin g t e same kin d o module wil ere be diff erent companies makin g t e same kind? B L   Th e importance of brands wil diminish. C ars are a fashion a d lifestyle accessory,and that ash G E T TY  

ion aspect,where eop e wil ay U SD 300000 or a car at ey parad e t emse ves around in,t ats ustn otgonna h appen anymore. E S Q  W o do you t ink is bet er suited to make an automated car? The traditionalcompanies or comanies like A e or Tes a or G oogle? B L   T e on y reason Tesla’s car went urt er is because t ey ut more bat ery in. T eyve got orm of Super C ruise but ey’re ot much closer to ul auton omy t an anybo y e se. My stro beliefis thatthe winners in this game are going to be t e big automobile compan ies like Toyota,G eneral Motors,and Ford. G eneralMotors is eadin e pack in workin g with companies ike Lyf and actualy already havin g fl ee s of auton omous cars atare run ing in co rol ed e viro me s. T ey also have t e lead in vehicle e ectrifi catio ,which is gon a be a big part of e au onomy moveme . Ap e as A e software and a at,but ey’re missing the who e res of e car. ereas t e bi automobile companies ey ave t e rest of e car,and ey’re used to in egratin g new techn ol ogy:radars,cameras,sonar devices,little automatic con rols t atdialin minute correc ion s. T atsu ply base is expanding exponentially,and the big car companies wil ust alk to al of ese supp iers ike t ey always have and ey’ say “O kay, is ime I guess we lgo with wo TV cameras,two . . . ” I d on see where a oogle or an App e as any advan age in at. Non e w atsoever. I ink i App e realy decides to uild a car,I in k ey’re crazy. But ey have so much money,it oesn’ mat er.

MA HB

St y l e So f l W h etheryo u’reteam S up erm an ortea m B atm an ,w ethin kevery su p erh ero need sap ro p erg arm entb ag to keep h issu itw hen heis sav ing thew o rld .S o d oyo u.

Leathe rg arm en tb ag by V

e r s a c e

.

P H O T O G R A P H B Y LI�IMA G E R O M ;S T Y LIN G A N D W O R D S B Y IA N LO H ;  A S S IS T E D B YSA R A H C H O N G ;A R T D IR E C T IO N B YK AT H R YN TA N .

Sty e Met mo rp

sis

 Acaterp illartieb arad d sab ito fq uirkin essto yo urlo o kw h ilea lacetie… w ell,th ere’sm orethano n euse forthatinyo urb ed ro o m .

Tieb aran d lace�ie b o�hby B r b e r r .

P H O T O G R A P H B Y LI�IM AG E R O M ;S T Y LIN G A N D W O R D S B Y IA N LO H ;  A S S IS T E D B YSA R A H C H O N G ;A R T D IR E C T IO N B YK AT H R YN TA N .

S tyle :T h e b ig b a g th e o ry Ifyou ever o eed o ake t e kitch en sin k wit you,we kn w t e h allto an e it.

A T

L O U IS

V U I T T O N ,   certain pieces of luggage

are held in

uch high esteem that i ’s pos ible to

trace their lineage back to the 19th century. For example, the Neverfull, created in 2007, is an evolution of the Sac de Plage (1968), which in turn referenced the Sac Plat Grand M odèle (1903) and the Porte-H abits à Sou

et (1892). For this ea on

it’s been reimagined anew by LV Artistic Director Kim Jones. Clearly beautiful and highly practical, it expands to almost double the volume at the tug of a handle, and comes with outer shells of either waterproof Epi leather (right) or tough, light monogram canvas. I f you’ve ever searched for the per fect, do-it- all tote bag, we can as uredly say you’ve just found it.

Indig o s�riped ea�her/ca vas Epi �o�e bag yL o u s V u i o

.

lou isv ui��on .c om

PH T

R AP H BY L U K E K I R A N. AL L

L O T HI NG F R M TH E S S 16 C

L LE C T I O N BY L O

I S V U I TT N .

S tyle :Mo v e it,m o ve it RafaelNad alswap s ten is gear f r T mmy Hil ig er suits and ord s by Ian

exes like a pro.

oh

Y O U ’R E P R O B A B L Y F A M IL IA R w   ith Rafael Na-

dal and his abs. Last season, the Spanish tennis pro shed his clothes for Tommy Hi lfi

er’s under-

wear and fragrance campaigns, played a cheeky game of strip tennis in New York before the US Open, and gave guys everywhere a serious case of gym guilt. T hankfully, this time round, he’s decided to put on some clothes. he TH Flex Rafael Nadal Edition capsule collection, an extension of Tommy Hil

er Tailored,

is inspired by the 14- time Grand Slam winner himself. So naturally, the range is tailored for movement and o ers a election of single- and doublebrea ted suits in high-performance, I talian-made fabrics. The stretchy material is super comfortable and remains wrinkle-free even after hours of wear. A special fi nish helps to maintain the breathabil ity of the

ne wool, which means it ’s great for our

balmy weather. M ost importantly, you can move freely in every piece—because no man should ever wear trousers so tight that your crotch is screaming, “Please release me, let me go.” here are also six limited-edition shirt styles 1 . T h e T H F le x

2 . T h e T H F le x

R a

D o u b

a e l N a

a l S u

Regular it,sin ebreasted suitin virgin woolb end .

e

B re a s te d S u i

Slim it,d ub e- reasted suitin virgin woolb end .

. R a

a e l N a

And his abs.

a l

in various shades of blue and white with micro checks, stripes and solid fi nishes. And be t of all you won’t even need Nadal’s rock olid abs to pul th m

.

tommy.com

M

S tyle :T h e e ye sh av e it For the every ay ke e ap ealof Fend i may no e immediate ut eres n o enying e alure of h eir leat er co ats an d accesso ries. e take a c ser k at eir SS16 men’s co ection an d isco ver on e o e mo st wel roun ed ec io s to ate.

ord s by ugene Lim

  has often credited her accessories-designing  background for giving her a different perspective when it comes to design, making her more appreciative of the functionality of clothes. But that is not to say that the work is utilitarian, because what separates her from the pack is an understanding that functionality  by itself is boring, and there is always room for form and luxury. S IL V IA

V E N T U R IN I

F E N D I

Compared to Fendi’s AW15 tour de force  of outerwear, suits and layering, this collection of oversized jumpers and wide-cut trousers may at first seem a tad casual. However, the devil is in the detail and Fendi’s contemporary vision reveals itself in the fact that she doesn’t compromise with trends. Her subtle amalgamation of form, function and luxury is imbued with a dash of her signature playful irony.

This collection of basic pieces for a man’s wardrobe—from a sharply cut polo T-shirt to a crewneck tee and a classic zip-front leather jacket—at first glance appears deceptively simple yet it is this  very simplicity that provides an understated elegance. The details are considered and functional and, as with every Fendi collection, the basis of each piece— the fabric—is used innovatively and to maximum appeal, exotic or otherwise. 

M A H B

roo mi g T irst que ch ers  Alternating b etw een the(in san ely)h otan d hu m id w eather,an d theco o l, o reve n freezin g air-co nd itio ned o � icesim p lyd riesyo urskin ou ttw iceas fast.S o it’sim p o rtantto ke ep yo urfacehyd rated .

1 .K h

e l s C a le n

A c o h o

a H e r b a l E x

r a c

F re e T o n e r

 Alco h o l-b ase d p ro d uc �sareha rshan d  d eh yd ra�eyo urskin.Mad ew i�h w ho le �low ersand p u reex�rac �s,�his�o nerislig h�, g oeso neasyan d d o esag rea �job lo ck ing  in m ois�u re. 2 . D r A n d r e w S k in i

n a

e il o r O r i n g

M o is

n s M e g a - B r

r is e r

S ea led w i�hskin-b rig h �en in g R o saroxb urgh iico m p lex,alsokn o w n as“Th eK ing  ofV i�am inC ”,use �hism o is�urise rin �he AM an d �h ePM�oin creasena�uralresis�ance�o ul�rav io le�rays. 3 .L a b S e

e s M a x L S P o w e r V L if in g S e r u m

B o o s�m o is�urean d red uc e�h eap p ea ran ce ofw rin klesm o reeff ec �ive lyw i�h �h is p rod u c�.Jus�rem em b er:serum sarevery con cen�ra�ed ,so ali��lego esalo n g w ay.

P H O T O G R A P H B Y L I�IM A G E R O M ;S T Y L IN G B Y IA N LO H ; W O R D S B Y S A R A H C H O N G ;A R T D IR E C T IO N B Y K A T H R Y N T A N

o o m i n g T r e at y o u r s e l f  Yo u ’llscrub up w ellw iththesem an lysp atreatm ents.

he mois ur isers,serums,pomades as es and coogn es,but what of e poulices,p ee s, scrubs and microdermabrasion kits? Today,we men are more grooming-savvy t an ever,an out ook t at is exte ing far beyond our bathroom cabinets. Here are six surprising spa treatme s it is now acce able or us to in ulge in. Y O U

V E

P U R C H A S E D

1 .T h e b a c k c

e a n s e

Fo rtho sew hohave tro ub lew ithb ac kb lem ishes, thisto p icaltreatm en thelp storem ove an yoil an d exce ssim p uritiesthatm ig hthavebu iltup  ove rthe courseofthe d ay,viaex foliatio nan d  d ee p clea nsing . 2 . T h e t a rg e

e d m

a s s a g e

Jetlag isoneo flife’sinevitab leills,b utthere arew ay stoalleviateitseffects.H ead fo ra m assag ed irec tfrom theairpo rtto red uce  fatig ue,stim ulatecirculatio nan d helpyo u ac clim atiseq uickly. 3 . T h e b lo w

d r y

H ea rusout.Ifyo uhavem id -len g thtolong hair b uthatethe d ailystyling rig m aro le,aBrazilian  B low outisthething .O netrea tm en t,w hich  ad d ske ratintothehair,se tsittoyo urstylefor up tothreem onthsw ithoutleaving itd ry, g rea syortan g led . .T h e

a c a l

Fac ialsd on’tco m em o rem an lythan this. Inc orpo rating asteam ,exfoliation,m assa g e, m ask an d m o re,itsrestorative p ow eris astonishing .H aveitadayorso b eforeany  im p ortan teve ntas,at�irst,yo um ig htlooka littlered . 5 . T h e e y e b

o w

 Yo uw ou ld n’tletyo urna salha irg oun tam ed  (w ehop e),sow hyletyo ureyeb row ssp ro ut? En listthehelp ofex p erts,w ho’llp luck an d w ax b ushyb row stosub tlyred e�inetheirshap e, an d w ho can alsosug g esttinting en ha nc em en ts. 6 . T h e s to m

a c h t e a t

e n t

V iam assag ean d w arm herbalp o ultice s,this treatm en thelp sallev iateslug g ish nessan d  ten sioninyo urstom ac h,an d alsoim p roves m uscleton e.B utitca n’trep lac eyo urg ym  w orko ut,sad ly.

IL LU S T R A T IO N B Y A D A M N IC K E L

MA HB

W at c h e s T w o t i If

you

think

a

chronograph

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track

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two

is

complicate d,

challenging

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at

er

but

uperb

wait

till

timing

you

meet

device

t he

allows

rattrapante.

you

to

keep

once.

Words by Leo ng Wong 

C H R O N O G R A P H isconsidered on eofthem ostdelicatecom plication s inexisten ce,an dasaresultofitscom plexity,takesitsrigh tfulp laceinthe pan theonofhallow edm ovem entsthat isG rand C om plication s. B utw hathappensifyou w antyou r chrono graphtom easurethetim ingof tw oactionsconcurrently?T hisisw here T H E

therattrapan te,orsplitsecondsinE nglish,com esin,byallow ingyoutotrack asecondlaptim ew ithou tinterrupting thefirst— an esp eciallyusefulfunctionif youw anttotim eaparticularsegm en tof araceatanygivenm om ent,w henyou  arealreadytrackingitinitsentirety. PatekPhilippeisw idelycreditedas beingthefirsttointrod ucearattrapan te

ch ronograph,intheearly’20s.In2012,a perpetualcalendarw asintrod uced tothe rattrapan tew hereitsin-housecalibrefinallyborethenam e“rattrapan te”.B utby 20 15,PatekPhilippedecidedtodoaw ay w iththeperpetualcalendar,leavingthe rattrapan tetoshineonitsow n. T heresultingw atchiskn ow nasthe G randC om plication R ef.5370.Itcom es w ith afi nelyfi nishedm attebrushed platinum case,w ithablacken am eldial. W hitegold appliquéArabicn um eral hourm arkersdecoratethefacethatalso hastran sferredrailw aytrackscales,one ofw hichisatachym eterscaleon the flange.T hereisacontinuoussecond  handinatransferredsubdialatnine o’clockandachronom inutecounterin atransferred subdialatthreeo’clock. T hehourandm inutehandsareinw hite gold coated w ith Super-Lum iN ova, w hilethesplit-secondhandsaresandblastedsteelcoatedw ithrhodium . T hefabulousC alibreC H R 29-535 PSm ovem entism echanicaland han d w ou nd.Ithasasplit-secon dschronograph w ithtw ocolum nw heelsand a horizontalclutch.T hism arvellousm achineism adeup of312parts,w hich em itahigh frequencyof28,80 0��� .It has65hoursofpow erreserve.Ifyou  m anagetogetholdofone,testitby pressingthepushertoexperiencefor yourselfhow easyitistoactivatethe silkysm oothPatekP hilippesplit-secondchron ograp h.Youw illbeleftinno doubtthatitisoneofthebestthereis. 

W a tch e s:S n e a k p e e k Its t at ime o e year when watch en usiasts g etallexcited ab ut eing et se in e can y st re t at is Baselworl . Bef re t at ap ens, ere’s a �irst k at what we ad e privilege of reviewing ahead ofthe fair.

ords by eong

ong

1. H U B L O T

h a t Spirito fBig Bang Bruce Lee Be W ater

h y : The watch co mmemorates on e of he legen s of Hong Ko ng cinema. The use ofb ack ceramic on the bezeland the case is matched with traditional watch maki g skils in the skelet n d ial. The aut matic mechanicalchronograph movementhas 50 hours of ower reserve. Limited to 100 ieces worl wide. . U L Y S SE N A R D I

h a

  RoyalPytho n Ske et n Tourb il h y : The skeleton ridg es are han d ainted wit a python pattern thatappears intertwined around he dial. K ey parts,such as the ba anc e sprin g, he anch or an d he escap ement wheel,are made o fthe metal id silicium. Th e �lying urb il n was d evel op ed in-ho use,while the métiers d’art app ication on he b ridg es is simply go rgeo us. 3. LOUIS VUITTON

h a t   Flying Tourbilon Poinç on

e G enè ve n ven ures into the exc usive realm ine watchma kin g r the �irst ime,armed with a certi�ication rom “Poin ço n d e G enève”,or the Seal of eneva,wh ich is g iven o nly to watch es with the hig hest stan da rd and quality in their �inishin . Here, ransp arency leaves no hin g o he imag ination . The expo sed wind ing co umn from the c rown to the ears can b e seen und er he o cen re ho ur an minute sapp hire d ial. A �ying ourb il n is suspen ed rom a “V” brid e. The c ase is made up of wo p arts: mat e an d mirror- olished atinum.

h y : Louis Vui

Thunde ring in TAG Heue r officially announced their brand-new ambassador, and he couldn’t be in  be tte r form tha n Thor, opps , we mean Chris Hems worth, the talented and dynamic Hollywood sta r from D own Under who plays the superhero among other dramatic roles. The official launch party was recently held in Sydne y. TAG Heue r, a watch comp any with a futuristic outlook and dynamism, couldn’t have picked a better ambassador. Congratulations to both.

MA HB

A

v e : B e

d

e l

s t M

L

 Asc  Asc o m fo rtab le asitisg o rg e o u s. rds

GENTLE

y Sam McLean

EN

ALLOW US   to introduce you to

your your newest fantas f antas , the M cLaren 570GT. And whil you might get get all a-dit a- dither her about about thos t hose beautiful, autif ul, languid lines and its 3.8-litre twin-turbo V8 engine that that prope propels ls you from from zero zero to 100� (with a top top spe d of of 32

�

in 3. 3.4 sec sec nd

), th re mig might ht be be one

thing thi ng that urprise urpr ises s you— you—the fact that t hat it i t has bee built for comfort. comfort . M cLaren have have packaged this thi s not as a pure sports car, but as a tourer, and so the ride is softer with wi th plenty of room to store your luggag luggage. Before rushing rushing o to the UK t o place place your your order from the British carmaker, be sure to have a cool GBP154,000 in your wallet. We’ll let you convert that to ringgit before you begin to gently weep.

P H O T O G R A P H B Y M C LA R E N A U T O M O T IV IV E

M A  HB

Aut mo ive Merced es

LC

ssenti ssenti ally a C-class take on a luxur y m id-sized SUV SUV by Merc edes the GLC GLC is a sporty and superb car for t hose thirsting f or an urban adventure and weekend weekend road t rips.

Words by Sim Wie oon

th eG LC s spo por rts a amm ore orest stream lin ed ed  an and d  sim p listic cd d esign gn  th at at  d u m p sth e epp revi revio ou sly yb box y yan and d sh sharp arper erlook kf fora ro rouu n d eran d sl slee eek ker er ca car. r.H av avi in gsa sai id th that, at,itisstill verym very m u ch chaMe aMerced rcedesw esw ith itsdi sdist stin ct cti ivefr vefro on t gri grilllan d ligh ts,p lu sh sh in teri erio oran d S-C lassC ou p éstyl stylerea rearligh ts. Itsin terioristast tastefu eful llyd ydo on ew ith th h igh -q -qu u ality lea eatth eran andd artfu lfi n ish shi in g,leav eavi in gyo you u w ith n oth in gn egativetosa say yab ou tit.D esp spi iteitbeing einga am m id size zedd SU V ,th e ed d esi esign gn ofth e ei in teri erio orsp spac ace ei isd on e son son icely celytth atyo you u w ou ld be ew w el ell lsurp surpri rised sed ath ow  spaciou spaci ou siti isu sup p on en terin g gt th ec ecar ar. .A lon gsid e spot spo t-on -on d rivi vin n g gp p osition san and d co com m fortabl ortable eseati seatin g th atal alllow sforergo ergon n om ic cad adj ju stm en ent ts,th e eG G LC ’s in teriorisve very ryw elld on e. H ow ever,th ecar ecar h as asar arat ath h er ercl clu u n ky ky an and d r ro oboticel elec ecttron icsystem th at,th ou gh co con n ve ven n ien t,is h ard ardlly yen en joya yab b le.W h ile et th e en n av avi iga gat tion al al system is rath rath ergo ergoood ,w e ed d on ’tex exp p ectMal Ma laysi aysian ans stoaba oaban nd on W az aze eorG oogleMap aps sju st st ye yet t.A realletet-d d ow n  w asw h en w efou n d ou tth atth etab abl letforth eco com mm an d system isn ottou ch scree screen n ,bu treq requ u iresaset ofb ofbu tton sand as asi in gl gled edi ial alt tonavi on aviga gat tebe ebet tw een  sett settin gs,w h ich ch can b e ea acu cum m bersom e et taskforth e d rive ver rlookin gforco con n ve ven n ien ce. ce.  T h etrue rue tak akeaw eaw ayof ayoft th ecar ecar, ,h ow ever eve r,is sj ju st h ow sm ooth oth th eG LC h an and d lesitself.W ith itsfou rcyli cylin d ertu rbo rbo en engi gin n eofu p to o20 20 0 � �(forth eG LC  250 d va vari rian t),th eca car risan ab abso sol lu ten in ja.Itm ak akes es forverylittleroad orw in d n no oises,eve even n ath athi igh  sp spee eedd s,w h ileth een gi gin n eb u zz zzes esaw ay ay atfu llp ow er. C ap apab ablle eof ofgo goi in g gf from zeroto1 o10 0 0 � � � in 7.6s 6sececon d s,th eG LC isan an im p ressive ve d rive ve. . W ith op opt tion ons sof of C om fort ortor or Sport Sp ortm m od ode, e,y you ou  cansw itch can chbe bet tw een th e et trud gi gin n g gci cit ty yt traffi c cw w ith  th e efform er eran an d toth e el latt atter ero on ce ce yo you u m ak ake ei ittoa cl clea ear rh igh w ay.T h ed iff eren ce ce in p ick ck u p,acc accel eleraeration an andd h an and d lin gisim m ed edi iat atel elyapp yapp aren arent t.A sid e from th at,th eG LC al also so sp spo ort rts san E co co fu n ction for th een envi viron ronmm en ent tal all lyco con n sciou sgu guy ylooki kin n gtoke keep ep  th in gsop tim u m an and d fu el el-effi -effi cien ent t. O ve veral ralll,th e eG G LC isan en joya yab b le ean and d fu n d rive ve. . P erfec erfecttforth oseusin seusing gitd ailyw ith thi in th ecityan d  lookin gforsh sho ort rt w ee eeke ken n d ge get taw ay ays sasw el ell lasroa road d trip s.W h ileitm igh tbem oreex oreexp p en ensi sive vet th an ani its com p et etiitors,w e ei in vo voke ke th e ew w ord ords, s,“You “You p ay ayw w h at at  yo youu get”in t th h iss ssi itu at ati ion .T h eo eon n lyd isapp oi oin n tm en entt?W e’ve ve n oth eard eard ofan an A MG vari varian ant tforth e G LC yet. 

A

S U C C E S S O R

O F

T H E

G L K

M A H B

T rave l:V e rb ie r This most we co ming Swiss ski resorts o ers more t an a lig f exhilarating ac ivity,b h n a d ff e sl es.

usting

Words by Tom Barber

T H E

F O C A L

a r e a

n

P O IN T

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r

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h u g e

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u r e , S

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m ig h t

b e

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( e v e n )

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p i s t e a c t io n , b u

a n y o n ew a n t in ge x t re m es k i

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h e f a c t th a t J a m e sB l u n t, L a w r e n c e

F o g a r ty h a v e o p e n e d L a V a c h e

S E E

...where you’re ead ing in a whiteoutby skiing in the Bruson restrun its p ines give terrain orientation in ad weat er). Fo rmerly a wel kep secret,the area is now within easy reach via a new go nd ola system,and carving hrough he p owderiled rests is ma ical.

o n gk n o w n

a l la g

o a n d

lavacheverbier.ch

),

a n e x c el e n t o n -p i s t e e a t e r y . N o w r e a do n f o r a ll th e i n -

H Y N O W

Because the Freeride W orl Tour ro s in o wn rom April2 to 10 with the rugg ed Swatch reme Verb ier,the

ur �ina e. See the wo rl s bestfreeride skiers and ard ers vie o master Verbier’s ad estb ackco untry o be W orld C hamp.

freerideworldtour com 9

P A R T Y

The ul imate t ss up eween the o in the f rm of Farm C ub,4 5 years ol and stillg oin g stron g, some would say stron er tha many ofthe more senior clientele— an d the new,at arve in he W Hotel,which is shiny and pretty both in design and in the massed ranks o n he d anc e �oo r.

f o rm a t io ny o un e e dt o c o n j u g a t ey o u rV e rb s .

Tom Barber is a foun der o fthe award-winning originaltravel co uk

1

S T A Y

The arrivalin 2013 ofthe W Hotelupp ed the ante in Verbier,butthis remains a rivate-hire so rto fp ace with a n a rray of uxurious ch alets at pric es to match . Expectb randed vehicles and smoking ho tc haletg irls as a given,then work up the pay rades p astwine c elars and rivate cin emas to po ols, sp as an d into mul ip e tens housands ofpo unds week y rates. wverbier com 2

L U N C H

AtC hez D any,a p ret y cha et ucked away in the h amlet of hambin. Sito n the sunsoaked terrace taking in the eautifulview,an d d elicio us d ike the Al ine classic croute au fromage b rea d , meled ch eese and ham topped with a fried egg— an d surprisingly oo d Swiss wine,b efore weaving b ack down to the Medran station in the town centre. 3

Avoid D eveloping a no ticeab le “punte r’s ga p”,th e te lltale re d rectan gu lar strip of sunburn on o new ee k-only skiers’ foreheads caused b y t h e g a p b e t w e e n go gg les an d he lme t. N ovices’mistake.

H E N IN …

Rent a sledg e:take a us o he arref ur restauran ecarrefour ch)an d wal 20 minutes to cosy La Marmo e on e Savo eyres sl es. Enj y a slap up Savo yard sp read raclet e, on due)a nd otte of red reaks down he c heese, ah ,b ah) efore a sledg ing experience more intense than batting againstthe Aussies,allthe way b ac k in town. lamarmotte-verbier com 4

D R IN K

Jus up from the Med ran Mont Fort is the closestV erbier gets to an actualproper

pub, and is a favoure aprèsski ha unt or in structors an ch aletg irls to slag off oo dhumouredly,o fc ourse)their hed ge und clientele. D an cing in ski boots is obligatoire.

pubmontfort com 5

S H O P

Having allthe g ear and no idea” means instantsocial eath in Verb ier’s h ard-skiing circles. W ile it akes years to getthe idea,a quick trip o Mo untain Air sho uld see you so rted or the g ear,from skins to avalanc he airbags

mountainairverbier com 6

D O

Tackle M nt elé. Ride t e ca e car to the 3,023M  summit,survey the ep ic scen e an d ake the ung e,either do wn on e of he marke itineraries or,ifyou rate your cha nces,into o ne o fthe infamous couloirs. Taking a guide is stron y reco mmend ed.

hotelnevai com/ farm-club; carve-verbier ch 0

D IN E

Verbiers hip new dinin g spo is supp er club Etoile Roug e, rom the team beh ind avo urite Le Roug e. The dé co r is baroque bling ,the oo d a Scan inavian /Russian mash-up (try Ka mch atka crab and caviar)and the po ison naturaly a parade ofvodkas and aquavits, enjoyed efore the D J cran ks up the vo ume and he p arty kicks off. etoilerouge c lub

IL LU S T R A T IO N B Y D A M IE N W E I G H IL L

M A  HB

A T housand W ords on Our

ultu re

Ce c i n’e s t p a s u n c r a y o n Words by Kuah Jenhan

F E W M O N T H S A G O I caught Jagat ,a m set in e early ’90s t at irector Shan ey K umar Perumaldescribes as being aboutan “ignored chaper of I ian Malaysian s”. It’s a greatfi m— watch it if ms are your t ing. However I m ot ere to talk about Jagat but rather some ing t at it remin ed me of. In e fi m,t ere is a scene beween App oy a primary schoo student,an d his at er,Maniam,in which ey discuss A oy’s essay assignment,“Saya sebat ang pensel ” (I am pencilin Malay). Appoy decides to write about bein a fl ying p encil,butis chid ed by Maniam because e believes e idea is so ri iculous it won score igh y with e realists (read: eachers). Y uck! App oy,ifyou’re readin g t is,you can be whatever pencilyou want o be! I had the same assignmenttoo,and I wish thatI could d my essay agai . Nevert eless,I remember being the less popular HB pencil,and my big encil ilemma was ifI was mean o be or n ot 2B. etit? I hop e I d id tactualy write,“ etit?” in the essay,but you ge my poin pardon e pun . You can probably guess what kind o primary schoo encilI was,and stillam,and I m glad my ad ever asked o read e essay. I also remember realy lovin g p encils to irrational depths. W henever I heard my 2B pencil bounce on e ground ,my heartwould break like the graphite inside. Side-tr ack-fun-fact: here is acA

tually no lead in a pencil. We call it pencil lead out famil iar it y, much like saying, “

ang up the phone

when we don’t have phone eceivers to hang up anymore.

Anyway back to my story. W en that appened,I’d h ave is sickening t ough tthatI was care ul enough, and at re ected a lack of ove and care for my encil,which,in urn,caused i break inside. To t is day,it is a sad t ough at I ry my estto bury— un ilmy pencilbecomes blun and I ave o sharpen i and be orced to face e ruth t atI ve re ressed. Most of my riends who at e ded governme sch s in 0s Malaysia vivid y remember their pencil autobiography. O ne pencil riend s arte o as a tree with her mum,but ey ecome se arated,when she’s turned in o a pencil used by a schoolboy to write t e essay. Another pencil boy e ped a poet pen poems at made girls swoon. T en ere was a friend who didn tgetto b e a pencil,butan umbrela t atwas aware fo ers growing up as pencils. A friend of mine who studied in anad a, owever,remembers being assigned, “If I was a bird” at e age of seven, and hen “If I was rime min ister” at e age of15. W ere encils mostly Ma aysia s? Another side-t rack-f un-f ac : I n Japan, the

a-

ione y du j our i sn’t pencil s but pens. However, Thi s s a pen” s one of the

t Engl sh sent nce

formed by junior high students. But isn’t that just

them ostu selesssentencetolearn?“Myn am e isH iro.Thisisapen.”Than ksH iro,Iw ou ldn ’t haveknow notherw ise.B utassillyasthesentenceseem s,Iabsolutelyloveit.Itishighlycu stom isable,andw iththeaddition ofasim plew ord, becom esadiff erentstory:“Thisisagreenpen .” W hat?G reen?N ooneusesgreenpen s,H iro! Hey

Im ages. It is a painting o a pipe with C ecin’est pasunepipe” penned in cursive below it. The sen-

ence is rench or “Th is is nota pipe.” “ atwas Magritte smokin g?” t e wor d asked. I ove itbecause his painting pointed outthatthe textrefers to the portrait,a representation ofthe pipe,rather an e image of a pipe. In a very soph isticated uys,Hiro is a loser! rench way Magrit e was saying, “Look at e Now at eas wo decades out of primary bigger picture,m acha. schoo ,I am reminded ofa time when I was a pe Taking a cue from his work, I seek closure in cil and it ust seems a lot bleaker n ow. I realise my being a pencil. C ould “Sayasebatangpensel” be atI am justa p encil at as allsor s of ee in gs seen as a Magrit e-esque work? W atift e autobiand sick puns,butultimately,is owned by someone ographies on pencils thatwe wrote were notmeant else. D oesn’ta pencilo y work ifa hand guidesit o make us fee ike mere pencils,but o chal enge us in o realising that with a penci ,t e s ap e writ Even my penci us er friends who ave con rib uted o e placement of great artworks and e ing instrume of rimary schoo studen s,we are displacementofpanties are butmere instruments really the hands thatguide a projection ofus? That in someone elses game. W as t is seemingly in we really are the hands thathold our fates,and that centessay topic intentional? Thatwe are meantto itis with pencils thatwe write our destinies. al grow up pencils,and n ot rulers? Even my umFor me,one of e oys ofowning a pencilwas brela of a friend h asn’ been spared. U mbrelas game atI would p ay. Itwas sharp e ing my enon y shield an important gure. Isn’ Jagat about cilso thatthe wood shaving remained in one piece. I actualy wan ed to co ect an entire bouque of an ignored chap er o In dian Malaysian pencils Are we alljus Hir (s)? wood-shaving flowers. This game,is to me,how I wan o see myse as a pencil od ay:occasio aly Bu af er years of pencil sharpening, I be came aware of di ere pencils such as realy dull,butalways having fun sharpening. So are you a pencil,or t e andwri ing about sharp o es ike my avourite artist enci René Magritte,a surrealistwho thrived on realism. My a penci Side-track-fun-fact:C rayonisFrenchfor“pencil”. avourite piece of is is cal ed T heTreacheryof

Manual he Shak espearean M aH

u i d e f or t h e

quire M an Long before Broadway,Shakespeare mina ed e arts an d ulure scen e with his biting sense ofhumour in e f rm o satiricalp ays,roman ic rag ed ies and razor-sharp e-iners at would eat Hairspray  any day. W e sho w you h w to e ( r no o e)like t e Elizabet an ard.  A NAT O M Y�O F �T HE �S HA K E S P E A R E A N� E SQ UIRE �MAN S h ake sp ea rean fash io n ce n tred o n am an ’sec o n o m ican d so cial stan d in g .G o ld ,p u rplean d linen w ererese rved fo rthe a� lu en t o rth eb usin essm og u lso fthe d ay,w h ilew o o lan d co tton w ere d o n n ed b yth ew o rkin g class.W eb reakd ow nth etyp ica l#O O TD  o fth eEsq uireMan in S h ak esp earea ntim es. H a t : Beled p ha with an eg rets feather o n round hatwith a curved brim. 1

2

ne side o r a

C a r : Larg e circular ruffs were allthe rag e,as was a simple urned ov er co ar. e t : A snug, pa dd ed jacket with ine trimming s or d p eats.

3

D o u

4

P a d d e d b r e e c h e s :  Tigh

enin g o he kn ee,with smalltrunks

on the upper part. 5

S t o c k i n g s :   Mad e

outo fwo ol, in e cloth or can vas.

H i g h b o o t s  G eneraly jag ed ed es with hic k soles tha were co nd ucive for walking . 6

THE �S HAK E S P E ARE AN�TIP P LE  Ale,b ee ran d w in ew erethe d rin kso fch o ice d u rin g th e S h ake sp ea rean ag e,th elatterb ein g m o reex p en sive an d  enjoye d b ythe u p p erclass.Mad eiraw in ew asafav ou rite o fS h ake sp ea re,crea ted an d tran sp o rted arou n d the w o rld  d u ring th e140 0 san d kn ow n foritsn utty,b u rntca ram el taste.R ec ip eb yK a r is e L e a r y ,co n trib utin g b lo g g erat w inecocktails.w ordp ress.com

T h e M a d e

a m a r t n i

Ing redien ts: 2O Z   ofsweetMadeira wine 2O Z  o resh p ineap e juice Ice Pineap ple wedg e for g arnish

Instru ctio n s: Pour the wine and he p ineap e juice into a c oc ktailshaker wit ice. Sha ke vig oro usly and etsit or a out wo min utes. Pour int a ch iled martini g ass and arnish with a ineap e wedg e.

R D S B Y C A RI SS A M O R AI S. SO

R E : T O M T IE RN EY ,

UTHOR OF TUDOR

ND ELIZ BETH

N F SHIO NS

T H E S K ILL S ,T IP S A N D K N O W L E D G E E V E R Y M A N R E Q U IR E S T O L O O K A N D B E H IS B E S T

H O W �T O �F L IR T �L IK E � S H A K E S P E AR E If

t here’s

how

the

to

sack,

all-time

Don’t

that

li fe

person

those

it’s

the

fooled

in

one

the

language

who

into

and

knew

The

in

.

times

aestheti cs

as

of

Shakespeare’s plays

was

on the

average

When

it

women

We

same

American

comes to

dig

look

to

the

the

level

chick

lirting,

kind

but

can

with

of

time,

con

makes it

insult

here’s

you

In

to

over

a

like

s tart er

mas ter

that

only

and

idence.

out

the

great

wit

on

that

with

Not

alive

guide

t he

insult

can

when

bard,

how

comes

it.

were

as

1. hen insuling someone, referenc e an imals an d heir bo y p arts. Itg ives your insul s a wind ow for so me humour. For examp e:You s tarveling  yo u e e l

your

lick.

most

old-school

famed

right

trying

the

Shak espearean

something

everybody

illed w ith r aunch y escapades and

cliché s

art,

developed

the

just

such.

classic

an

be

t hinking

proper,

suggests

is

wrote

Romeo & Juliet

Elizabethan

prim

becaus e

who

handma idens

rom-com,

be

always

fact ,

on e

get

H O W �T O �IN S U LT �L IK E � S H A K E S P E AR E

method.

skin  yo u d ried n e at’s ton g ue  yo u b ull’s p izzle  yo u sto ck�ish! Excerptfrom H en ry IV P art 1

playwright

for some pointer s:

1. Fan thatfeminine ego with a subt e hin to fsweettalk. W oo her with words,b utremember to win her over with your listenin g ear. In H en ry IV ,Sh akesp eare writes,

2. Employ the free usag e o hyp erb e while yelin g r when you’re utterly d isg usted wit someon e. For examp e:Th ou c lay-

 S he ’s b e autiful,an d the refore to b e w ooed;she is w oman,and therefore to b e w o n .

brained guts thou kno tty-pated fool thou whoreson obscene greas y tallow -catch! Excerpt rom H en ry IV P art 1

2. Make sure you have good music aying when ever she’s aroun . Before scien ce co uld rove tha music enh anced mood which may increase your chances ofgetting aid ,Sh akesp eare went ah ead wit he ic nic ick-up line from Tw elfth

3. Be smartenough to know when o use “ hin e” and “tho u”. W rong usage or over-usage) willmake you soun d ike a �les h-mon ge r a fooland a cow ard .— Excerptfrom Measure for M easure

N ight:Ifmus ic be the food oflove, p lay o n .

4. Injectthe use of human b od y arts when hro wing insul s. Yo u’ sound more re ined. O ur personal avo urite is:Aw ay,you three-inch fool! Excerpt rom The Taming o f

3. Break in o a g rand esture like ca ing out o h er from b enea h h er alco ny,and hen reciting a son net as sh e g azes lov ing y at you. Jus e carefuln o tramp e her mum’s roses o r trip over water pip es while you’re at it.

the Shrew 5. Sin ce yo u soun d a lit e p oetic, you can aff ord o keep c ear of straig ut insuls. I you wan o rash alk so meo e’s fac e,yo u say:You have such a Feb ruary

4. Ifthing s get ho tan d heavy wheedle her into d oin g he d eed ofdarkness by taking your cue rom Romeo ,wh o d eclared,

face so fullof fros t ofstorm of cloud iness .— Excerptfrom M u ch Ado A bout N othing

 S in from thy lips ? O tres p ass sw eetly urge d!G ive me my sin again .

M O D E R N �D AY �T A K E A W AYS �F R O M �S H A K E S P E A R E ’S �M O S T �F A MO U S �W O R K S Shak espeare

Here

Romeo

Juliet

ommunicate wi one another or risk do ing some hing stupid ,like d rinking poison and dying wi ho utknowing at e o er is stil alive. Bo tt m lin e: MMUNI ATE.

are

may

ive

of

Julius Caesar

Putdown those Tarot cards and take control your life. Itis n e stars t at rive you o yo ur fate,but your choices and actions.

ILL STRATIO NS BY LIPW EI

be

his

long

mos t

gone,

but

notable

the

plays

obs ervations

and

Twelfth Night

Love can be ickle an d irration al. W hile “love sough tis go od ”, be aware thatthings may notwork outthe way you wantthem to. And no,disguises do n’twork.

the

that

he

less ons that

lef t

are

behind

still

A Midsummer Night ’s Dream

Lov e’s j urney can e umpy,especia y if itin vo ves in erfering arties or a ove quadrang e. D on tsay we did n’twarn you.

were

timeless.

applicable

t oday .

Merchant of Venice

A true friend is on e thatremains by your side no matter what ife t rows at e b ofyou.

Hamlet

“To hin e o wn sel e true.” Nuff sa id .

Manual

ee 101 W hatelseisthereto kn ow ab o utco ff ee?Justaw eeb itm o reasittu rnso ut. W espe akw ith  e n r F L i ,fo und ero fC o ff ee Ac ad em ics.

C O F F E E W AV E S : T H E E A S

P E AS Y GU I D E

What’s all these waves*, and what do t hey have to do wit co

ee? It’s not all that hard. Here’s a brief introdu ctio n, and a

tl;dr version in case you need something even briefer.

*Take note that thes e waves mostly app ly to American d rinking culture, although it’s been adopted worldwide. Traditional coffe e-drinking c ultures don’t function in “waves”. They have their own types of brews and c offee sp ecialties that have bee n subsumed under the third wave.

S ec o n d W a v

 Area ction to the �irstw ave .B ad co ff ee ab o un d sw ith m assp rod uc ed p ow d ersan d p eo p lew an tm oreinform ation ab ou t roasting tech niq ues,asthe ystarttoseeco ff eeasalifestyle ch o ice .En terco ff ee sho p s— asin the ang moh ve rsio n an d no tthe p lac ew h ereyo uca n alsoea tec o no m yrice — an d S tarbuck sb estexem p li�iesth is.C arryin g ab rand ed  take aw ayco ff ee cu p b ec o m esathing .Starbu cksalon g w ith th eS an Fran cisca nch ainPe et’sC o ff ee an d Teaev en tu ally help toherald then ex tw ave . T L ;D R

Than kitforob n oxiou sS tarbu cksculture.

F ir s t W a v e

 Am erica n sb eing th ed oy en sofallth in g sfast,instantan d  read ilyavailab lekicke d o ff th e�irstw avew iththe ag g ressive  m arketing o finstan tco ff ee b ac kinth e19thce n turyw ith Fo lg er’s.S o on ,ev eryo n ehad rea d yac ce ssto co ff ee ,ev en  the m en inthe tren cheso fb o thw o rld w ars.Infac t,d urin g  W orld W arIIItaly,Am erica n G Isreq uested d iluted esp resso s to m im icthetasteo fth eirw atered -d ow n instantco ff ee  fro m h o m e,lead in g toth eb irtho fthe Am erican o.Also ,th e inve n tio noftheau to m aticd rip co ff ee m ac hin e,MrC off ee in the ’70 s,lead tothe eve n tualu b iq uitou san d q u in tesse n tially  Am erica n o � ice leisureac tivityo f“co ff ee ho ur”.

T h i d W

Instan tco ff ee an d aco ff ee m ac hin ehe lp ed tokee p  eve ryon eaw ake.

T L ;D R

T L ;D R

a v e

Th ew ave thatw e’recu rren tlyin— �irstco ined in20 0 2b y TrishR o thg eb w ho alsod eline ated the three w ave s— isa naturalp ro g ressio n.C o ff ee g etsca u g htup in theriseo f th ehip steran d th eo b sessio n w ithev erythin g artisan al an d ha nd crafted .Th efo cu sison the p rod u ct,asop p o sed  to the ag g ressive m arke ting seend urin g the �irstw ave,or th eso ciald rinkin g ex p erien ce oftheseco n d w ave .You see  g rea terfo cu so nth eso urce o fb ea n s,n ew -fan g led b len d s an d theb estw ayo fd rin king .An d sn o o tyhip stersjud g ing  yo u o nyo urch o ice . Key w o rd “artisan al”.

F YOU CAN’T DRINK COFFEE...

B lam eitonthe caffeine.Ifyo ustill w ish toind ulg einthe w orld ofb ean s,Liu recom m end sadec af instea d .“W eusea Sw issw aterproc ess m ethod .Th ecaff eine  isw ashe d aw ayno t bych em icals,b ut byaw ater-p urifying  p roce ss.Th eproc ess use sm ultip lew ash ing s torem ovethecaffeine . W eactuallym anag e tod oaw ayw ith99.7 p erce ntoftheca ffeine from theb ea nssothat w hat’sleftinthe d ecaf isoneofthe low estof thelow rig htnow .”

W O R D S B Y L E S T A R I H A IR U L .IL LU S T R A T IO N S B Y Y O H E I YA M A G U C H I

Manual C O F F E E F A CT O I D S BY CITY S in g a p o r e

 Acc ording to Liu,m o rerelaxed  tha nfast-p ace d H on g Ko ng ,an d  alo tm oreofthe artisanalstuff  byco m p arison . K u a la L u m p u r

C an yo usay,“C aféhave n”?O r isitad elug e?It’sag ood thing  thatMalaysian sd rive w aym ore b ec au sesom eoftheca fésarenig h im p ossib leto ac ce ssb yp ub lic tran sp ort,hip sterasthe yare. S e o u l

SouthKoreaisAsia’slarg est coffeeconsum er. H o n g K o n g

Esp resso -b ase d d rinksare e rigeur.“H ong Kong isalw aysab out sp ee d ,sothey w ould n’tw an tto w aitfortheirhan d crafted co ffee theyjustw an ttoco m ean d g o,” saysLiu. T o k y o

D O D O C OF F E E

ELEPHANT DUNG

H ow m uc h m oreartisan alca nyo ug ettha nd rink in g  co ff ee p ro ce ssed throu g h the b o w elso fan an im al? W hileso m em ay p raiseittojustifythe o ften -exo rbitan t p rice s,ethica lco nce rnsco m ein top layasrep o rtsh ave  su rfac ed ab o utth eab useofb o thcive tca tsan d th e lab ou rersw h o toiltoco llectthe b ean s.“O fco urse,the  tasteisin teresting — itw en tth rou g hthe irsystem s,the ir en zym es,an d allo fth at.B utw eh ave so m an yo ther n aturalp rod u ctsthatw ecan enjoy,so Id o n’tseeapo in t foru stoca rrycive tcatco ff ee,”Liu exp lains.“Th ep rice thatyo ucan com m an d isve ryh ig h ,b utIth ink,forus, co m m ercialisn’tthe m o stim p o rtan tth in g .W esho uld  ed ucateo urclien tstoenjoyco ff eeethically.”

Thin g sarealittled iff eren tw ithelep han td u ng  co ff ee.Availab leon lyin three lu xu ryreso rtsin Th ailan d ,in clu d in g Th eS iam B an g ko k,33 o f co ff ee ch erriesareea ten b yelep ha n tsto p ro d uc e ab o ut1 o fth e�in alp rod uctso ld b yB lac kIvory C o ff ee .S inceth ey arehe rbivo res,itisclaim ed  thatthe coff ee p rod u ced isfarb etterthanthat o fthecive tca ts— w ith b o nusp o in tsfo rth em o re ethica lb usinessinvo lving rescu ed elep han tsatthe G old en Trian g leAsian Elep h an tFo un d atio n.Th e p ac hy d erm sd on ’tab sorb th eca ff eine ,alth o ug h the irherbivorou sn aturep lay sahu g ep artin the co ff ee’staste.To tallyno tb itter,an d w ithvanilla, fruitan d ch o co latyno tes,theferm en tatio np ro ce ss h ap p en sinth eelep h an t’sb elly.Th em ah ou tsthen  p ick,w ash an d ro astthe p o o p ed -o utb ea ns.

Jap an istheold estco ff ee ap p reciating countryinthereg ion. M e

b o u r n e

 Asup er-ch illlifestyle,g rea t p rod uce an d exc ellen td airy p rod uctsarekey tom aking  the Au stralian sthe g reatest b ea rersofthethird -w ave co ffee  m ove m ent.Liuad d s,“Milkisavery im p ortan tco m p on en to flattes an d ca p p uc cino s.Tog etherw ith itsg rea tp rod uce,Au straliaisin thebe stp ositiontob edo ing g reat co ff ee s.Ithinkthey ’rep rob ab lythe m ainp ush ersforthird -w ave co ff ee .  An d Au stralian salsorun spe cialty co ff ee housesw ithg rea tfood .”

BREWING TECHNOLOGY

There are more ways to brew coffee than simply dunking s ome grounds in hot water and, well, however you do it. Here’s a look at some contraptions.* *O ver-roasting can mask b ad co ee,so if you use these fan cy too s,its b estto utilise go od quality,lig y roasted b ean s. There is a p oint o allthis artisana lstu after al

“Th eco ld b rew iso new aythat w eserveco ffee .Intheice b len d  system ,yo ud rip co ff ee ov erab ed  o ficeforeig htto12hours.You can enjoyice coffeeinaw ineg lass w ithoutm ilkan d sug ar,”no tesLiu.

“Th isisthestea m p unk,anew  tec hnolo g yto serveeitherco ff ee  ortea.Ituse saqu ickextraction m etho d tha td raw sthe co ffe eor theteaup toab ove b oiling p o int, an d the nq uicklyletsitcoold ow n,” saysLiu.Th esw o oshoftheb ub b les inthetub esm ake sforsom e interesting vid eo s.

“The AeroP ressw assup p ose d tob e an an ti-esp resso m ac hine,b utthen , itd ev elo p ed ad ifferentch arac ter,” saysLiu.

“Th eC hem ex islikeapap er�ilterin ag lass�lask.Youjustp ouritslow ly, letitd rip,and enjoyithot.G enerally sp eaking ,itg ive syo uaclean er tastew ithoutthecrem a,w hich the esp ressom ac hineisallab out.B ut itw illg ive yo uab etterid eaofthe  orig inaltasteofthe coffee.”

H A T I ’ V E L E A RN E D

K hairil M Bahar Director

usician wr iter 36

Interview by S im Photograph by M

c b o k s a re u v e s a l E ver since Iw asakid,I’vealw aysw an tedtotell stories,andIexploredeverym edium  possibletotellthem .O neoftheearliest w ascom ics. w henIw asyoung I v e d n E n a n andIw antedtogettokn ow m yow n cu lture,soIread Lat’sw ork. C

e B o o n a rc u s

o n g

Ibecam everyunhappyw ithm ylifein gen eralan dstarted seeingatherapist. h o u g h t , hy not ustdo everything? N ottom akeitgood,orhave S o I

itreleased,ortofindfam eorm oney. JustdothesethingsbecauseI’dalw ays w an ted to,sothatw hen I’m older,I w on ’tgo,I should’vehavedone his. M y p a r e n s h a d a lo t o f V H S t a p e s T hat’sthem ainreasonw hyalotof andsom ew ereofP R am leem ovies. thingsthatI’vedonecam etobe. A lo t o f p e o p e c o n g u p inthescene T heyhad subtitles,an dthat’show I learned Malay. thesedaysarecreatingfilm sw ithan en d T h e 2 to ‘ 6 e r io d a s w henIreally goal inm ind.Myen tirem otivationis: I mgoing o makethis mbecauseI want gotintofilm m aking.Itw asalsothe o make a m.W henIw antedtorecord peakoftheSu ndanceindieera,w hen peoplelikeK evinSm ith,Q uentinT aranalbum ,theY2K [thebandK hairilw as antinoandR ob ertR odrigu ezstarted induringtheearly20 00s]album cam e poppingup.Iw asreallyattractedto out.Iw an tedtow riteabook,soIw rote theirlow -bu dgetaesthetic. abook.It’sneverbeenpublished,an d Iw asanem o veryfew peoplehaveread it,butit’slike, I kay,I’vewrit en a book. littleb***h,w hichIstillam .Ihadn’t donealotofm yfinalyearE nglish I v e k n o w n t h e e x e c u t v e p o d u c e r of coursew ork,andm yteachersaidtom e, Showdown foraw hile.H e’dseen iplak “Look,youlikew ritingscripts,sojust andoff eredm eabunchofm oviesto w ritethem allasscripts.”Iactuallydid rew ritean ddirect.B utnothingreally thattopassm yG C SE . spoketom e,becauseattheen dofthe I sti l av , n y s k m yold day,theseareotherpeople’sstories. scriptsfrom 1994onw ards.W e’djust W henShowdown cam ealon g,Ithough t bough tou rfirstW indow sPC w itha tom yselfthatifI’m goingtodoam ain1��harddrive.D oyouknow w hatabig stream com m ercialfilm andbetiedto dealthatw asthen ? theconstraintsofthatw orld,Iw anted som ethingthatIcouldputavery I e m e m e r , a f e r w n n n g m yfirst aw ardfor iplak,m ydad ask ingifI strongfingerprintoneitherstylistically w antedtoattendfilm school.Iw as orvisually.Showdown w asit. like,“Ialread yhadm yfilm schoolfrom  E v e r y b o d y lo v e adancesequence. han ds-ontraining.” Let’sfaceit;theS ep U m oviesdon ’t A t f y t ra i w asfrom m y havethestrongestofplots,butpeo ple m um ’svideocam era,andthat’show I stillw atchthem becausethey’respeclearnedtom akeshortfilm s.T heyw ere tacles,thesam ew aytheyw ouldabad reallybadshortfilm s,butyouneedto ku ngfum ovie. T h e m a i n d i e e n c e b e t e e n m aingetthebad stuff outofyo ursystem in ordertolearn. stream andindiefilm m akingisyou don’thaveasm uch controloverthe A ft r r s i t y , Icam ebackandgot decision -m akingprocessw henitcom es m yfirstjob inacorporatecom m unicationsdep artm en t.Afterleavingthatjob, tom ainstream film m aking.

o b e a n a r t s t gobean  artist;dotheartsything.D on’tex pect som eonetogiveyouam illionbucksto beyourself;nooneisgo ingtogiveyou thatm uchm on eyunlessyouarew orth thatm uch . Yo u k n o w h a t c o m c b o o k s Iw ou ld ad ap tintofeaturefilm s?Localones. T herew asaseriesfrom  ang called Bersama Selamanya.It’saboutabunch  ofteenagers.T hem ainch aracterhas justreturned from hisstudiesabroad. H ehan gsoutw ithhisoldfrien ds again— they’ream etalban d— andof co urse,there’salovestory.H e’strying tofigurelifeoutan dhasbeefw itha bikergan g.T here’sm etalm usic,alove storyandfigh ts— it’saw esom e. O f c o u r s e ,I o u d a n t o a a p Lat’s ampung BoyandTown Boy,especially thelatterbecau seit’sacom ing-of-age story.It’sim portan ttodoitw hileIpoh an dotherpartsofPerakstilllookthat w ay,soyoucanshootthere.O ncetoo m anycafésan dfast-foodrestaurants popup,it’sdone. I h i k m e n a r e c o e c ingeneral; everygu yhashadahobbythatinvolves collectingsom ething. thatIcollectisfrom  A t f e s acertainera,becau seIcouldn’tbuy thiss**tw hen Iw askid,butcannow . T hankfully,I’m m arryingagirlw ho understandsthat. A s a r a s a r c h v i g s tu e s , Istron glybelievethatw earetheproductsof ourpast.Ilikebeingabletoreferto it,esp eciallyw hen youtendtoforget w hereyoucam efrom . K eanu I e e l a t J o h n y D e p R eevesshouldw inanO scarnow ,since Leo alreadygothis.  If y o u w a n t

Show dow n the M ovie w illbe out in cinemas on Ap ril7.

T H E � R E A L � M U S L IM S O F IR V IN G T E X A S ith armed rotes ers outside t eir mo sque an d reedo m o fre igion an d e righ tto ca rry crash in g toget er on eir do orstep Lo e S ar Muslim s justwan tto say h owd y. Before so m ebo y gets h urt. o r d s b y C o lb y B u z z e l P h o to g r a p h s b y B r e n t H u p h

acing p age

front yard in Plano. She has lived in

exas for 15

years, and as a Muslim, likes that it’s a place with “family values.”



utsidethelibraryinIrving,Inoticethatthe clou dsup abovearegettingabitdarker.A storm isgathering.T heC hristm astornadoes w illsoonthrash thisarea.O ff inthedistan ce, there’sanenorm ousbrand-new housebeing builtonavacantlot.AMuslim couplestandinfron tofitw ith am an an dalad yinahijabgo ingoverbluep rints.Idriveover tothem andparkbehindtheirm inivan .T heirkidsw aitpatien tlyinsidethevan .Iasktheguyhow outofallthelotsof lan dintheU Stobuildahouseon,w hyhere?H etellsm ebecausehisbusinessishere.Iaskhim aboutthegu ysw holike tohan goutw ithassau ltriflesatthem osquedow nthestreet, an dpostthenam esandtheaddressesofareaMuslim sonline assuspectedterrorists.T hem anw iththeblueprintsbecom es frustrated.H eplaceshishandsonhishipsan dtellsm ethat thisisallnew ,allhap pen inginthelastm onthorso,andhow it w asn ’talw ayslikethathere.“B efore,nothing,”hesays,“N ow  there’sfear.Yes.” H epurchasedhishou sebeforeallthishappened.N ow  hetellsm ehe’dthinktw iceaboutm ovinghere,butnow it’s toolate.

O

Sharmina Zaidi in her

e y s

1



 Atonepointw hen hew asinthe  Arm y,D adw asstationedinTexas.It w asthe’60 sandw hatherem em bers A � M O S Q U E I� H A V E � m ostw ashow Texansdidn’tlikeanS H O T A �M O S Q U E . I think it’scute, ythingthatw asn ’t“T exas.”Itoldhim  thatIw asprettycertainthatw asn ’t these concerned citizens show ing upw iththeirgu nsatthism osqu ein thecaseanym ore.“T heyespecially don’tlikeC alifornians,”hesaid.H e Texas,lookingfortrou ble,lookingto “protest.”Asan infan trym an inaw ar toldm etobecareful. T heIslam icC en treofIrvingisone Iw aseagertofightbutneverreally understood,Iputm anyholesinm any ofthelargestm osquesinthecountry. Itw aslateN ovem berw henahandful buildingsinIraqw ithvariouscaliber ofTexas’sfinestcam etogethertohold bullets— .50 cal,7.62,5.56— butespea“peaceful”protestinthisserenelociallyinonem osqueinparticular. cation toputthecongregan tson noMindyou ,Ihadnothingw hatsoever ticeandm akethem feelunw elcom e. againsttheMuslim people,becauseI Justaw eekbefore,inD allas,a kn ew nothingabou ttheMu slim peoFirstB ap tistpastornam ed R obertJefple.Andthat’sw hatIhaveincom fressheldaSu ndayserviceinw hich m on w iththesefineAm ericansproheexplainedthatIslam w as“inspired testingIslam hereinIrving,show ing bySatanhim self,”andD on aldT rum p upw iththeirriflesan dtheircarbines announcedhisplantobaranyMustodow hat,it’shardtosay— theydon’t lim sfrom enteringthecountry. know  anything about the Muslim   An dtheT exanstook up arm s. people,either.Butheretheyare,leT heycalledthem selvestheB ureau gallonggunsattheread y,exercising on Am erican Islam ic R elations, theirrigh ttothreatenpeople.H ere Top an datfirst,abou tadozenofthem  inTexas,you arem orelikelytodie The congregants at the m osque are undeterred by the protesters and welcome them to come and see the mosque show ed uptotheprotest.O fcourse, from botchedplasticsurgerythanat and meet real life Muslims, an o er few have accepted. therew asapersonon flagd etail, thehan dsofaterrorist,buttheopen holding ap olew ith ared-w hitecarrycrow disnotliningupinfron tof A b o v e Outside the 8, 361SQ MI  slamic Centre of Irving, and-blueAm ericanflagattachedto thefancysurgeon’soffi ceinH igh land a police car stands sentry to discourage protesters. it.T herew asalsoam om holdingup Parktodrivehim outofthestatew ith theirfakepig’sblood.Andneverm indw hatw ehavedon eto herhan dm ade,m ulticoloured������ ������ ������� �� them .T hat’ssom ethingIhavesom efirsthandkn ow ledgeof, �� �� ��� ����.Sh ew asproudofher20 -year-oldson,w ho butnobod yw antstohearabou tthat,becauseAm ericanshate show ed updressedinhisG  IJoecostum ean dtoldthem ed ia how hew an ted toonedaybeinthem ilitary,butforw hatMuslim s,solet’sjustgetonw ithit. W hatbetterw aytodefeatISISandsayscrew youtoall everreason shadn’tgotarou ndtoit.T hiskidhadabuddy Muslim sthantosayscrew youtotheirm osques,righ t?Since w ithhim abou tthesam eagew hoalsoheldupasign that theParisandSan B ernardinoattacks,theU Shasseenase- read,���� ���� �� ����� ����� �� ���� w ithanarrow ,kind riesofan ti-Mu slim incidentsdirectedatm osques.Peopleuse ofliketheonesyouseeon�’� � ��� ��� ���shirts,toindim osquesfortargetpractice,enterm osquesw earingm ilitary catethatthisprotestw asthesolutiontotheproblem .B oth fatiguesforthepurposeofw ipingtheirdirtybootsonprayer hadperm an en tsm ilesontheirfacesasiftheyw erehaving rugsw hilecursingou tthew orshippers,leavean gryvoice an ab soluteblastthatday,an dtherestoftheindividualsin m ailsthreateningto“firebom byou and shootw hoeveris thiscrow dw ereallm iddle-aged orolder.Itw asabitcold thereinthehead.Idon’tcareiftheyaretw oyearsoldora ou tandtheyw erealldressedaccordingly.Yougotsom e hundred.”Peop lehavesm earedthefrontdoorsofm osqu es ruggedredneck-lookingdudeshan gingou t,m ultilayering w ithporkandfaeces,andlefttornpagesfrom theQ uranan d w ithheavy-du tyw orkgear,jean san dscuff ed -up boo ts.O ne severed pigs’heads,atten ded publicm eetingsaboutpossible oftheseprotestersfashionablyaccessorisedhim selfw itha m osqueexpansionstoyell,“E veryoneofyouareterrorists!” confed erate-flaghat. and“N obody,nobody,nobodyw antsyourevilcult!”T helist W henIfi rstcam eacrossthisstory,Ithou ght,w hat thehellistheirdeal?W hataretheysoafraidof?It’sjust goesonan don,an dit’snevergoingtoen d. Irvingisw hereAhm ed theclockkidw asarrested lastyear. am osque.IthinkofApoc lypse Now— “Youeithersurfor  An djustup theroadinG arland isw heretheyheldthe“D raw  fight!”Im ean,I’m notafraidofMuslim s.I’m notafraidofno Muham m ad”contest. m osque.“IfIsayit’ssafetosurfthisbeach,C aptain,it’ssafe JustbeforeC hristm as,Itoldm yfatherthatIw ou ldbe tosurfthisbeach !” spen dingtheholidaysw ithMuslim sinTexas,asw ellasw ith thepeoplew hohatethem . H E W E A T H E R ’S A B I T O V E R C A S T w henI H eseem edlost. driveuptothe8,361��� Islam icC entreofIr“Muslim s?”heasked.“In Texas?”H egaveapainfulgroan ving.Inoticethere’sonlyonevehicleinthe ofpityandsaid,“T hat’dbetheverylastplaceI’deverw an tto parkinglot,an dit’sapolicecar.T here’sno liveifIw asaMuslim .” m oistureonthecem entun derthecar,soit’s N E V E R S H O T A �C H U �

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y i s a p a i r o f g ir l s r o l e r s k a t e s a n d

h e l e r ly f o l k s a n d

ow n p ol ce s at on

ch are cab s, ryi

e lp . I te ll

e-

un

y car be-

e if I n e e d a n

ron t of

t of am

y cu

b a s k e tb a ll c o u r t

e n I w a s n M o s u l, a g u e s t o f h e U S A r m y .

e i s u r g e n ts h a d a t a c k e d

e m osq

n

y f r ie n d s , a n d w e a l l b r o u g h t o u r

a r m s to o , a s w e ll a s a g r a t T

ce st od

n

h a t o d o n e x t, a m a n a p p r o a c h e s a n d a s k s

e o

e I r v i g p r o t e s te r s , I a ls o o

e h ere t

a c ro w d a s s e m b l

I t s o n y a b o u t 2 0 s te p s a w a y , a n d

r c h o v e r a t F ir s

ne

h a p a ir o f A ir J o r d a n s c r a d

e I ’m

t is t o f D a l la s . L ke

a ll

o go. H e ki

t

o co

an y o f

e r e ’s n o w

ace t em

er si e o f

as lke thi across

ers

o t e m o s q u e , I w a it n

y sho es and

O n ei

e m o s q u e ’s e n o

e . I t s b ig ,

ow

e h earse pa rked ou si e t e en rance.Back

off

ay t at

e n e a r b y a ir p o r t s c re a m

e d s k y a b o v e , I s o p a n d s ta r e a t

of ca s.

o e n e r t e p a r k i g lo t . T

a d a 2 n d I n f a n r y D v i s io n a n d 1 0 1 s t A r b o r n e p a t c h

e c lo u com

r is t a n

.

a d a w a t e r t o w e r b a c k a t F O B M a r e z in I r a q . I t

k. O

se th e

d a s e r ie s o f o t e r v e h c l e s ,

hem

e r e ’s a ls o t h s h

e l l, r a d c a

H e a d in g b a c k

e y h a v e n o s u c h b a r r ic a d e s o r a n

e p ark

Insurgen s, I t r a is e

s m

e C

e r to w e r b y t e m o s q u e t a t y o u c a n s e e f o m

ai

h ic h h a s

o s q u e s in I r a q t h a t h a d c e m e n t w a l s a o u n d

reven t car bo ch

a y s h a v e o u t a s a d e t e rr e n t. I p a r k

a k e m y w a y o v e r to t h e e n t a n c e ,

hand

s m osqu e ex en d h a k e a n d a k in d

ei

Salaam 

alaikum  g r e e t g . I a l s o n o t c e h o w e v e r y o n e i s a d d e s s

g m

as a “b roth er. P r io r t o t h i s ,

y ed

o r s e n t m e a m e s sa g e a s k

a c te d t h e m o s q u e y e t o le t h e m a t. I to ld

m

o,

at I di

kn ow t

an t

I w as com

g if I c o n ng.Sc ew

o d o that,an d

ow

I w a n e d to j s t s h o w an d see w on

pu

at

ap pe

p o s e. I

ow

up

s te a d

w a n te d

to

fi nd

ou

e s e p e o p le w o u d t e a t

a fel ow

an

g o o

y la d y w

e,

ou

o the

r a y e r ro o

, I n o t ic e

g d ow n on

e carpet

o I th in k “ w h e n a se at. O

t of n

ere a l

r ig h t n

ds m e of e I w as at

ge sm

T ak en ab ack

y t

e t e ly s u r r o u e l ke a k

I t

k b ack

f * * ** d u p al ow ed

ed by w

at

a ll

o y s a re a ll s h i r ts

y

son s

r e s se d

exact y h ow cart

e t

on

A r a b a t r e, s h e a p as h ol

e i r fr o n t

Bet

al an

ast c b ags fi

O

e guy w

o h

p rayer

. T

e o

ed

e r. S h e b e g a

een

o go

om

th e

t

o

of

hem

and

o o r la y a d e a d b o

er t an o g rant

an ed

e t o c le a r h e r t o m o v e .

he ING had pu

o u d e r to s h o u l

a ll o l s te n

rad

s,gest red that s e l ved on

g, r e ss i

t e

n

e s tr e e t . S h e j s t

on ,

ryi g h s best

em

er h an

and needed

er w

e an d

n

d a

s p e a k i g t o m e in A r a b ic , a n d

c:

o o m . H e ’s n o w h

a ro u

e a r e d c a lm

g seve ral

e b oy s han d

Pok ém on

o

s w a s g o in g o n , a n o l d e r

s tr e e t c o r n e r . D r e s s e d

a r e b e h a v in g

on

s crew

es.

ady ap peared f om

y say

oi g the r ow n

e bu

erded

ers w en t

e d ead bo

co

y son

or b oo gers, an d

h e ig n o

I ra q i

e t h e I ra q i N a -

h g r o c e r ie s in o n e h a n d a n d a l

e e l s , o t p a y i g a t te n

cki g

el o.

y s o n w o u d in p u b

a - la l a n d

es t at

ers w eren

ard (ING ) sol

o r e m o v e a ll

e e ls

ke

em

bo

n Iraq.U S sol

ed secu ri y w

age. T

h T. rexes and

and a coup e of

o the

o e n e r m o s q u e s ,s o w e j s t

on al G

en sh e do es

a t e r , I ’m

e car y-

e h e a r se .

e re d r a g g e d o u t o f h e m o s q u e w

ears

e r g a r te n c la s s

e y ’r e

ge t

g the casket ou t o

k d r e ss . S h e

s,I h esi an

el o, an d a secon d

n

g r o u p o f g u y s w a lk s p a s t

e g rl

e an d says

ce thi

of peo

e l o b b y . M o m e n s la t e r ,

o s t g i r ls n e v e r d a r e t o d o : s h e

g iv e s m e a h

T

o

at

ex t s p ray

e fl ow

e g i r ls I c a m e a c r o s s

n I ra q . T

o d o

e D ead . O

t

ron t of m e.She s w eari g a

ead scarf an d a h otrem

t

e Prayer o f

n R o m e ” a n d I ta k e

a y b e fo u r o r fi v e y e a r s o l , a p

o p a s se d a w a y, a n d

s o v e r , I fo l o w

A s m o r e a n d m o r e p e o p e a re fi l g i

e p a y e r se s s o n

e n c a s k e t s b ro u g h t

e y r e a ll a b

k e e v e r y o n e h e r e tr u ly b e l e v e d

som e are s

en

e fron .H e tel s m e it s an el er-

e i g . S o f a r, I fe l

“ lo v e t y n e i g h

.

o v e r, a w o o

e d . I d id t

ed f om

y t at

he

a t, I s a w

osque.

o reason

e r r e q u e s t, s o I n o

ot ed

y e s an d a l o w e d h e r o g o o n b y . Cu

o u , I fo l o w e d t e m

h

e y e s a s t e y c a s u a l y m a d e t e ir

ese

ay.

A no ne o f hem

bod

h in k a n y th in g o f

b e i g t e r e o r g iv e m e a n y lo o k s o r a s k m e w h y I ’m I t en

n

o th

s it ’

ere

fam

es

b ri g

g m y s e lf d o

ng m y m

nd

n a d

ce t e l gh t n throu gh

k

s? os-

on

ass gn t

g to t e w r o n g c h en .Feel

ri ki g,an d

r y o n e e l s e is d o

g.I get

r c h a ll

p,get

s t d

e,

e sho ot

g u y n e x t o m e i s p a t ie n e, n h ow or w

r a y i g fo r a n at eve

ow

, ou ch

d w

e grou e t row g

o say t at o m e an d

g A K o r m o r ta r ro u y i s tr u c t i g a l

e k

do ng

e r e , b u t n s te a d

g.

h

y fe l

ast

s , a s w e ll a s

pers w

e m a in c le r g y m a n o f o h

o I

at s go-

e a

e w ay

d

em , t

at

e go es on .I

as t e case here as eace, go ab ou t

a lk b a c k

g to g o

om e, I r n

o Im am

e m o s q u e . H e ’s a s u r d y - lo o k i

e re a s o n s w

e n t ir e l y fi I m a m

n ed

t con act

th b

ervou e m osqu

e y w e r e n ’t a lk i g t o t h e e acro ss i

cated

e n t

s very acad em s,I n

a w a s b o r n in P a k i

o E ng an d w

y I di ow

e r e c e n t a r t c l e s I ’d c o

h a t h e y h a d n o c o m

a,

Salaam alaikum , a n d I i r o d c e m y s e l

s t a t I n o t ic e d

r e s s. M a n y o f

ei

om e.

. H e g u d e s m e to h s o ffi c e , a n d I g e t a b it

be oreh an d

ey

ey go t

e d oo r beh

v e in

y s ic a l

, a ll

n a w a r,

o

o p

en

e t at even an ed

A s e v e r y o n e is e x i

S e a te d

ds at us.T

e j st

en

a t s o e v e r,

o n d e r e d if v e s , a n d b e a b le t o

becau se one o f g i

o say,see

o p r o p e r y p r a y. N o t o n c e d o e s h e a s k m e w

a t I ’m

el .M ost peo e v e ry d a y

g u y an d th ro w s

at I s ou

r tr y i g t o d o ,

 AllahuAkbar ” I t ’s a s t r a n e

ers

om

s s to r y

g,

e o c c a s io n a l sol

ss on ch

y s e lf

e n g e t b a c k u p a g a i , a ll

g a s s o m e p e o p e in I ra q l k e d

am

s e lf

a s b e e n y e a r s . M a y b e I ’v e

g i s p ir e d , I r e m e n s ta r t

I on a m

y fo r e h e a d ,

ow

an d shu t

PhD in Texas.

)

o r m e to t e s e g u y s ? I m e a n , t be en go

Stacy Samuel originally from Queens is working on her

k i g , H o ly s h i ! A m

as no

a l k e d r ig h t o n

s an d I get al

ah (peace b e u

e d ead bo dy,

o t h e ir d o o r s e p .

Above

a y.I n o -

ooked d ow

c h a n g e in e m o t o n

nglish-raised Imam Zia has been in Texas

since 200 5 because that’s where the imam jobs are.

ou si e co do

d e e y e d . I ’m G od ? D d A

e

e re n t

rom e w

l

, I b e g in

akistani-born

hem

a n e o u s ly l o o k e d r ig h t b a c k

a s if t

Top

o of

s o n , s aw

si

h e re .

eel an ge .

k a y t o b r i g a s sa u t r i e s to a p a c e Cal

, he t

c- oo

g o

t ic e a

t

ce space

at

f a B r i t is h a c c e n t .

a n a n d h s p a r e n ts

o v e d h

e n h e w a s fo u . H e d e s c r b e s h i s c h

ho od

a s b e i g p r e t y n o r m a l. H e e n o y e d ay a

m oved

to

th e

U S because

ad the o pp ort a m an

n t ,

e tel s m e,

as o

t s di

e,

al

u n

h e re

or i

am s. In fact

th a t

t e

any

T

at

m osques

sl m

grow

h

is

d

e r e a l e s t a t e is r e l a t iv e y c e

T

e r e a r e a lo t o f a c t o r s

ers are

T exas appeal ng T he d

no t

o

at

a,

at n E

g la n

,

sl

s. T

seei g M s e co n d em

yo

a l I s la m

of peo

o

o w e v e r,

e x p e r ie n c e c u

e s p e c ia l y w

en

M usl

e l o t a r e s m a ll g an d

ok

r e s t s to p

h

e ir r i e s a n

y m o t e r,

o ’s n o

on ger al ve,

y son s age, oo ki g cu ri

o u s ly o u t h e w

and

you

nd ow

a n d a s k in g m

g t e s e p r o te s te r s h o

op at

e r e , it . . . c a n

ge

a c o u p le o f

a a sk s m e a b o u t m

I grew

b i r a c ia l , b e e n you can

cal ed

k o

breed , om e

p Ch

every

v ie w e d

gh m e

o u t e x c l s iv e l y w c a m e h e re f o m at aff ected

against bad guys”.

e r. I j

at

o m e p e o p e t e a te d

ed

e m

grant at exp er

e r, a n d

a a s k s m e if

I ha e p ol a n s w e r, e l s e lf a s k i g w ow

at n

e w a r fe l t e n

ow

e en

e w o r ld a r e w e d o i n g e s s, a n d

o b e c t v e o r so m e s p e c i c t an d com e back h om e agai . “T s th s?”

s Esqu

e ,” t e i

am

ow

an

e I w a s t e r e , I fo u

on est d

e w e r e a ll u s t a s k s, “ w

at

n t e w ar

e r e to b e t e r e . yp e o f

ese peo

t

ated b

y h o ld s h e r

ead u h ey

er on

y , I c a n c l e a r ly h e a r h e r v o i c e

e h ave n o ed

agazi

om en or I m

N

s

y-

e r e ? A n d I te ll o d o to w

an

O B O D Y �T O LD �M E   a b o

e r e r e a l y w a s n ’t a n y c l e a r

g w e had

e to h er b e-

, sh e tel s m e tha t

e n I a sk m y m o t e r

a r y , o u g h t in I r a q , a n

g , b u t I g iv e h m e t

t at

gs as a

cat on

ow

e s h o u ld h a v e n v a d e d I ra q .

cs m ore t an an yt g h m

ke u s.

s a y i g to m e : “ T

I w r i e s to r ie s . Im am

e b ei g terr

ob,de

acce and

ese t

a n d d r iv e s r g h t b y t e m .

ang

h A s ia n . M y m o t e r w a s a n i ow

s

people that “we didn’t ight against Islam, we fought

a s b e in g

er off or s

essed

ei g t e sl gh est

Vincent Simon, a former Marine deployed to Iraq, reminds

scho ol

eo

p

aybe

c a u s e s h e w a s A s ia n . M y m u m , n o t

Above

K o r e a , s o I sa w

e n c e w a s l k e fo r h e r, ow

on the Internet these days because of the viciousness.

al

e w a s e d b e c a u s e I d id n t

ki ,

Zeena Alkurdi (with her daughter, Kenzi), spends less time

am

em

e car.I w

Top

n C al orn a,

a te v e r . I n A s ia n s

y se l

k, goo k,

g u p an

A s ia n o r a n t i K o r e a n b a n n e r s ,

e i r d ,” h e s a y s . I te ll

e car w

I’

on

som ew

Im am

g arou

e re t e a r m e d p r o -

“If e r e to H o u

ock et

e p a r k i g l o t in

a g i e m y s e lf n

a n d I ’m

s go off

e fa r b a c k

ou ch . Scat ered

e s te r s a s s e m b l e w

an

n

d

e ch at

s ig n s . I i

re s ock

h

e r e ’s a f o o b a d

v e h c le , I s o p

t ’s n

e w

e r e a g ro u p o f k i s a r

tw o-ha

A s I e x it

y b a t s a n e y e ,” h

b i . A k id o n

. T

rou gh ou t

s c a n w e a r tr a -

s a y s. H e r e , n T e x a s ,

oo r op en so t at

ses by

d

ayi g

ake a

g an d

van

a r k i g lo t

e p a ss i

c c

o t . I n s te a d

g to s s e d a r o u

e are used

sl

g d e a l. “ N o b o seem

be

e s r e e t o r se e i g t e m

a res au rant.M

e p arki g

g e r s is te r o n r o l e r s k a t e s c h a s g b eh

e m a in d i e r e n c e i

oo k at t em

on

e h e a r se i

a s k a te b o a r d c r

ak

ey d on t

s out a d

y ski . T

g h er m

e e n E n g la n d

eo

e sun

er t ree ki s can cl

a n d T e x a s m a k e a p r e t y l o n g l s t, or Im am

e e ly a s

om ever

y s o e s b a ck o n a n d e x i

o n g e r in

sl

ars

o m any peop e.

e re n c e s b e t

a lk t o w

e r e ’s a la d y w e a r i g a h e a d s c a r f

ea

at

n e rv o u

e n h e n o d s a d g iv e s

e e ls g o o d o n

e b e-

T

w

o d o,

I put

c a u s e t e r e ’s n o s t a t e i c o m e t a x . T

e to a s k q u e s t o n s ,

a n s w e r n g th e m . T h e

e m osqu e. T

r pe

esn ost

“Th ank yo u.

at on

j s t a m a z in g

c i a l ly , t ’s g o

eral

r d

u n d e r s a n d a b ly

I l ke,an d

h e n u m b e r o f p e o p e m o v in g h e r e . F

y e

he m osque as m uch and as

am

s i c r e a s i g in t h e a r e a , a n d t h a e

s l

e t e ok ay,says I can h an g ou t at

5. H

op

t

k . I la u g h

ad co

s

t ic a

?”

e r e ’s s i e n c e a s h e t h i k s a b o u

sl

ou t an i M

am

ere’

t

at o

b u t h e r e I am

e U S,

e o f

, I say, e w

becau se I

p l y f n c t io n m e

sh e ll

or

e a sk s,“Po

ck e. So

ere a re p en ty of

H e ’s b e e n i n T e x a s s i c e 2 0 el s

I ch

. I n E n g -

e r e is s c h a s h o r t a g e o f M c le r g y

he

c u lt o fi n d

e r e a s in

ays a nee d

ain, an d

ere do es Esqu re s an

y to s e r v e a s a n

s c o m

am s and

si

I ex y,

g s o c c e r a n d c r ic k e t . I n 1 9 9 5 ,

gh t

t

e h ot ass M

ave got en

T h e n e ig h b o u

h o o d

l ke

B e v e r ly

a

M

sl m

sl

e l g io n s o o n e r

a ro u n d th e m o s q u e H

s. E

rm ou

M c M a n s io n s , o n e r i g h t a f e r a n o t h e r , a n each ap

e a r s to b e l o n g t o a M

oc al M ed e w

sl m

am

y.I pu l

e r r a n e a n r e s ta u r a n . I n s i e , a y o

h “ S l m l i um” I a s k h i m

e shru gs an d says t at

s pret y m

p

o the

g k d greets

y h e d id t h a t, a n ch on y M

sl

s t at

c o m e to t h e r e s a u a n H e s e a ts m e a t a b o o t h a n d I b o m b a r d h m

h quest ons

abo

t

e

a lk s a

M

sl

s

here,

en

a y to g o a n d g e t

o f w a te r. I t e n

A

e a r a f e m a le v o c e

ays ho

I lo o k o v e . S h e ’s w e a r i g a s c a r f a n d s e a t e d a ll a r co r n e r b o o . K

e r, “ W ze

d

e a

f ay

Bond

d

“ I ’m

S ta c y , V

r i e I ’d

z-

e,

em

E a s t C o a s t,

H e r m o t e r is a n u s c u r re n

g on a Ph D

sl

e s t e ll

ke,

r ie n

en st an-

e r to

a b le

a t? Y o u

ant

, an d

I ’v e

fe w

d a roun y

cel

o r e c o rd o u r

e w om en al o h ave c e ll

r p le a n d a ll , o

M e l s s a ’s h e a d

on es i e co ou rs

a tc h

e ir h

s u

cov ered ,

ab. She says t at

el s the

ot er

p aced

on es ou

of t e rai bo

h e n p e o p le a sk h e r

a t ’s i n S y r i a ,” s h e

a

u s in g

on . T

k an d

a b o u t I S IS . “T

e w om an ,M el ss

c h I ’m

e ir c e ll

e t

at

s.

ere

c o n v e rs a

g o b a c k to Q u e e n s ? Sa m e g o e s

w

ph on e,

go back

s is t e r s

t n R i c h a r d s o n . S ta -

e ’ e a ll s e a e d a r o u

o w h e re y o u c a m e f o m “I m

Yass

M

sl m o.

e m eet up

h

Ch an ce

o m eet

l r y to g e

e r r a n e a n r e s ta u r a n

c y is t e r e w sl m

at eve-

ant

er ot er M

eren t M ed

. Sh e tel

e sh e g e ts co n u s e d w g e r s so m e t

e o f

s on e w ay o

h s to r ie s a b o u

e S ta r M

e g r l,

el

h e r ?” I a sk .

r is t a n

e g e t o t a lk i g , a n g w

t

T h e n e x t d a y,

y h e r e in T e x a s w o r k -

s h e is b r i

st ry an d

g ab ou t t on Faceb oo k.

e r fa t e r

are C

of t e g ov ern-

o t e ir h o u e t o d e p o

o g e t e r fo r m e t o t a lk a.

abo ut

en eri g t

Sh e n o d s . “ D o y o u

In

s-

d a u g h te r

e r ? ” S h e a ls o s a y s s h e w

om

se and

en gi ee . Bo h

ng

You k now

as m

a r e n t s fr o m

ere’

t a lk i n g

s fr o m

eard ab

a co

h

yo u n g

a l . I s t p S ta c y

e r I ’d

o n s s h e h e a rd m

uel s 32 an d

em

s t,

a s n ’t b e e n a b l e t o s le e p

r y o n e ’s p o s t

a s k i g m y s e rv e r S acy Sa

o o f

T um p

ry and

ce gu y.

g it

e p

w h o se sl

e n t co m

t ’s g r l r ie n

e m osq

e.I w ou

” In

e c a u s e s h e s a f r a id

c e n t s a fo r m e r M a -

et at

e as a L

D o n a ld

y head.

ce

!V

d u e to t e q u e s

She

e a rd cou

vi es m

S h e s a id s h e h a d a f e e l

s an

om an

e r ta b e . I w a lk o v e

u s ic p l a y in g i n

s h e s a y s .O

m

barri g M

,I tel

C o lb y . C o lb y B

” Sh e say s h el o a e s it a t

ed an

g t co

e t

est

S ta c y k n o w s o f a n o t h e r lo c a l M

s l ke a B

d so,

y y e s , I ’m

o c

a sel e of

y h e r s e lf n

rt es, ark-ski

e a s e c o m e v i s it

ov e to h ave yo

. I h a v e n o id e a w

s h e s , e a r ly eau

ead

sh t e n ew

us peop e l ke you .An y-

e y , f y o u a r e e v e r in

Tex as,

ask m e, A e you Co by?”

g i rl o

d t h e la d y s a i , “ I ou d sho w

e a g la s

ab s.

en she p ost

G o t S y r ia a n d

a f ra i , s h e

g h t I S IS ?

S a c y te l s m e o f h o w a S ta r b ar

she w as at

C a u c a s ia n

a le

e r a t e r r r is t o

ng

on g.

er

s ou t

e t at

a s,

e sam e sortof

e r c e ll

on e an d

an

an

n fi d e l? ” T

cuse m e?” T ke r st n

s,

e M usl m

t yo u

ke d

e seei g a real ed at s and

o k

a d e . H e r f r ie n d

at an

ow

e n s iv e c o s h e is

ees,

h the r sup

a c t iv e - d u y m M e l s sa . Y o u

as

over

hel

t

ave

a

c i a te d

ng

re pon

e— hu nd eds

r da

g h

g in

r e d s o f v e t e ra n s a n

o s a y , “ W e ’v e g

g h e r n o t to

r o te s te r s a n d

a te m e ? ” T een

seem

s is m

n a v e r y s m a ll o w

ere bet

e g ir l

e y t a lk e d e p ep ared

g t e Q

r a n fr o m

s tr u c t e d t o lo v e p e o p e . “ I

on t even

e l s ,” s h e s a i . “ I j s t

ary w ri e ll y o

an yt

s o s o r ry to a p p r o a c h y o

e g ir l c i

cl

a d e s ,s o m e fo r o n y a fe w

S

e a l y h a te m e b e c a u s e I

.I l ve

o r t,

oo di

t yo

r bac

orry ab ou t a thi g.

O M E �O F �T H E M �H AV E �L IV E D �H E R E   f o r d e c -

e la d y t a p p e d h e r

ow :do you

o l e F o o d s , r ig h t

e ex

em ory on ow

sl

n w

o le l e .

k e s u c h a s w e e t g i r l, a n d ve M

ot

e exp ai ed to

e l a d y a n d s a i , “ N o , o f c o u r s e n o t .” T

e r e in t h e W oo

,

she d d

as s ocked and sa d, “Ex-

e la d y t h e n s a d , “ I a m

e s t T e x a s . I ju s t n e e d

sm

g ir l

co

s it o m e s o I c a n

o s t a f r ie n d o f h e r s j s t

e s h o u d e r a n d a sk e d , “ D o y o u

am

ow

g h s w

o le F o o d s s h o p p i g fo r e g g s a n d a w

on

e g rl

of t ou sand s of st an gers

e n s h e t a n k e d t h e g u y fo r t

S ta c y p

Sh e

w as

ou t of

ess t at a l

o w n h o m e to w n , n h e r o w n c o u n

The protes ers have a rang e ofg rievanc es— hey suspec tthe mosques of und ing errorism and hey say that hey are ractising Sh aria law. There is no evid enc e of either. Pictured bo om is the leader of he p rotests avid W right.

c al ed

w ho

e ’d e x p e r ie n c e d

see a Facebo ok at

m an

e gu y h ow

er ho w

p

e r fa c e . A n

c an -A m e r c a n e r e t o ld

d d e -a g e d

s tr a ig h t

t o u t o f fr u s tr a t i

b e m a d e t o f e e l o u n w e lc o m e in h e r

c k s r ig h t a f te r t e S a n B e r o sho ot ng s and a m

Af

an d sad

d

an t o l ve m y l e.

Sha rm

a Z ai

y,

on e o f

e l y lo v e it

o ’s s e a t e d

o m y le f , e x

e ’s b e e n l v i g i n T e x a s fo r 1 5 y e a r s n o w

on t

an t

e’ e a part of

c o n s e rv a t v e h e r e. C o a l f- n a k e d , am

y va

g to c

as ey a

a i s to m and

ow

you

e r e y o u r e fr o m . S h e t e l s m e h o w

as real y a great cho ce to m ov e h ere. “I real y a ow

em

ere.

ow

o le a v e w

h

g n e g a t iv e t o s a y a b o u t T e x a s . T o g en

,

e h ost

y e a r s. E v e n

e B ib l e B e l , a n d h o w g f om

F lo r i a ,

s so m

r e c ia t ch m ore

e r e e v e ry o n e i

s , a r t y i g , I fe e l t h a t t e r e s s t l t h

e s h e r e in T e x a s , s o f r m e a s a M

sl

,I l ke

at

An ot er art of t

o m a n d s ag re e s. “ Yo u

e B ib l e B e lt

ou d

t ’s a c t u a l y t h e o

B ib le B e lt a n d y o u ai

....

at

s i e .” S h e c

e c te d

em ,

o o ur

od yes.

o r o ll

r is t a n s h e r e t h i k , “ O r e c a rr y i g a ll ,

r is t a n s t r y t

, ex

, yo u

eed

ai s h ow

o

o fi

ey t

d J e s u s !’ A

a t J e s u s is a p a r t o f I s a m , d Jesu s,you

yo

re j st

at’

M uch e r s,

y,

ot w

o m y su r p r i e ,

o t o n ly i

e lc o m e t e p r o t e s

st o g et o k

ow

em

“ W e lo v e f o o

” M eh orm al

a z t e l s m e t o t e ll eo

a s k t e p r o t e s te r s o h a v e d e s te r s to “ j s t c o Bu t

e i s i e , s it

ow

s e r v ic e w

ch ed

ere he w

o f c u r io s i y ,

a lk . T

ey w an t

,an d

In V

e p ro-

yo

d ou

h “ P ro u d I n fi d e l” b u

a lk a r o u n d

d

g o ’ ruc

n

h “ In fi s d e c o r a te d

per st cker

M eh naz shakes her h ead at o u s it s . “ W e d o n t g o a r o u e r e ’s t

d an d go, O s gu y,an d

, oo k at

ck

st l

g i .Vi cen t

o ’s a s o a M u s l

err

e d a y s la t e r I s e e h m

I ’m

ai ng

o r h im

s a y , H e y , I ’m even

o co

st

agai ,an d I pay

A t

e w as

’ Bu t

e j st

a lk t o h m

al s o n

and

y,

s p a s t o r s a y i g s o m e “ ig n o r a n t ”

g a Bap

any M usl

s

e an d

oo k

ou gh t of

m

o n , S a c y ’s b o y f

end ,

e a r i g h s M a r i e C o r p s b a ll c a p . H e a ls o s e r v e d ye ah ” h e sm am ,

e d . “ I j s t e ll

e fo u g h t a g a i s t

eo

e w e d

a d g u y s .” A

e tou rs of du y a si e, at V

e q

t

M usl m

K

e r e l g io n

e ch an ge,

est on

a t ’s a t ta c h e d

o T exas.

y th e d

o

r co

s b el , co sole.I ask

h gu

k.I can t

A

n I ra q . “ O h

cea ed

S

at w e ti

o r B e th V a n D u y osqu e h ere had at s e p assed a b cam e a

ed

l

rou gh

l

t st p,

e , s :a r e y o

e r ic a n s a r e a b s o l

e,

e r e ’s t

sl

n

s han gi g o

agi e t em

m

co

s ta n

t

y ev eryw

s

ack

r i k i g te a . O

y,con vi ced

sm ” T

at

as a “w el -docu e grou

en ed

s le a d e r , D a v i d

e r ic a

c il a s t y e a r to a s n ’t A

an

e r ic a n . T

ed “Is am

c T ri

st

g a ro u

d d oi

,

ch ,

ere. s car and

e d r iv e s

r e ss o f e v e r y M r S h a r ia t r i

slm

ave

e h a s te r r o r is t c o s to r y o f

ec-

g te r ro r -

r ig h , a c t a l y w e n t a h e a d

s Fa c e b o o k p a g e “ t e n a m e a n d an d M

slm

a l s in I r v i g T

sym

at

. L s te d

ser

a t s to o

e lo w

H ug e Am er can an d T exas flags fly over t e ent ance t at r ig h t

e l e v e s is a t e r r o r i s t c e n r e , a n d

e r e ’s a n o l e r m a n

r e s s e d a ll n

e n o f v a r io u s a g e s , r o m

at

ere i

oyi g.Peop e w

cen

e m osq

M

si e the C

e of t

e r e h e g o e s , e s p e c ia l y a f

o V

o w a s s o c e r t a in

e r e g o i g to b e r gs,

e a ll

g a story.Si

at

a ll g o

e r ic a w a n s t

c e n t g r e e t s a ta b

e lo o k s h e g e t s c a n b e c o m e a n

H e ’s t e l

s h e d a s to r y e n

g m ore

o r t e r n I r a q . H e t e l s m e h e l k e s it

e r e .J u s t a s k I r v i g m a y -

er ci y co

st a cou

o p e n c a r y .N o w

s as f A

r e s ta u r a n , V

a n d p o s te d i n a ll c a p s o n

el

e d i n T e x a s ” a n d g o t a lo t o f p e o p l e d o w n h e r sl m

rom

e r o u r m e a l,

on s and

s fe a

e fi r s t “ S a r ia c o u r t ” in A

e r to w n

art

ki g t at M usl f M

st

o r i y in

er Brei

bu nal Co nfi a ll s o r t s

. A

f S h a r ia , a n d

a t S h a r ia is e v e r y w

a n y le g a l a u

d

t recen

H A R IA �L AW W O U LD B E A G R E A T N A M E   f e ta l b a n

er

s o v e r to R c h a r d s o n , o a n o t e r m o s q u e t e p o t e s e r s

gh t ag ai st Is-

ad

o d ea h

s,are s ou

k of any

h c a r s,

s .I s w e a r ,

erran ean

t s ix M

s t s ta r e a t

p

scared

f gu

f t ’s l a d e d a n

o w , T e x a s is g o i g t o a l o w

ere w

T e x a s ,b u t

e w as

or Am er can?

a de at

e says

ays.

e M ed

r d is h a

d yet r ski g h s l e o

c e n t a n d a l l o f t e s e w o m e n g e t a ll

on g.Ou

o

m

st hen

o. H e says,“Go od ” and

e r t e r e ’s b e e n a t e r r o r i s t a t a c k s o m e w

I m e t V in c e n t S i

s

h e s te r e o t y p e s w e r e w

ed a m osq

ed .D ear G od ,I t

h abo

esn

oo k at m e. en

p in M

t qiy h H or h s order an

e o u t s o t a t I c o u ld

ke yo

a lk s u

.H s n a m

er at en

s Infi cou

e p arki

e s e m b le a c o m b a t z o n e .

ki ’D

u t , a n d I g o t e re e v e r y m o r n i g to g e t co ff e e , a n d

en I ar

n

e fr e e w a y , V i c e n t e l s m e h o w

g eve ryw

at i

e g o e s to D

g o n

e s se d

t I te ll

p le w e e k s f o m

r id i c u -

ow

gh , an d

s jo i

s c a ry . P e o p e a r e b a d e n o u g h

s a n d e x p a in s h o w

s no w agai st

a n g i n g o u t .” A jo b b r o u g h t

el s m e, A

I ’m

st on

an ks t

c e n t ’s c a r h e a s k s m e , “ Y o u r e n o t a f r a id

e on

ow n

ac ,

sho rt y a

s fr ie n

s s h r t, a n d s e t s t e

at

. Greg had m et

at

?” I am , s G

e w om en say

n

o Is am

e a t te n

“W e s op ped

ey

r se l , n a b z a r r e w a y .

r d r iv e a r o u

e l ’” S h e s a y s , “ T

e lo v e

on ds o

c t r e so l

e g u y a n d a c o n v e r t. H e g r e w

he w as dep oyed and kn ew

o r st a b o u t o m e b o d , t c a n m a k e

a ir n u m b e r o f p e o p e i n

e l” T - s h r ts o n ,

d

e ch an ce,

o s ta y ig n o r a n t ,

u s t d e c id e t h e

eel go od ab ou t yo A

er and

e ig n o r a n t w a n t

hen you

em . A

e l o v e .” G v e n

g arbi rat on

e r I ra q W a r v e te r a n w

e n I a sk w

everythi g t at

d

r o te s ts . B u t

s t e e l s s a fe r , y o u

an y el ers an d you

e s o ta a n d s w

as w el

yo u

h

h in g s a b o u t M u s l

e w o m e n a ll

.A ar con

e r e ’s a fi e r c e g a m e o f c r ic k e t g o

h ano

o t h e ir m o s q u e s b u t

c t r e so l e sam e k

p e a k n g o f S h a r ia , V i n c e n t a n d I m a k e p a n s t o m e e t

s G r e g . H e ’s a w

y l e.

con

r t e fai

yn e, on bi

s yet an

r t ” is m o r e l k e

e s fo r l v i g —

o n t o f t e m o s q u e la te r o n

d they d on t kn ow

ch

g o n Brei bart

a t o ff e r s a d v ic e o n ch are r

n Irvi g,T ex as.It

n

s,

e “ S h a r ia c o

o n ot at ract arm ed

r iv e ,

o. Yo u kn ow , I

at

s. M ost

k w e h at

t I lo v e J e s u s ,

t

synago gu es h ave si

aw

o.

d J e s u s . H e ’s in

e ir g u

rc es an d

grou

g g ir l ” S a c y to ld t h e w o m a n , “ I k n o w

ei g fr en

a lr e a d y f o u

c il

h

d e v e r re a d a n y

r u e s t h a t a ll r e l g i o n s h a v e

An d

S ta c y o n c e h a d a l a d y c o m e u p t o h e r a n d s a y , “ I p r a y t a t you

a m osqu e cou

som

d Jesu s. T

e s e p r o b e m s .’ T

ey n eed

rns o

M ayor Van D

o h a s a b it o f a J e r e y a c c e n t a n d an t

o on e sho

b a s e d o n S h a r ia ,

e con nect

ey ve ev er h ad C

e y a ll a u g h a n d

e l y a g i r l I ’d

Jesus,an d O

ei

ou d

ch

M ehn az M ahm ood ,

y yo

h

e p r o t e s te r s o u t

B e c a u s e it

e.

e n I a s k t e t a b e if

s de

en

rn, go t

o t e r re a s o n

s is t

e c te d

h o u r fa i h a n d y o u

o u d b r i g u s to g e t e r , b u t

con vert

at bei g a o r ta b le h e r e ,

es, “T

ave p eop e very con

e ’r e c o n

f a it h , t s c a r e s p

C

o u d t h in k

ake u s m ore com

slm

ask Vi cen t gu y tel

g

g

n

si e t e m

e a n d s e a te d

squ e,

n a ch ai

e c a r p e t a ll a r o u

d

m

are

e e l e r ly t o t e e n a g e r s . I

a t s g o i g o n , a n d b e fo r e h e c a n a n s w e r, e story i vi es u s ov er to take a sea

e s it d o

n

o l s te n . T

e r o u s s e a k e r. N o ,

e m an

s capt vat

e ’s n o t g i v i g a c l a s s o n

g, an d a gen ow

o

rop erl

beh ead an

n fi d e l o r d o in g a Q & A o n h o w

o c o r re c t y p a c k a

V BIE D

h ex

g a s t r y fr o m

Q uran ab ou t

o s iv e s . I n s te a d , ow

e ’s t e l

o b e a g o o d p e r so n . T

e Q uran,

e s ay s ,

7

r ie s t o b r i g i

o e

s te n c e a g o

e s t a b l s h g o o d r e la t o n s w s e l . H e ’s p a u s i g a t s w ords fl ow ger guys.

ri

g the

h e y a re m e s

er

g to

es,

ak

act,

al si g p

ow

c p r o p e r ty , a n

Re

e a r t. T

p ro g ra m

cal ed

s .” I t s a d

“Op en

H e a r ts . O

s .” I m a m

a o

o d dn t ho

a te v e r q u e s t o n s

h

a v e o n e . I lo o k e d a t od uces hi

e a s k s if I ’m

e m osqu e.T hen

at m

a y a n d I ’m

o a M

e l st and on y t h a m as

s e lf o m e . H s n a m e i

con

m

yes an d

sed un

ck C

ee n

slm

am

ese q

ayi g st

a w I w a s a n I ra q v e te ra n . A n d ow

anyt

. “ I ’m

t

g a b o u t I s la m r e te n

r ye ars. In sp

e

n

en

o th

M

sl

eo

,

at,

s.N ck gath ers h el

g ly C

at s

T

t eve n

f

t le g a l

ey w ere,

rough Co

k o f

at

at are t ey

g r e ss ?” N ic k ju s t a u g h N c k , I ’m

N ck ,

es,

m

e

e n ew ou

e sp

ke sp erso n

ee s tha t be ca

se h e

a s s c h . H e is a s k e d a b o

e ’s g o t t e i r n u e arm ed

e w eek a

e r C h r is t

k,an yw ay.

a s , I d r iv e t o a n e i g h b o a n n a m e d D a v id W

r i g to w

r ig h ,

o is

e p r o t e s te r s . I p a r k m y c a r o n a s tr e e t

ere h al

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f I am

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“T h estagew as set.An d w e tu rn ed u p .An d  th ep eop lesaid , ‘Yes.’An d th en it ju stexp lod ed”. T w en tyye arsafterB ritp o p ,N o el G allagh erisstilltheU K ’sm o st o u tsp oken roc k star.E xclu sive ly forE sq u ire,h etalk sab o u tth e h igh san d th elow sofO asis, m arriage,m id lifecrise s,fam e, fatherh o o d ,goin gso loan d lifeas th elastofad yin gb reed .Little sp o ttyh erb erts(an d R ad ioh ea d ) n eed n otrea d o n ...

In erview b y Alex Bilmes Stylin g b y atherin e Hayward Photograp s by Simon Emmet

I T O N ’ T S O U N D T O O M U C H likedereliction ofdutybutw hen thesubjectofan interview isasgarrulous an dopinionatedan dindiscreetan djustplainen tertainingas N oelG allagheris,thejobofthejournalistissim plytoturnup w ithafullychargedD ictaphoneandpress“record”. T here’slittleneedforsearchingquestionsorpen etrating insigh ts,an dgoodluckw ithtryingtogetaw ordineven if youhad arrivedarm ed w iththose.(I’dhad abash ,ofcourse, asyoudo,butIneedn’thavebothered .) B ettertositback,keepquiet,an den joytheshow .It’snot thatoneisanon-participan tex actly,justthatthevacan cyis foranaudien cem em berandtherequirem en tistonod,laugh  orgrim aceattherigh tm om ents. O nlyahandfuloftim esinthetw ohoursandm orew e spenttalkingdidI— gen tly— attem pttosteertheconversation,topickN oeluponsom esm allpointoffact,orch allen ge an op inion . “H onestly,”hesaid,exasp erated,afterperhapsthethird suchtim idinterven tion ,“you’relikem ym issus,youare.  You’reinterrup ting!You’repu ttingm einacorner!” “Sorry,”Isaid,buthe’dalread ystarted onthenex tan ecdote,sohedidn’thearm e. W em etinthesittingroom ofasubstantialh ou sein H am pstead ,N orthLondon ,on alateafternoo ninearlyautum n.T hisw asn ’tN oel’shouseorm ine,thelatterpossibility lesslikelygiven thesizean dneigh bourhoodan dairofdeeppocketedseclusion.IthadbeenhiredforthedayasthelocationfortheE squ ireshoot.N eitherofushadbeenbefore an dit’snotlikelyw e’llgoagain.B utforacoupleofhours, thetastefulgreysan dm uted beiges,sm oothsurfacesan dsoft furnishingsofthisspaciousroom served asN oel’sstage.Isettledm yselfatrigh tanglestohim on alow suedesofaand w aited forthefirew orks.Ididn’thavetow aitlong. It’shard toexpressquitehow refreshingitistointerview  afam ouspersonw honotonlyfeelsthatgivingfunny,honest, even outrageo usan sw erstoajournalist’squestionsispartof thejobofbeingaperform er.Morethan that,tom eetaceleb rityw hogenuinelyen joystheprocessofbeinginterview ed, w how ouldn ’tratherbesom ew here,anyw here,elsedoing som ething,anything,else.  Atonestage,Iw onderedifN oelhasanyhobb ies. “T hisism yhobby!” “You m ean,m usic?” “N o!T his:doinginterview s.Iloveit.Icoulddothisall daylong.It’ssick.” “W hydoyouloveitsom uch ?” “B ecau seIgettobeagobshite,an dIgettodothatthing: tobethelastofadyingbreed.”  Atrim ,48-year-oldfatherofthreeinanavyknittedshirt, ligh tgreyjeansanddarkgreytrainers,thelastofadying breedisnotabigm an ,buthefillsaroom .It’snotjustthat he’sinstantlyrecognisable:thecaterpillareyeb row s,the screw ed -on-sidew ayshair,thefeatureshew nfrom N orthern gran itean dtheaccentstraigh tfrom C en tralC asting(K itch en SinkD ep artm en t).It’sthatinspiritan dactionhe’sexactly asad vertised :w ry,cock sure,spectacu larlyself-assured . W hatm ightinanyon eelsebeinsuff erable— theabsolutecertaintyoftherightnessofhisow nexalted position, thetotalbeliefinthevalueofhisjudgm en ts,histastes,his w orldview — ism adesom ehow acceptable,evencharm ing, bytheself-m ockingsm ile,thedeligh ted lau ghterathisow n hyp erbolicpronou ncem entsandthem an-of-the-peoplelack I H O P E

ofvan ity.H e’sthew orkingclassherow hom akesboastfulnesslikeab le.H e’sbeengettingaw ayw ithitforyears,an dhe know sit.Ifhe’snotcareful,he’slikelytobeco m eanational treasu re,likehisheroSirPau lMcC artney:Lo rdG allagher ofB urnage. T hosew hocam einlateneedknow onlythis:thatforalm osttw odecades,from 1991to2009,N oelw asthelead erof O asis.(I’m callinghim N oelnottobeoverfam iliarbutbecau sethat’sw hatyou’dcallhim ifyoubu m pedintohim in thestreet;am orelikelyeven tthan youm igh tim agine,given  hisfreew heelingapp roach tofam e;given hisfreew heeling approachtoeverything.) H ew asO asis’sson gw riter,gu itarist,spokesm anan d som etim essinger,too,thoughnottheonlyfaceoftheband: hisyoungerbrotherLiam ,thecom icallytrucu lentlead singer(“ou rkid”,ashew asm oreoften called ),tookequal top billing,inthetabloidsandonT V,ifnotinthestudio. W h ilelurchingfrom trium phtodisasteran dbackagain, O asisreleasedseven stud ioalbu m s,sold70 m illionrecords an dplayed tocountlessstad ium sfullofnu m berlessfan s:a rollinghum an seaofshaggyh airandP rem ierLeagueshirts underanoraks,alairy,sw eary,beerysingalongthatreach ed  apeakinAugust1996 w ithtw ocon certsatK nebw orthin frontofatotalof250,0 00-pluspeople.(Morethantw om illionhad ap pliedfortickets.)Forallthosepost-In tern etm illen nialsw hocan’trem em berbecau setheyw eren’tthere, O asisatthattim ew erebiggerthananybandthen,anyban d sincean d,w ithafew fam ou sexcep tion s,an yban dbefore. O neofthreebrothers(Paul,N oelandLiam )from aw orkingclassIrishC atholicfam ily— afam ilyscarredbytheviolen ceoftheG allaghers’father,T om m y— N oelw astheteenage tearaw ayw ho,inspiredbythecan on ofE nglishrock,from  T heB eatlesandT heR ollingSton estoT heSm ithsandT he StoneR oses,tau gh thim selfgu itaran dthrew him selfintothe febrileMan ch esterm usicsceneofthelate’80s— han gingout attheH açienda,ravinginthefieldsofLancash ire,w orking asaroad ie— beforeacceptingLiam ’sinvitationtojointhe you ngerG allagher’sban d.Bythattim e,N oelhad already begu ntow ritetheson gs— potent,propulsivean dan them ic— thatw ou ldm akethem richandnotoriou s. T herow dyG allaghersw erethrow backsalm ostbefore theybegan .O asisw asaB ritishban donam issiontoconquer thew orld:brash,cockyandconfron tational.T heyw antedto “h aveit”,an dhaveittheydid.  An diftheirm usicw asoftenpresentedasconservative andderivative,andN oelandLiam w erecharacterisedbythe pressascartoonoiks(thisw asthenow dim an ddistanteraof theN ew Lad),thenthat,frankly,w asthespiritoftheage.O asis,alon gsidetheirgreatrivalsB luran dothers,provided not on lythesou ndtracktotheB ritpop ’90 s— thatretrospective riotof’60s-styleAnglophilia— butalsothesw agger. D uringh istim einO asis,N oelm arriedand divorced MegMathew s,w ithw hom hehasadaugh ter,Anaïs,now 15; m oved intoandou tofthehou seinN orthLondon henam ed SupernovaH eigh ts,foratim ethem ostinfam ou sprivate residen ceinthecountry;foundanew w ife,SaraMacD onald, w ithw hom hehastw oboys,D onovan ,eigh t,andSonny,five; tookalotofcocainean dthen stopped ;hurled insults;caused  punch-ups;m adeacon siderablefortuneandw on theadm irationofagen eration,particu larlythem alehalfofit,around thew orld. T heendcam einAu gu st20 09inParis,w hen N oelqu it 1

T hisisw hathem eansw hen hecallshim selfthe lastofadyingbreed:arockstarw hoisloudan d im politicandlargerthan life,an dw hodecisively com m andeerstheculturalcon versation .H efeels thatinthis,heispartofatrad itionstretch ingback totheearlydaysofrock ’n’roll— “thepoorboydone good ”,inh isw ords— and thatnoon ehascom e alon gtotakehisplace,ashecam ealon gtotakethe placesofLen non andLydonandW ellerand the rest.T hatam usicscen ew ithoutahuge,headlinegrabbingrockbandinitisapalerplace,thatthe m usicindustrynow prom otesblandpop starsand toe-the-linegrou psm orefocusedon theircareers than oncan ingit,m orew orriedaboutsocialm edia thanshaggingsuperm od els,m orecon cernedw ith drippysongw ritingthanw ithdangerandsubversion andm akingaracket. “T hew orstthingforaninterview ertosay,”he tellsm e,“ifyo u’redoingabigm agazine:‘So,Iw an t totalkaboutthen ew record.’Youjustgo,‘G od. W hy?W e’vejustlistened toit.T hat’sallthereisto sayab outit.’Peo plearenotinterested inhow Iw en t from G -m inortoF-sharpm ajor.” “N o,they’renot.W h atdoyouliketobeasked , then?” “Anythingotherthanthat.Ihaveanop inion on  everythingandifIdon’thaveanopinion,I’llm ake oneuponthespot.” Inthatcase,takeitaw ay,N oel...

1  “Hard w ork and a lth y ton gue  in Manchester,w hichisareallyrough -arsepartoftow n.T hey kn ockedou rstreetdow ntobuildthisnew -fangled thingcalledanAsdasup erstoreinthe’70sandw e gothousedinthisplacecalled B urnage,w hich atthe tim e,w asquitealeafysuburb.B utasthe’70 sturned  intothe’80s,itgotabitm oredesolate.T hereused to theban d,ap parentlyforgood,afteryetan otherbackstage beaplacecalledR enoldC hains.Itm adechainsforanchorson bust-upw ithhisbrother.Tw oyearslater,helau nch ed asuc- ships,bigthings.W hen thatshutdow nthatw astheen dofit, cessfulsolocareerw ithN oelG allagher’sHigh ying Birds. really.N obodyhadanyjobs.N othinggoesontherenow .Most E arlierthisyear,hissecondalbum , hasing Yesterday,w as oftheshopsareboardedup. released ,an dhehasalreadystartedw orkonathird.H ehas becom e,likehisfrien dsPaulW ellerandMo rrissey,an el- M Y M U M ’ S O N E O F 11. I’dsaysevenoutofthat11allm oved derstatesm an ofB ritishrock.N otthathised geshavebeen toManchesterfrom Ireland,andthey’vecongregatedarou nda blunted.T hech aoshasdieddow n(he’sahappilym arried fivesqu are-m ileareaandnon eofthem areleaving.Som eone dadnow ,notadrug-addled reprobate)buttheap petitesfor gotshotinthefaceoutsidem ym um ’shouseaboutfourm onths incitem ent— andforgoo dtim es— rem ain. ago.She’soblivioustotheviolence.Shelovesitthere. I’vecom eprep aredtoaskhim totalkaboutallthis:thech aoticch ildhood;theram shackleearlyyears;O asis’sim perial H A R D W O R K an dafilthytongu e,that’sw hatIinherited phase;thebreak-upsandm ake-ups;thedrugsandthew om en; from m ym um .Sh etaugh tthe’90show tosw ear.Andw hat’s thefinalim plosionofO asis;hisre-em ergen ceasasoloartist. thew ord,stoicism ?Yeah,shew ashardcore.Sh edidn’tgive  An dw egettom ostofit,inaround abou tw ay.B utonepre- adam n. occu pationkeepsrecurring:theprotracteddeathofB ritish rockm usic,thesad absen ceofan O asisequivalen tintoday’s I R E M E M B E R O N C E A S A CH I L D thelocalpriestcam e sanitisedm ainstream pop culture. roundbecau seshehadn’tbrough tustom assforages.Sh e I WAS BORN IN LONGSIGHT

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gavehim theshortshriftinthehou se.W ordstotheeff ect E C O L D N ’T AF F O R D C AR PE T anditw asem barof,“W hat’sthechurcheverdoneform e?Irunm yow nlife. rassingw hen you’dbringgirlsback.“O h,you’vegotnocarT heselad s,theycangotoch urch iftheyw an t.”G otoch urch ? pet?”An dIrem em bercom ingtoLondon forthefirsttim e  You’rejoking,m an. andpeoplehavingnocarpetontheflooranditw asastatus sym bo l.AndIhadtogobackandsaytom ym am ,“Youkn ow  F R M MY D AD , I G O T m yloveofMan C ity,than kG od, inLo ndon,theydon’thavecarpetonthefloor?W hatthey’ve although Iresen ted him forthatupuntilabouteigh tyears don eispolishedthefloorboards.”“R eally,w hyw ou ldthey ago.Andhew asaD JinIrishsocialclubs,sohehadabig nothavecarpets?”“B loodyhell,it’scockneys.H ow shouldI vinylcollection.Actually,w hatIgo tfrom him w asm yutter know ?Lu natics.”Stillm akesm elau gh tothisday. devotiontoT heB estof… B ecau sethat’sallhehad :T heB est ofT heD rifters,T heB estofT his,T heB estofT hat.

2.

M Y O L D M AN IN V E N T ED R O A D R A E . W henthenew 

FordSierracam eoutitw asabigthing.Irem em berhim callingagu yinthestreetoutofthew indow ,“YouSierra-faced  bastard!”T hat’spoetry,m an .

“Thi s m usic can’t not be heard” I ’M G

L E H I L D . Ikn ow afew peop lew hoare m iddlech ildrenand Igeton greatw iththem .T heyhavea kindoflaid-backattitude.Ithinkthere’ssom ethinginthat.I w asverym uch alonerasach ild,an dthat’ssom ethingthat’s stayedw ithm e.Idon’treallyneedagreatdealofpeo ple. I ’M T H E M I D

M Y B R T H E R PA L ? Iguessitm ustb ew eirdforhim ,but

I N G T O S A Iw asm aybe12or13.Iusedtoget

grou ndedalotbecau seIw asalw aysbunkingoff scho oland gettingcaugh tsm okingand glue-sniffi ngandalltheusual ’70 s,’80sgear.Andtherew asthisguitarthatw asbeh indthe backdoor— noon ekn ow show itgotthere— andIusedtoplay onestringandthen itkindofjustw en tfrom there.Itw asn’t an instan tthingan dIneverused tostan dinfrontofthem irrorw ithatennisracket.Ineverthou gh tIw ou ldbecom ea rockstar.Itw asjustsom ethingtodow hileIw aited forthese tw obozoparentsdow nstairstorelentandletm eouttoget som em ushroom s.

youcan onlysurm ise.H edoesallrigh t.H e’saD J.W hen I’m  ontourorw hen Liam ’sontour,he’llplayineachtow nand w eallow him toputtheban d’slogosonhisflyers.H efollow s m ealloverE urope.O nethingis,though ,he’snotm astered theartoftakingabreathinbetw eensen ten ces,sosen ten ces E D I D N ’T M A E P LAN S backthen.T here’sprobably can goon forhou rs,tow hereIdon’tevenkn ow w hathe’s acareersch an nelonSk y,now :SkySch oolLeavers.B utIalsaying,he’sjusttalkingnonsen se. w aysfeltsom ew hererigh tinthebackroom ofm ym ind:m usic.Iused togotogigsan dloveit,an dthen Im etoneofthe PA L I LL T E L L Y O U he’sabettersingerthan m eor gu ysfrom In spiralC arpets,w hooff eredm eajobasaroadie Liam .Makeofthatw hatyo uw ill.B uthe’sagoodlad . an dIthought,“W ell,that’sit!Myinstinctsw ereright.”And Iw asthrilled w iththat.Andthen Igotfiredforsom ereason, I LA H w henIhearpeop lem oan ingabo uttheirchild- prob ablybeingadickortakingdrugs. hoods.It’susuallym iddle-classpeople.Ithink,“Minew as w orse.”Minew asw rapp edupinviolenceanddrun kenness, Y O U K N O W H AT W AS T HE W E IR E ST T H I N an dtherew asnom oney.Andstill,w edidn’tgoaroundrob- aboutdoingm yfirstevergig?I’dneverplayed gu itarstan dbingpeople.W estolethings,w edidn’trob people. ingup,inm ylife.I’dalw aysjustplayed itsittingontheend ofthebed .SoIhad togetastrap.Irem em berthew eekleadI T ’S P R E P O S T E R O S tosayyou’rew orkingclassw hen  inguptothegigthinking,‘W hatam Igoingtodo?’Ijust yourbackgarden isbiggerthan thestreetyougrew upon. stoodstill.Andthat’sw heretheartofStillism cam efrom , B utit’salw aysthere.D oIfeelw orkingclass?Inm ysoul,I w hichO asism astered. guessIdo. T H E F I RST C P L E O F Y E A RS IN O AS IS Ithough t, I F I W AS IN MY L AT E F O R T IE S an dstruggling,Im igh t “T hisisjustalau gh .”T hen onenigh t,Iw asinm yflatinInthinkI’dbeenshort-changed bysociety.ButIw asn’tup set diaH ou seon W hitw orthStreetinManchester,andIw rote aboutbeingonthedole.T hatw asjustthew ayitw as.Iw ouldn’t “LiveForever”.Ikn ew en ou gh aboutm usictoknow thatit saydolecultureinthe’80sw ascool,butallm ym atesw ereon w asagreatson g.Ikn ew it!Irem em bertakingitdow nto itan dallm ym ates’dad sw ere,too.Andoutofthatdole-culture thereh earsalroo m an dplayingitonthegu itaran dB oneh ead inthe’80 scam ew hatbecam ekn ow nasB ritpop. going,“You ’venotjustw ritten thatson g.N ow ay.”H ew as ad am an t.H ew asgoing,“N o,no,no,no,no,you’reblagging,” I T ’S A D J O B Ididn’thaveam obilephonew henIw as  An dthen,w hen itgottothesolo,therew asalook around the onthedoleat17.Iw ouldn’tbesatheretod ay,Iassu reyo uof room oflike,“B loodyhell,that’sgreat.” that.I’dhavespen talldayw atchingT heB eatlesonYouT ube, gettingstoned ,thinking,“T hisisthegreatestthingo fall I T W AS J U ST A AS E F W AI T IN forpeopletocom e tim e.”N ow adays,even peop lew hoareon benefi tshavegot tous.Liam said,“W hyhaven’tyousentanydem osout?” iPhone6san diPad san dflat-screentelliesandallthatshit. I’dsay,“Listen,thiskindofm usiccan ’tnotbeheardbythe  An dthesearethepeop leonthebreadline?W hatthehell, w orld.It’sjustim possible.” m an ?W edidn’thavean ythingtodosow ehadtoinventit. N E I D T T H E RE C O R D E AL ,m yw holeMO w as: 9

I’m goingtoLon don andI’m goingtogetinvolved .T here’s thisplacecalledC am den ,andI’m goingthere,an dI’m gettinginvo lved inallm an nerofshit.AndIw asjustupforit.I gotonthetrainw ithaholdallan dIneverw en tback.Inever, everw entback.Iw aslike,“G iveittom e,Iw antit.”

forfifth,justm issingou t.Ju stm issingou tonthetopfour, I’dsay. M O RN IN G G L OR Y   w asslatedw henitcam eou t.Andthen

w henitbecam ethebiggestthingever— andI’vebeen toldthis bytw oed itors— theythough t,“W e’renotgoingtobecaugh tout  unti l  I w as27,  so I w asold i n rock ’  n’  nexttim e.”Andtheylauded ,w hich w asclearlyashitalbum , I D I D N ’T M A K E I T rollterm s.Iw asveryprepared tohaveagreattim e. fulloffatrockstars,an dthen theygotcaugh toutagain.And theyneverforgaveus.T heyw erejustlike,“W an kers.W ecan’t getonit.”

3. “Th e stadiu

I ’ E N E V E R S E E N O A S I S L I V E buttherecouldn’thave

s goin

to f all over!

been thatm anybetterthanus.I’vebeen toW em bleytosee m anybandsbu tI’veneverseentheen tirestadium pogoing, ever,atanybodyelse’sgig.You ’dbeonstagethinking,“It’s goingtofallover.T hestad ium ’sgoingtofallover!”

M E T AP H O R I C A L LY , in1993,youthculturew asdead .

 AcidH ousehad peteredout.T hestagew assetforsom ething. I HAD 3 0 T O 4 0 I D S sleep ingou tsidem yhou seevery  An dw eturnedup.An dthepeop lesaid,“Yes,”and boydidw e nigh t,som uch sothatthecouncilputintw oben ch es,bolted  deliver.Andthen itjustex ploded . them tom yw all.AndalitterbinonasidestreetinPrim rose H ill.T heneigh boursw en tape-shit. T H E R E I S T H I S MA I C A L M O M E NT atthestartof yourtrip,anditonlylastsforaboutsixm onthsuntilyou  E ’D B E PA RT Y I N w ithsuperm odelsan dallsorts.It’d becom ew ealthy.It’sw hen you’rew earingthesam eclothes belike,“W e’reoutofcigs.W ho’sgonnagototheshop?”“N o asyouraudien cean dyou’reinthesam ecircum stan ces.And w ay.Pressareoutside.”So,yo ujustgooutan dsaytooneof there’sprobablypeopleinthecrow dthatarebetteroff than thekids,“D ousafavour:gorou ndtheTescosan dgetus400 youare,gotabetterjobthan youhave.Soit’sam om en tof B ensonandH edges,canyou ?” truth.You’renotarock star.You’reinarock ban dbutyou’ve notyetgotthesuperm odelan dthedrughabitan dallthat. I N T H E 0 s , allofusw erehigh oncocaine,allthetim e.  You’rejustaguyw ithaguitar. H avingit.T helastparty.N obodygaveadam n. T H E F I R ST A L B M isabona dem om en tinculture.N o-

I H A E N ’T G

bodyisevergoingtotellm eanydiff erent.T hatw asw hen w e w erejustagan gofgu ys.W ehadnothing,andw em adethis m usic.T hesecondalbu m ,Morning Glory,ifyoulistentothe songs,thesecondverseofeverysongisjustarep eatofthe firstverse.B utthatw asourtim e.AndIthinkw hen w ew ere good ,w ew eregreat,andIthinkw hen w ew erebad,w ew ere stillprettygood.

T A“MyD rugH ell”storybecauseitw as brilliant.[B ut]w hathappened w asIstartedgettingm assive pan icattacks.Youthinkyou’regoingtodie.So Istopped .I haven’tdoneitsince’98.Ididonelinem ayb e,acou pleof yearsafterIgaveup,becau seIw aspissedan dIhad tosober upquick ly.AndIhaven’ttou ch editsince.Itisashitdrug. I M I H T H A E H AD M Y M I D L I F E C R IS IS inm ythir-

ties.Istartedw earingfurcoats,doingload sofcocaineand T HE G O

D Y E AR S w erefrom ’91toK nebw orth[in1996]. thinking,“Iam arockstar.G etm ethatfurcoat.”“Butit’s

T hen itlevelledout.T herew asnow hereelsetogo.W hatdo m ad eoutofrabbit.”“Idon’tgiveadam n.G iveithere.” you do?Itw astheapex,andthenw em adethem istakeof com ingoff stageandgoingtoAm ericaforsixw eeks,w hen w e I S M E A BI T. Anddrinkabit.T oom uch ,really.B utnothshou ldhavecom eoff stageatK nebw orthanddisappeared. ingelse.E vennow ,I’llbeatapartyan dIcansen sethenight takesaturnw hen peopleareoff tothetoiletsinpairs,an d A M I A A RE O F A H I E RA R H Y ? I’m aw arethatR adio- sudden lyit’snotfunanym ore.E veryonegetsveryserious. head haveneverhadaf**kingbadreview .IreckonifT hom   Yorkecrapp edintoalightbulband startedblow ingitlikean L I AM W AS O N T H AT P R O R AM ME The Wordat19 em ptybeerbottle,it’dprobablygetnineoutof10inM jo.I’m  yearsofage.Lefthom eaw eeklaterandm oved inw ith aw areofthat. PatsyK en sit. I U S ED T O P U T

S AT N U M BE R SE V E N. Itw entT he I T EL L Y O U

B eatles,theStones,theSex P istols,T heW ho,T heK inks…  w hocam einatsix?Idon’tkn ow .W ew ereatseven.T he Sm ithsw ereinthere,T heSp ecials.W herew ou ldIputus now ?Igu essI’dprob ablyputusinthetop10.W ew eren’tas greatasthegreatsbutw ew erethebestoftherest.W edid m orethanT heStoneR osescouldevenfathom .W e’rebetter than T heV erve:couldn’tkeepittogetherform orethan six m onthsatatim e.Ifallthegreatsareinthetopfou r,w e’rein thebottom ofthetopfour,w e’rekindofconstan tlyfigh ting 94

H AT I T H IN K AB O U T L IAM andthis

isjustanopinion .H ew ou ldaggressivelydisagree.H ew as rightlyputupthereasthishugerockstar,buthedidn’tw rite anote,notaw ord.From m yperspective,Idon ’tkn ow how  com fortableI’dfeelaboutthem aniasurroundingus,andyou kn ow inginyou rsou lthatyou w ererespon sibleforreally w earingtheclothes.Andthat’snotadig.B utw hen you’re doinginterview saboutanalbum you’venotw ritten ...Iknow  itdidhisheadinalittlebitthathew asjustthesinger.

L IA M W A S A G R E A T S I N G E R and a great ron man in a greatban d. At is bes ,h e was t e bes . I ink maybe in side h imse ,af er K ebwort ,Liam t oug ,“You’ve don e it ow.” I didn tlas on g,you kn ow?

go out,or is it when t ey come in? Because I m s rugglin to think. L O O K ,A S S O O N A S T H O M YO R K E   writes a song as good as “Mony Mony”,give us a shout.

T H E F A M E T H IN G , some eople it its em ard. I ourished. I ove it. I ve never go e out of my way to be famous, M E A N D M Y M I S S U S ,we were at e C oachela es ivala and I don go to t e openi g of a envelope,but if somebody coup e ofyears ago an d Radioh ead were eadlining. W e were wan s to end me t eir superyach ustbecause I m famous, ike “Rig ets give t em on e more chance. Lets go an “Thanks very much,man.” I do enjoy t atside ofit,and you see em.” Beautiful sunny nig . W e walked out roug sh uld enjoy i . e crowd as t ey came on,and ey were playing this post echno:“de-de de de”. W e were a bit pissed. G reat. And e e s ro ger I el e s arted singin g. No. No or us. e’re party eop e. T H E L O N G E R T H A T IT W E N T   on because obod y else was res on sible for my success ot producer,no an A& R guy,n ot a guy who d id t ese videos I’M N E V E R G O IN G T O W R IT E  a song thatconnects with ecause t ey were al shit. I wr e t e s gs,I wro e t e lyr- peop e as much as “ on Look Back in Anger” as,but at ics,I came up with e parts I id e interviews. I el so oesn’ stop me rom goi g to t e we every morn in g. I stil bulletproofbecause I did itall. ink eres greatsongs out ere t at ave been writ e ye . And I stil ink when I m sit ing down o fi ish off at IH A T E W H IN G E IN G R O C K S T A R S .  And I hate pop song I lcome up with at ine t at urns itfrom a good song stars w o are jus … eh. Jus ot ing,you know? “ ,yeah o a greatsong. I guess its like any writer ot atI consider my last se e go 7- ousan milion ikes on I stagram.” myse “a writer” because ey are t e most borin g peop e ea ,why do you go ge a drug h abi ,you pe is? in e wor but,as a writer you surely always ink that your bes work is in ron of you,even though I m se aware F A ME W A S N O T W A S T E D O N A N Y B O D Y in O asis. It enough o realise its probably behind me. certain y wasn’twasted on me and Liam. And weal ,no oriety and alltha wasn’ wasted on us. T H E R E ’S A C E R T A IN J O Y IN M Y S O N G S  wh ere t ey go we lwith boozin g.

4. Start

ith th e choru

Work b ckwards from th t” hampagne Supernova” S O M E O N E A S K E D M E W H A T is about. I was like,“ o gives a damn whatits about?” And es goin g,“Bu sure y when you write ityou mus know?” O stage,two ours later,in Scot an ,with an acoustic gui ar,I m aying it and theres a 15-year old kid,he’s got is top off an e’s singin g it crying his eyes out and I m t inki g,“Th ats whatit’s ab ut. T H E C H O R U S .  Never mind e f**kin g word s. Start wit e chorus. ork backwards rom t at.  A W O P B O P A L O O B O P A W O P B A M B O O M . hatthe does atmean? No ing. Exactly. “D O N ’T L O O K B A C K IN A N G E R .”   I remember writing it in Paris on a rainy n igh . W e had us played a strip club: our se nis ed,t e s ripp ers came on. W e were nothing,an insigni can it e ban d. And I remember goin g back o my ote room and writing it and t inki g,“Th at be pret y good when we record it.” IfI d h ave known t atn ightwhatI kn ow now about peop e playing it at unerals and we di gs, I d ever have fi ished the son g. Too much pressure.

5. “Wed

ad ab out 11dr

rs

t t hat point” O A S IS W A S J U S T S O M A S S IV E . I’m not saying it was un because it was. W e had some great imes— but we also h ad some shit imes as wel. T H E L A S T S I X M O N T H S   were awful it was excruciat ing. Me and Liam had a massive,massive,massive fistfight ree weeks bef re t e world ur starte and gh s like at in e pastwou d always be easy to rectify ut r some reason I wasn’ goin g to leti go is time. And ere was an atmosphere allthe way around the world. IF I’D T H O U G H T   t ere was anyt ing lef o ach ieve I woul ave ef asis. I made a very snap ecision in e car t at igh in Paris:we ve on e it al,we’re on y goin g go round in circles now and do bigger tours and make more money and getano er drummer— wed h ad about 11 drummers att atp oin . W e sold outallt e greatgigs in e world: Ho ywood Bowl,Madison Square G arden, embley S adi um,C ity of Manches er Stadium,Hampden Park. You name it,we did itall.

e B Y T H A T S T A G E I was ying separately o t e res T E C H N IC A L LY,T H E R E ’S B E T T E R S O N G W R IT E R S  band,which I have to tellyou was great. And Liam was sackike t eir s oes. Th en T H A N I A M . Guardian writers wi lte lyou t at. Have oth- ing tour managers because e id er peop e’s songs ever real y touch ed a generation ,though e s arts his own clothin g label and starts dedicating son gs Rad ioh ead? en d o people isten to t em? Is itwhen they o i n stage and I m like,“Realy,is t is what it’s come t ?” 95

H e’sm od ellingparkason stage,w hich youcouldbu yon his w ebsite.Andit’sjustlike,“T hisisnotform e.” I N O W I T ’S E X T R E ME LY U N -R O ’ N R O L L tosay this,butthepersonIprefertohan goutw ithm orethan an yA L L T H AT B E I N G S AI D w ehadtw ogigsleftan dIreck- oneism ym issus.Sh e’sm yfavo uritepersontogoonholiday onifI’dhad gottotheen dofthattou ran dI’dhad sixm onths w ith,togotodinnerw ith,12-hourlunch es,gototheparty. off Iw ouldhavejustforgotten aboutit,gotonw ithit.B ut Sh ejust,yeah ,shem eanseverythingtom e.She’sagoodgirl. thestraw thatbrokethecam el’sbackw asthenigh tinParis an dthatw asafigh t.T here’snohidden darkness.Itw asjusta I L O V E W M E N. Im uch preferhan gingou tw iththem .I figh taboutnonsense,justhim beingpissed. rem em berm yup bringingbeingprettym uchm ym um and hersisters,an deven w hen w ew en ttoIrelan d,them en w ere H E ’D AN C E L L E D T H E G I G attheV Festivalandw e neverarou nd.I’dm uch ratherhan goutw ithgirls.Im ean  w eregettingloadsofshitforitinthepress.Andtothisday, w how ouldn’t?Ifyou’vego tthech oiceofanigh toutw ithsix Liam thinksthatIknow everyjournalistintim atelyinLo n- birdsorsixgeezers,than kyo uverym uch ,butI’llgow iththe don,likethey’rem ym ates,theyallcom etom ineforSunday sixw om en .Inevergo onlad s’nigh tsout.E ver. lunch .It’sam azingyou’venotbeenthere!It’sagreatspread m ym issusputson foreverybod y.B utLiam ’sconvinced I’m  I ’ E S AI D T O S AR A m anytim es:shew ouldn’thavelasted som ekindofpuppet-m aster,an dheblam esitallonm e.And 10m inutesinthe’90 s.Allthescenearoundm yhou sew ou ld thenitjustescalated .Itblew up.Andthatw asit.Isatinthe havedevou redher.Sh ew astooprettyforthe’90s.T herew as caran dthou gh t,“You kn ow w hat,I’vedoneen ough now .I’m  toom uch ch aosan ddrugsan dallthatkindofthing.AndIm et goingtoleave.” herjustattherigh ttim e— I’dgiven updrugs,m yfirstm arriage hadprettym uchbrokendow nand,thereshew as.O fallthe I W AS B EI NG AS K E D AB O U T A R E N I N fivew eeks places,inIbiza.You’resupposedtohaveone-nigh tstandsin afterIlefttheban d.It’sam odernphen om en on.It’sam od- Ibiza,you’renotsupposedtogetagirlfriend,farlessaw ife,far ern disease.Alltheban dsthatgetbacktogether,alltho se lesstw och ildren . onesyou’vem en tioned [Fleetw oodMac,LedZ eppelin],they didn’thavean yb odyintheline-upasbrillian tasm e.W hat’s S H E C A N BE A B IT O F A D I T H E R E R. Shechanges thegu itaristoutofF leetw oodMaccalled ?LindsayB ucking- herm indm id-senten ce.T hen again,that’slikem ostw om en ham .Ican ’trem em berhim settingthew orldon fire.Jim m y though,isn’tit? Page?T hat’sdebatable.H e’sagood guitarist,bu tI’m not surehow m anysoloalbu m she’sm ade. S H E ’S V E R Y F U N N Y an ditgoesw ithoutsayingthatshe’s gorgeousan dallthat.Yeah ,she’stop,m an .Sheisgreat.And I F O A SI S E RE E E R T O M E BA w ecouldn’t I’m lookingforw ardtogettinghom etodaybecauseshe’sgobean ybiggerthan w e’dalread ybeen.T here’snokudosinus ingtohavethefear.It’soneofm yfavouritepartsofhavinga sellingoutthreenigh tsatW em bleybecau sew e’vealready relationship,isw hen shehasthefearbecau seI’llpounceon doneseven.T heSton eR osesneverplayedgigsofthatm agni- herlikealion— an dIdon’tm eansexually.I’llstokethefear tude.T heycam ebackandtheyw erebiggerthanthey’dever foragoodfourorfivehoursbeforeshegoestobed .AndI’ll been.Soitw asjustified . bejustlookingathergoing,“Youlooked likeyou’dexploded  outofyourknickersw hen yougotinthism orning.”Men tally ifIw akeupon em orn ingand breakingherdow n. T E N Y E A RS F R O M N go,“Youknow w hat?IthinkI’m goingtodoit,”Icangu aran teeyo u,justforspite,Liam w ouldsay,“O h,no,I’m notkeen.” BY S H E E R D E F I N I T I O N everysongw riterisarom an tic. B ecausethat’sthew ayshitw orks. B utallm yeff ortsinthatdep artm en tgointosongw riting.IfI everfou ndm yselfw alkingdow nthestreetw ithflow ers,I’d I CAN NL TELL I’vealread ygotthenex tfiveyears haveam om en tofclarityan dI’dhavetotakethem backtothe plan ned out.Soit’snotgoingtohap pen inthenex tfiveyears. garage:“C an Isw ap thisforaStarbar,please?” W hokn ow sw hatcircum stancesm ightbethrow nupinthe future?B ut,certainly,it’snoteven onthehorizon.N oteven  AL L T H E P R I O F O R T H AT W M AN Ididn’tevenget onthehorizon. abirthdaypresen tlasttim e.B loodyhell!Sh epu llsoutthat on e:“B utyou’vegoteverything!H ow m anym oreeff ectspedalscan Ibu yyou?”O nem ore!O nem orew illdo.O nem ore!

6. “Ice cream for b reakfast and liquori ce for lun ch”

T H E AM O U N T O F T I M E S she’llsaytom e,“Youco uldn’t

giveusarubthere?”“N o!G otoaspa!I’m notm assaging anyon e.” S H E ’S B A D

P. I’m good cop.I’dletm ykidsgetaw ay

w ithm urder.Sara’sabitm oreofasticklerfortherules.I’d O YO U K N W H AT T I M E MY W I F E T IN T H I S M O R NI N H alf-six!Shew asoutlastnightw ithherm ates. letthem haveicecream forbreakfast.Andliquoriceforlunch  Iw asw okeupthism orn ingw ithatapon thehead from m y an dsitroundw atch ingtellyallday.B ecau seit’slike,yo u’re eldest.Ilooked attheclockan ditw ashalf-six,an dhew en t, aw aym ostofthetim eandyou can’tbecom inghom e,and “Sh e’sjustgotin.”SoItoldher,“I’m notdoingyourPR no then layingdow nthelaw .T hekids’lljustthink,“W ho’sthis?” m ore.Idon’tgetan yback.” 9

M YD A U G H T E R ,W H O C O M E S F R O M A B R O K E N  M A R R IA G E ,she works in TV ow,s e’s very in o i . I was quite lucky with music,I latched onto something thatI loved and I becameobsessed with it. If ose wo lads fin d att in en it’s just up o me to steer them,guid e t em towards it. ButI m no goi g to overt ink it,eit er. I mean,t ey lp rob ably both end up worki g for me. on ovan lbe t e our man ager an d Son y willbe head of securi y. I d ove t at.

current pop s ars are up to? W ho gives a shit what ne D irection do? C **ksuckers al of em in rehab by e ime ey’re 30. W o gives a shit wha El ie G oul ing is up to? Re aly? Adele,what? Blows my min . I blows my min . Nobo y cares!Fames was ed on em,with eir in -ear mo itors an eir electro ic cigaret es. And eir ragrances t at ey re brin ging out or C ristmas. You d**ks.

M Y F R A G R A N C E ?  h it’s comi g,it’s coming. T e-Rag it’s T H E  A M O U N T  O F  R O C K S T A R S ’K ID S   that make goin g o be ca ed. An d e bo e’s goin g o be a massive toe. some ing of emselves you could p robably coun on on e and . W e nd out,I guess. Bu if my ads never lif a fin- T H ER EAR EN O R O C K ’N ’R O LLPE O PLEAN YMO R E. ger for the res of eir lives,on my deat bed,I lsay to em hat people t ink of as rock’n’rol now is you can buy Th e ood on you. Rol ing Ston es’1972 tour T shirtin To man.

7 “T e to b e a

ott le’s goin assive toe

I’L LT E L LY O U W H A T ’S W R O N G .  Fame’s wasted eop e today. Bar K anye. You watch im on e MTV Awards and you t in k,“Y u can stay,you’re alrigh .” D O E S A N Y B O D Y G IV E A D A M N  aboutwhatany ofthese

T H IS N E W G E N E R A T I O N O F R O C K S T A R S , ey loo great Alex Turn er,Miles ane e guys from RoyalB oo . T ey ve got e ski y jeans and e boo s,and al at eyein er. I ve got a cat ats more rock’n ’rol an al of em put oget er. Pigeon s? Rips t eir eads o . I G O B A C K T O T H I S : ame is wasted on ese peo e. Th e ew generation of rock stars,when have ey ever said a y ing t at made you laugh? W en ave ey ever said any in g you remember? Peop e say “T ey’re in erestin g.” In erestin g!T at’s a word at’s crep in o music:“Yeah,man. Have you h eard e new Skri ex record?” “No.” “ eah,man.

9

It’sreallyinteresting.”Idon’tw antinteresting!R ock’n’roll’s provedright.AndIdon’tlikethat.Im eanIlovebeingproved notaboutthat.Tom e,it’saboututtergobshitesjustbeing rightbutnotinthatcase. head cases.W ell,notheadcases.B utw hatIw an t,genuinely, issom ebod yw ithadrughabit,w ho’snotPeteD oh erty.D o I G E T T H I S F R O M L IT T L E S P O T T Y H E R BE R T S youknow w hatIm ean? I T H G U I TAR S allthetim e,“O h,it’sreallydiffi cu lt.E veryon e’salw aysgoingon abou ttherearenogreatbandsbut cansellabillionE dSheer- thereis.”Myargum en tisthis:areyoutellingm ethatsom eRE RD M PAN IE S N andow nload stom orrow m orning.T heydon’tw antsom eon e w hereoutthere,undiscoveredbytherecordindustry,isthe likeIanB row nintheiroffi ces,orLiam ,orB obbyG illespie, greatestbandinthew orld?W ithalltheam ountofexposure orR ichardAshcroft,orm e.T heyw an tprofessionals.T hat’s thatyoucan getbyclickingonyourow nphone? w hatit’sbecom enow . R O C ’ N ’ R L L IS AL L AB T freedom andhon esty. I AR AN -F I N T E E Y O U T H I S T heStoneR oses F reedom ofthou gh t,freedom ofexp ression .Youhavea neverm ention ed“career”inanybandm eetings.E ver.O rPri- dutytobehonest. m alScream ,orT heV erve.O asiscertainlyneverm en tionedit. Ibetit’sm en tioned alotbym an agersandagen tsnow :“D on’t S M EB Y S AI D T O M E “H aveyoubeen toSaintLaudothat,it’sbad foryourcareer.”“W hat?Pissoff !”Likew hen  ren trecently?”W hich Ihave,bythew ay.AndIw aslike,“N o, w ew enttotheB rits,andw e’dw onallthoseaw ards,andw e w hy?”“O h,youshou ld,theirnew collection issorock’n’ didn’tplay.T heheadoftheBritssaid,“T his’llruinyourca- roll.”AndIw aslike,“D oyouevenkn ow w hatthatm ean s? reer.”W ow .Isaytothegu y,“D oyouknow how high Iam ?You  Youm eanit’sclothesrockstarsw ouldw ear?”“W ell,yeah.” know w ho’sgoingtoruinm ycareer?Me,notyou.B ell-end. “An dw hatarethey?”“W ell,yo uknow ,it’sjust…”“W ell,I’m a Morecham pagn e.” rockstar.AndI’m w earingtheseclothes.” Isaidw e’dbethelast.Ijustfeltit.Ifelt thatstory,thepoo rboysdon egood ,w hichw asretoldfrom  E lvisthroughTheBeatles— w ew on ’tm ention TheStones becausethey’reposhkids— SexPistols,T heSm iths,T he StoneR oses,Ifeltatthetim ew ew eretheen d.AndI’vebeen T E N Y E A RS A

H AR RY S T Y L E S hasgotnothingtosayforhim self— noth-

ing.“Youalright,m ate?”“U hhh.”T hat’sit. I T ’S N O C

I N I D E N C E thatallthebigpeoplefrom the

’90slasted.I’vebeeninfestivalsallsum m er— everyoneofthem 

hasbeenheadlinedbysom eonefrom the’90s.T hat’sw hyK ate w riteatune.Andhe’shilarious,bythew ay.W ew ereoutone Mosshastranscended eras.N oone’staken herplace. nigh thavingdinner,m eandm ym issus,him andhism issus, andheendedupbanginghishandon thetable,sho utingat E V E R Y B O D Y ’S O T T O P LE AS E The uardian.And m e:“W hydoyou thinkit’ssocoolnottogiveadam n?”B ethat’sthew ron gattitude.Ikn ow peoplew holivefortheir causehedoesgiveadam n.Abo uteverything.Im igh thave review s.Ion ceaskedsom ebodyhow theirnew albu m w as been m akingsom edisparagingcom m entabou tMadonnaor going,theysaid,“G reat.I’veonlygotonebadreview .”W ho som eone,an dhew aslike,“Ijustcan’tbelieveyoucanbelike givesadam n?“O nlygotonebad review .”B loodyhell,really? that.”AndIw aslike,“B elieveit,m an ,becau seIcan’tbelieve Shit,Jesus.H ere’syo ursecond. youcanbelikethat.” YO

S LY T E L L IN G M E thatan yoneis E V E R Y L U

R E N T S E RI O

ICRO

S T H ING I ’ E E V E R SAI D ,Iac-

goingtobelisten ingtoFoalsin12years.Isan yb odygoingto cepted theconsequen cesbecauseIdon’tthinkI’veeversaid, bebeggingforH otC hiptogetbacktogetherin22years?I “O h,itw astaken outofcontext,that.”W **kerssaythat. don’tthinkso. I D N ’T B E LI E E I N . Idon’tbelievethere’sanallseeingsom ebod ygu idingtheuniversebecau seiftherew as, clearly,therew ouldn’tbesuch athingasISIS.AndIdo n’t m eantheB obD ylansong.Inthatsen se,I’m am an ofscien ce. T heB igB an g,thatallsoundsalotm oreplau sibletom e. .

ou can’ t

dow nl oad spir it

H

W

O I E

P L AI N MY S U C C E S S Ithinkthatthe

peo pleseesom ethinginw hatIdo and w hatw edidthat I ’M NE V E R G I NG T O S E L L O U T W em bleyStadium on  m aybew estilldon’tsee.I’vehad peo pleoutsidecrying.Still m yow n.O asiscoulddo15nigh tsatthedropofahat,bu t tothisday,crying.AndIstilldon’tunderstandthat.So,I that’snotw hatdrivesm enow .I’m driventom akew hatIdo thinkpeopleputsom ethingon tousthattheyw anted tosee now thebestthatitcanbe. inthem selves. toanaudiencefortw ohoursifI I T ’S NI C E T O O T H I N S L I E T H IS from tim eto can’tbebothered.Ifyoudon’tlikeitthen don’tcom enexttim e. tim ebecauseIneverreallytalkaboutitw ithanybodyelse. N obodyelsew asthere.I’m thelastm anstanding. T HE G I G I L L N E V E R I E becau seyoucan ’tdow nload it.Youcan’tdow nload spirit.And,so,forthelikesofm ew ho H EN I T AL K T O E LL E R he’sjustslaggingp eople perseveredfrom anearlyagetoplaytheguitarandw rite off becausehejusthateseveryone.B ono,though ,he’sgreat songsan dpractisean dpractisean dpractise,I’llbefine.G od atsum m ingthingsup.H esaidtom e,“Aslongasyourshit’s helpZ aynMalik. great,youdon’thavetobe.”Ithought,“T hat’ssotrue.Idon’t havetobeanythingotherthanm yself,aslongastheson gs MONEY IS LI E D R S . W hatd rugsdotoyouisw hatev- aregreat.Andifthesongsaregreat,noone’sreallyinterested eryouareinyourcore,theyjustm agnify.Ifyou’redep ressed, ab outm esoIcanjustdow hatthehellIw an t.” drugsw illm agnifythat.Ifyou’reaw orrier,drugsw illm agnify that.Ifyou’reparanoid,drugsw illm agn ifythat.Sam ew ith H E N Y O U M A E M I ST A E S isw hen youthinkthat m oney.N ow ,I’m noneofthosethings.I’m apartyperson .I it’syo uthat’sgreatan dthatan ythingyo udom ustbegreatby liveinthem om en t.Ihavenoconscien ce.Idon’tcare.Ilook defi nition,becau seit’syo uw ho’sdoingit.N ottrue.Ilearned  afterm ean dm yfam ily.T hat’sit.So m oneyisgreat.Anddo thatlessonveryquickly. youknow w hatthebestthingaboutitis?Iearned everypen ny.Ididn’tw initinthelottery.IfIhad n’thavew rittenthose I D N ’T C H AS E I T AN Y M O R E . Iusedtow riteconsongs,Iw ouldn’tbew hereIam today.T hat’sthebottom line. stantly.W ellersaidtom eonenight,“Look,justdon’t.”Itw ent So,Ien joyitasm uch asIcan. aw ayfrom him foryears.Isaid,“H ow ’dyoudealw iththat?” H esaid,“Ju stdon’tch aseit.Ifit’sgoingtocom eback,it’ll N E O F T H E T H I N G S MY M I S S S SA S , “You’rea com eback.Andifitdoesn’tcom eback,w ouldyoubehappy bizarreindividual.”Sh esays,“Yo ujustdon’tgiveadam n, ifyouneverw roteanotherson g?”IthinkifIneverw roteandoyou?” otherson gIcouldlookbackan dthinkthatsom eoftheson gs thatIw rotereallym adeadiff erence.T heydidn’tchangethe w orldbuttheym adeadiff eren cetopeople.Peoplelovethose P E O P L E AR E ARY AB T W H AT T H EY S AY N O forfearofsocialm ed ia.Ipitypeoplew hopractiseinthe songs.So Iw ouldbehappy. cou rtofpublicop inion .W henpeoplew ou ldinterview m e Ididn’tgiveadam n.An ditw asn ’tstudied not-giving-a- R E T I R IN G Idon’tknow w hatI’ddo.It’squitesad,really.I dam n.[Mim syvoice]“O hno,Idon ’tgiveadam n.”Igenu- don’thaveanythingelsethatI’m rem otelyinterested inother inelydidn’tcarew hatpeoplethoughtandIstilltothisday than m usican dfootballan dm yfam ily.Andthat’sit. don’tcarew hatpeoplethinkofm e.T here’sabitofm ybrain that’sm issing. I ’M PR O D F T H R E E T H IN G S m aybefou rthings.T o gettothisagean dnothavedyedm yhairisam ajorachieveH R IS M AR T I N IS A F R I E ND F M I NE . T hatguycan  m en t.N oearrings.N otattoos.Andnom otorbike.  I W

N T SAY A

R

99

INDOCHINA D riv in g a c ro ssfo u rc o u n trie sin 10 d ay so v e r3 ,5 0 0 k ilo m e tres so u n d e d like a fo rm id a b le ta sk ,b u tso m e b o d y h a d to d o it.

10 0

THE BACKSTORY

W O R D S A N D P H O T O G R A P H S B Y D A V ID B O W D E N

10 1

hilem ym athsissom ew hatrusty, even Iw asabletocalcu latethatthe journeyequated to350�� adayan d, inthebackblocksofIn do china,I knew m yplannedcaravanjourney w ouldinvolvesom eseriousdriving. D espiteh avingtravelledextensively through ou t the region ,the opportunitytovisitnew placesw ith exoticn am eslikeB uriram , U bon  R atchathan i,Pakse,Attap eu ,P leiku an dM iN éw astoogood topassup. O therw ell-kn ow ndestination ssuch  asH oC hiMinh C ity,P hno m Pen h andSiem R eap w erealsoon the itineraryfortheASE AN Frien dship C aravanthatIw astojoininB an gkoktobecon veyedaroundinabrand-new T oyota H iluxR evopick-up.  App reciatingthatIw ouldh avebutafl eeting glan ceatsom eoftheseplaces,Iarrived atthedep arturepointintheB angkokm orningdarknesstoseea fleetofnew vehiclesan dscoresofdriversan dpassengerseagerlyaw aitingtheflag-off.Itw asalsom yintroductiontotheconceptofacaravan,w hich isgrow ing inpopularityasam eanstoexploretheregion.

10 2

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96

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o ffi c ia l

u c t e d c la n

ai an d o ver ot er

o r te d

e r T h e -

e M eo

o n g ) a n d

l

ri

h e L a o g o v e rn e Pat

h ic h w a s

e U S,espec al y t a id a s a f r o n t

et L ao a n ip u a te d e C IA (of

or the r act vi g U S volun

ee rs

r e f e r r e d t o a s m e r c e n a r ie s , a l l

ere

c o n s i e re d p a t r o ts )

o d

t

ear un

orm s and

e r e b a c k e d b y a i r s e r v ic e s p r o v i d e d b y A r A m e r i ca. A r Am e o f

e r ic a w a s t e C IA

gg est co an d

e p r o p r ie t a r y a n d s e c r e t a i

a t , a t i s h e ig h

e r c ia l a ir l

as aff ecti

e ( it

a t e ly c a l e d

,

e “spo

A r A m e r ic a i s a g e n e r ic n a m e t seve ral

Left Aside from trucks and four-wheelers, elephants act as an alternative mode of transportation. Nextpage Pha Suam Waterf all at Uttayan Bajiang.

10

e r a ir l

es i cl

as the

a te s b a c k

g o

at e ca

n

ss on s

e

ry a s a ls o

w o r ld

rom

o V ie t a m , a n

ko

v i s it s o u

es,

e r n p a r ts o f

o s t c o m e to a d

r a l b e a u y o f t e B o a v e n P la t e a u ,

g R ver an d c

ral si es s

e M e-

ch as W at Ph u

or

Vat Ph ou I ’m as

n o t s u r e w

Pak son g a r

an d

e m n a n

e t

Sarava

,b u t

t

ace an oth er p ece

saw

e r e

a s

e t

e a t e s o f

st

l

ave

su

a r su c h s ta n

ve

a t P h u w h e re I h e a d e d

n In

ch

a ’s h s t o r i c a l

g-

p u z z le .

adm e s.

red on

g is ts d a t e t r y, b u t

al si e h ere

e rem ai s of

y d a te b a c k

a t P h u

e i o t

a s p a r t o f

e te m

o e t

at I

e 1 1 h a n d 1 3 th c e n h e K h m

e r E m p i e a n d

t p r e d a t e s t e m o r e fa m o u s A n g k o r W a t . I b e g a n

ai an d

a id s o n

g m

r y to s e e w a r s

e n at

h cen

or Ch

T

e cou

and , or e r so n

k h e a v e n ” ). I t

e s o m e t o u r is t s n o w

e of Lao

c ia l y a t

e c

a l y , L a o s w e r e s ta g e

A rch ae

as never offi

t “sp bi

e n g in L a o s er t e cap

a r g e s t c i y in

m o s t s e c re t s p o t s

c h s e c re t b o eve

e years,

s in L a o s s t a r t e d a s e a r l y a s 1 9 5 9 ,

en

of

t e

e w orl , an d a

as the

r n a l s ts c a l e d

o

s to a p a n e -

n

on e

e s fo r n

e s t i e in n a t u r e i v o v i

e o

a n d

a n o t h e r c u r r e n t c a r r ie r

g).

(j

e s an d

ers

era

an e, t

a f rt er

e s (k n o w n a s “ h e O t

t o p p o s i o n

e f

a l y c la n

, an d

a te s t

a ir b a se s

b o m b in g

c a l e d H

a il

o

e C I A ’s fi e l d o p e r a t o n s a t L o n g T

al V en

se c -

1 3 0 0 0 � �

am

e ir s r u g g le a g a i s t

o r e ig n p o

es),

h T

ern L ao s. T o p

ry t at

e U S a ls o s u

L a o c o m

en

V et

bi g rai s f om

p e o p e (n o w

by

h

N ort s eq

n e i g h b o u r in g c o u n t

en t

i M

a m e s e e n e m y , t a ls o c o n

e bo

ar sp el e la r g e s t

on s bei

C a m b o d ia n t o v a r o u

e U S , N o r th V ie t

a t r e ” ). T

on

o f b o m b s fo r e v e r y L a o

a cou

V ie t

on s.

n o t o r io u s

o m e

b s p e r sq u a re m

ar w

de st

the

e x te n d n g

s o f a to n

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am ,

on

a t 1 .1 m

b s e v e r y e ig h t

s w a s in

e ex rem

h V et

am ou s H o C

on s on

7 to n s o f b o

T

r e la t e d

ere t

at bo re t e b run

to o k

erspe ct ve, Ro

oad

h e U S w a s

h V ie tn a m e s e to m o v e s u p p

e a t r e s o f w a r in al

ed ,

h si

e r ce n t o f

h o m

a s So u

on

e t e ly

n L a o P D R w h e r e R o b b n s a l

h t a i s

u s e d b y th e N o

t

com

o re b o m b s 0

s : “ It s o n e o f

co

d r o p p e d a lo n g t n e t

on

g — a s t a g g e r i g 3 .9 m

e re I w a s

otes on d

an

h

g d e fe n

bi

es t at

o r e t a n 6 .3 m

a r I I ), a n d

ron es of t e w ar t at

B u t

s no

e r e d r o p p e d o n I n d o c h in a (

o r ld

h e s e f e ll o n N o offi

a r,

Ro bb

rl o 194

k a rl

e”).

c o r p o r a te s ed A r Asi

o

u

K

ers an d ers

s p h e re

of

i

en ce

t

at

a d o v e r t e r e g i o n , a s P a k s e is a lo n g d s -

a n c e fr o m N ow

e

A

gko r ( od ay,a h al -day b

e m ore t an a r

H e r i a g e S i e is o n e o f

,

s jo u r n e y

s UN ESCO

e m ost i

orl

o r t a n t re l g i

s i e s in L a o P D R .

PAKSETOPLEIKU T

e Bo aven h

P la t e a u

p ic tu r e s q u e

s a s ou

ort

a in

r iv e f r o m

Pakse

scenery p us several

a t e r fa l s , s u c h a s P h a S u a m

an d

e d

am at c d

op

of Tad Fan e. T

a n k s to t

v a lu a b e

e F r e n c h , c o ff e e r e m a in s o n e o f

com

od

e s,

h

Lao

coff ee

f om

B o l a v e n P l a t e a u b e i g c o n s u m e d b y g lo b a l c o n s e u r s. M y g u B re w e ry n o w A

orm ed m e t at T

ai an

ed by rol

g forest

s,I p assed

e m o te P o Y b o r d e r c ro s s n g o n

V ie t a m M

s Ch an

o w n s m o s t o f h e c o ff e e e s a te s

e r d r iv i g t h r o u g h A t t a p e u a n d a l o n g v a l e y s

s u r ro u h e

e i

o is -

bo

ch of

rou gh

e L a o P D R /

er e fo r e s s b e t

am ese border w ere

een Pakse and

e v i o u s ly p a r t o f

e V et e H o C

LAS A SNEERIN TH E NLI T ETTH E S RPPED 1.1M ILLI N TNS BM BS N TH E NTR.

1

M

h

T

V ie t

a il

at

am ese. It

bu t

ere

w ere

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as m ai oo ks q once

ost

ai ed e i

2

0

ke

ch of t e co e r c an

e co

N ort

osi on s e A

a lo n

e r ic a n

en t Joh

s a ci y o n

ch

e lo w

ca-

ess bom be w a r ra g e d

as si

e jo u r n e y f o m

v e lo p

e n t

P le ik u

o D a la t

h u r b a n g ro w

g e s te d r o a d o n

s of

h a d ja c e n t

e p la te a u t o sc e n c ,

o t

e-

e c o n ou

set

ed

n

n fl u e n c e

8 6 0 s an d

d o m

c e re m o n

o u s ly e j e c t e d

r e is e v i e n t o u n

eco b

n

e co

Dalat Railway Station.

10 6

ri g t

�

e w a r . D a la t

al

as t e ca

A

M a la c c a

e. A co gw

e l

ays of

ai s of T

om

e coast

o t

al of t e Fed erat

9 3 9 t o 19 4 5 .

ch

on t be

ry an d

e C

am

al ed

orm

r iv i g t

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P h a n R a n g d o w n to M n V et

e r e g io n ,

t

s

� a

la i b a c k

i N est

as t ey are

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d e v e lo p

at ron s t e Sou

o a d s id e d e v e lo p

ccasi

cou d be al

a l s ig n s ost any

s tr e tc h o f s a n d g q

ol day am

ort east of H o C

h

in

i M

en t h C

h Ci

s tr e tc h e d a Sea.U

e n t g iv e s M

A s ia n b e a c h s i e r e s o r t a p

a r e la x

e p ai s and

e c a s e f o r lo n g . ,

c h e c k e d rom

n

Borneo . Som

a p p r e c i a t e d . B e a c h s id e

i N é, 20

H C M C

es

e p a-

n an

r al V ie t a m

ai and , L ao PD R an d V et am

a s

a lo n g t h e c o a s t

e t e a t rai

s to r y

o l ved

e 15th c en

a t o n s a re n t a s d e v e lo p e d

M

as es ab

eel

n

. H

g r o u p s in C a m b o d a a n d V i e t n a m

er several

n

e to n u m e r

gk

a , o r ig i a t e d f o m

n o t h e r p a r ts o f ec-

r a c u l o u s ly e s -

l s ta t i n a lo n g

s w ay u p

e a u , a n d D a la t I n d o c h n a f o m

ch

D a la t

g h a n d s a n d b e c a m e a h e a l h

l a i r a t 1 ,5 0

on ce i ch ed Below

h

g h la n d s h o gs,

e F ren ch as a

o f C a m e ro n H

h

e archi ect re

COASTALVIETNAM ere m

h e y w e r

e r e g io n

an y p aces,

e s tr u c t o n

sh ed by

rom

h e n

n

n V etnam . Fren ch arch

a in o u s C e n t a l H e art

cap ed

n

9 5 4

b e g a n

em at of A

e J o h o r s u l a n a te . T o d a y ,

e c o a s a l v i

I n d o c h n a

n a te d u n t l

a ll o f D iê n B iê n P h ú

ou s

in

ai s, Po

e a r c o a s ta l P h a n R a n g is o n

e p eop e of Ch am pa,

e m ou

a i o u s r o a d s c lo s e r t o D a la t F r en c h

s.

a r i e s to

o C am bo

o u n t a

e b ase of t e m ou

g over Southern an d Cen

h

xed

a r ro w

an

a re a e x te n d i an d i

r lo c a l V

e c o o l

s u g g e s ts t a t

o f o r c e in F e b r u a r y 1 9 7 3

FRENCHHILLSTATION

at on

h

g c h a n g e to t h e h e a t a n d

D a la t , a t

c o re M u s l m

T

ar d est

o f t e b e s t e x a m p le s o f C h a m

e k

o b e g n r e le n

n r e ta l a t o n . T

la ceasefi re cam e i

y of

a r s k n o w en

a p op

d a y m a k e rs

K on g Garai Ch am

e m ov e.D

o t o r ie t y w

son

g o f N o r th V i e t a m

um B e lo w

a r y “ a d v is o r s ” h e r e w a s t e j s t

or Pres

D a l a t is n o w e t a m e se h o

a ir o ff e r i g a r e fr e s

n C e n r a lV e t a m ,a n

a s h e V e tn a m

r y ), t a c h e v e d

o f e ig h t U S m on

r y, a r

0

ese d ays,

e e n e m y r e p a ir e d i

s a r e m o t e lo c a t o n

n g th e A n

gu n

a y s o f t e w a r,

be d i ,an d every d ay, P le ik u

by 75,

ocu ou s t

i N é t a t

earanc e that,ap art

V et

am ese, en sures

i

e r e in A s ia . H o w e v e r , a l o n ow

g seasi e resort

key

esor s m akes M

or tho se seeki

e te r t a n P a t a y a a n d K

a.

i N

g som e-

LAO S

THAIL AND Pakse Bolaven Plateau

Phanom Rung

Po Y

Wat Phu

Pleiku

Bangkok

ngkor Wat

A MB

IA Dalat Phan Rang

I ET N AM i N Ho Chi Minh City

C a m b o d a en k n o H C M C

l k n o w n

gressed rap ci y o f ov er n of

o m a n y a s S a ig o n ) h a s p r o -

y si ce the e m

ar i

on . It

o V et as t

e F r e n c h c o lo n y o f C o c h

o 19 75, Sou

h

e cap

V et

al of t e i

am .

o n s a re s t l C

C

i T

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e ls o n

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t d id w

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gs on bars

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t

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on

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i

a r

h e n Po l c te d a

e h ap ess po pu

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ow er s

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970 . It becam

9 7 5 to 1 9 7 9 ,

a t o ta l

C am

co

g t o u r is t s i e o h is o n c e d o m

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r a s tr u c

a r g e s t r e l g io u s s s ig n

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BORDERPATROLS A SEA N

n H CM C

s

o r k i g to w a r

at ci zens f om

a n y y o u n g V e t n a m e s e p a r y in g

a r s l k e S a ig o n S a ig o

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rom

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st l

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at

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ary con

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n 1995.

e r e in p o w e r , b u

o p b a r o v e r lo o k i g C h

n

nv ade d

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V si

s a ve ry

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orm

a n d

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al 955

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n a s K a m p u c h e a f o m

c of

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om

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c h a n g e d c i y fr o m

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ch

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am

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ber o f ot

lan d L eve l23.

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KHMERCULTURE A

other road

I w a s in

an ot

e v ari

o u r n e y , a n o t h e r b o r d e r c ro s s i g , a n er coun

r y. C a m b o d i a is a c o u n

h a c h e q u e r e d p a s t, b u t y o u s w

e ad

e r o u s ta l l

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r i g t h e c i y ’s p r o g r e s s a n d gs on

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yo ry

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A

s em

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ays b est o ch eck

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ven

rou s

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r y t a t r e q u r e s a v is a . ravel ers sh

a caravan tr p, an d

en

s io n a l s h a

e p ap erw ork for bo rder cross

e a ll

g s a n d o t h e r a c t iv i

avi g ex

d c o n s i e r jo i e r ie n c e d

r o fe s -

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10

HY

10 8

HE IS

 Am id stm issin g o u to n vario u s rolesthro u g h o u th isstin tin H o llyw o o d ,th ed o w n to ea rth H en ryC av illm ad eh ism arkas Su p erm aninM a n o f S t e e l . B u tb en eathth ero ckso lid  b o d yan d ch arm in g sm ile, w elo o kath o w C av illd raw s fro m h isp astex p erien ces an d vario usch allen g esh e faced thro u g h o u th islifeto co n n ec tw ith th em o red ee p er an d em o tio n alsid eo fthisall p o w erfu lsu p er-alien .

MRE LA R EN T T H A N SPERM A N WORDS BY R I C H A R D B EN S O N

PHOTOGRAPHS BY DOUG INGLISH

T R U N K A R C H I V E C O M �S N A P P E R M E D IA   T H E S U N D A Y T I M E S �T H E IN T E R V IE W P E O

1

PLE

H EN EA RL IN E TH EA RM BT BEA M EAM IE ATI NH EROIN STEA. “I do

k t h e r e ’s a b i t o f a d o

kn ow

” says H en ry C avi

an d m an

ers

y. “I m ea

ke t ,

,

f a g rl sh

er h ow

er.A

gh ,

s h e ’d

f co

r e a te n e d , a s s

s som eth

el

ot

g com e w

e r s a id t

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h im

n t

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s ic p o s h , b u t

a t. I d o n t

y shy-

d

ot sho

f co

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versat

sc

er fi

s to

a c to r . I n s te a d

ManofSteel  h

osi e Be n A

11

e L an esborou gh

d

akes

d

s t

a lk a of

n

at

y o

t

a v e to b e to u g h a n

e, I w on de . T e ir f

e r t e y d s p la y t

em

, um

eo

e fa -

s l ke a f o

yo

s it d

a n s a n d b lo c k b u s t e h a s r e p r is e d t

Batm anvSu-

ay si

otel n cen ral L on

g

n a su on

o ta l

n

p

e qu ery

l ran ge of em oti n

ub

s o rr y !

e fe e l

e ack

en

back

I ’m

e r e ’s s o m e t

o

o r ta n

sh

, on

ce? “E

eo

g is m . “ I t

? M ayb e som eo d

f yo u

ere Ir sh,

e em ot on qu est on . Is

o t a ll ot

c d s p la y s o f e ti

g,

e r e ’s s o m e t h

e,

ere are p

eel

e o d st ff

c l

gs?

en

t at res rai ed , bu t I

g t o b e s a id

e ’s b a s ic , e v e r y d a y Bri

ky

o e s n ’t

s p ic u o u s p

“Yes. I m ean , w

ace,

s cl

ow

en ce

I s te e r h i m

es

g a t

s.

c o r n o t is a d i

yes, g s is i

s a s e x fe n c e r. A

e a sex

se

ton gu e-t ed . “W el , everyo

ed

e r e n t d e b a te , b u

sou

eca

e n h a v in g g e n u n e

” Sex

“I

sych

at

e t o s ex u a l a p p r o a ch e s

s ow n

sl gh

at

t

o r ta n

y e s ,” h e s a y s , a u g h

” t o o o f te n

eck ,

e r e ’s p l e n y o f o p

Is

y go at”, an d

at

o t h e c h a r a c te r, b e c a u s e

erm an ,I do

e e

ed gm en t

ev el erm an

e r a b le , s o t h e r e a r e d e e p

s i

averse to co

h brazen

perm an:D aw nofJustice, a n n

sh ou

r o v e i . H a v i g b e c o m e c i e m a ’s la t e s t g o

ch

h im

e n ot

e x c h a r a c t e r ” C a v i l s a y s . “ H e ’s a n

ot on

et

o is b a -

om as or even C ol

ke “ge t

.“T

D o e s h e e m b ra c e su c h

a r to r s o i s c o n c e a l e d b e n e a t h a l o o s e

3’

e fi r st

g s .S o a s S

c argo

. I d o a p o l o g s e .” ) E v e n

ou gh ,

S u p e r m a n in 2 r o le , s ta r r

eel

ake s

E n g la n d r u g b y s w e a t s h ir t B ig h e i s ,

n

e ’s i v u

s tr o n g ,

e.

es see C avi l

g ic a l s s u e s t e r e . Y o u c a n

n

e 3 2 y e a r -o ld m

t s a y s so r r y fo r s a y i g “ u

o u s ly m

red

t

eas

r o s p e c t v e v e r s io n o f S

y t o d e lv e d e e p

al en ,

e ’s f e e l

any ch ap w

o t T e rr y T

s t s to p s a y i g ‘

ed ,

o m a n , p la y e d b y

or good

h e r e ’s m o r e a c c e p t a n c e n o w

s re s p e c t

a t tr a n s a t a n com

F ir t . H e u s e s p h r a s e s on e p oi

ort

n

o feat re both Batm an

o n d e r

ManofSteel it

el

e tr o u

o em

e th e k

h a b o a t,

G al G ado , chu cked

e, I d

s Ch b lo k e

e e t

y ti

at.

ess and

g e t a fa i

s t e fi r st

a n , a n d h a s

e ’s a v e r y c o

y g i r l r ie n d a n d s o m e o n e i

y g

e fi m

cri cs ad

y s ic a l l

a r y to m e in o r d e r to d

t qu

. T

a seq

at

ee l

e x p e c t s o f a b i g - le a g u e H o l y w o o d you

e, O

o d on t respe ct oth er p eo

gs real y g et C avi

eel f a b

o t sa y w

h en

e r. P e o

g l

t

a n d Su p e r

a lk p a s t, I d o s o m e -

o p o s i o n

est

e s s I ’m

bei

p h ead

. I ’v e h e a r d s o m e t h i g s i n

a v e t o s a y . I ’d

abo

kl

gh

A n d d o w o m e n p “Erm ,

brou gh

rse,I w

e m

ard, yo

e y e s a ll a - t

ose of a w el

ove, an cy a sh ag?’ o m e as I es w on

e s ta n

h

y o t

or a b t of deco rum e.M ay er l

g to b e said for i

,

e t h a t ’s a v e r y t I d o

M EETH EN R AILL ASH SEN STI ES L H OSMRE LA R EN TTH A NSUPERM A N . H en ry

W

am

J e r s e y in 1 9 8 3 , ad

e ft

ot T

fa m

y

I r s h m u m

tr a d i

a l,

offi

r s e lf

ge

e r e is a tr a d i

orces—

s el est

cer;

e

b rot

ercel

o n g . A w e so m e , a n d

er an d

n of Cav rot

ers

ed yo

e t ’s g o l

e n s e r v i g in

e r , P ie r s , s a fo r m e r a r m

e s e c o n d e l e s t, N k , s a m a jo r in

n A g h a n s ta n . H e n r y i vers

o st

y h

y o n a n a r m y s c h o la r s h ip a n d

en

y h

n o

r kn ee.

e M a-

n e s a n d w a s a w a r d e d a n M B E in 2 0 1 3 fo r h i s

a r

i

e ir r e d o u b t a b le S c o t s

“ V e r , v e ry s

l yo

bo rn er C ol

e a s to c k b r o k e r

. S h e ’d s a y , Y e s , O K , y o u s c u

N ow , T

as

e w o r k e d a s a s e c r e t a r y in a b a n k .

w as

oya l an d kep t n ch eck by sh

C avi l

e R o y a l N a v y to b e c o

e r M a r ia n

e

D a lg l e s h

e f o u r th o f fi v e b o y s . F a t

en

ed

o r k

s to r y a t o in

s e

S c h o o l,

ow ever,

H e w a s se n t

t qu

e p an ou t as p an

ed

o b o a r d a t S to w e , b u t a r r v i g a

ew

e e k s a f e r e v e r y o n e e ls e , a te d , a s a ll

e c

e fo u

d

e s h a d a lr e a d y

s e lf

so-

rm ed . Pai

“ F a t C a v i ” d id m o r e s c h o o l a p r e fe c t, et .

ead o f

en

ays, an d b ecam

ou se and h ead o f

e w a s in

e lo w e r s x t

Behind the scenes

e arm y ca,

e d rec or

at the shooting of

atman v Superman

K e v in R e y n o ld s c a m e t o S to w e lo o k i g f o r p u b l spen t

c h o f h is fi r s t y e a r c r y i g to h

en “Fat Cav

” fo u

c a re e r

ad b egu n i

at prep

sc

oo ,

d co

rt n acti g. H

en

e w a s c a st a d c o m p l e con

h e r e h e s h o n e . E v e n th e b o y s ou gh

ou gh t

e w as

, I gu ess t

f I c a n ’t b e n s ta g e ,

a vers on

g e d b e c a u s e I ’m

of G

of

Bri

gh y

sexed

c k e d o n

ess

H e h ad

g o o d a t. A

g s o m e o n e e ls e

C risto, a n

e off ers b ega n

e in 2 0 0 a r i s to

e p ot ost d go t

s to r s o b e g a n n 20 11 af er he

vers on

as c ast as A

,

The

of

e r t, s o n

o r o ll

. H

The

e n h e w a s c a st

s C h a r le s B r a n d o n , 1 s t D

m

so. “I

a v i ll

m

e g o , s ig n e d b y A m e r ic a n a n

s, an d

Tudors

h o h a d p

bei

sh ag en

b ig b r e a k c a

o n

s new

y P e a r c e ’s M o n

g th e st ry o m

n

C ou ntofMonteC risto. C

as

e d o n c e a t S to w e ,

g I ’m

s c h o o b o y s to c a s t

e n te d

a n a s t c — a n d t o ld h

s is s o m e t

en gre at.

n

ath er reca

. E v e r y o n e

s p e r fo r m a n c e , a n d m

s s ta g e

c o n s p i c u o u s l y o n e C h r is t

e N a t iv i y a s a g r a n J e s u s ’s b i

sel , bu

w

o

em an

ed

e a r ly 1 0 � �

n ever or

ke of S

app eared

o lk , c lo t

ed

T heC ou ntofMonte

o g o o d s h a p e to p a y S u ff o lk , b u o a cq

r e i s o w n c e le b r i y s ta t

a s c a st a s T

eseu s i

Im m ortals

111

“ P e o p e s a y a g e i s ju s t a n z i e la s t

on

. A

e r . I t ’s a c t u a

t

b e r ” h e to ld o n e m a g a f

e s , t ’s n o t j s t a n

y a re al an d

r u e s ig n

a t u r it y . B u t n t h s c a s e , s h O

e

senses

o r ig i s m a b o u t e ’s

that

gh t be

s

n on

erm an , an d e p

erso

eel

s fa n s o f t e o

g

m

ou

that

he o m

si e sex

ed an d

sapp oi d a t n g s o m e -

sl

e y

s is l

r e fe r r

,

ch

ere’

s i cred-

ai

, a p a c e in

o s s ib l e ,

s tr y

o n y b e c a u

a n d n a s ty b a c k l a s h ,

Perh ap s t oo

g-i

b l c e y e is e n o r m o u s . B e c a u s e t a t

o f te n a d e e p b ly u

act

n te re s e d in

e m . “ T h e p r e ss u re t a t c o m e s o n e in

e’

p o r ta n . H e h a s s p o k e n b e f o r e

o m e n b e in g

S

K

f som eo

s f a n t a s t ic .

g

ed

o

s d s ta s t e f r H

ch

e spen

h s

So u

o u s e . “ I lo v e B r i a i , a n d

s as

h

y-

e t

e as

K e n s i g to n

vi g som ew

ew e r e e ls e

e e l s l k e a b e t ra y a l ” h e s a y s t o w a r d s t e e n d o f o u T a r se m

S i g h s fa n

o get shredd ed e d a n e ig h yo

r con

or t e fi

-pa ck , ract

g it

of M ark Tw U S m

gh

,a fi

ary,an d

as a

orm

t C avi l s tu ff

l

oo ,

ow n

ave

p u ert

Cavill exploring

You

and alienation.

e la g e

can

st eet

o

e s c r i e in

e ’s f a m

see ho w

y an d

e t a il

e p eas-

o g s to t h e

b af er

ou d

ost of

s t

ep recat

g h t s e e t e tr a n s fo r -

C avi l

a n o r m a l g ir l

o d oesn t ask you

sense. A n actor

g resu t

t

, an d

om

B r is t o l

o r a s h a g in

en sud de

y i t a ll

ayi g Sup erm an a ct

akes

al y spen

e o n s c re e n a s t e m o d e s t a n d s e l

g C ark K en

an d

or t

a s h a d a n e a r - e r fe c t , a n d

a t r o le , H e n r y rou gh

y Bri

sh , train

es,

e ac

g o n

g o

a n ce on e w

a n .

. “T

aki

a S u n d a y w a lk .

character’s emotions

o a ls o tr a i s t sh

a n d Su p e r

ero

g p a r t o f a v e r y p h y s ic a l a m

oi

” t e k

g h

ed

er t e t

y a s to n

on e o f

bei

re of

s ou t

at by the

e h

e w as an arm y cadet and cou d h ave

ow

c a u s e “

g is n t

o f r e v e n g e o n t h e S to w e b u

com es f om

e ft s c

f

e r v ie w , g o

is darker, with more of the

o b e, be cau se t ey

s c le d ess ex

y ,” h e s a y s , a n d “t

eed

a t e u r p s y c h o l o g s ts m

at on

Cavill’s Superm an

o ld

h C G I . B u t I ta k e p r i e i

e f ra n

d o u b t e d ly h e lp e d h im A

at sort

o e s n ’t

u s c le s w

ysel ” H e m

. Si gh

g . “ H e jo k e d h e w a n

t si . T

t

c a n g iv e y o u oi

a s y -a c t o n

s if

e ch ose.H e d

, be-

n g p u t a b la c k m a r k o n y o u r re c o r d a n d

H

W

TO

ET A S

PERBO

Disappo inti ngly, Henry Cavill’s bod y is not always as honed and toned as it appears on screen. When he isn’t ilmi ng, he winds

a t y o u c o u d a c h e v e in s c h o o ” .

dow n his itness regime and is about 13

heavier. o get i nto f ull

condition takes a minimum of four months, he says, and that’s

T

e r e w e re p e n

n H ol yw oo

ou t on

y of

, o o . H e n a r ro w Ed

a rd

ep

e is h a p p y s Bon

o r e Se a n

Co

red

a s ta r d

cu

Bu t col eq

,

oco

N ow ,

T ara

s tu d e n t e u

11 2

K om

e r s ta n

isn’t unhealthy, such as fried oil s. Preparing fo

Man of Steel, Cavill

g t

a multivit amin supplement, plus Udo’s Choice for fatty acids and Natural Calm magnesium powd er. Hit t he gym for one t o tw o hours six days a week, conc entrati ng solely on heavy weig hts. Remember,

d

e “sl gh

An

a r ro g a n

e go ss

g o f a b r ie f e n g a g e m e n t aker, an o

/off -er al an ce w y,

19-yea r-

d

ow ever,

B r is t l U

e c r i c is m ,

s un

Leaning d own After bulking up, our hero spends two months getting l ean by

o the

reduc ing c alorie int ake—gradually, so as not to feel hungr y—and in-

h the

creasing cardiovascular training while cont inuing wit h the weights.

h K a-

When the l ifting gets hard, keep going.

ere

ve rsi

a s t y e a r. H e s a y s t

sleep is vit al. Cavill tries to sleep 10 hour s a night when ilmi ng; his trainer b elieves a good night ’s rest is as imp ort ant as a day’s training

g.

e p a s t, C a v i l s a d v e

e m et at M ah ki s

your body w eight in p ounds by 15 17) of pretty muc h anything that

ou

20 13. M ore recen g, a

(experts suggest a daily calorie intake calculated by multiplying

ate lean protein, including ish with spinach and broccoli, and took

a s b e e n s o m e m e d a c l c k i g o v e r h i s r e la t o n s h i h

The fun part t akes two mont hs. You should eat hug e amounts

e h as sai ,

a C arano ,an d a sh ort n

Mass gain

of as a p oss bl

h a t a le n t f r k

en W

There are tw o stages:

o be spok en

e s e x f e n c e b a r e ly t r o u b l e d

e s t r ia n E

ey C

a lf ) a n d J a m e s

e r y ” t a n C r a ig ’s —

s , c o n s is t

a c tr e ss G i

s be

with the help of a good trainer. Without help, you won’t get there.

s se d

Tw i-

en

s Bon d tenu re com

at of his gir s? In

res on

Cu

C asino R oyale.

i

D an el C rai

s u c c e s s o r .H

y m

e n e M e y e r p e r so n

a l y lo b b i e d o n h

an en d,

en

e r o l e s o f C e d r ic D g g o r y i

H arryPotter, light a f e r S B o n d

sapp oi

ert rbe

ou should end t he two

months on a normal count of 2,500 3,500 calories a day. In the days before shirtless ilming, when he may need to get his body fat down as low as three perc ent of body mass, Cavill undert akes an extreme leaning process, reducing c alories to less than 2,500 while cont inuing with the gruelling workouts. For this, as throughout, he stresses that professional advice is essential.

O naSaturdayinthespring of1986at1:23:58�� ,aseries ofexplosionsshookthe C hernobylN uclearPow er P lan t.Fivem onthsafterthe disaster,MariyaD iordich uk w asborninK iev,100 �� sou th offalloutcentral.R ad iation poison ingconferredher ch ronicthyroiditis.T hirtyyears intothefuture,photograp her w ou ldgather azuma bara 20rollsofdegradedSvem afilm  leftbeh indnearC hernobyl an dexposethem toligh tfor thefirsttim e.T heseresultan t photographsrepresent30 years ofMariya’slife.

E R U S O P E

“My mot her said th at it was

a typi cally quiet day warm

and windy. She and my father opened the window and they

felt co mplet ely safe on the day

of the explo sion Apri l 26 1986.”

114

“Yo u m ig htth in ktheresh o uld b eno thing fro m C he rno b yl inm yid en tity,b ecau seIw as n o tb o rnatth etim eofthe ex p losio n.Iw asinm ym o th er’s b elly,and Id id n otye texistin  theo utsid ew o rld .”

“Iw asb o rnjust�ive m o n th s afterthe d ay o fthe exp lo sio n. Iw asave rysicklychild ,and  Irem em b erfee lin g like som eth ing w asw ro ng ,no t g row in g like ano rm alch ild . W hen Iw asb orn ,Iw asq uick ly ad m itted into theinten sive  careu n it.Ihad cram p s,an d  Iw asve ryw eak.H alfo fm y child ho od ,Isp en tinho sp ital w itho u treceivin g ad iag no sis.I w astreated forb ro n chitis,th en p ne um on ia,an d th en ne uroses.”

11 6

“Id id no thavetheo p p o rtunity to b eac tive .C h ild ren w ho w ere b o rnin theye aro fC hern o b yl w erethem o stad ve rsely aff ected .Iw aslyin g inth e h osp ital,w ith o utm ym o th er allthetim e.Thatis,p erhap s, re�lected in m ych arac terto d ay.”

“W henallthishap p en ed ,I b lam ed m yselfve rym u ch .I th o ug htitw asm yfau lt— th at Ihad m ad em yse lfsick ,an d  th atIco uld n ev erm eetth e ex p ec tatio nsofm yfam ily. Itw asallm yfau lt.Ico uld  un d erstan d th atsom ething w as w ro ng in m yb o d y,an d Ikep t b lam in g m yse lf.An d th efac t

th atIsp entalm osthalfo fm y child ho od in theho sp italm ean t th atIw asve rym u ch alien ated  from m yp aren ts.Th atw asw hy Irarelysaw th em ,an d Ihad  ve rylittlecon tactw ithth em . S o the o nlytim ew eco n ne cted w aso nth ethem eo fth e d isease .Th erew asno reg u lar child ho od ,likew h en p aren ts w ithchild ren g o o np icnics. Ib lam ed onlym yse lf,an d I h ated m yse lf.”

11

“Sym ptom sbecam estrong  w h enIw as19ye arso ld .Ih ad  ave rystro ng heartb eatan d it ac ce lerated .Ano rm alrhy th m  is6 0 to 70 b eatsp erm inute. Minew asb eatin g at120 to  130 ,an d th iscau sed ave ry stro n g trem o rin m yh an d s.I w asstud yin g to b ean arch itec t an d Irealised th atth etrem o rs

w erep reve nting m efro m  w orking ,p reve nting m efrom  co m p letin g m yco u rse.Ico uld  n otu n d erstan d th erea son . Itw asve ryscaryb ecau se arch itectu rereq uiressp ecial atten tio n ,sp ecialcare,and I co uld n o tund erstan d w hyIw as p rod uc ing b ad w o rk.Th atw as so m ething ve ryfrig h ten ing fo r m e.Itw asterrib le.”

“Mygrand m otherbe cam e d isab led in ave ryearlystag e o flife.Ith ad n o thing tod o w ith theac cid en t;itw asan  autoim m un eproc ess.Then m y au n tb ec am ed isab led .An d fo r m e,the w o rd‘d isab led ’isreally terrib le,fullofstig m a.Th at’s

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w hatIfac ed ev eryd ay,an d  m yfam ilysa w it.It’sstill,for m e,ag reatd isco m fort,ve ry frig hten ing .It’ssig n i�ican tthat thew o rd isp lac ed nex tto m y nam e.Itreallyb o thered m e, an d ca u sed m etorejec th avin g  ad isab led certi�icatefo ra tim e.Itho ug htifth ew o rd w as w ritten n ex tto m yn am e,then I co uld g o n o further.Ikn ow it’s w eird,b utIhad asorto ffeelin g  thatthew o rd w o u ld b urym e.”

“R ecen tly,Ijustrea lise d thatI w asno tg u ilty.Th isisno b od y’s fault.I’m w orkin g o n it,an d  eve ryth in g ism uch b etter.I un d erstan d thatthew o rstis ove r,an d no w ,I’m trying to re-estab lish co ntac tw ithm y p aren ts.Th ey th o u g htth at Ig rew up ve rystro ng an d  in d ep end ent.B u titisno tso . N o w it’slike Ijustcam eb ac k tolifean d I’m achild ag ain. It’sin teresting fo rm etotou ch, fee l,p lay,g o on ap icn ic.Iju st learn ed ho w to rid eab ike thisye ar.”

S P O R T S ILLU S T R A T E D � G E T T Y  

W H A T I ’ V E L E A RN E D

Kareem dul– ab ar All-ti

e NBA scorin g leader auth or 68

Interview by M k e S a g e Photograph by H e i n z K l e t

w hothink theyhaveahilariousheightjokeyou haven ’theardbefore. I v e e n o y e d e i g a l [2.18� ].I’m able tonoticethingsbeforeotherpeople. T hatison eadvantage.W henIw as youngan dlivinginN ew York,I’dbe standingon thesubw ayplatform and peop lew ou ldw anttokn ow “W hattrain iscom ing?IsthattheD train?”Icould seeoverallthepeopleontheplatform . I s t a r te d s h o o t n g h e h o o k s h o t h e  Iw asinthefifthgrade.Mygradeschool coach ,FarrellH opkins,hadsom eguys com eandshow m epostandpivot m oves,andtheyshow edm etheG eorge Mikan drill.Mikan usedthehookshot. B ru c e L e e s a hew asnotconcerned aboutsom eon ew hohadpractised 10,000kicks.H ew asm orecon cerned abou taperson w hohadpracticedon e kick10,000tim es.Iw asthatperson. T hat’sw hythehookw assuch a form idablew eapon. h e n m y h i g h s c h o o l c o a c usedthe w ordnigger,itdestroyedaw holelot oftrust.H ew asthew hitepersonin m ylifew how asalw ayssayingthat racism w asdum b.W henhesaidit duringagam e,hew astryingtopress m ybu tton s— hejustoverreach ed.H e w asnotaracistandshouldnotbe rem em beredassuch .H ejustscrew ed upan dhepaidapriceforit.AndI guessIpaidapriceforit,too.

r e ie r

gam e,butIrealisedalm ostim m ediately him getoutofm edschoolw asgreat. thatalloftheshotsIcoulddunkIcould Myothersonisacounsellor;hejusthad  justaseasilylayoff theglass— an ditw as adaugh terandI’m agrandfathernow . stillgoingtobetw opoints,soIdidn’t T hingslikethatareneat. haveanythingtow orryabout.Itw as T h e w a y h e a r t d is e a s e c a n s n e a k u p o n y o u — now ,that’sscary.Acouplegu ys strangetothinkan entireinstitution, theN C AA,w asch an gingitsrulesjust Iplayedagainstaredead now .C aldw ell becau seofm e.Itgetstoyoubecau seas Jonesisdead,Sam Lacey,D arryl an individu alyouneverexpectyou’llbe D aw kins.D arrylw as10yearsyounger seenasthatm uch ofathreat. thanm e.It’sjusthard.It’scrazy. T h e o s t b a s ic a s p e c t o f o n o th e s m  h a t h a v e I e a rn e d a b o u t o m e n ? isprettysim ple.It’ssupposed tobe  Youcan’tlivew iththem ,and you can’t w hatJew s,C hristiansandMu slim s livew ithoutthem .Yep.T hat’sw hat areallabout.W henhew asasked, I’velearned . “W hatistheessenceoftheTorah?”the A r ic a n c s is f d y f e a a n d f r s tr a t Jew ishsch olarH illelsaid,“Totreat T hishasprom pted othershow youw ishtobetreated .” m anyinthew hitem iddleclasstoseek T hatisthem essagethrou gh outallof asaviourratherthansom eonew ith them onotheisticreligions.Tom e,itis rationalandrealisticpolicies.It’slike sim pleyetprofoundhow w ehum ans askingtheballoonclow natakids’ can’tputthisintopractice. partytostartjugglingch ainsaw s. T h e in c e a s e in e t o r c a d a t T h e h i d o f th e 0 o o k s I’vew ritten  orco-w ritten w asahistorybook,Black c r e s againstMu slim -Am erican s Pro es in C ourage.Itcam eoutin1996. an dSyrianrefugeesisthetrium phof fearoverideals.T hoseen gagedinboth Iw roteitbecausetherew erenobooks aredoingm oretosabotageAm erican  atthetim ethatgavean overview of valuesthan theterrorists.  Am ericanhistoryw hichinclud edthe T h e a c k - o - h e a s k e t o v e the ach ievem entsofblackAm erican s.At gracefulfootw orkinthepaint— that’s thetim e,m ostw hiteAm erican sdidn’t partofthegam ethatisfad ing.T he givem uch though ttothesubject.It three-pointshothastaken over w asveryim portanttom e. B e i g c o c is k i d f s t a n e b e c a u s e  everybody’sm en tality.W hysettlefor tw opointsw henyoucanhavethree? youthinkofyourselfasjustbeingthe I a t c h e d h is th i n g s h o n g S te p h e sam eordinarypersonyou’vebeenyour w holelife.W eallhaveourstrengthsan d C u r r doinghisw orkout.H eshota H a v n g g r o w n u p n a c o u n y th a t hundredthree-pointersandhem ade ourfoibles.Tom e,I’m m e,then asnow . Iw as 94— including77inarow .Ineverheard o l e r a t e d J im C o w a w h e n p e o p le m e e t o m e o n e they attractedtotheteach ingsofIslam . ofanythinglikethat.It’slike,w ow .It’s perceivetobefam ous,it’salm ostlike Proph etMu ham m adspokeou tagainst unbelievable. theircircuitscross.It’sliketheirbrains T h e r e a re m e s t o n e s thathave racism andslavery.Ithinkthatisthe shortoutforasecond.T heyhavetosay singlem ostim portantthingthatm ade happenedw ithm ykidsthatarem ore som ethingordosom ething.O ften it’sa m em oredisposedtobeMu slim . im portanttom ethananyofthetrophies littlew eirdorinap propriate. h e n h e y b a n n e d h e d u n k in c o e g  orcham pion shipsIhavew on .O neofm y T h e g o g g e s g v e youarealsenseof Ifeltliketheyw eretryingtoinhibitm y sonsisan orthopaedicsurgeon.Seeing com fortifyou’veeverhadaneyeinjury.   T h e

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 A R O U N D �T H E �W O R L D �2 0 16 �����T H E �H O U S E �T H A T �R A L P H �B U IL T F A S H IO N �E S S E N T IA L S �����YO U �A R E �W H A T �YO U �C A R R Y �����P O P �G O E S �T H E �S E A S O N D E A D �O N �T IM E �����A N �E L E G A N T �A F F A IR �����B E A U T IE S �A N D �T H E �S P E E D  E S Q U IR E �10 :�O N LY �H A P P Y�W H E N �IT �R A IN S

ESQUIRE RECENTLY EMBARKED ON A J OURNEY FROM EAST TO W EST TO DOCUMENT THE GLOBAL INFLUENCES AND AMBITIONS OF 2 ST-CENTURY STYLE. E DECIDED TO CALL IT…

AROUND THE

ORLD 2016 12 6

T O K Y O ,H O N G K O N G ,MILA N ,LO N D O N A N D N E W YO R K :P H O T O G R A P H S B Y LO R E N Z O B R I N G H E LI

K A Z U A K I K I R I Y A

D irector,p hotog raphed at S hib uy aC rossin g ,Tokyo This Jap an ese �ilmmaker recen y in rod uced his mba stic style t he rest of he wo rl with his third ilm an Eng ish- an uage deb ut Last Knights,starring ive O wen. The loc al ress ha s cal ed him “� amb oyan ” and his movies “visionary.” W hich is to say: e’s g style. wo-button wool jacket, cotton shirt, wool trousers, leather shoes, silk scarf, silk pocket square and leathe r belt, all by D o l c e

G a b b a n

.

THIS GLOBAL STYLE SERIES SAW THE ESQUIRE TEAM TREKKING ACROSS THE ASIAN FASHION CAPITALS OF KUALA LUMPUR SINGAPORE HONG KONG AND TOKYO IN SEARCH OF MEN HOSE SENSE OF STYLE AND METHOD OF DRESSING W ERE NOT LIMITED BY GEOGRAPHICAL BORDERS. FROM EAST E THEN HEADED EST TO SUSS OUT THE STYLISH MEN FROM MILAN LONDON AND NEW YORK. FROM SIDE STREETS TO ET MARKETS BACK ALLEYS TO CENTRAL CROSSW ALKS THESE MEN EMBODY A CERTAIN JENESAISQUOI HEN IT COMES TO DRESSING ELL

12

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TA D A N O B U A SA N Actor, photographed in Nonbei Yokocho “Drunkard’s Alley”)

TOKYO

Known for playing the heavy in Japanese ilms for two de cades, Asano brings some serious gravity to Hollywood with a breakout performance in Martin Scorsese’s next ilm,

Silence , coming later this year. He lives and works mostly in Tokyo, a cit y, he says, that combines every great part of each major city” in the world.

Tw o-button w oolsuit, cotto n shirt,silk tie, leathe r sho es and silk p oc ket s qu are,all b y Louis V uit on .

T O K Y O : S T Y L IN G B Y T A K A F U M I K A W A S A K I; G R O O M IN G B Y A Z U M A F O R W T O K Y O �K IR IY A �, K A N A O G U C H I F O R K O H L �A S A N O �.

12

HONGKONG

 A N D R É F U Architecta nd

esi ner

ph otog raphed atthe pp er House ho el . .. And it ’s at t hose intersections of old and new, Eastern and Western, Fu argues, that the creativit y and innovation for which Hong Kong is known truly happens. Beyond designing t he interior of hot els like the Upper House, u is bring ing his minim alist style to a new lifestyle-product collection, And ré Fu Living. Double-breasted silk jacket, cotton shirt and silk

Erm ene gildo  Ze gn aC ou ture . trousers, all by

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A L A N

L O

Bu sine ssm an and  aesthe te,p ho tog rap he d inS ha m S hu iPo Butwhatdoes an aesthete actual y d o? Lo c ofound ed udd el s,f r o ne, a restauran and an artspace,and he is also c hairman o fthe n on pro�i organisation Hong Ko ng Ambassadors ofD esign. Cotton-twill coat two-button wool suit and cotton shirt all by C a l v i n K

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leather sneakers by P u m

HONG KONG: STYLING BY CHRISTIE SIMOSON AND MASS LUCIANO.

J U S T IN C H A N G

S hirting sc ion , p ho tog rap he d at B atteryPath A third en eratio n lead er of he amily b ehin uxury sh irtmaker Asco hang,C hang studied in he U S before returning home to Hong K ong o elp cul iva e the bran s next gen eration ofcustomers. Double-breasted wool suit by I s a

; cotton

shirt and linen pocket square by A s c o t C h a n g silk tie by D r a k e

S E L A M A T D A T A N G K E

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K U A L A L U M P U R :P H O T O G R A P H B Y K I MM U N ; S T Y L IN G A N D W O R D S B Y IA N LO H ;G R O O M IN G B Y J O E Y YA P

KU L LUMPUR E E S O O N

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H eritag ePreserver,p ho tog rap he d  atArtPrinting W orks As the third generation of Th e Roya lPress,a letterp ress printing ho use builtin 19 38 Ee oversees the revivalof he heritage craftan d has since transformed the printing house into a living museum. n top ofthat,he runs ArtPrinting orks (AP ,an o d co mmercial rinting fac ory-turned urba creative campus with café, co ab orative worksp ace an d art spac e. Ee is a mod ern examp e ofheritage preserver,and a true believer of “printis no td ead”. Cotton

-shirt by B O S S ; Cotton

blouson with shearling detail cott on trousers and denim sneakers all by B o t e g a V e n e t

 SINGAPORE T O S H Z H A N G Actor an d musician ph otog raphed behind

ub Street

osh Rock, as he’s bett er know to his f ans, is one of the island state’s most pr omin ent YouTubers with his mix o f music and sharp observations, deftly peppered with Hokkien slang and often with a self-deprecating sense of hu mour. He is also a key member of Singapore’s top B Boy crew, Radikal Forze, and has starred in the highly popular Ah Boys to Me

 movies. With

a new album slated for yearend, this lad is one to watch.

Wool and cotton jacket, cotton shirt, wool and cotton trouse rs and leather shoes, all by F e n d i.

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S I N G A P O R E : P H O TO G R A P H S B Y D J U�L IA N C H NG ; S TY LIN G B Y E U G E N E L IM ; G R O O M IN G B Y A NG E L G W E E U S I N G R E D K E N H AIR A N D R MK MA K E U P ; S TY LIS T A S S I S TE D B Y MHD A L IF.

BEN EN TI A

MILAN

R IC C A R D O

P O Z Z O L I

En trep ren eu r,p ho tog rap he d on  V iaFioriO scuri hat started as a fashion blog londe Salad)written by h is then girl riend hiara Ferragni)has grown into a glob albrand ing an d retail business,and as the C EO of wha th e c al s the TBS crew, Pozzo i h as h el ed uelits rowth from its earliestd ays. The

Suede ield jacket, cotton shirt, denim jeans and leather belt, all by B r u n

o C

ci

.

M A S S I M IL IA N O L O C A T E L L I

 Architec t,p ho tog rap he d  attheC hurchofS an  Pa oloC on verso, Piazza S an t’Eu fem ia Fro m his irm’s HQ in a refurbished 16t cen ury ch urch seen ere),Lo ca eli b ring s a co empo rary,po sitively orb usian aesthetic t interiors a nd exteriors aroun d he world. wo-butto n wool-andcashmere suit by G A r

a n i ; cotton shirt

by E m p o r o A r m a n i

r g i

W E LC O ME T O

A L AS D H AI R

I L LI S

Jack-of-all-trades, photographed on St James Street

 Afterh elp in g to lau n ch  the de sign m ag azine  Wallpaper an d  co fo u n d in g afu rnitu re lin e,Estab lish ed &  S o n s,W illisb rou g h th is sh arp ey eto H u n ter, the leg en d aryrub b erb o otm an ufacturer. U n d erW illis’d irec tio n , th eb rand ism ov in g  in to sp o rtsw ea ran d  ou terw ea r,an d the  ex p erien ce isw h ath e callsa“cu lm in atio n o f ev erythin g I’ve d o n e ove rthe ye ars.”

Single-button s ilk jacket, cashmere sweater and leather sneakers, all by ieves Hawkes; de nim  jea ns by Acne Studios.

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LONDON

M A T

C O L L IS H A W

 Artist,p ho tog rap he d in N ew m an Pa ssag e,Fitzrovia The Young British Artists,a oo se con ederation o fb ut on pushers who emerged from Lond on in the ’90s,have grown up o �ind varying degrees ofsuccess and respec ab ility. Few h ave managed to surprise and grow as much as C ol ishaw,whose experiments and adventures in mul imed ia art co ntinue t keep he wo rld on its toe s. wo-butt on wool-and-sil wool -and-silk trou sers all by D i o r H o m

; leather

shoes by o h n L o b b

LONDON : STYLING BY CHRIS BENNS

T A R A N

K I L L A M

Fun nyactor,p ho tog rap he d ab ove W est57thS tree t A southern aliforn ian b y birt and breeding,SNL s resid en Everyman h as learn ed to lov e the view from 30 Rock after six years on he sh ow. “New Yo rk is wh ere the reatest thinkers and dreamers come to exchange ideas,inspire each her,b e jealous o fo ne a no her, e says. “Its t at co nstan mixing thatmakes itone o fthe reatestc ities in he worl . Wool-and-linen parka, threebutton wool jacket and cotton shirt, all by D u n h

; cotton-

blend chinos by M A C

e a n s

suede shoes by G r e n s o n ; suede belt by B r u n

o C

ci

.

NEWYORK

E L C O M E T O

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D A V E E D

D I G G S

 Actoran d rap p er, p ho tog rap he d atD ino ’s Sh oe Re p air,B roa d w ay This lon gtime rapper an d upand coming actor shows o is skil s eig ht imes a week as Tho mas Je erson (an e Marquis d e Lafayet e) in Hamilton,the oug hest icketon Broad way righ no w (an d maybe ever). His rap attles with the title ch arac er are alread y the stu of hea re- eek eg end stream “C ab inet Bat e #1” on Spotify for a taste. Two-button jacket, cotton shirt and wool trousers, all by P r a d

; leather sneaker

by C h r i s t a n L o u b

NEW YORK: GROOMING BY MARI SH TEN FOR BRYAN BANTRY

.

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R alp hLau renP u rpleLab el

14 6

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THE HOUSE THAT RALPH BUILT TH EPALAZZO RALPH LAU R EN ISN ’TJU STAN O TH ER  AD D ITIO N TO T H E MAN O R .ITMAR K S T H E S TA R T O FA N O T H E R  S U C C E S S F U LC H A P T E R F O R T H E MA N W H O S E V IS IO N E X T E N D S W E LLB E YO N D F AS H IO N .

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SINK INTO THE PLUSH SOFA W ITH A GLASS OF CHAMPAGNE IN HAND AND THUMB THROUGH THE COLLECTED ORKS OF BRÂ NCU I OR HOCKNEY SELECTED FROM THE ELL STOCKED SHELVES LINING EITHER SIDE OF THE MARBLE FIREPLACE IN THE DRA ING ROOM. ATOP THE MANTELPIECE, AND NESTLED BETW EEN BLUE AND- HITE VASES AND A HANDSOME BRONZE SCULPTURE OF A RACING STEED, SITS A BLACKAND-W HITE PORTRAIT OF THE OW NER OF THE HOUSE. SILVERHAIRED AND SMILING, THE RALPH LAUREN IN THE FRAME IS LEANING AGAINST A VINTAGE RACE CAR, ONE OF MANY THAT HE O NS, ELEGANT IN A SI BUTTON, DOUBLE BREASTED BLAZ ER OVER A BLACK ROLL NECK, AS BEFITS THE KING OF EFFORTLESS STYLE. 1

H islatestventureisanam bitiousone:thelabel’sfi rstprivateluxuryclub thatop enedlast Septem ber.T hePalazzoR alphLaurenriseslike aph oen ixfrom thecom pan y’shistoricbu ilding inMilan.Builtin194 1,theim posing12,000���� C asaC am paniniisaprim eexam pleofR ation alist architecture.B uttheinteriorisindisputablyR alph  Lauren,from thelaid-back yetluxuriousfurnishings(carefullyselectedfrom thebrand’shom e label),righ tdow ntotheartw orkandthecurios from arou ndthew orldthatdotthew allsandthe shelves,ascu ratedbyateam ofex perts. H ereisahom eaw ayfrom hom eforthosew ho areluckyenou gh tobeinvitedtojointhism em bers-onlyV IP club(w heretheycan enjoyallm annerofp rivileges,from accesstoexclusiveitem san d speciallaunchestoun iquelycuratedexperiences, such asprivateshoppingsessions).Aspartofthis preferen tialexperien ce,R alphLauren’sluxuryap parelandaccessories,bothform enandw om en, togetherw iththeirexclusivetim epiecesandfine jew ellery,areprivatelyshow cased form em bersto peruseattheirleisure.B espokeservices,cu ratedto fitintothehecticsch ed uleofV IPclien ts,arealso availableam iduniquecollectionsforthehom e.  An dbecausepleasureisallaboutind ulgingthe senses,thepresenceofanin-hou secheftocreatecom plim entarydelicaciesm ean sthatyoucan  nibbleonadelightfulrepast,asyoupartakeofthe view onthesunnyoutdoorterrace.T hespecial treatm entthatm em bersreceiveisn’tlim itedto justthisPalazzoofpleasure;V IPguestsalsoen joy priorityreservation satR alphLaurenrestaurants arou ndthew orld(ifyou’veo rderedafreshlybrew edespressoatR alph’sC off eeattheirN ew   Yorkflagship,you’llrecognisetheexactingstandardsofqualityatw orkhere),invitationstoex clusiveeven tsandpersonalisedservicefrom R alph Lau ren specialists. O nhischoiceofsite,Lau renisem phatically clear:“Milan isauniquecityw herepeopleappreciaterefi nem en t,qualityan dstyle.Iw an tedtocreatean elegan tcustom experien cethatcapturesthe glam ourofthecity.T hePalazzo,w ithitsrich history,providesarom anticsettingtoshow casethe verybestofm ym en’sandw om en’scollection s.”  An dshow casethem hedid. T hePalazzoop eneditsdoorsduringthefashionw eekinSeptem berw ithapresentationof R alphLau ren’sSS16W om en’sC ollection .W evisitedafew m on thslater,duringanun precedentedlyfrostyJan uary,an dw eregreetedatthegates byw aiterscladinsm artblack-and-w hiteuniform s, w hohandeduslittleshotglassesofaw arm ing am berliquid,bothdeliciouslyspicedandsuitably alcoholic.In side,theopen -aircourtyardhadbeen transform edintoanenclosed,cavernoushallfor R alphLau ren’sAW 16Men ’sP urpleLab elpresen-

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tation to showcase a collection thatwas light,fluid and un deniab y uxurious. Ralph Lauren’s A 16 Purple Labe range esoused an unmitigated sof ess or autum rom shirt ackets in un in ed jersey and sue e o cash mere top coa s and suits inspired by t e ligh ess of shirtin g fabrics. Mo els lined t e ston e steps in at ire t at made an effor ess transition rom day to evening. Natty formalwear appeared as tailored shawl-col ared smokin g jackets in silk jacquar even e archetypal black suit became a unique iece in Lauren’s han s,mergin g classic ailori with modern black ski-tech fabric. A special capsule col ection of at etic erformance gear focused on skiing and technicalpieces merged au tlessly with the labels sig ature reaxed yetcul ured style— cue sleek ski rousers, e waterproofwools and an olive green quilted down acketwith a trim sil uet e. Pur e Labela so in corp orated t e bes of Recco Avalanche ocatio

G R O O M I N G B Y A N T O N IA D E F F E N U U S IN G M A C C O S M E T IC S A N D T E S T A N E R A . M O D E L : L U K E M U R B A N M A N A G E M E N T M I L A N O

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technology by deftly blending the luxurious appeal offine design and craftsmanship with cutting-edge advances to safeguard its wearer. A special-order raci g helme with an ad ustab e pro ective visor and custom-made earfl aps was paired wi h stee edge downh il skis pain s akingly designed for al moun ain terrai . A subtle an -s itch a the ski poles inlaid with a radica wood veneer rein orced the understan ing t at,for Ral h Laure style and substance are always in ertwin ed. New pieces made t eir en ran ce as we ,includ ing sof -colared ress shirts and ric y woven exured sweaters,al erfect or kee in g on e snug i chil y weat er. S earlin g,a current ashion avourite,took centre stage as a formidab e overcoat singular piece of ush, rugged beauty. A d in clever juxtaposition of eritage and modernity ere ap eared a cowhide trucker jacket a piece at evinced e idealbalance of urbane luxury much ike t e Palazzo Ral h Lauren i sel. 15 1

T H E S T R E S S E D M A N ’S G U I D E T O

S

M O S T M E N P L A N F O R T H E D E S T I N A T I O N : thecar,therestaurant,theclean

briefs.Indoingso,theyneglectthejourneyan den dupinthesecuritylinestressed attheoutset,feverishlyrum m agingfortheirticket,theirkhakisdroopingbecause ofallthat’sstuff edinthepockets. H ere’sabetterplan:w earablazer.N otjustbecauseitlooksbetter,bu talso becauseit’sequippedw ithseveralsturdypocketsthatenhanceorgan isationand ren deritem saccessible.Ifit’stailored(nottoosnugly),itw illbeascom fortable asanything.Plus,adenim version,likethisnew additionfrom Z egna’sm ade-tom easureservice,Su Misura,w illlookfineeven w hen it’salittlerum pled.(That’s theupsideofallco tton-based suits.)Plus,ifyo uw earit,youdon’thavetopackit. See,ifyouplan forthejourney— byfollow ingtheadditionalstrategiesah ead— you’llfeelgoodan dlookconfiden t,likeyo u’vebeenherebefore. Two-button c otton jac ket co on sh irta nd co on trousers a lb y E r e n e g d o Z e g n chronograph by F i ls o ;p olyprop ylene suitcase by T u m

;steelJourneyman

T H E S E C R E T A G E N T This man may ap ear o e a n ormalman. Buth e is rea y a man wi h ul y utility.

lo oklike  them ostw ell-p rep ared m an  atthe aip o rt,eve n ifyo uare them ostw ell-p rep ared m an  atthe airpo rt.W ithafew  ad d itionsan d ad justm en ts tow hatyo ualread yw an tto w ear(aT-shirtand jeans), yo uca nb eb etter-eq uip p ed  than theg uyw iththeneckstrap p assp orthold eran d  theb ountyo fp erson al item s— w hich w illo nlyslow  him d ow n.H ere,our�ield  rep o rtonhow . Y O U N E E D N O T

T H E U T IL IT Y B E LT T H A T IS A A C K E T � So,yo u’ve g o tno use fo ra b laze r.Th at’s�in e.Th ereisstilla w on d rou s,slickm om en tp rovid ed  b ythis�ive -po cke tm ilitaryjacke t, an d ito cc ursw h en yo u’reatthe securityX-ray.Instead ofclearing  ou tth ew ad so fw ha teve rfro m  yo u rp ocke ts,allyo uhavetod o isrem ov esaid jac ket— inw hich  yo u ’veco m fortab lyan d system aticallysto red yo urp ho n e,w allet, ticket,co llap sib lehea d p ho neso r earbu d s,m ayb esom ena p kins, an d asm allb o o k,w ith tw o p o ckets to sp are— an d p u titin the b in.  An d th en ,w ell,yo uarem o reo r lessd o ne,w hileeve ryoneelseis stillh ustling .Itissosim p leand  sm oo than d stream line d an d q u ick,yo ufeelasifyo u’ve actua lly p u lled o ff an ac tion rollorva nq u ishe d som ekind o ffo e(m ayb e an n oyance itself).An d th en ,w hen  yo u sitd ow ninyo urw in d ow sea t an d ev erything isread ilyathan d , yo u feelthatg lo ryag ain.

T H E A D J U S TA B L E A C S H IE L D  Alw aysp rep areforth ew o rst, like aco ld -air-loving se atm ate.  Atw o -w ayzip -u p ca rd ig an lets you g uardw ha teve rthe w ind  b lasterish itting w itho utco nstrain in g ev erythin g else.

T H E A G IL E J E A N S

C otton -an d -ny lo njack etb y T o m y H i g e ;w o o lca rdig an  b yE v e r la n ;co tto n T-sh irtb y N a u t i c a ;co tton -b len d trou sers b yM a c J e a n s ;sue d eb o otsb y W o lve rin e10 0 0 Mile;lea ther bag byC o a c h .

 Yo u’ve g o ttob eab letom ov e.It co uld b eforso m ething asm inu te asstretch ing yo urham string ,or forsom ethin g b ig g er— likeclim b in g ove rthe slum b ering aislesitter orsp rin tin g to ca tch aco n nec tion oraca b.B u tb ein g hu m an ,yo u also w an tto w ea rjean s,w hich ca n b econ strictin g .Th ean sw eristo �ind apa irfashio ned fro m stretch  d en im (w itho ne ortw o p ercen t elastane).Th ey’llstill�itclo se , b u tin atim eo fn eed ,the y’llhelp  rathe rthan h ind eryo u.

Y O U S H O U L D P R O B A B LY P R O T E C T IV E C L O T H IN G

W

E A R

S O M E

B R I E F A N N O U N C E M E N T : S H I T H A P P E N S , esp eciallyw hen yo uaresurround ed b y stran g ersan d theirch ild ren ,w how o uld m uch ratherm ovelikeasug ar-h ig hto rnad othan  avoid sp illing w atero nyo urw o olsu it,o rw henyo ufailtop rop erlysecureth eto p o fyo urtog o coff ee ,oreven w h en yo ud o n’tm oveasm uch w hileo nth ep lan e(resu lting inad ee p ro oted seat-b eltw rinkle).B utso m eclothing 'sared esig ned top ro tectyo ufrom thesethreats. B elow ,ag uid etoso m eoftheb est. A

FO R W

R IN K L E S

 Afterb eing cu tan d sew n,the se B o nob osD ailyG rin d shirtsare b ake d inan ov en an d trea ted w ith aso lution thatstave so ff w rin kles (atleastthrou g h 20 w ashes).B ut p lease note:neithertheynorthe p an tsb elow ca nw ithstand ap oo r fo ld ing job in yo urb ag .Inthat ca se,yo u’lln ee d an iron . C o tto n sh irtb yB o n o b o s .

F O R S T A IN S Th eH ug o B ossTraveller C o llectio ntiesarestillm ad eof— an d d elivertheim p ressio nof— silk.B utthey’ve b ee ncoated w ith silicone,w hichcan rep elw ater and stainsofallso rts. S ilktieb yB o s s .

FO R W

R IN K L E S A N D W A T E R

n P e r f o r m a n c e S e r ie s w o olsu itsareco ated  in Te�lo n.(Yes,the Te �lo nofnonstick p an san d elusive — at leastfo ratim e— m a�ioso s.)Thism ean sthatw aterco llec ts on lyonthe su rfac e,ind rop letform (seeab ove ).The su itsarealso cutw id erthanneed ed ,an d the nsh run kto size,so theyg ive instead ofw rinkle,an d m ove w ellw hen yo u’reo ntheg o.S in g le-b utto n w o o lsu itb y . H rn . T h e J .H i b u

FO R W

R IN K L E S

D ockers’S ig natureIronFreeK hakis aresturd yan d d esig ned tokeep  the irorig inalfo rm .So ifyo uhead  straig htfrom ap lan erid eintoa m ee ting ,yo u’llloo kasifyo ucam e from hom e. C otton kh akisb yD o c k e r s .

   . 

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        y     b          s     r     e     k     a     e     n     s          e     d     e     u    S     V

   . 

    T         y     b          s     e     o     h     s          e     d     e     u    S

   . 

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   O         y     b          s     e     o     h     s          r     e     h     t     a     e    L

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    R     F         y     b          s     e     o     h     s          e     d     e     u    S

    F         y     b          s     e     o     h     s          r     e     h     t     a     e    L

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        y     b          s     e     o     h     s          e     d     e     u    S

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T H E B E A C H

S L IP

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    H

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T H E B O A R D R O O M

O N S H O E S

Fo r allscenarios— ike when yo u eed to take t em o . H E N W E E R E Y O U N G — b eforeb eing ab letotieourlacesb ecam efetish ised b ytheeld erelite (i.e.o urm other)— w ew oreslip -o nsho eseveryw here.An d w elo oked g ood .An d ourfee tw erep len ty clea nan d safe.W hen w elo okatthearrayab ove,w ecan no trem em b erw hyw estarted co n sid erin g  them lessresp ectab lethan sh oesw ithlac es.Slip -onscan b ere�ined .Th eyarealso easyto p uton an d takeo ff,thoug hthatd o esnotm ean yo ush ould feelfreetorem ove them d uring the�lig ht.D id  yo urm otherteach yo un othing ?

H A T ’S Y O U R S E C R E T C A R R Y

O N E S S E N T IA L

Question s posed to ive top m inds in men’s clot hing—each of who is a rather experienced traveller

B R U C E P A S K M e n s fa s h o n rec ,Be rgd

M IC H A E L IL LIA M S rf

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G o o d m a n

B eitthed ead of w interorhig h sum m er,Inev ertrave l w itho utapa irof O r le b a r B r o w n s w t r u n k s (orleb rbro wn.

co m)inm ycarry-on.

Th ereco uld b ea b lizza rd,b utthe ho tel m ayha veap o ol.O r you m ig hten d up  nea rab ea ch w ithan  un exp ec ted free ho ur. Ialso p ac kacharco alg rey w o rsted -w oo ltie. I’m alw aysp rep ared , even o naca sual ho lid ay,ifthing stake  aturnfo rthe d ressy.

o u n d e r ,P a u l + a m s ; p r o r ie t o C o n t in u o u  Lean

Ihave akitofthing sI alw ay stravelw ith,like  a 3 ] K le a n K a n e e n nsu

ated

ater b ott

(kle n k nteen.com).  Alotofairp ortshav e free w ater(soyo u d on’tneed tobuyit).  An d ap en forcu stom s form s,like a ] P a r k e r J o t t e r ( et.com).Ialso have ha nd cream w ith m e,asp lan esreally d ryoutyo urskin. Th eb estisfrom  L ’O c c

an

( oc cit ne.co m).

J O S H PE SK O W E R IC J E N N IN G S

C o

V ic e - p r e s a s h o n o f e n s w S a k s F i h

Iusu allykeep a

id e n t & r e c t o r e a r A v e n u

Iusethe  ] S k i t G e e k te c h c a s e

(skitsp rod ucts.com) forallm yelectric co rd s,ad ap ters an d ch argers.Th e G ee kversion ha s three sec tions w ithind ividu al com partm ents thatfold intoeac h other,and it�its easilyinto ab ac kp ac k orsm allb ag .Ialso  use B ob ino co rd  w rap sto kee p the ca b lesfrom g etting  tang led insid ethe ca sean d tosho rten  lon g ca b lesp lug g ed  intoan outlet.

IT Z 

o u n d e r ,M a g a s i

6 ] C lu b M o n a c o a s h e d - w o o ls c a r

(clubmon co.com) w ithm e— eve nin thesu m m er.Firsto ff, p lan esareco ld .In ad d itio n ,Ilike to have th eco ld airfro m  the ve ntb low in g  ha rd o nm yfac e. (S up p o sed ly,itkeep s theg erm satb ay.) S econ d ,ifthe scarf isb ig eno ug h ,itcan  d o ub leasab lan keto r anec kp illo w .

M O R G A N C O L L E T T C o o u n d e r , S a tu r d a y s N Y C

 Ap airof S o n y Z X 7 7 0 B N h e a d p h o n e s

(sony.com)help sm e esc ap ean d d isap p ea r. Ifee llike Iam inm y ow nw orld. E S Q U I R E ’S P I C K

Po lyca rbo na tesuitca seb yV c t o r i o x .

h a t ’s a t e c h n q u e t h a t y o u u s e o m a k e y o u r t a v e l a r o u d t h e o r ld l e s s s t r e s s f u l A I’ve ten d ed top ac kw ayto om uch .S o,onathree -w ee k

A S K N I C K S U L L I V A N E s q u ir e U S ’ a s h r e c t o r w l o w y o u r q u e s t o n s .

a k e

jau ntinEurop efo rthe fashio nsh ow s,carrying itallb ec am e aco nstanttho rninm ysid e.B utnow Ilayeve rything o uttw o d aysb eforean d force m yse lftop ick half.W hen w ew en t around thew orld forthe March issu e,Im an ag ed itw ith a w ee ken d er,throw ing aw ayun d erw ea rasIw en tan d b uy ing  new atairp orts.Itw aslib erating .

H o w d o y o u s e t y o u r a tc h w h e n y o u ’ e t a v e l n g T o y o u r h o m e ? T o y o u r d e s t in a t io n A Ihavebe en told thatifyo ug oah ead an d setthe tim

eon yo urw atch attake off tothetim einyo urd estinatio ncity,it w illac tuallyhe lp yo uad justtothetim esh ift.Ihavealsob een toldthatthe b estantid otefo rjetlag istoforgod rinking any b oozean d instead justd rin kto nsofw ater.Ig enerallyig no re tha tone,too .

O N T H E G O

M  E V E R Y IS S U E O F E S Q

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M A L A Y S IA

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M C M

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leatherb riefcase.

Ba

S T Y LIS T A S S I S T E D B Y S A R A H C H O N G

lea th erb ag .

P O P G O E S T H E S E AS O N A N E W

S EA S O N M E A N S N E W

K E Y C O L O U R S . H E R E A R E SO M E O F

O U R T O P P IC K S T O S H A K E T H IN G S U P ST Y L E W

P H O T O G R A P H S B Y C H IN G S T Y L IN G

B Y L IM S IU F A N G

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rmenegildo Zegna Couture;leather b ag goatskin T shirtby Hermès;suede an d leather sho es by Berluti .

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a z u r e .

y Berluti Hawkes.

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(C lockw isefrom top left): otton an d elastan e trousers by Etro eather b ackp ack by Coach;suede shoes by  Tod’s;cotton ouson by dunhill.

16

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(C lockw isefrom top left): anvas beltb y Tod’s;cashmere and co on sweater by Ermenegildo Zegna silk tie b y Salvatore Ferragam ;nylon ravelpouch by Prada.

16 7

E R E S

W

A T

U

S S E D



T H IS M O N T H O N O U R  O T H E R P L A T F O R M S 

T W IT T E R

FACEBOOK

E SQ U R E

E S Q U IR E M A

A Y S I

IN S TA G R A M

E S Q U R E M

W W W .E SQ U IR E .M Y

E A

N

T I M E

Long b eforetherew asq uartzw ithitsp recise sec o nd sind ica tion,thed ead b ea tco m p licatio n w asalread ystealing am arch . o r d s b y LeongW ong

hisisa health w arning issued  by theMinistryofH orology: “D o not befoo led byw atchesthaton lytickor m oveateverydead second.”N otallsecondhan dsthatm ovelikethatbelongtoquartz w atch es;theycanalsobepartofam ech anical w atch.Yes,am echanicalw atchw ithasecon d handthatadvan cesinsuch am anner,thanksto am ovem entthatbearsm anynam es:deadbeat, dead -seconds,trueseconds,jum pingsecondsan d independentseconds. B U T F IR S T , A

L IT T L E H IS T O R Y L E S S O N

Likem ostinven tions,thereareseveralclaim ants w hosaytheyhad theideafirst,butm osthistorian s seem toagreethatcreditgoestoa17thcenturyE nglishastronom erbythenam eofR ichardTow neley. T hedeadbeatisactuallydirectlyinspiredbythe anch orescapem entinpen du lum clocks,asinven tedbyanotherE nglishscientistcalledR ob ert H ookein1657.Itis,how ever,asignificantim provem entoftheescap em ent,asitelim inatesthew ear an dtearfrom therecoil. H O W

IT

O R K S

 Apivotforkw ithtw oopposingpalletsregulates therotationoftheescapew heel.O neisa“locking”or“dead”facethatpushesthependu lum , w hiletheotheristhesloping“im pulse”facethat enablesthepen dulum tosw ingbackand forth. T helockingpalletstop sthew heelfrom advan cinguntilthependulum hasreturnedtoitsstartingp osition ,w hichthenreleasesthe“locking” facefrom itspause.T heterm “deadbeat”refers tothepauseforafullsecondthatoccu rsasthe pendulum com pletesitssw ing.T he“locking”concep tistheelem entthatinspiredthedeadbeatin w atches.T herudim entaryprinciplesrem ainthe sam e,bu tthependulum isreplaced byabalance

springinw atch es.Itisinterestingtonotethatthe deadbeat’saccuracypavedthew ayfortheeven tual birthofthechronograph. In anorm alw atchm ovem ent,thesm oothtransitionofthesecondshan dsw eepingacrossthedial hasafrequ encyofbetw een 2.5h zand5h z,w hich isactuallym adeup ofveryfastadvancesthatare barelydiscernab letothenaked eye.Inaw atch ,the deadbeatm ovem entisw herethepow erfrom the springtothesecondsw heelisstoreduptothefifth beatbeforeitisreleased ,allow ingthew heelto m oveon eintervalinstead ,w hichisapproxim ately onehertz.T hattranslatesintoa“tick”forevery second,allow ingtheindicatorhan dtom oveat everybeat;hen ce,thejum pfrom secondtosecond, w hich givesaprecisem ovethatisverysim ilarto thequartzseconds.T hem aindifferen ce,ofcourse, isthefactthatthedeadbeatisararecom plication thatrequiresm uch skilltoputtogether. H E R E A R E S O M E O F T H E

A T C H M A K E R S

T H A T A R E M A K I N G T H IS M O V E M E N T R E L E V A N T A G A IN :

A r n o ld

S o n

D S T B (D ia l S i e T r u e B e a t )

 Arnold & So n— ah ighlyrevered B ritish w atch com pany,w ithrootsdatingbacknearly250years, w hichisnow entirelySw issow ned— decidedtoreintroducetherarelyseen dead beat.T heD ST B has auniquem odernaestheticinspiredbythelookof oldpocketw atch es.C learlyathingofbeauty,ithas asunbursteff ectradiatingfrom theoff -centrem ain dial,w hichisdom e-likeandcoatedw ithw hite lacquer.IthasblacktransferredRom annum eral hou rm akersandbluehou randm inutehands.T he piècede résist nceislocatedbetw eennineand10 o’clock. T he dead beat seconds display m echanism hasthreered-goldbridges,secondsm arkers

Fa r l ft Gröenfeld

Le ft

One

  J aeger

Geoph ysic

Time.

Hertz.

LeCoul tre

Universal

R ig h

JaquetD roz rande Second e D eadbeat. Far ri

Arno d

Son

STB.

onaraisedsapphireringandabluesteelsecond hand.Anexclusiveautom aticin-housem ech anical m ovem ent— encasedinred-goldhousing— pow ers thew atch. J a e g e r -L e C G e o

u l

h y s ic U n i v e r s a l T i

Jaeger-LeC ou ltrecom m em oratedtheIn ternation alG eophysicalYearof1958w ithalim iteded ition nam esakew atchin20 14.T heG eop hysicisnow a perm anentfixtureofthecom pany’srange,follow ingtheintroduction oftheU niversalTim e.This usefuland practicalw atchhasananti-m agn etic feature,a24-hourcitiestim ezon e,w ithdayand nigh tindicatorontheflange,an dalacq uered grad uationblueglobew iththelandm assdecoratedin goldasview edfrom theN orthPole.T heappliqué hourm arkersandhandsareingoldthat’scoated w ithSuper-Lum iN ova.T hem echan icalm ovem ent w ithtruesecondsishousedinared-goldcase. G

n e

T hisaw ard-w inningw atchhasasolidsilverdial w ithtw ofurthersubdials:asm allerrhodium -platedringforthehoursan dthem inutes,asindicated bybluesteelhands,attw oo’clock;andalarger rhodium -platedoneforthedead beatseconds,also indicatedbyabluesteelhan d,atseveno’clock.T he pow erreserveindicatorsitsat11o’clock,w hilethe barrelsindicatorisatthreeo’clock.W hatm akes thisG rön efeldpieceuniqu eistheindependent geartrainforthedeadbeatsecondsthatem itsone hertzon itsow n.T hem ovem entisam echanical hand -w ound dead beatsecondsw ith72hoursof pow erreserve,allen casedinared-goldhousing.

e l

O n e H e r t

J a q u e t D ro z

W hen onethinksofaw atchm akingnation,it’sfair tosaythattheN etherlan dsw ouldn’tbethefirstto com etom ind.MeetG rönefeld,arespectedbrand hailingfrom thecountryofw indm illsandcan als. Johan G rönefeld established the Am sterdam based com panyin1912,andtoday,hisdescendan ts, tw otalentedbrotherscalledB artandT im G rönefeld,continuehislegacy.N ostrangerstothew orld ofcom plication sandkn ow nfortheirfinefinishing,theyw ereoneofthefirstw atchm akerstorevivethedeadbeatforthe21stcentury. T heO neH ertzhastw obarrelspow eringthe tim e,w iththefirstreserveforthehoursandthe m inutes,andthesecondforthedead beatseconds.

G ra n d e S e c o n d e D e a d b e a t

T hetech nologyw ascreatedduringtheAgeofE nligh tenm ent,w henitsnam esakefou nderw aszigzaggingacrossE uropesellinghishandm adecreationstotheroyalcourts.Itisduringthisperiodthat thedeadbeatbecam ew idelyused.H ence,itisonly fittingthatJaq uetD rozshouldalsochoosetobring thean tiquecom plicationbacktothefore.T heclassicdesign hasagrandfeuenam eldialw ithblack transferredm arkingsforthesecondsontheflange, asm alldialforthehoursandthem inutes,anda largedialforthedate.Allthehandsareinredgold. T hem ech anicalm ovem enthasaself-w inding,anti-m agn eticm ech anism w ithtrueseconds. 

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17 2

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Jules Audemars Tourb il on C hro no gra Jules Audemars is to Audemars Piguet what the Continental is t o Bentley. Part of the

h ute horlogerie

department, it represents the company’s acumen in the traditional art of watchmaking. This year, a pink-gold version of the openwo rk chronograph has been introduc ed to th e range. Its brown sapphire dial reveals the beautiful intricacies of t he satin-brushed skeleton b ridges. The hands are in p ink gold , and repeated in the co ntinuous count er at nine o’clock, the minute chrono count er at three oclock and the lying tourbillon at six o’clock. The hand-wound m echanical movement has a 72-hour power reserve with chron ograph function and a lying tourbillon.

17

R o y a l O a k D o u b le W h e e l O p e n w o r k e d

Th isyear,Au d em arsPig ue thasco m eoutw ithan array o falterna tive stothisclassiccreated b ytheleg end aryG erald G entain1972 ,b utonlyonetrulystoo d out tous:theD o ub leB alan ce W hee lO p en w orked .U ntil no w ,no on eha d off ered ad ou b leb alan ce w he elw itha d ed ica ted sp ring ea ch ,an d thisinventio nhasallow ed   Au d em arsPig ue ttooff erahig hlyac cu ratereinterp retatio nthathan d lesthe stresse san d the strainsofg ravityfarb ettertha tasing lew heeleve rcould .Thed oub le b alan ce w heelisheld inp lac eb yap ink-go ld b rid g eat eig hto’clock ,m ad eeven m o reeye-catch ing b ythefac t itissu rround ed b yase aofslate-g reyske leton b rid g es. Th eske letonised sp ring b arrelcan b eseenatone o’clock.Th edialisd ec o rated w ithlum inescen t-co ated  p ink-g old ap p liq uéhourm arkersan d rep ea ted onthe hour,m inutean d sec ond shan d s.Th isnew jew elthat red e�inesac cu rac yisp arto ftheau to m aticm ec han ica l m ov em en ttha td rivesthe w atch ,w hich co m esin astainlesssteelo rp inkgo ld case.

Ro ya lO ak Tou rbi

n E x t r a -T h

S ub tleap p earstob etheo rd ero fthed ay,asthe d em an d forslim w atchesg row s.Th isyear,theR oy al O akhasb ee ng ive naw ell-d ese rve d g em intheform  o fatourbillontha thasb eend rop p ed intoitsextra-thin m ove m ent.N eed lesstosay,itisq uiteafeat,asthe  tou rbillonhad tob ereeng ineered to�it,an d inthe  p ro ce ss,hassh ed so m eex trasw ithoutlosing itsm ag ic. Th e6 0 -seco nd tou rbillonsitsatsixo’clockonasm oked  g rey“Pe titeTap isse rie”g uillochéd ialw ithw hite-gold  ho urm arkersco ated w ithlum ine sce ntan d rep ea ted  on the han d s.Th ehan d-w ou nd m ech anicalm ove m en t w ith72hoursofp ow erreserveisho used inap latinum  case .B utsh ould yo up referalittlem oreornam entation,thereistheop tionofan eleg an td iam ond -stud d ed  b ezelfo rthatex tra“w ow ”fac to r.

R o y a l O a k O

s h o r e D iv e r C h

o n o g

a p h

W ithitsrob ustd esig n ,the latestva riatio nofthe R oya l O akO ff sh oreisarguab lyo neo fthem ostattractive . Th eb o ld co lou rw ayalsom ake sitm o reap p ro ac ha b le. Thed eep -b lued ialw itha“Még aTap isse rie”g uillo ché isd ec o rated w ith lum in esc en tw h ite-go ld ap p liq ué  ind exe san d rep ea ted o nthe h ou r,yellow m inu tean d  ye llow -tip p ed sec o nd shan d s.Th ed ialhasad arkb lu e rotatab leinn erb ezelw ithayello w 15-m inutem arke r. Th ereisam inutech ro no co un terw ithaye llo w h an d  atnineo’clock an d aco n tin uo usseco n d sw ith a w hite-gold h an d atth ree o’clock .Th em an u fac ture autom aticm ech anicalm ovem entw ithchrono graph fun ctio nisho used in astain lessstee lcasew ithb lac k ceram icp ush ersan d crow n.Itisw aterresistan ttoa d ep thof3 0 0 M.Ifb lu eisn otyo urthing ,the re’salso a ch o ice o ftan g erin e,ye llow o rlim eg ree n w ithm atch ing rub b erstrap.

A

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T h erecen tgrow th ofth ew atch m ak in gin d u stryin G erm an yisd u etoth esu cc essof tw ow atch co m p an ieslo ca ted in G lash ü tte.O n eofth em isALa n ge & S öh n e,w h ich w as fou n d ed b yFerd in an d Ad olp h Lan ge in 1835 .Itce as ed op eration sin 1948 w h en E ast G erm an yfellu n d erco m m u n istrule,b u tw as re-estab lish ed in 19 90,w h en h isgrea tgran d so n W alterLa n gereturn ed toG lash ü tteafterth efallofth eB erlin W all.T od ay,A La n ge & S öh n eisren ow n ed th ew orld ove rforitstim ep iec es th atareen gin ee red w ith  p recision ,an d m ain lyh an d -fin ish ed an d h an d -d ec orated .W h ileth en ove lties forth eye ar reflec ton ce aga in th eco m p an y’sove rarch in gp h iloso p h yth atin n ova tion isco n ce aled  ratherth an revealed ,th ere’son eco n stan t:ALa n ge& S öh n en ev ertakessh ortcu ts.

atogra ph PerpetualTourbil on This range, which is devoted to c hronograph complications, might have been created only a decade ago, but within that short period of time, has set standards for others to follow. Current renditions are packed with ammo t hat really leave a mark, such as a perpet ual calendar, a day/night indic ator, a moon phase and a power reserve indicato r. The real gems, how ever, are the chrono jumping minute—similar in concept to the jumping seconds or the deadbeat that works with an extra wheel—and the stop-seconds tourbi llon, which has a mechanism that prevents the cage from t urning once the c rown is pulled—something that normal continuous spinning tourbillons can’t do. This ensures accuracy right down to the second. The dial is black with a solid silver base, while the hand s and the appliq ué hour indexes are in rhodiumed gold. The continuous seconds, day of the week as well as day/night indicator is at nine o’clock, the jumping minute, month and leap year counter at four o’clock, and the moonphase at six o’cloc k. The engine that p owers all these marvels is a hand-wound mechanical one with a 50-hour power reserve, which is housed in a platinum case.

17 6

S a x o n ia T h

 Alsop arto fALang e& Sö hn e’sina ug uralco llec tion in 199 4 ,Saxo nia,w ithitsp ared -d ow nae sthetic,rep rese ntsthe b ran d ’seleg an tan d re�ined sid e.Lastye ar, thep iec esw erem ad eslim m erinline w iththed em an d  forthinw atch es.Th isye ar,theSaxo niahasacom p letelynew fac e.Inp reviousm od els,thesm allsec o nd w as the onlyfeatured eco rating the d ialatsixo’clock.N ow , thelatestrend itionhastakenthem inim alistlo okev en further.Ithasno ind icatorw hatsoev er,an d them inute m arkershave alsob ee nrem oved ,lea ving b eh ind o nly thinp ink-g old hourind exm arkers,an d houran d m inute han d sad o rning the solid silve rd ial.Th ehan d -w ound  m ec ha nica lm ove m en ttha td rivesthe w atch isassem b led ,d ec o rated an d �inished b yhan d .

R ic h a r d L a n g e J u m

p in g S e c o n d

Th eg ran d son ofAd olp hLang e,R ich ardLang e,w asa p roli�icw atch m ake rinhisow nrig ht,an dhisnam esa ke rang ed ed ica ted tow atch esw ithascien ti�icslan tw as introd uc ed in20 0 6.Ad eca d eon co m esthe Jum p ing  Second s,an d true toitsp rincip les,thetim ep iecehas tw oscien ti�ic-base d co m plication s:the one -sec ond  co nstant-forceesca p em en tand the jum p ing seco nd s. Inanorm alsp ring barrel,theam p litud eofp ow eroutp ut sup p lyusuallystartstoslow d ow nhalfw aythroughthe p ow erreserve.W ithco nstantforce ,thesup p lyofp ow er isco nstan tthrou g ho ut,en suring ac cu rac y.Jum p ing  Sec ond sisap rec ision-m ea suring d evice ,asthesec on d  han djum p sonlyonthesec ond tothe next— he nc e, thena m e— an d it’sd uring tha tp rec isejum p w he nthe seco nd can b em easu red .Th esetw oco m plication s incom b ination,tog etherw iththeinteractionoftheir w hee ls,d eterm ineab solutep rec ision.Th ed ialofthe w atch ism ad efrom rho d ium -p lated silver.Ithasthree d ialsarran g ed inareg ulato rstyle:alarg ed ialforthe  jum p ing sec ond s,an hourd ialw ithb lackRom an num eralsateig hto’clock,and am inuted ialw ithred Arab ic num eralsan d blac kind exm arkersatfouro’clock.Th e p ow errese rveind icatorsitsatsixo’clock.Th ejum p ing  sec ondshan d isinb luestee l,w hilethehouran d m inute ha nd sareinrho d ium ed g old .Th ehan d -w ou nd m ec ha nica lm ovem en tishou sed inap latinum case.

G ra n d L a n g e 1 M o o n P h a s e “L u m e n ”

 Ap p rop riatelyna m ed Lang e1,thisran g ew ason eof fourlau nch ed tom arkthereb irtho fALang e& Sö hne in199 4.Sincethen ,ithasb ec om ethestand ardb earer fortheb rand ,an d ove rthelast20 ye ars,hasp rod uce d  som eofthem ostico nican d innov ative tim ep iec esin thehorolog ica lw orld .“Lum en ”w as�irstintro d uce d in 20 13,an d itsnam ereferstotheB ig D ateonlum inous d isc sthatg low inthe d ark.Thisistheresultofasp ecial coating ontheb lac k-tinted sap p hirethatp rev ents alm ostallvisib lelig htfrom entering ,b utallow sU V  lig htthrou g hto chargethelum ino usd isc.Th ed ialfor thetim eisoff -ce ntred atnineo’clockw ithlum inous Ro m annu m erals,ind exho urm arkersand rho d ium ed  g old han d s.Thesm allseco nd sd ialisatsixo’clo ck.The m o onp hase ,sharing thetim ed ialw asintrod uce d in 20 14,an d thisyear,ALang e& Söhnehasm ad eitg low  too.Th em ovem en tsee nb en ea ththetinted d ialisa han d -w ou nd m ech anism w itha72-ho urp ow erreserve. Itisenca p sulated inap latinum case .

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B allo n B le u d eC artierE n am elG ran u latio n  w ithP an th e rMo tif The vog ue for o stentatious orn amentation ega n in he 16 h cen ury wi h oc ketwatches,as members of he no bility eng aged in a g ame of co nstant on eupmanship in a bid to both impress and entertain. But now,the artoftimepiece decoration is considered a d ying skil,a s a p referenc e f r simp icity has taken ol . Luckily f r us,C artier is e of he few who continue to supportand preserve traditionalartisanal rafts via its two year-o d atelier. This year,we see a new creation featuring the use of ranulated en amelb ead s,as insp ired b y last year’s old g ranulation s. I invo ves several iring s and he ca refularrang ement of he g ranules as wellas the out ine in go d thread ainstaking rocesses hat can on y be d on e by ha nd . The dialb elow the g ranulated an her mo ifis mad e of yelow g ol ,as are the h our and minute ha nd s. W ithin he yelow- old ho using with a diamond-setbezelsits an automatic mechanical movemen . Suitab e for b oth g end ers,this work o art is limited o 0 t aly unique p ieces,as every one is ind ividualy h and made.

17 8

H y p n o s e S

a l

 Alsone w ,the H yp no seran g ep ro m isessom ething  sp ecialfo rthe w o m an in yo urlife.Th enam eh intsat itsd esig ninsp iratio n:the ova l-sh ap ed w atch hasa d o ub leb eze lp ave d w ithg rad ua ting d iam o nd stha t g ive am esm erisin g 3 D eff ec t.Th eartd ec o d ialhasa g u illo ch éce ntrew ithb o ld R o m an nu m eralsto m ark the ho urs.Th etim eistold viab luestee lh ou ran d  m inu teh an d s.Th een g in eb en ea thth ew h ite-go ld  case isaq ua rtzm ove m en t.Th eH yp no sealsoco m es in afulld iam o n d ve rsio njustin caseyo ureallyn eed  to g eto uto fth ed o g ho use .

R o t o n e d e C a r t e r D a y / N ig h t R e t r o g M o o n P h a se s

a d

Th eC artier�inew atch m aking d ivisionhasrevisited  theD ay/N ig htRetrog rad eMoo nPh ase sfor20 16.Th is p op ulard isp laynow co m esin4 0 MMw hiteg old w itha d ee p -b luelac q uerd ialthatissp ec kled w ithg old d ust, w hilethe d ay/nig htw ind ow isb orde red w ithd iam on d s an d rep eated on the ho urind exe s.Th em o on p ha ses areillustrated w ithd iam o nd san d sap p hires,an d the b eze lisp ave d w ithd iam o nd s.Th em ovem en tw ithinis am an ufactureau tom aticm ec ha nicalo ne w ithad ay/ nig htind ica to ran d m oonp hase functionw ith4 8hours o fp ow errese rve.

D r iv e d e C a r t e r A u t o m a t i

W atch co m p an iesrarelyintrod uc eab ran d -ne w off ering  eve ryye ar,b utitseem stob ethe norm atC artier.  Afterw itne ssing the un veiling ofthe C léd eC artier lastye ar,w ew ereintrod uce d to theD rive d eC artier atS IH H 20 16.Th eD rive’sae stheticrem ainsfaithful totheco m p an y’sfond nessforartd ec o.Pincu shionsh ap ed ,itsm asc uline,sp ortyd esig nisinsp ired b y theg old en ag eo fm o toring .Ap artfrom itsnam e,the w atch’sso urce ofinsp irationisob viou s,asseenin such elem en tsasag uilloch éce ntrethatrese m b lesthe d esig no faradiatorg rillan d aw ind ing crow nsh ap ed  likeab olt.Th epink-go ld ca seco ntainsan au tom atic m ech anicalm anu factureC alib re190 4m ove m en t.

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C lifton C hron og rap hC om pleteC alen da r The C if n ol ection is p op ular f r its d ecid edly ol world ch arm. Folowin g he b rand s pen ch an or men’s ch rono raph s,the b ezelof he c ase is more b eveled, with a sharper,tapered edge and curvier integrated ugs. The silver dialis inish ed with a sunb urstp at ern an d d eco rated with ap iqué steelArabic n umerals an d in ex ho ur markers. There are three sub-dials:a 24-ho ur counter and he ch rono ho ur at nin e o’cloc k,a chrono minute counter with day and month indicator at 12 o’cloc k,an d a mo on hase c oun er at six o’cloc k. An automa ic mech an icalmo vement rom Va ux 7751, which is h oused in a stainless steelcase,reg ulates the iming . There is a i-co ur variation ,with ol ated bezeland ho ur,minute and secon d h and s.

18 0

C a p e la n d S h e lb y ® C o b

a 1 9 6 3 C o

p e t i o n

Th isco llab o ratio nentersitsseco n d ye arw itha tim ep iec eth atisexecuted inb lac kw ith ye llow  ac cen ts.Thed ialis�inish ed insu nb urstb lac kw ith silve rArab icn um eralsan d S up er-Lum iN ovad o ts.It hasth ree sub -d ials:am in utech ro n oco un teratth ree  o’clo ck,an h ou rchron ocou nteratsixo’clock,an d a co ntinuo ussec o nd sco unteratnineo’clo ck .Th eho ur an d m inu teha nd sareco ated w ithSu p er-Lum iN ova , w h ileth ece ntralch ro no sec o nd shan d istip p ed w ith ye llo w .Th etac hy m eterscalearou nd th ein nerb eze l isinye llow .Th ew atch com esw iththe ev er-reliab le au tom aticm ech an icalm ove m en tby V aljou x7753 .Th e sap p hireca seb ac kb ea rsth eleg en d rynu m b er“15”o f the C ob ratha tw on the �irstAm erica nC ha m p io nsh ip .

A la in Z i

e r

E SQ U IR E :

a n , C E O o f Ba u m

h a t

e &

a k e s a Ba u m e & M e

M e r c ie r , a k e s o u r q u e s t o n

c ie r

A L A I N Z I M M E R M A N : Firsto fall,letm etellyo uw hatm ake s B au m e& Merciersp ec ialan d co m p etitive. 1.O urexp ertisean d s v ir f ireinth eartofw atchm ak ing . 2.Th eb ran d iseq uallym ale-an d fem ale-orien ted .W ealw aystalk ab ou tb o thg en d ers. 3.W etakeinto co nsid eration o uryo un g custom ers.W ew illb e their�irstw atch,kind o faninitiation b ran d ,ifyo uw ill,and thatis h ow w eg etnew clien ts. 4 .W ecreatean elem ento fsurp rise:w ew an tourw atch estotell astory.Allourclientslove ag ood story.

w ehaveab asicco m p licatio nw ithaG MT.O neofourb estsellers isth eop en b alan ce — p eo p leloveto see them ec h an ics,m ayb e b ecause itloo kslike atourbillo n.Itiso ur�irstm ove intoth e b eau tifulin d u stryofm ech an icalw atch es.Asfo rton ean d co lour, yo uw illse etha tit’sve ryso b ertothep oin tofnod etails,w hich yo ud on’tneed ,b ecau sestyleistim eless.You m ig h thaveo nly onew atch ,an d w an titto last10 o rm o reye ars,sow ecan ’taff ord  tofollow eve rytren d .Itjustw ould n’tw ork. E S Q : C a n y o u g v e a r u n d o ch

s e n ? I t a ll

ks ve ry co

n o n h o w ca

h i s y e a r ’s n o v e

e s w e r e

ed

Th isye ar,w ed ecid ed to exp ressw ho w earew ith sm all co m p lica tion s.Kee p in g th ep rice inm ind ,w ed ec id ed tohave  aco m p leteca len d ar,an d ach ro no g rap hw ithG MTfun ctio n and d ay and nig htind icator.Itisalso ve ryinteresting tha tour d esig n erm an ag ed top uttheseco m p lica tio nsto g ethe ro nad ial w itho utlosin g clarityand read ab ility.Thisw atch w illb eava ilab le inthreed iff erentve rsions. A

E S Q :

h e n

p o

e p a r in g e a c h y e a

a n t th in g

h a t y o u r te a m

s c o h a v e

e c

o n ,

h a t s th e

o b e a r in

o s t

n d

Th ese areourb ac kb onesinterm so fp rep aring the co llection .An d thesearethehig h lig h ts.To w atchsp ecialists, co nn oisseursan d enth usiasts,theyarenothing sp ecial,b utthey arein factourreality.Alo tofp eop lejustexp ectp u reeleg ance tothe p ointo fb eing aclassicw atch.W hatw ed oisstartata certainp riceleve lfo rg ifting sin cew eareaceleb ratio nb ran d . Th eentryp o into ftheb ran d on th e�irstleve lw illb etheC lassim a co llection ,w hich hasb eautifulslate-g reyd ials. A

E S Q : at

h a t s t e d i e r e n c e b e t w e e n t h i s y e a r ’s c o f

ev

e c

o n a n

s ye ars?

Th eau tom aticthatw elau nch ed lastye arhasanew ca se.  Alth oug hresh ap ed ,itretain sthe essen ce o fC lassim a,an d now , A

E S Q : D o e s B a u m e & M e r c ie r p la n t o w o r k w h i

h c o m

h m o r e

c a t io n s ?

Intherecentp ast,w em ad eatourbillonan dam inute rep ea ter,b utnotforco m m ercialrea son s— m erelytod em onstrate thatw ehavetheexp ertise.B utthatisno tw how eare.W edonot w an ttoco m petew ithV ac heron C onstan tinan d Jaeg er-LeC oultre. W eareallab outinitiation,the �irstw atchthatyo uow n,that intro d ucesyo utothe b ig b oys.Isn’titb ettertob ethe�irst? A

E G E R

F ir s t e s t a b g o t J a e g e th

t,L a n

s n a m .T o M

s h e d

n

e in

9 3

a y , t

3 3

, o l o w

a n

,a s m

o v a to r o f

y A

a c e m

a tc h

s e v e r a l o f

o i

e L e C

g a p e r m e s n e a

o v e m

e n

c h c o n

The Reverso,o ne o he mo stin stan y recog nisab e watch es aroun ,h as justc elebrated its 8 5th an niversary an d n aturaly,a c mmemora ive edition as b een ro ed out o mark the o cc asion . The timepiece ha s an ivory dialo n o ne side,with a day and month d isplay at12 o’cloc k,an d a d ate and moo np ha se coun er atsix o’cloc k. n the ip side is the secon d ime zone o n a C ous de Paris anthracite dialwith a day an d nig ht ind icator at six o’cloc k. The han d-wound mechanicalmo vement wi h 45 ho urs of po wer reserve is housed in a p ink-go d case.

U L T R E

e in L e S e

a n e n t

y a l

e rs o f s a ff o n

R ev erso Trib uteC alen d ar

18 2

E C

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s p a r ts , y c a

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a n y t o r o f e ly in

a n

, J a e g e r -L e C o u

r e

e c o l a b o r a to r E d m o t h e s c r e w s .B u t a t a c h e i

e y w

o r e t

a n

o r k fo r, s n o t o n

e s fo r w a tc h m s t y .

a k i

g ,

M a s t e r G r a n d e T r a d i

a l T o u r b i

n C y l

r i

TheMasterran g eisaJae g er-LeC ou ltreclassicthat h asp laye d h o stto innu m erab leclassicfun ctio n san d  g rand co m p lica tio ns,than ksto itsea silyad ap tab le sim p le,rou nd sh ap e.Th isye ar,w eseeafuss-free va riatio n w ithasp litd ecksilve r-ton eg rain ed d ial w ithinaplatinum case.Th ethin,b lac k-tran sferred  in d ex ho urm arkerson theu p p erhalfarep aired  w ithrh od ium ed ho uran d m inu teh an d s,w hilethe  tou rbillo n w ithacylin d ricalsp ring d o m in atesthe low erhalf.

D u o

è t e Q u a n

è m e L u n a i

Th ein no vatio no ftw och am b ersino n ew atch isuniq ueto Jaeg er-LeC o ultre.H aving sep arate fun ctio nan d reg ulating m ec ha n ism sinth eiro w n resp ec tive w in g sm ea n sea ch ha sad ed ica ted  p o w ersou rce ,w hich ca nb ew ou nd sep arately, the reb ym axim ising acc uracy.Th eD uo m ètrew as �irstlau n ch ed in20 0 7an d hasb ee np artn ered w ith va rio usinterestin g com p licatio n seve rsin ce.Th is tim ero und ,th estarattractio nisalun arcalen d ar.O n the silve red o p alined ialisth eho urscou nteratth ree o’cloc k;the han d -ham m eredm oo np ha seind icatorin g o ld atnineo’clo ck;an d �in ally,b etw eentw o cu to uts reve aling th em ec h an ism b elow ,isasm alljum p in g  seco n d sco un teratsixo’clo ck .

M O N T B L A N C

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ylind rique Poc ketW atch 110 Years Ed ition

In 200 6, Richemont Group acquired Fabriquè d’Horlogerie Minerva SA and renamed it Montb lanc Manufacture. The Villeret collec tion is the direct o utcom e of th is, and named aft er the manufacture’s location. This year, Montblanc unveiled one of the m ost beautiful timep ieces yet from the manuf actu re, to mark the com pany’s 11 th anniversary. The poc ket watch exhibits every aspect of the high calibre of ine craftsmanship and know-how at Villeret. The watch is inspired by the marine chronom eter with multi-layered dial. It has a dark blue Grand Feu enamel bezel with white-gold inlaid Roman numerals and index ho ur markers that frame the comp lex yet easily readable network of d ials. The two outermost ring s are dedicated t o the 24 city t ime zones; and the next layers are dedicated to the gold appliqué hour markers and black transfer minute ind exes. The dial is separated into t wo tiers. The upper tier is in engraved white g old with t wo hemispheres—Southern on the left and Northern right

which

have a 24-hour day and night indicator each fo r the world time. The home time is at 12 o’clock, while the exo-tourbillon with its doub le in� inity bridg is at six o’clock over the aventurine on the lower t ier. The local tim e is told via gold hands. The caseback features an image c omposed o f wave-like engravings on the brid ges, with the w heels visible beneath. The watch is driven by a hand-wound mec hanical movement with a minute tourbillon and three time zone functio ns—local time, home time and wo rld time— that is enclosed wit hin a white-gold case. There are only eight pieces, and they are worth every penny t hat you pay, if there are still any left.

18

H e

a g e C h r o n o m

é t r e C o l e c

o n T w

n c o u n t e r D a t e

Th isran g ethatw asintro d uce d lastye arca ug h t m o stjo urna lists’eye s,asitg av eaclueastothe lo ftyhe ig h tstha tMo ntblan cistargetin g ,albeitat aco m p etitive p rice ,fo rn ow .Th eove rallap p ro ac h isve rym uch am o d erninterp retatio no f�in e w atch m aking ,w ithclea nan d sim p lelin es.Every w atchd o esw h atitissu p p o sed tod o,an d th atisto  tellthe tim ean d the d ateinacreative ye tm in im alistic m an ner.Th isp articu larex am p lehasalarge sun b u rst silve rd ialw ithap p liq uéArab icnum eralsan d in d ex  h o urm arke rs;ad ateco unteratthree o’clo ck;an d a sm allse con d satnineo’clo ckw ithabluestee lh an d . Th ece n traltim eisto ld viag o ld han d s.Th em ove m en t w ith inisan au to m aticm ec h an ica lon ew itha3 8 -ho ur p o w errese rve,w h ich ish o used inap o lish ed stainless steelca se.

1 0 O r b is T e r r a r u m

G lo b alisatio nm ayha vem ad eth ew o rld asm aller p lac e,b u tw estilln eed tohaveago od g rasp o ftim e, w hereverw em ay�in d o urselve s.Asaresult,w o rld  tim eand oth ertim ep iec esw ith sim ilarfun ctio ns areno w verym uc hind em an d .Th eO rb isTerrarum  h asam o d ernae stheticthat’sw ellm atch ed w itha tou ch o ftrad itio n .Th ed eco ratio non the d ialisthat o ftheg lo b easview ed fro m th eN orthPo lew ith24  citytim ezo n es.Itactua llyco nsistso ftw o lay erso f sap p hirecrystald iscs.Theb o ttom layerin d icates d ayan d n ig h t,an d also sh aresth e24 -h o urring o f the 24 citytim ezon es.Th ecrystald iscab ove hasthe  co n tin en tscu tou tfro m the resttha tarein lig h tb lue. Th eo uterm ostring isa24 -ho urro tatin g o ne,w hich  ca nb ech an g ed ea ch ho urb yp ressing th ep ush erat eig hto’clo ck .Th een g ineo fth ew atch isan au to m atic m ec ha nicalm ove m en tw ith42 ho ursofp ow erreserve tha tish o use d inastainlesssteelcase.

8 1 0 D a y -D a t

The4 8 10 C o llectio nisthe fo custhisye ar,asit b ea rso neo ftheea rliestsym b o lso fth eco m p an y— th enum erals4 8 10.Th eco llec tio nisurban ean d  en cap su latesaspo rtiersid eo fthe b rand ,w ith itsm o d ern,sim p lelin esan d ato uchofthe art o fw atch m akin g .Th ed ayd ateh asad istinctive  Montb lan cstarb urstg uilloch éem an atin g fro m the o ff -cen trestaratsixo’clockon the silve ryd ial,w hich isd ec o rated w ith g iltap p liq ué R o m an n um eralh o ur m arkersw ithlum ino usd ots.Th eho uran d m inu te h an d sareg iltan d co ated w ithlum inesc en t,w hileth e se con d sh an d isb luestee l.Thed ateisatthree o’clock an d the d ayisat12o’clo ck.Thew atch isp o w ered b y an au tom aticm ec ha nicalm ove m en tan d co m esina stainlessstee lcase.

O F F I C I N E �P A N E R A I

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ays Automa ic Steel

“Radiomir” refers to the g low-in-the-dark substance anerai used in t heir marine-measuring devices,

while “1940 ” was the year of its debut. Hefty and chunky are the qualities always associated wit anerai timepiec es, as the co mpany is the u ndisputed king o f b ig w atches. Yet, this year, the range has shed a few millimetres and come out looking elegant and slim, while still maintaining that rob ust feel. The white dial is decorated with b lack Arabic num erals and hour markers with luminous d ots. The small seconds is at nine o’clock. The in-house calibre P400 0 autom atic mechanical movement is sealed in a polished stainless steel case.

18 6

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The name of this watch o ers a hint at its origins: that

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N ee d lesstosay,G MTw atche sco m einrea llyha nd y asw ecriss-crossthe w o rld m ak ing d eals.Thisye ar, Pa n eraiha sintro d uc ed tw o ne w au to m aticca lib resto itseve r-exp an d ing line o fm an ufacturem ov em en ts, an d in theca seo fth e3 D aysG MTPo w erR ese rve  Au to m aticPAM0 0 6 58 ,ith asin he rited th eP.4 0 0 1 m ove m en t.Th eb lac kd ialisd ec o rated w ithp in strip es an d m arked w ithlum ino usArabicnu m eralsan d ho ur in d exes.Th esec o nd tim ezo neisatn in eo’clo ck w ith ad ayan d nig htin d ica to r,w hilethe72 -ho urp ow er rese rvein d icatorisat�ive o’clo ck.Theau tom atic m ove m en tisen closed in astain lessstee lca se.

L u m

n o r 8 D a y s S e t

In195 0 ,Lum in o rw aslau n ch ed to rep lac eth eea rlier R ad io m ir,w h enitw asd iscove red thatthe latter sub stan ce w asp o ison o us.Pa ne raisw itch ed toa d iff eren tlu m ino usco ating ,an d thisisre�lec ted inthe n am e“Lum ino r”.Atthe req uesto fm ilitaryclien ts,tw o fea turesw eread d ed :aclasp top rotectth ecrow nan d  in teg rated lug s.Fo rS IH H 20 16,Pa neraiintro d uce d  asp ec ialco llec to rs’setco m p rising tw o w atch es: th eleft-han d ed Lum in orB lac kS ea lan d th eLum ino r D aylig ht,b o thin sp ired b ym o d elsfrom 199 6 .Th e form erhasab lac kd ialw ithlum ino usArab icnu m eral h o urm arkersan d ind exes.Th ereisasm allsec o nd sat threeo’cloc k.Th eha nd -w ou nd m ec ha nicalm ove m en t w itha19 2-ho urp ow errese rveisho use d in astain less stee lcasew ith ahardco ating .Thelatter,m ean w h ile, isve ryrare,and hasaw h ited ialw ithblue Arab ic n um eralsan d ind exesw ithlum ino usd o ts.Th ereisa sm allse con d sco un teratn in eo’clo ck.Asim ilarh an d w ou nd m ech an icalm ove m en tisho use d inap olishe d stainlesssteelcase .

n o r 1 5 0 T o u r b i o n G M T T i a n  From Pa nerai’screa tive lab o rato ryinN eu ch âtelco m e som eo fitsm o stad van ce d tec h nica ltim ep iec es. Thisye ar,forthe ve ry�irsttim e,atitan ium va riatio n h asb ee nintro d uce d to th eLoS cien ziatofam ily. Th eske leton ised m eshd ial,b rid g esand p latesare m ad eo fthe p rec io usm etal,th ereb ym akin g the  en tiretim ep ieceex trem elylig htb u tve rystron g .The �lying 3 0 -sec o n d tou rbillon isat11o’clo ck,the d ay  an d n ig htind icatorisatthree o’clo ck,an d th esm all se con d sisatn in eo’clock.Thelarg esp rin g b arrelcan  b esee naton eo’clo ck.Th ePAM0 0 578 co m esw ith a skeleton isedhan d-w ou nd m ech anicalm ovem en tw ith 144 ho urso fp ow erreserve . L o S c i e n z ia t o L u m

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6

c u s t

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a s t

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IWC launched their irst pilot watch in 1936. It featured a rotating b ezel with an arrowhead that was used to register take-o

tim es, as well as an antim agneti

escapement to prevent magnetic disturbance when lying o ver the Earth’s North and South Poles. Today, the Pilot Watch series still bears these original innovations. This year’s novelties start with the smallest pilot watches that th e comp any has ever made, measuring 36 MM, instead of the usual 46 MM There are three di erent variants, each with sunburst dials: slate with wh ite Arabic numerals and index hour markers, silver with b lue Arabic numerals and index hour markers, and silver wit h vintage Arabic numerals and index hour m arkers. The watch is equip ped wit an in-house automatic mec hanical movement with a 68-hour po wer reserve that is enclosed in a stainless steel case.

18

B ig P i

s H e r i a g e W

a t c h

Thisd esig nrem ainsfaithfultothatofthe orig inalp ilo t w atch .Th earrow head an d large num eralsarestillve ry m uch in p layforread ab ility.Thelarg em atte-b lac kd ial p laysh osttolarge S up er-Lum iN ov aArab icnu m erals an d in d ex ho urm arkers.Th ereisasm allsec o nd s co un teratsixo’clo ck .Ah an d -w o un d m ec h an ica lly p ow eredm ove m en tw ithan eig ht-d ayp ow erreserve turnsth eSu p er-Lum iN ov a-coa ted b lue stee lha nd s.  Asm allw in d ow on the ca seb ac kreve alsthe b alan ce  w he el.Th ed ialan d th em ov em en tareh ou sed ina m attetitan iu m ca sew ithan ico niclarge �luted crow n.

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o n o g

a p h T o p G u

Thised ition iso n eofthe m o stso ug h t-afterp ilo t w atche sam o ng w atchen th usiasts.Itisna m ed  afterthe U nited S tatesN av yS trike Fig hterTactics Instruc torp rog ram m e,w hich you m aykno w asTop  G un.W hilevisuallym inim al,thisb lac kb ea utyb oasts the latesttech no log y.Ithasam atte-b lac kd ialw ith w hiteArabicn um eralsan d ind exh ou rm arkers,an d  b lac khan d s.Th eco ntinuo ussec o nd sisatsixo’clock  w ith ared ind ica to r,an d thechro no m inutesan d  h o urssh areaco un terat12o’clock.W ith inthe b lac k ce ram iccasesitsan au tom aticm ec ha nicalm ove m en t w ith a6 8 -ho urp ow erreserve .

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 Ap ercen tag eo fp ro ce ed sfro m th esaleofthe lim ited  ed itio n tim ep iec esinthe “LePe titPrin ce”se ries g o tow ardshe lp in g d isad van tag ed ch ild ren .S inc e 20 0 5,IW C h asp artn ered w ithFo nd atio nAn to ine d e S ain t-Ex up éry,w h ich isn am ed aftertheau tho ro fth e b elove d ch ild ren ’sliteratureclassic.Thisyear,itisth e p ilotw atch ’sturntoraise m o n ey fo rthe fo und atio n. Th eAn n ua lC alen d arisab ea utyw o rtheve ryou nc e o f(p ink)g o ld .Itssu n b u rstb lued ialisrem inisc ento f th eev en ing skyw ith g old ap p liq uéArab icnum erals co ated w ithSu p er-Lum iN ova and rep eatedon the  h an d s.Thesm allse con d sisatn in eo’clock,the an n ual ca len d arw ind ow sareat12o’clo ck an d th esev en -d ay ind icatorisatthree o’clock.Th etim ep iec eisp ow ered  byanautom aticm ech anicalm ovem en t— ho used ina red -g o ld ca se— w ithseve nd ayso fp ow errese rve.

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C eram icca se.B lac kd ialw ith lum ine sce n tho urin d exm arkers. Th ree su b -d ialsfo rch ro no ho ur, ch ron om inu tean d co ntinu ou s seco nd s.Se co nd tim ezon e ind ica to rw ith d ayan d nig ht ind ica to rab ove thecen tralhan d s.  Au to m aticm ec ha nica lm ov em en t w ith 6 5ho urso fp ow errese rve.

BE I S  N

SPEED CHRONOGRAPHSAREN’TJUSTFORSPORTS.AFTERALL, IFITLOOKSGOODONYOU,WHYTHEHECKNOT? PHT RA PH SB ERES STYLIN B SYEN OR SB LEON ON

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Pink-g o ld ca se.G uillo ch é �lin q uésilve rd ialw ithbo ld  Ro m annu m eralsand ind exho ur m arkers.Min utean d ho urch ro no  co un ters.B luestee lhan d s.Inho use m an ufactureautom atic m echan icalm ovem ent.

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C arbo n -�ib reca se.Matteo p alin ecu to utfoo tb allo nb lac kan d red ac ce nted  d ial.O ff -ce n tred ho uran d m inu te d ialw ithco ntinu ou ssec o n d satnine o’clo ck .R etrog radedialb etw ee n 10 o’clo ck an d tw o o’clo ck forch ro no  m inu tean d sec on d s,inc o rp o rating  ex tratim ean d ad d itio n alm atch tim e fun ctio ns.In-ho use m an ufacture autom aticco lum n-w he elchrono graph m echan icalm ovem ent.

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S tainlessstee lcase .B lac kdialw ith three su b -d ialsfo rch ron o h o u r, ch ron om inu tean d co ntinu ou s sec o n d s.Ap p liq ué lum in o ush o u r m arkersan d h an d s,w ithch ro n o  red seco nd ha nd .Su p erQ ua rtz and therm oco m pen sated qu artz electron icsm ovem en t.

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S tai ainn less essst stee ee lan d S ed n ag ag o ld  ca se sean d b rac el elet. et.D arkg rey  d ial alw ith g o ld ac ce n ts.S u p e rLum iN ov aa-co co ated tran sf sferr erred ed  ho urm ar arkers kers an d ha nd s. Th ree su b -d ial als: s: ch ro n o h o u r, ch ron o omm inu tean ean d co ntinu ou s seco nd s.Au to m at ati ic cm m ec ha nical nical  chrono chrono gr graph aphm m ovem ent. ent.

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S tai tainn le ssst ssste e e lc ase as e .Matt Ma tte sil silve red  ho ne yco m b p att atterned d ial alw ith ap p liq ué lum ine scen trho d ium ed  h o urm arker arkers. s.Tw o b lac kco un ters: ch ro n o m in u teat eatn in eo eo ’clo clo ck an d  co n tin u o u sseco se co n d satth ree o’cl cloo ck . Lum inesce ntrho di dium um ed han ds. ds.  Au to m atic cmm ec h an ica lm ov em en t w ith 4 6 h o u rso fp o w errese rve. rve.

ES

I RE RE 10 10

nly ha py w hen he n it rains rains Rainy Rain y day b ues Notus.

e make like G ene K ely ely in t e evento evento fa torrent torrentialdo ialdo wn our. W or ords dsbyS imi m Ph otog otog rap hs hsb b yD m

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Th ese esemm irrored shad es w illke keep ep yo u o n p o in tan d  rea d y ytto roc k, k,eve n nww he n th e emm o n so o n �in al allly ybb u rsts.

2 . A d

a s

 Ad id asp ac kshe atliterally w ithth esetotallyb ad ass N MD s,w hich areu sually sna p p ed up assoo nasa new release h itsstores.

3 . A r m a n i

Fe aturin g n oteso fg ree n m an d arin,g ree nap p lean d cardam om ,Arm aniC od e Profum o issp icy an d sex y.

. B r u n e l lo C

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Thin king o fretreating to co o lerclim esto esc ap e the m ug g ine ss?Ke ep you r laye ring g am estro ng w ith thisB run ello C ucin ellive st.

5 . H u

o t

R o ck th isB ig B an g   Alarm R ep ea terw ith a su itorcasu alw eartolet everyon ekno w thatyou  aren ottobetri�led w ith.

. S a n

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The respe cted G erm an sho eb ran d throw s itshatintheluxu ry sn eakerring w iththis futuristico ff ering in p rem ium ca lflea ther.

7.Trus sard

Th isnylon an d lea th er b ac kp ac kw ithaluxeye t yo u th fu lap p ea lisg oo d fo r w ee ken d trip sab ro ad o ra stro llarou n d tow n .

. Le

Th ere’sno thin g m o re classictha nLev i’s50 1 jeans.S tillhav en’tg ot ro un d to b uying ap air? W ha t’sw ron g w ithyou ?

9 . V o lk s w a g e n

S lee k,un d erstated an d  m o d ern,th em id -sized  luxu ryTou areg em bo d ies G erm an en g ine ering at its�inest.Thisisno tyo ur averag esocce rm um ’sSU V.

1 0 . C o r n e l a n

 Asid efro m p astaan d  Fe rraris,the Italian sm ak e am azin g suits.R aiseyo ur sarto rialg am eb ym akin g  the ac q ua intan ce of C o rne lian i,p rid eo fMan tua.

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THE LAN

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London

d urin g the“g o ld en eraofstea m ”,Th eLand m arkw asthe t in 1 8 lastofthe g reatV ictorian railw ay hotelscon structed ,and o rig inally op en ed asTheG reatC en tralH o tel.Much o fits�ixtureshaverem ain ed untouch ed .From itsh ig hV ictorian ce iling s,m arblearch w ays an d neo classicalo ilp ainting stotim elessfea turesallaround ,yo uca n ea silyd oa#throw b ac kp ostan yw here.Fo rthosew h ob eliev esize m atters,yo u’llb ede lig hted tokn ow thatthe hotelisan “XX L”.Theexec utive co rnersuitew herew estaye d w aso flavishp rop o rtions— yo u co uld p ro b ab lysw ing an elep han tinthere— w ithluxu riousam en ities: aking -sizeb ed ,ab ig �lat-scree n TV an d asp ac iousm arbleb athroo m . Sp eakin g o fsize,TheW interG ardens,the hotel’stw o -AA rose tte restaurant,sitsatthecen treofan eigh t-storeyatrium b en eathag ian t g lassroo fan d isd ecorated w ithm assive (fake)p alm tree s.Th ere’s Bu

2

also asizeab lespa an d healthcen treintheb ase m ent,asw ellaslarg e co nferen ce roo m san d b allroo m s.Th eLand m arkisan interesting  p lac etostay.An Africa nw ed d ing too kp lac eonenig ht,w hich saw  g uestsarriving intrad itio nald ress;an elde rlyJap an eseco up lesh ared  ad rinkw ithusattheMirro rB ar;an d aFren ch co up leaske d ustohelp  take p icturesofthe m rep eated lyatd inner.Afterall,it’salw ay sthe  ex p erien cethatcoun ts,rig ht?

Th eLan d m arkLon d o n H o telisrated a“Fan tastic”8.5/10 ,b ase d o n traveller review son lea d ing ho telb oo king w eb site goda com.Trave llerscan also  b row seth eAg o d aap p to�in d ap p -exc lu sive d ea lso n selec ted h o tels. landmarklondon co uk

W O R D S B Y IA N LO H

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It s qui z ti

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Welcome, one and all, to the irst of our new monthly quizzes

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happening on this page every issue. And because it is the irst,

    E     B

what bett er way to kick o

than with a quiz all about “ irsts”

So eyes down, focus and no whispering at the back...

6.C om pletethisfi rstlinefrom theG eo rgeO rw ell classic1984:“Itw asabrigh tco lddayinApril, andtheclocksw erestriking...”  a.Tw  b.Three  c.Twelve  d.Thirteen 7. W how asthefi rstT im balan Yan gdi-P ertuan   A gon gofMalaysia?W asit:  a.Ra a Syed Putra  b.Sultan Hisamuddin Alam Shah  c.Tuanku AbdulRahman  d.Su an IsmailNasirud in Shah 8. In w hichcountryw asthefi rstC D m ad e?  a. nited ingdom  b. ermany  c.Japan  d.South K orea

Question 1: Eva Green was cast as Vespa Lynd in the 20 0 5 Bond movie

Casino Royale . But who played t he original Vespa Lynd, and in doing

so,

became the irst Bond girl?

1. W how asthefi rstB ondgirl? 2. In w hich cityw asthew orld’sfi rstun derground railw ay system built?W asit: a.London b. New York c.San Francisco d.Paris 3. W hatw asthenam eofthefi rstnew spaper publishedin Malay sia(orMalaya,asitw asat thetim e)? 4. W hich w asthefi rstm ovietow in alloftheB ig F iveO scars(i.e.B estP ictu re,B estD irector,B est  Actor,B estActress,B estScreen play)? 5. N eilArm stron g,follow ed byE dw in“B uzz”Aldrin, w erethefi rstm en on them oon.W hatw asthe nam eofthethirdpersononthatm oonm ission?

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  4

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10.T hedau gh terofR yan G oslin gan dE vaMen des recen tlyceleb rated herfi rstbirthd ay.W h atis hernam e?  a.Evie Rye  b.Esmeralda  c.Esperanto  d.EvelApine 11.W how asthefi rstP residen tofthe U nited States tobeassassinated ? 12.111,111,111x111,111,111givesastrangelysatisfying 17-digitresu lt.W hatisit?

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  9   1  t  s    e     N  s ’   o    o    k  c    u    C    e    h   t  r    e    v     O     w    e   l   F   e    n     O

   G   I      W    P

9. C om p leteth issen tencefrom afam ousbook: “Shootallthebluejaysyouw an t,ifyoucanhit ‘em ,butrem em berit’sasin...”(C lue:T hew ord s thatco m pletethesen ten cealsoform thetitle ofthebook.)

   M  .  .  1   9   9   1  s    b     m    a    L   e    h   t  f   o   e  c    n    e   l  i   S

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 .  4  9   1  t    h    g   i    N    e    n     O   d    e    n    e    p    p    a     H   t   I .  4 .

   e   t  t   e    z    a   G   d    n    a   l  s   I  s    e   l   a      W   f   o   e  c    n   i  r   P

   e   t  t   e    z    a   G  t   n    e    m    n   r    e    v    o   G   e    h    T .

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