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Tracy Chapman, Stephen King and Chloë Sevigny on Their Debuts

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Tracy Chapman, Stephen King and Chloë Sevigny on Their Debuts

Alice McDermott, 70, writer

There are three kinds of novels I’ve never taken to heart: science fiction, murder mysteries and novels about novelists. So I’ve decided to try my hand at each. If I fail, they’re probably not books I’d want to read anyway.

Thurston Moore, 65, musician and author

I’m putting the final touches on a new album, “Flow Critical Lucidity.” But after my memoir, “Sonic Life” (2023), came out, I realized my next mission was a novella, the working title of which is “Boomerang and Parsnip.” It concerns two madly in love youths in the wilds of Lower Manhattan circa 1981, and it’s wholly irreal, bordering on fantasy.

Courtesy of Samuel Delany

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Samuel R. Delany, 82, writer

I’m writing a guidebook for a set of tarot cards I designed with the artist Lissanne Lake.

Susan Cianciolo, 54, visual artist

I’m preparing a solo exhibition that will open at Bridget Donahue gallery next month, so I’m making new works and curating older ones. It’ll definitely feature a book of my watercolor tree paintings, “Tell Me When You Hear My Heart Stop.”

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Jenny Offill, 55, writer

I’m planning to start a band called Spacecrone. (I’ve stolen the name from a book of Ursula K. Le Guin essays.) It’ll be all female and 55-plus. Our faces will be made up like Ziggy Stardust, but we’ll wear sensible clothes and shoes. What’s kept me from starting it is that I can’t sing or play any instruments.

Alex Eagle, 40, creative director

We’re finessing our bag collection, which we’re trying to make as luxurious, but also as practical, as possible. And I’m planning to write a cookbook with my son Jack.

Jim Bennett/Wire Image, via Getty Images

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Earl Sweatshirt, 30, rapper and producer

Making more music — it’s the one thing I always find myself coming back to, though every time I do, I have to overcome intense feelings of self-doubt. I also want to try stand-up, but I’m scared because there’s no music to hide behind. I don’t want dogs-playing-poker laughs, either. You know the [paintings] of dogs playing cards? Like, “Oh, it’s a rapper doing stand-up.”

Alex Da Corte, 43, visual artist

I’ve been writing an opera for some years now based on Marisol Escobar’s [assemblage] “The Party” (1965-66). It’s set at a time when the sun only shines for one day a year, and the players at the party are all wondering how to move forward while holding on to their pasts.

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Danny Kaplan, 40, designer

While clay has been my faithful medium for years, I’ve lately been fueled to broaden the scope of my craft by embracing — and learning how to push the boundaries of — new materials like wood, metal and glass.

Kengo Kuma, 69, architect

Getting out of [Tokyo]. I’m doing my best to reduce the burden on big cities — I think humankind has reached a limit when it comes to congestion — and I’ve recently opened five satellite offices in places like Hokkaido and Okinawa.

Raul Lopez, 39, fashion designer, Luar

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The thing I’m always meaning to restart is my video blog “Rags to Riches: Dining With the Fabbest Bitches,” an exploration of how food, fashion, music and art all connect.

Charles Burnett, 80, filmmaker

Right now I’m involved in the development of two films. The first, “Edwin’s Wedding,” is the story of two cousins, separated by the Namibian armed struggle with South Africa, who are both planning their weddings. The second, “Dark City,” also set in Namibia, is more of an emotional roller coaster about betrayal and vengeance told in the Hitchcockian mold.

Ludovic Nkoth, 29, visual artist

I’m looking to experiment outside the confines of the canvas — sculpture and video have always been lingering in the back of my head.

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Elena Velez, 29, fashion designer

I want to start a series of salons to bring together great minds across multiple disciplines, while feeding the subculture that my work draws from.

Daniel Clowes, 63, cartoonist

I’ve always had the desire to do fakes of artworks I admire — to figure out how they were done, and so I could have otherwise unaffordable artwork hanging in my living room. Painting [with oil] is as frustrating and exhilarating as I remember it being when I was in art school 43 years ago, and my paintings look alarmingly not unlike the ones I did at 19.

Piero Lissoni, 67, architect and designer

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I’ve started the design for several new buildings that will become government offices in Budapest. I’d like to start designing chairs, lights, skyscrapers, spacecraft. In truth, I’d like to start doing everything again.

Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610), Art Gallery of Ontario, Toronto

Robert Longo, 71, visual artist

I’ve been struggling to figure out how best to make sense of the overwhelming images in the news, so I’m turning to the past. I’m working on two monumental charcoal drawings based on paintings [about war]: Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610) and Francisco de Goya’s “The Third of May 1808” (1814).

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Gabriel Hendifar, 42, designer

I’m moving into a new apartment by myself after a series of long relationships. I’m excited to challenge my own ideas about how I want to live and to see how that affects the work of my design studio [Apparatus] as we begin our next collection.

Donna Huanca, 43, visual artist

I’m working on two solo exhibitions. One will be in a late 15th-century palazzo with underground vaulted rooms in Florence, Italy; the other in a modern white cube in Riga, Latvia. For years, I’ve tailored works to the architecture of their exhibition spaces, so I’m enjoying working within this duality.

Satoshi Kuwata, 40, fashion designer, Setchu

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We’re about to start offering shoes. I’ve thought of the design. Now I just have to go to the factory and see them in real life.

Aaron Aujla, 38, and Ben Bloomstein, 36, designers, Green River Project

We’re starting a new collection of furniture based on offcuts from the studio that are finished with a modified piano lacquer. Hopefully, a suite of these pieces will be ready for exhibition by fall. We also have a commission we’re excited to start — a large sculptural fireplace made from three unique logs of rare wood.

Adrianne Lenker, 32, musician, Big Thief

I want to start learning how to paint. The few times I’ve tried it, I loved it but also felt daunted by all I needed to learn. I often think of my songs in terms of paintings. My grandmother Diane Lee’s an amazing watercolorist. Recently she gave me a lesson all about gray.

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Melissa Cody’s “Power Up” (2023), courtesy of the artist and Garth Greenan Gallery, New York

Melissa Cody, 41, textile artist

I’m starting to create wall tapestries that incorporate my pre-existing designs, which were handwoven on a traditional Navajo/Diné loom, but these new works are highly detailed sampler compositions made on a digital Jacquard loom.

Josh Kline, 44, multidisciplinary artist

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I’m working toward shooting my first feature film — a movie, not a project for the art world.

Sally Breer, 36, interior decorator

My husband and I have started building some structures on a property we own in upstate New York — he has a construction company in Los Angeles. We’re using locally sourced wood and are 80 percent done with a studio-guesthouse, a simple 14-by-18-foot box set on foundation screws, tucked into a pine forest. This is the first time we’re really working together as a design-build team. He’s started referring to it as our “art project.”

Eddie Martinez, 47, visual artist

I’m restarting a group of large-scale paintings for an exhibition at the Parrish Art Museum [in Water Mill, N.Y.] this summer. They’re each 12 feet tall and based on a drawing of a butterfly. The series is called “Bufly” since that’s how my son, Arthur, mispronounced “butterfly” when he was younger. I’d put the paintings aside while I finished my work for the Venice Biennale. Now I’m locked in the studio, painting like a nut!

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Karin Dreijer, a.k.a. Fever Ray, 49, singer-songwriter

I’ve been thinking about learning to play the drums. They’ve always felt like a bit of a mystery to me.

Eric N. Mack, 36, visual artist

I’m starting to recharge in order to begin my next body of work. I journal, read, explore the Criterion Channel and get deep-tissue massages. I keep wishing I’d organize the fabrics in my studio.

Jenni Kayne, 41, fashion designer

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We’re starting the next iteration of the Jenni Kayne Ranch [the brand’s former property in Santa Ynez, Calif., where she’d invite guests for yoga, dining and spa experiences], only this time we’re heading to upstate New York. We’re calling it the Jenni Kayne Farmhouse, and it’ll include a self-care sanctuary where slow living is a genuine ritual.

Christine Sun Kim, 43, multidisciplinary artist

I have a bit of an adverse reaction to people doing American Sign Language interpretations of popular songs on social media — they’re usually based entirely on the lyrics in English, when rhyming works differently in ASL. So I’ve been wanting to make a fully native ASL “music” video. One day.

Ellia Park, 40, restaurateur

I’ve started collaborating with the in-house designer at Atomix, one of the restaurants I run with my husband, Junghyun Park, on custom welcome cards for the guests that feature bespoke artwork.

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Awol Erizku, 35, visual artist

Awol Erizku’s “Pharrell, SSENSE” (2021), from “Awol Erizku: Mystic Parallax” (Aperture, 2023), courtesy of the artist

I’m focused on my exhibition “Mystic Parallax,” opening in May in Bentonville, Ark. [which will include concerts and portraits of such people as Solange and Pharrell Williams]. What I never seem to get around to is archiving all of my negatives in the studio.

Jeremiah Brent, 39, interior designer

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As I navigate the [effect of the] ever-so-saturated interior design algorithm, I’m challenging our team to expand the language we speak, diversifying design references by looking to the unexpected: playwrights, films, historians and science.

Vincent Van Duysen, 61, architect

I’m focusing on the 90th anniversary of [the Italian furniture company] Molteni & C. I’m also excited about our recent addition to the family — a black-and-tan dachshund called Vesta after the virgin goddess of the hearth and home.

Kwame Onwuachi, 34, chef

I’m working on launching a sparkling-water line — the proceeds of which will help bring clean water wells to African countries — and starting to write my third cookbook. I start everything I think of.

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Larissa FastHorse, 52, playwright and choreographer

I’m adapting a beloved American musical — I can’t say which — into a TV series. Which is scary because, even though I just adapted “Peter Pan” for the stage, the TV process is the opposite: Instead of cutting down a three-hour musical, I have to add hours and hours of content. So it feels like beginning over and over again.

Peter Halley, 70, visual artist

I’ve started to paint watercolors. Now that I’ve reached 70, I thought it was about time. The images are arranged in a grid like on a comic book page, but the narrative’s asynchronous. They’re based on images of one of my cells exploding, an obsession I’ve had going all the way back to the ’80s.

Darren Bader, 46, conceptual artist

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I want to start an art gallery called Post-Artist that regularly shows art but refuses to name who made it. No social media presence. I also want to do what Harmony Korine is doing, except with none of that content.

Jeff Tweedy, 56, musician, Wilco

I’m about to record an album of new music with my solo band, which isn’t really solo at all. I’m bringing my sons and the close friends and quasi family who’ve been playing with me live for the past 10 years or so into the studio. I’ve written songs that feel like they can be a vessel for all of our voices together: a miniature choir. There’s really no experience that compares to singing with other people. I think it tells us something about how to be in the world.

Charles Yu, 48, writer

I’m about to start promoting the “Interior Chinatown” series [based on Yu’s 2020 novel]. I’d like to get into music and service. My son’s a drummer, and he’s awakened some latent impulse in me. And my daughter and wife have been volunteering. I’m not exactly sure what’s been keeping me from either. I could say work, but I suspect the actual answer is nothing.

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Elyanna, 22, singer-songwriter

I’d love to improve my Spanish. I visit my family in Chile at least once a year and, every time I fly back to L.A., I realize that I need to keep practicing.

Boots Riley, 53, filmmaker and musician

I’m getting ready to start filming a feature I wrote about a group of professional female shoplifters who find a device called a situational accelerator that heightens the conflict of anything they shoot it at. I also have a sci-fi adventure: a janky, lo-fi epic space funk opera. My dream is to use the same crew and shoot the two movies back to back in Oakland, Calif. [where I live]. That’s one thing about being 53 — I want to be able to spend more time with my kids.

Damien Maloney/The New York Times

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Sable Elyse Smith, 37, visual artist

I’ve recently embarked on an operatic project. Yikes! MoMA invited me to make a sound piece that’ll open in July, and it’ll be a kind of prelude to a larger version. It’s titled “If You Unfolded Us.” It’s a queer love story and a coming-of-age story about two Black women.

Satoshi Kondo, 39, fashion designer, Issey Miyake

My latest experiment with washi, or traditional Japanese paper, is blending fibers extracted from the remaining fabrics of past clothing collections with the pulp mixture from which washi is made. It’s a way of playing with color and texture.

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Laila Gohar, 35, chef and artist

Almost all of my work has used food as a medium and has therefore been ephemeral. Making work that isn’t — namely, sculptures — is an idea I’ve been toying with for a while, but I haven’t been able to jump into it yet. I once read something an artist said about how she thought male artists are more concerned with legacy than female artists, and that female artists are more comfortable creating ephemeral work. This rang true for me, but now I feel slightly more confident about making things that might outlive me.

Patricia Urquiola, 62, architect and designer

I was nominated [last year] as a member of the Royal Academy of Fine Arts of San Fernando in Madrid, so now I’m writing the acceptance thesis, or discurso de ingreso. It’s an occasion to reflect on ideas — for example, I reread the philosopher Bruno Latour, who argues that design “is never a process that begins from scratch: To design is always to redesign.”

Luke Meier, 48, and Lucie Meier, 42, fashion designers, Jil Sander

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We’ve started making some objects — glass and ceramics. We aren’t at all experienced in these fields, so it’s invigorating to play again.

Kevin Baker/Courtesy of Number 9 Films.

Marianne Elliott, 57, director

I’ve always wanted to do a film, but it requires so much time and theater is a hungry beast, so it’s eluded me until now: “The Salt Path,” starring Gillian Anderson, is based on a true story about a remarkable English couple [who embark on a 630-mile hike].

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Samuel D. Hunter, 42, playwright

Last year, I was approached by Joe Mantello and Laurie Metcalf, who wanted someone to write a play for Joe to direct and Laurie to star in. I’d never met either of them but, if I had to pick one actor on earth to write a role for, it would be Laurie. “Little Bear Ridge Road,” a dark comedy about an estranged aunt and nephew who are forcibly reunited after the passing of a troubled family member, will go into rehearsals in May.

Thebe Magugu, 30, fashion designer

When I was 16, I began writing a novel, taking place between the small South African towns of Kimberley and Kuruman, that I’ve contributed to every year since. It currently sits as a huge slab of a book — around 80,000 words — and I’ve been meaning to rewrite and polish the earlier chapters. I’ve given myself the next 10 years [to finish the project]. It’ll be a gift I give to myself when I turn 40.

Misha Kahn, 34, designer and sculptor

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I have an idea for this toothpaste project called Zaaams that’s expanded, of its own volition, into an entire cinematic universe. Sometimes an idea can grow so big that it’s unmanageable and nearly unstartable. Sometimes I’ll really start working on it, but I get overwhelmed by the seismic rift in society it would cause and feel dizzy. Crest, if you’re reading this, call me.

Nell Irvin Painter, 81, visual artist and writer

I’m way too old to be a beginner. I’m 81 and have already written and published a million (OK, 10) books. But a very different kind of project’s been tugging at me: something like an autobiographical Photoshop document with layers from different phases of my life in the 1960s and ’70s — spent in France, Ghana, the American South. I’d have to be myself at different ages.

Courtesy of Nell Irvin Painter

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Sharon Van Etten, 43, singer-songwriter

In 2020, I became familiar with the work of Susan Burton, the founder of A New Way of Life, which provides formerly incarcerated women with the care and community they need to get their lives back on track, and was so moved by her story I asked my record label if it was OK to use money from my music video budget to produce a minidocumentary on the organization, “Home to Me.” I still have a lot to learn about filmmaking, but I think it’s the beginning of something beautiful.

Piet Oudolf, 79, garden designer

I’m starting the planting design for Calder Gardens, a new center dedicated to the work of the artist Alexander Calder in Philadelphia. I’m working on it with Herzog & de Meuron architects, and it’ll include a four-season garden that will evolve with the months. Early in the year, it’s about ephemerals (bulbs). Spring is when woodland flowers are important. Summer will be the high point of the prairie-inspired areas, and in fall and winter there’ll be seed heads and skeletons. I think a good, harmonious garden is like a piece of living art.

Rafael de Cárdenas, 49, designer

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As a consummate shopper, I’ve always thought the best way to bring my interests together would be with a store — a lab for testing things out and creating a connoisseurship in the process. I’m thinking Over Our Heads (the second iteration of Edna’s Edibles in [the 1979-88 sitcom] “The Facts of Life”) meets Think Big! (a now-closed shop in SoHo) meets [the London gallery] Anthony d’Offay meets [the defunct clothing store] Charivari meets [the old nightclub] Palladium.

Gaetano Pesce, 84, architect and designer

I’m working on a possible collaboration with a jewelry company from Italy. I can’t say the name yet, but the pieces stand to be very innovative. Also, another collaboration with the perfume company Amouage inspired by time I spent in Oman’s Wadi Dawkah and the beautiful frankincense trees there.

John Cale, 82, musician and composer

Ever since I played viola in the National Youth Orchestra of Wales, I’ve been hypnotized by the thought of the discipline needed to conduct. My attention soon wandered — from John Cage to rock music. Now, 60 years on, it’s finally time.

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Nona Hendryx, 79, interdisciplinary artist and musician

I’m working on the Dream Machine Experience, a magical 3-D environment that’ll be filled with music, sound, images and gamelike features. It’ll premiere at Lincoln Center this June. [My idea was] to create an imaginative world inspired by Afro-Futurism that encourages a wide, multigenerational audience to share.

Faye Toogood, 47, designer and visual artist

I’d like to develop a jewelry collection, but I haven’t. Is it because no one’s asked — no phone call from Tiffany! — or because I’m struggling to understand how adornment fits into our current world?

Freddie Ross Jr., a.k.a. Big Freedia, 46, musician

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I’m recording a kids’ album and publishing a picture book for early readers. Much of my art is about language and the unique colloquialisms that we have in bounce culture. Children respond to its snappy rhymes and phrases.

Danzy Senna, 53, writer

Every time I write a novel, I think, “This is the most masochistic experience I’ve ever had — I’m going to quit this racket.” But I feel incomplete without this depressive object to feel beholden to. I just finished editing one book [“Colored Television”] and have the sinking feeling I’m about to start another.

Jackie Sibblies Drury, 42, playwright

I’m starting, hopefully in earnest, to write a play in collaboration with the director Sarah Benson inspired by action movies. We were intrigued by the problem of trying to put chase scenes or action sequences onstage, where it’s difficult to build momentum or suspense because in theater we have less control over the viewer’s eye, among other things. But hopefully the play will be about what it means to see ourselves in these macho cis men who often get hurt pretending to almost die for our entertainment — or something like that?

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Lindsey Adelman, 55, designer

I’m putting together a digital archive of my work and ephemera — about 30 years’ worth — revisiting everything from the sculpture I made as a student at RISD to the paper lights David Weeks and I sold for $25 to datebooks where I scribbled notes about things I wished would come true and then did. I hope it’ll encourage others to start something. I want them to understand, “Oh, this was the first step … this beautiful, finished thing was inspired by a piece of garbage dangling from a streetlamp.”

Elizabeth Diller, 69, architect, Diller Scofidio + Renfro

Since 2012, when my studio was doing research for a contemporary staging of Benjamin Britten’s chamber opera of Henry James’s “The Turn of the Screw,” I’ve been meaning to start a book about ghosts. While ghosts are a well-trod literary device, their visual representation on stage and screen also has a rich history that can be told through the lens of an architect. Despite the fact that ghosts transcend the laws of physics, they’re stubbornly site-specific — they live in walls, closets, attics and other marginal domestic settings, and they rarely stray from home.

David Oyelowo, 48, actor

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Something that three friends and I are in the process of building and developing is a streaming platform that we launched last year called Mansa. The idea — born out of growing frustration with making things that I love and then having to use some kind of distribution mechanism where the decision makers are almost always people who don’t share my demographic — is Black culture for a global audience. Essentially, we started a tech company that intersects with our love of story and our need to create [pipelines] for people of color and beyond to be seen.

Franklin Sirmans, 55, museum director, Pérez Art Museum Miami

There’s a recurring exhibition that I’ve worked on with [the curator] Trevor Schoonmaker since 2006 called “The Beautiful Game” that consists of art about soccer. We do it every four years because of the World Cup, and I’m starting to get into the 2026 iteration. I’ve also been trying to finish a book of poems since I graduated college more than 30 years ago. But it’s happening. It’s not like you don’t write a good sentence every now and then.

Jamie Nares, 70, multidisciplinary artist

I’ve always loved this line of poetry [from the Irish poet John Anster’s loose translation of Goethe’s “Faust”] that goes, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” One thing I’ve begun recently is a revisiting of my 1977 performance “Desirium Probe,” for which I hooked myself up to a TV that the audience couldn’t see, and relayed what was happening onscreen through re-enactment. Now I’m going to do it with YouTube videos chosen at random from the wealth of rubbish and interesting stuff on there. And as a video, because I’m not as agile as I once was.

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Joseph Dirand, 50, architect and designer

Courtesy of Joseph Dirand Architecture

My firm has just started developing, with a French company called Zephalto, a prototype of the interiors for a hot-air balloon that will take travelers to the stratosphere, and the carbon footprint of the journey will be equivalent to that of the production of a pair of blue jeans. The balloon is transparent, so it’ll be almost as if you’re going up in a bubble of air — riders will see the curve of the earth. We’re designing three private cabins: sexy, organic cocoons that reference the ’60s and the dream of space, but are otherwise pretty minimal. The landscape is the star of the show.

Amaarae, 29, singer-songwriter

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I’m working on the deluxe version of my 2023 album, “Fountain Baby.” The approach for the original album was very maximalist — I organized these camps all over the world and had a bunch of people come through to work on the music. Afterward, I felt underwhelmed — not by the project but by how I felt at the end of it all. [So] I stripped back everything so it’s just me and my home setup, trying ideas. Before, I was really lofty, but now my feet are touching grass a little bit.

Jennifer Egan, 61, writer

I’m starting a novel set in late 19th-century New York City. As always with my fiction, I have little idea of what will happen, which lends an element of peril to every project! Time and place are my portal into story, and I’m interested in a time when urban America was crowded and full of buildings we occupy today, yet the landscape beyond seemed almost infinite.

Carla Sozzani, 76, gallerist and retailer

Just as my partner, Kris Ruhs, and I revamped the then-unknown Corso Como area of Milan, we’re now putting our energy into the construction of a new studio for him, as well as the expansion of the Fondazione Sozzani [cultural center], both of which are in Bovisa, another old industrial neighborhood. I wanted to be an architect when I was young, but my father said, “No!”

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Stephanie Goto, 47, architect

If my clients allow me to peel one eye away from their commissions, I’d like to dive deeper into the renovation of my own property in Connecticut, which includes the circa 1770 former home of Marilyn Monroe and a tobacco-and-milk barn that will house my studio.

Amalia Ulman, 35, visual artist and filmmaker

I’m beginning to write the script for my third feature film — probably my favorite part of the process, when I just need to close my eyes and see the film in my head. It’s the closest to a holiday because it feels like daydreaming.

Wim Wenders, 78, filmmaker

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Several years ago, I started a project about the Swiss architect Peter Zumthor, who, along with others, designed the new Los Angeles County Museum of Art that’s being built now. The working title of the film is “The Secret of Places,” and it’s done in 3-D. My dream is to make a comedy one day. [Laughs.] Seriously. [Laughs again.] I’m working on it.

Wendy Red Star’s “Beaver That Stretches” (2023), © Wendy Red Star, courtesy of the artist and Sargents Daughters

Wendy Red Star, 43, visual artist

I’ve started highlighting Crow and Plateau women’s art history by making painted studies of parfleches, these 19th-century rawhide suitcases embellished with geometric designs. I’m learning so much about these women just by their mark making, but have only come across a few that have the name of the person who made it, so I’m titling my works by pulling women’s and girls’ names from the census records for the Crow tribe between 1885 and 1940.

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Nick Ozemba, 32, and Felicia Hung, 33, designers, In Common With

Next month, we’re opening Quarters, a concept store and gathering space in TriBeCa that will feature our first furniture collection.

Bobbi Jene Smith, 40, dancer, choreographer and actress

My husband, Or Schraiber, and I are creating a work composed of solos for each dancer of L.A. Dance Project, where we’ve been residents for the past year and a half. We’ve had the unique opportunity to connect deeply with some of the dancers, and this — a gratitude poem for each of them — will be our culminating project. They’ll each be a few minutes long and characterized by physicality set against silence.

Editor’s note: The architect and designer Gaetano Pesce, whose comments are included in this piece, died on April 4 at age 84.

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These interviews have been edited and condensed.

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Culture

'Rafa, Rafa, Rafa': Encouragement and valediction at Nadal's last match in Madrid

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'Rafa, Rafa, Rafa': Encouragement and valediction at Nadal's last match in Madrid

Imagine having done the same thing for something like 30 years, being better at it than just about anyone who has ever lived, and then one day, it’s all completely new. 

And so it is for Rafael Nadal in this through-the-looking-glass spring. For years, no place felt more like home than a red clay court. He could lose matches sometimes. Everyone does. But he almost never played poorly.

He could leave his guts on the court with an effort that would leave most of the population unable to walk for weeks. Then he would wake up in the morning and, within a few hours, be able to start preparing to do it all over again. And then, sometimes, he really would do it all over again.

Those days are done, perhaps never to return. Nearly a year and a half since a debilitating hip injury, nearly a year since major surgery to try to fix it, nearly two years since he was a mainstay of the professional tour, each match, each day, has become an experiment and a riddle for Nadal. 

How much can he push? How long can he go? How does his body feel when he opens his eyes for the first time each morning, when he rolls out of bed, when he leans over to pick up his 18-month-old son, Rafa, when he walks onto the court for a warm-up session and strokes the ball for the first time? 

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The latest test came Tuesday night against Jiri Lehecka, the talented young Czech with the limber physique and easy power that Nadal, always the brutalist, never had. But nothing about the match really had anything to do with the contrasts he and Nadal presented, or really even the score. 

This was all about the latest of Nadal’s experiments.

GO DEEPER

Over 12,000 fans, an inside-out forehand, and a dream: Rafael Nadal makes magic in Madrid


A little more than 24 hours before he and Lehecka took the court, Nadal had gone three sets and more than three hours against Pedro Cachin of Argentina. In both matches, the most important numbers on the scoreboard were counting the elapsed time. How many rolling backhands and bullwhip forehands could Nadal endure, or even want to endure, with his lodestar, the French Open, starting in 26 days.

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Nadal is balancing fitness and pride in his final season (Mateo Villalba/Getty Images)

The first set went 57 minutes, with Lehecka surviving three tight service holds and capitalizing on a cluster of Nadal errors in the 11th game to break, before serving out the set. Lehecka then broke Nadal’s serve in the first game of the second set. Nadal’s balls started to fly long and into the net without it bothering him all that much, and it was hard not to think of how he had described his game plan moving forward the night before, after his three-hour fist-fight with Cachin. 

“Trying without doing crazy things, but trying,” he said, which is what Lehecka’s 7-5, 6-4 win that lasted a little over two hours ultimately looked like.

A third set and another hour might have qualified as a crazy thing under the circumstances.

Cachin, a 29-year-old journeyman who knows his way around a clay court, had given Nadal as much as he could handle and more than anyone had expected, digging in for long fights for points, forcing him to scramble across the baseline. A few years ago, this would have been another day of certainty for Nadal: the clay, the winning, the looking ahead to the next match knowing — within a very small margin — what version of himself would take the court. 

Instead, he walked the corridors of the Caja Magica Monday night, shrugging his shoulders and shaking his head, and telling everyone who would listen that he had no idea what the future held. 

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“I never recovered too bad after tough matches, I think even at 36 years old or 35,” said Nadal, who is now nearly 38. “Today is a completely different story. It’s not only about injuries. First thing is injuries. Second thing is about… I never spent almost two years without playing tennis tournaments.”

Everyone knows what this is all about for Nadal — figuring out whether it’s going to be worth his while to put his name in the draw at the French Open, the tournament he has won 14 times, where his record at Roland Garros is a ridiculous 112-3. He’s not going to go merely for an ovation and a bouquet, or to gaze at the nine-foot statue of him outside Court Philippe Chatrier.

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He knows his tennis is there, but he will only go if he believes his body will be there, too. This is best-of-five-set tennis, on clay, and matches are affairs that generally last close to three hours, maybe longer. His serve in its current iteration, slowed by injuries to his midsection, isn’t allowing him to grab many quick and easy points. Nearly everything he gets, he has to earn the hard way. Late in the second set on Tuesday night, 40 per cent of Lehecka’s serves had gone unreturned, allowing him to speed through holds of serve already rendered tricky by the booms of “Rafa, Rafa, Rafa” about his ears every time he stood up to the line. Asked about how he dealt with them, the Czech world No 31 could only puff out his cheeks and say, “I don’t know.”

Nadal’s figure was six per cent.

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Nadal was ultimately unable to impose himself on Lehecka (Julian Finney/Getty Images)

He will have a day off between matches at the French Open, unlike the 24-hour turnaround from Cachin to Lehecka, but still, the past days in Madrid have brought his first experience in what feels like forever of the grind-recover-grind routine the sport demands. 

Ten days ago in Barcelona, he couldn’t do it, winning a match then essentially folding after losing the first set of a second. Had he pushed for more in that moment, he might have been back where he was in January, in a tuneup tournament in Brisbane ahead of the Australian Open. There, in his third match, he pushed too soon. He went to sleep with a tweak. In the morning, an MRI revealed it was a tear. Three months of recovery and many more moments of doubt ensued.

Maybe this was it? He could swing a racket, but anything close to trying to replicate the intensity of top-level competition was out of the question. Same with an intense three-hour training session. He just wasn’t strong enough. 

Madrid has been different. His strength is back, but it’s not chartable: he still doesn’t have any idea what will happen from one day to the next. 

“It’s unpredictable, that’s it, and you need to accept the unpredictable things today,” he said earlier this week. “I need to accept that.”

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Rafael Nadal, Andy Murray and the hunt for a graceful and glorious exit

In a sense, Nadal has been preparing for this moment for more than 20 years, ever since doctors detected a congenital defect in his foot that nearly derailed his career before it ever got started. He had to accept then an extremely uncertain future. Anything that followed was a kind of gift. 

The experience begat ‘Zen-Rafa,’ the player who years ago compared an opponent’s aces to the rain, something he had no control over and simply accepted. Now he was back where it all started and not just because he said Madrid is where he felt for the first time, back in 2003, that he could compete at the highest level.


Sure, Nadal would have preferred to win once again in this packed metal bandbox in front of 12,000 people who love him as they love little else. He is as big a sports hero as this country has ever produced, which Raul Gonzalez Blanco, the legendary Real Madrid and Spain striker, knows well. He was there watching against Cachin.

But Nadal knew he had already won by being able to answer the bell against Lehecka, something he could only hope he would be able to do when he closed his eyes the night before. Picking up some easy points on his serve marked another win. Those classic, loop-one-ball-then-crush-the-next-one combinations, the quick bends for the short-hop winners, the perfect slice volley when he followed his serve into the net midway through the second set — win, win, win. 

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The moment when he sprinted to the baseline from his chair, one game from defeat, and 12,000 people stood and roared, and the noise rattled all around the metal building — that may have been the biggest win of all. They did it again on match point, then chanted his name when he sprayed a final backhand wide on what is likely his final match in the city.


Madrid’s tribute to Nadal after his defeat (Julian Finney/Getty Images)

He described the night as “very positive in many senses, not only sporting but also emotionally.”

“It’s been a gift to spend 21 years here,” Nadal told the crowd during a celebration on the court after the match. “The emotions, of playing in Madrid, playing on this court, are going to stay with me forever.”

Still, as much as Nadal has accepted the uncertainty of the future and soaking up the love, he is also making plans. He is playing himself into form now, trying to pass tests with every match so he can dream of magic, not just at the French Open but after, too. 

The Olympic Games are at Roland Garros. He wants to at least play doubles there with Carlos Alcaraz, who is well on his way to taking over from Nadal in the Spanish tennis imagination. Last week he committed to play the Laver Cup, the Team Europe vs Team World competition that his friend and rival Roger Federer created. That’s in September. 

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Madrid brought four matches in six days. Assuming his body comes through all this, he will head to Rome for the Italian Open next week for another series of tests. Then comes the decision about the French Open.

That’s both imminent and a ways away. Nadal, who, in all his greatness has still somehow always managed to come off as a normalish guy, is day to day, as the saying goes — just as we all are.

(Top photo: Manuel Queimadelos/Quality Sport Images/Getty Images)

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What happened to Deion Sanders' Colorado castoffs? Revisiting a record-setting exodus

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What happened to Deion Sanders' Colorado castoffs? Revisiting a record-setting exodus

Chase Sowell walked into Colorado’s football facility on the Sunday after the 2023 spring game and saw more than a dozen teammates lined up against a wall.

As each player entered the head coach’s office and emerged within minutes enraged or in tears, the second-year receiver nervously pondered his fate.

“We knew it was going to happen, but we didn’t know it was going to happen that soon,” Sowell said.

Deion Sanders, given his Power 5 head coaching shot in December 2022 after three successful years at Jackson State, had promised to clean house. He vowed talented transfers were on the way to replace anyone unprepared to play for him. And less than 24 hours after the Buffaloes’ ballyhooed ESPN-televised spring showcase, Sanders informed 20 scholarship players they were moving on.

“He didn’t sugarcoat it,” Sowell said. “He was telling me, ‘You’re coming off injury. I don’t think you will be one of the guys we need to start this year. We need guys that are going to be ready to play now.’”

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Sanders didn’t need to use the word “cut.” Sowell understood it was time to pack his bags, enter the transfer portal and find a new home.

First-year coaches running off underperforming players are commonplace in college football. Dumping 20 in one day is not. By the end of the spring, 53 scholarship players transferred out of the program.

Colorado’s extreme roster makeover, unprecedented in modern college football history, yielded 87 newcomers and far more fascination about what Sanders could bring to Boulder. The Buffaloes were a downright phenomenon when they stunned TCU and started 3-0. They backslid hard, losing eight of nine Pac-12 games. Win or lose, Sanders got everyone watching – including his former players.

Where did they go?

 

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Colorado’s castoffs went off on new journeys across college football. Fifteen matriculated to Power 5 programs. Twenty-two ended up on Group of 5 rosters, 11 went FCS or Division II, and two attended junior colleges. Three ex-Buffs went unsigned out of the portal and haven’t played since. And several had to fight the NCAA for the opportunity to keep playing.

Quarterback Owen McCown arrived at Colorado in 2022 with a freshman class desperate to turn around a program that had eight losing seasons over the past decade. The son of Minnesota Vikings assistant Josh McCown started three games as a freshman during the brutal 2022 season. Coach Karl Dorrell was fired after an 0-5 start. The Buffs got blown out almost weekly.

“Going through that rough season made us all close,” McCown said of his class. “And then, obviously, it all went away.”

Sanders walked into his first Colorado team meeting on Dec. 4, Tupac’s “All Eyez on Me” on the speakers, and delivered his first warning.

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“I’m coming to restore, to replace, to re-energize some of y’all that are salvageable,” Sanders said. “I’m not going to lie. Everybody that’s sitting their butt in a seat ain’t going to have a seat when we get back.”

Sowell, a redshirt freshman from Houston, was unfazed.

“I don’t think he was being a d— about it,” Sowell said. “I think he was just being straight up: Prove to me that you can play.”

McCown skipped the team meeting. He was the third Colorado player to enter the transfer portal, going to UTSA, where he could start this fall. Sowell stayed to battle it out, but after season-ending surgery for a torn labrum, it was a tough time to be at his best. He was cleared to practice a week into spring ball.

Every day felt like a tryout. Sowell thought he had to be perfect to gain approval. He wasn’t himself. More stressed, more withdrawn. New coaching staffs can be disorienting for players, because they don’t know whom to trust. Sowell’s father grew up in Florida and revered Sanders, and Sowell didn’t want to disappoint his family by failing.

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There was nowhere to hide. Cameras followed the team around constantly for Sanders’ Amazon documentary series and his son’s Well Off Media YouTube channel.

“It kinda felt like a reality TV show,” Sowell said.

It didn’t take long for returning Colorado players to figure out the narrative. Quarterback Shedeur Sanders, wide receiver/cornerback Travis Hunter and 19 more transfers were brought in for spring practice. They were the stars of the show.

“We felt like it was us vs. them instead of all of us together,” Sowell said. “That’s the best way I can put it. The new guys were going against the players that had already been there. It wasn’t a good environment to be in. It wasn’t a team environment.”

His freshman class was an inseparable group. The players lived on campus together, dined together and played pickup basketball together. They would return to the dorms at night that spring and talk openly about their predicament: What do we do?

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On the morning of April 23, their group text blew up. Players were called into exit meetings with Sanders and told they couldn’t play at CU. One described the experience as going to see the Grim Reaper. Sowell’s meeting was his first one-on-one conversation with the head coach.

The following morning, Sowell said, players were locked out of Colorado’s football facility. They couldn’t grab their things from the locker room. They couldn’t grab a meal at the training table.

“When you’re gone, you’re gone,” Sowell said.

Sowell wanted to go where he could play as many snaps as possible. He picked ECU. It was a big move across the country for a Texas kid who knew hardly anything about the school. But he connected with receivers coach Dyrell Roberts and felt welcomed in his first team meeting with the Pirates.

They needed him, too. Sowell emerged as ECU’s No. 1 wide receiver, leading the team with 47 receptions for 622 yards and a touchdown.

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Sowell says he’s happier than ever. His mom says he’s back to being his “true self” at ECU. A year later, he remains in touch with his freshman class in the group text.

Jordyn Tyson picked Arizona State. Dylan Dixson chose Missouri State. Grant Page and Simeon Harris are at Utah State. Anthony Hankerson and Van Wells left Colorado this offseason and are now at Oregon State.

Not one member of their 31-man signing class is still playing for Colorado.

Xavier Smith’s sitdown with Sanders was later Sunday. By then, the redshirt freshman safety knew what to expect. His father encouraged him to hope for the best. But he didn’t even get a one-on-one. Defensive coordinator Charles Kelly brought Smith and safety Oakie Salave’a into the office together.

“We sat on the sofa, and he’s talking to us, but he’s not even looking at us,” Smith said. “I’m looking Coach Kelly dead in his eyes. (Sanders) said he felt like I should hit the portal. He didn’t want me to waste a year thinking I could earn a spot.

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“I was actually getting mad, like tears coming to my eyes. Because, bro, you never even tried to get to know me.”

Smith wasn’t shocked he was cut, given his injury history. He’d broken his right leg during his senior season in high school and again in the spring while rehabbing. He played in one game in 2022 but missed the rest of the season with a hamstring injury. Now Smith was finally healthy and, as a young defensive back from Atlanta, eager to learn from his Hall of Fame coach.

Smith assumed Sanders would dump older players and embrace the young talent he inherited. During the team meeting, he told himself: He’s not talking about me. I ain’t leaving.

During the spring, Smith felt more like an extra in the background of the reality show. He tried to make the most of second-team reps and made plays in the spring game but struggled to get Sanders’ attention. So as he sat on that couch and listened to Kelly encourage him to leave, sure, there was frustration.

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“He was destroying guys’ confidence and belief in themselves,” Smith said. “The way he did it, it could’ve been done with a little more compassion.”

For Smith and many of the inexperienced players cut by Colorado, the spring transfer window was unnerving. Schools have limited scholarships available entering the summer, and it’s tougher to earn offers with limited game and practice tape. Among the 30 scholarship players who left the program after the spring game, 20 continued playing at the FBS level but only nine joined Power 5 programs.

Smith regained his confidence at Austin Peay. The FCS program in Clarksville, Tenn., provided an opportunity to play right away, and coach Scottie Walden won him over with his relentless enthusiasm. Smith caught up quickly to earn a starting role and Freshman All-America recognition on a 9-3 team that won its conference.

At the end of the season, Walden landed the head job at UTEP. Smith re-entered the transfer portal and followed him to El Paso.

“It’s rare you meet a head coach who genuinely wants to see every player on his roster succeed,” Smith said.

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Jake Wiley did not get cut. But he wasn’t looking to stay.

The offensive tackle from Aurora, Colo., spent four years with the Buffaloes and saw it all. He committed to Mike MacIntyre in 2018, redshirted during Mel Tucker’s lone season, became a two-year starter under Dorrell and had five different offensive line coaches.

“That’s not a normal number,” Wiley said.

He stayed for the spring to finish his degree and to see if he fit with the new staff. On cut day, Wiley received an ominous text.

“In our O-line group chat, one of the offensive line coaches texted the group and said, ‘Good luck fellas,’” Wiley said, “and then he just removed all of them. It said these five people were removed from the chat. We were like, ‘Huh? What happened?’”

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Two days after they entered the portal, Wiley joined them. He said players who survived the cut still felt unwanted and expendable. He was one of seven returning starters who departed that spring along with running back Deion Smith (BYU), receiver Montana Lemonious-Craig (Arizona), defensive linemen Jalen Sami (Michigan State) and Na’im Rodman (Washington State), cornerback Nikko Reed (Oregon) and safety Tyrin Taylor (Memphis).

“Let me tell you this, because this is something you may not know,” Sanders said last November on “The Dan Patrick Show.” “Maybe 20 kids we may have sat down with and said, ‘We may head in a different direction; I don’t know if this is gonna work out.’ Everybody else quit. They quit. You can’t hold me responsible.”

Wiley was overwhelmed by the number of calls he received upon entering the portal and narrowed his list to UCLA, Duke and Purdue. He flew to Los Angeles to watch a spring practice and was told the Bruins needed a tackle. Wiley loved the campus and liked staying in the Pac-12. It was an easy decision.

He didn’t learn he was moving to guard until the day before preseason camp. That’s a lot of new technique to learn in addition to a new offensive scheme. Wiley rotated in at right guard in UCLA’s first four games but then saw his playing time drop off considerably.

For many of his fellow ex-Buffs, this was a common issue. Among the 37 transfers who departed after Sanders was hired and landed at FBS schools, 23 did not start a game last season. Three former teammates – running back Jayle Stacks, receiver Maurice Bell and cornerback Nigel Bethel Jr. – went unsigned and didn’t play last season. Bell is now a trainer and working in real estate back home in California.

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Going from playing to watching wasn’t fun, and Wiley admits he might’ve handled the letdown poorly if he were younger. He tried to respond with maturity.

“I wasn’t going to be that guy that was really complaining a lot or pouting and being negative,” he said. “If I wasn’t going to play, I wasn’t going to sit there and be a drain on the team.”

Wiley re-entered the portal in late November and relocated to Houston, where he’s once again playing tackle and helping a new coaching staff set a standard.

Wiley says he’ll always be a Colorado alum and fan, and he couldn’t help but marvel at the spectacle Sanders created.

“I never would’ve ever thought that Lil Wayne would be running the CU Buffs out of the tunnel,” Wiley said.

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While his new Miami (Ohio) teammates enjoyed a day at Universal Studios in Orlando, Fla., Maddox Kopp testified via Zoom in a U.S. District Court hearing in West Virginia.

At the conclusion of the Dec. 13 hearing, District Judge John P. Bailey issued a 14-day temporary restraining order against the NCAA, granting immediate eligibility to college athletes who’ve transferred multiple times. The TRO halted the organization’s attempts to enforce a one-time transfer rule. And it was a former Colorado quarterback who helped make history.

Kopp was required to sit out the 2023 season as a two-time transfer. So were defensive back Tayvion Beasley (San Diego State), tight end Seydou Traore (Mississippi State) and offensive linemen Yousef Mugharbil (NC State) and Noah Fenske (Southern Illinois). Beasley, Traore and Mugharbil came to Colorado as transfers with Sanders and were gone by the end of the spring.

Kopp was sitting in the front row when Sanders arrived. He’d trained with Shedeur Sanders and knew what came next. In his first visit with the QBs, Sanders told them Shedeur was on the way and their job was to make him better.

“I was just sitting there thinking, it is what it is,” Kopp said. “I need to find a new home and a place that wants me.”

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Kopp was starting over again after one year at Houston and one at Colorado. He transferred to Miami (Ohio) and built his case for an eligibility waiver.

The NCAA significantly altered its waiver criteria in January 2023. Getting run off by a school was no longer a valid justification. Kopp needed to provide a documented medical or safety-related reason for leaving. His attorney argued Colorado did not make accommodations for learning disabilities Kopp has dealt with since elementary school. The NCAA denied his waiver and then denied his appeal in August.

Fenske went through the same ordeal. The offensive lineman left Iowa in 2021 for mental health reasons and was a backup with the Buffaloes for two seasons. He didn’t like what he heard in Sanders’ team meeting.

Fenske rode back from the meeting with lineman Alex Harkey and said he was entering the portal. Harkey told him he was overreacting. Harkey was cut after the spring game and is now at Texas State.

“There’s not one person that watches that video – even the people who love him – and says he’s not gonna sh–can everybody,” Fenske said.

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Fenske transferred to FCS Southern Illinois and was set to be the Salukis’ starting left tackle last fall. He submitted his waiver request in July and waited 70 days for a rejection in September, three games into the season. He kept preparing to play, believing he’d win on appeal. The final denial from the NCAA came Oct. 17, days before Southern Illinois faced No. 1 South Dakota State. Fenske broke down in tears in coach Nick Hill’s office upon learning the news.

“It didn’t matter if we had letters of recommendation from (Colorado athletic director) Rick George and (Colorado interim coach) Mike Sanford,” he said. “It didn’t matter if we had proof that I was seeking counseling and wasn’t getting it. They decided that my mental health was not dangerous enough to myself that I needed to leave there.”

The eligibility cases of North Carolina’s Tez Walker and several men’s basketball players generated national attention and political pressure. Ohio Attorney General Dave Yost led a seven-state antitrust suit filed in December.

Though Kopp was eligible to play in the Cure Bowl against Appalachian State since the school semester had ended, he was eager to push for reform and help athletes avoid the NCAA’s complicated waiver process. Xavier Smith was able to transfer to UTEP after the TRO and said he’s thankful Kopp went the extra mile.

“It takes the power out of their hands,” Kopp said of the NCAA. “If they’re gonna make these rules, I just want them to be consistent.”

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Empowered by the court ruling and the NCAA’s subsequent adoptions of new rules permitting unlimited transfers, more college football players are entering the portal than ever before. At Colorado, more than 30 Buffs are moving on, including 18 transfers Sanders brought in to replace those he cut.

Their exits have not brought the same shock-and-awe fanfare of last spring’s purge, but the motivations are similar: Sanders retooling with eyes on dramatic improvement while his departing players seek better situations. The head coach joked on a podcast this month that the portal is akin to room service.

“I can order what I want,” Sanders said.

For the Colorado players he didn’t want, those 53 transfers whose locations and lives changed over the past 12 months, the bitterness is beginning to wear off.

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“My experience with Deion wasn’t one where I’m going to go bash him,” Sowell said. “There were things I agreed with that he did and things I didn’t agree with that he did. But that’s like any head coach. When he came in and made his decisions, I trusted God and I said everything happens for a reason.

“And I got to meet Deion Sanders, so I can’t really complain. I got to meet one of the best to ever do it.”

(Illustration: John Bradford / The Athletic; photo: Ryan King / Getty Images)

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Nike expected to alter MLB uniforms by 2025 after complaints

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Nike expected to alter MLB uniforms by 2025 after complaints

After months of complaints from fans and players, Nike is expected to change several elements of its new Major League Baseball uniforms by the start of the 2025 season, according to a memo obtained Sunday.

The memo from the MLB Players Association to players states that after weeks of conversations with the league and its official uniform supplier, Nike, the union has “receive[d] indications” the following changes will be made: Returning to the larger lettering on the jersey tops, and on the pants bringing back the previous tailoring options, seam stitch count and higher-quality zipper that were in place in 2023.

In addition, as Nike previously told The Athletic, the memo said Nike is working toward solutions for teams’ mismatching gray uniforms and for the sweat stains showing through jerseys.

“This has been entirely a Nike issue,” the memo said. “At its core, what has happened here is that Nike was innovating something that didn’t need to be innovated.”

It’s worth pointing out what the memo is and isn’t. It is, first and foremost, not a commitment directly from Nike. (Nike did not respond to a request for comment.) It is the union updating players on perceived progress to that end. It also is not a promise to return to the uniforms from previous seasons. The Nike Vapor Premier is here to stay, as far as fabric and general jersey design are concerned.

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Nike rolled out the Vapor Premier this spring, after first introducing it at the 2023 All-Star Game, and was met by immediate blowback. Fans ripped certain designs, most notably the strangely small name-on-back lettering. Players blasted the pants fitting process and the cheap feel of the fabric.

Once the season started, sweat stains appeared, road grays were identified as having different tones and pants began blowing out along the seam — apparently due to a change in stitch count. (One issue not mentioned in the memo is the pants’ see-through nature, because, as previously reported, well-placed sources say the pants fabric did not change this year, though some smaller details like the zipper and belt loops did.)

“We cautioned Nike against various changes when they previewed them in 2022, particularly regarding pants,” the memo said. “MLB had been, and has been, aware of our concerns as well. Unfortunately, until recently, Nike’s position has essentially boiled down to — ’nothing to see here, Players will need to adjust.’”

MLB and MLBPA declined comment.

In leveling blame at Nike, the MLBPA continued to back Fanatics, the manufacturer of the uniforms. For months, as more and more issues arose with the new uniforms, Fanatics drew much of the public ire for the mess. MLBPA has on multiple occasions publicly absolved Fanatics, which it did again in Sunday’s memo: “Fanatics has been, and continues to be, a great partner with the Players and has been making the uniforms for the last eight years without issue.” Apart from its partnership with MLB and Nike, Fanatics also has a lucrative licensing deal with the players union, and the MLBPA has invested in Fanatics.

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Fanatics declined comment.

“Fanatics recognizes the vital importance of soliciting Player feedback, obtaining Player buy-in, and not being afraid to have difficult conversations about jerseys or trading cards,” the memo said.

“Our hope is that, moving forward, Nike will take a similar approach.”

Required reading

(Photo: Kevin C. Cox / Getty Images)

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