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Eschewing the Stress of Fatherhood in Favor of the Fun

David Michael Perez, left, with his son, Amon, and August Heffner, with his son, Phoenix, founded the magazine Kindling Quarterly.Andrea Mohin/The New York Times David Michael Perez, left, with his son, Amon, and August Heffner, with his son, Phoenix, founded the magazine Kindling Quarterly.

David Michael Perez sat on his fashionably low couch in Greenpoint, Brooklyn, rocking his infant son in his lap, and crying “upsie-daisy.” Beside him, August Heffner, said “so cute” and kissed his own son on the forehead.

Mr. Perez and Mr. Heffner may not seem like revolutionaries, but they think they have a revolutionary project: a magazine that, according to its Web site, aims to “present a thoughtful dialogue about fatherhood that is missing from our cultural landcape.”

“Before I became a dad, everybody was saying how hard it would be,” said Mr. Perez, publisher and editor-in chief of the magazine, Kindling Quarterly. “When he was born,” he said of his son, Amon, “nobody told me I’d actually enjoy this.”

The gathering, late last month, was a party of sorts marking Kindling Quarterly’s first editorial meeting since its premier issue came back from the printer. Mr. Perez and August Heffner, the magazine’s art director as well as its co-founder, were looking over a copy.

The first issue of Kindling Quarterly was recently released.Andrea Mohin/The New York Times The first issue of Kindling Quarterly was recently released.

The magazine seems to seek! young, urban creative types, both as subjects and as readers. It is bound like a book and opens with an essay by Mr. Perez about his “desire to explicate the creative project that is fatherhood.” There’s a fashion spread of Christopher Cole, a co-owner of the Brooklyn Fabrication metal construction company. He is photographed wearing a Coos Curry cardigan (retail price: $420) and carrying a chocolate brown Lotuff leather tote ($750).

If all this might seem rather precious, don’t worry. Mr. Perez and Mr. Heffner have heard that before.

“We actually said at our first meeting that if we make this pretty, somebody’s going to accuse us of being hipster dads,” said Mr. Heffner, 32, whose long rusty beard and thick black glasses, and his borough, might well qualify him as a hipster.

“This whole hipster thing seems like an empty demarcation,” said Mr. Perez, also 32, who studied contemporary history and theory at the University of London.

Most of the fathers in Kindling Qurterly’s first issue live or have lived in Brooklyn. They grow their own food, describe cooking as “an immediately satisfying creative project,” and use the word “source” as a verb.

Yet beneath the hipster sterotypes, Kindling may be an expression of a new type of fatherhood. Many younger men seem ready to lay aside not only traditional roles while avoiding becoming the hapless, and often helpless, stay at home father lampooned by Michael Keaton in the 1983 film “Mr. Mom.”

“There’s a strong community of engaged dads that are no longer bashful or embarrassed by taking on domestic roles,” said Robert Duffer, editor of the dads and families section of the Good Men Project, a Web site. “Times have changed.”

In this new view, it matters less which parent changes diapers or earns most of the income, so long as work is evenly shared. What matters is that men pay attention to their children, and to their evolving identities as fathers.

“Each issue is about h! ow men re! build themselves around being with their kids,” Mr. Perez said.

That means eschewing articles on toilet training tips. And you will not find editorials on vaccinations or attachment parenting.

“We have this idea that parenting is all dirty diapers,” Mr. Perez said. “But being with my son is amazing. It’s dealing with all my anxiety or weird issues that’s the real challenge of being a father.”

If fatherhood prompts a desire to enter therapy or makes one, like the contributor Scott Wilson, question the continued relevance of Michel Foucault, then Kindling Quarterly might be the right thing.

“If they’re talking about the positive aspects, the discovery of the joy in the hard work of parenting, then I think that’s good,” said John Badalament, 44, who directed a documentary called “All Men Are Sons” and wrote a book called “The Modern Dad’s Dilemma.”

“Maybe this younger generation of dads is onto something.”

Mr. Perez, who up to now has ben a freelance writer, certainly believes he’s found a good business model. Copies of Kindling will sell for $14 apiece. Mr. Perez and Mr. Heffner, who is a creative director at J. Crew, paid for the first print run of 1,000 copies themselves. They are currently mailing copies to independent bookstores, where Kindling will be the only publication aimed directly at fathers.

“There’s never been a magazine about fatherhood,” Mr. Perez said. “Nobody’s done it before.”

Actually, someone has. In his office at the Magazine Innovation Center at the University of Mississippi journalism school, Dr. Samir Husni keeps a stack of magazines including American Dad, Fathers and Dads. Each opened with at least a modicum of fanfare.

All quickly died.

“The biggest problem is that American dads don’t think of themselves as dads. They think of themselves as men,” Dr. Husni said in a telephone interview.

“Which means there will be no advertising. None. If I want to reach! an upsca! le dad who reads Esquire and GQ, why wouldn’t I advertise in Esquire and GQ” (Actually, Kindling did have a few ads in its first issue, including one for the Brooklyn Brewery.)

And then there’s the sleek urban tone. “In New York, that’s normal,” Dr. Husni said. “But if I work with a guy who says he’s seeing a shrink because he has a baby, in Mississippi we all him crazy.”

That said, Dr. Husni agrees with Kindling’s strategy of charging a high cover price, offsetting the possible dearth of advertising. The magazine’s supporters say it may yet transcend the hipster dad label.

“They’re new dads,” Mr. Duffer said. “If they look hipster disheveled, they’re probably genuinely disheveled.”



A Fashionable, if Safe, Red Carpet at the Grammy Awards

Last week, CBS issued a dress code for the 55th Annual Grammy Awards, threatening the often adventurous and revealing looks that have historically peppered the red carpet. Showing too much flesh was apparently among the list of no-nos. A dress code for the Grammys Were things getting that out of hand Unlike the Golden Globes and the Oscars, the Grammys red carpet has always been a place where an alternative expression of glamor was welcomed, even for men.

Mostly everyone played by the rules, and high fashion was a strong theme on Sunday. Carly Rae Jepsen, the pop singer behind “Call Me Maybe” was among the first to arrive wearing a charcoal sequin Roberto Cavalli gown. Undecided about her dress choice, she said she chose the Cavalli gown because she felt like Ariel in “The Little Mermaid.” She’d gotten her legs for the first time, perhaps an apt analogy for an emerging artist. Carrie Underwood, who also wore Cavalli, added a diamond bib necklace that she said felt heavy.

A large numbr of men opted for white tuxedos and jackets this year. Chris Brown, LL Cool J and Miguel were among them, but Mr. Brown wore Lanvin and white from head to toe. Whether his angelic appearance was the recommendation of his public relations team or not, it was well-put-together and complemented his tattoos. Wiz Khalifa, who arrived with his pregnant wife and model, Amber Rose, wore Tom Ford. Ne-Yo wore a silver Saint Laurent tux; Pharell came in Lanvin.

For a few men, details on bow ties and pocket squares were a chance to accessorize. Nas, who wore a bronze Brioni tux, had a chain with diamonds hanging from his pocket. Sean Paul, one of many nominees, sported an authentic mohawk, not the hipster version. He wore a Viktor & Rolf jacket with a gold vintage Versace necklace and oversized pendant.

The highlights included Florence Welch, a fashion fan favorite, who wore a custom green sequin Givenchy gown. Her monochromatic look was complete with a matching b! ox clutch and shoes also from Givenchy. Rihanna was the lady in red, wearing a fairly minimal a-line custom Azzedine Alaia gown. J. Lo, known for her flesh-baring red carpet choices (remember the Versace dress she wore to the Grammys in 2000) showed a lot of leg that was reminiscent of Angelina Jolie’s Versace dress at the Oscars last year.

No stranger to color, Katy Perry said she was inspired by Priscilla Presley. She wore big hair, big jewels with a form-fitting mint green gown. Kelly Rowland also went for a body-conscious look and wore a black dress with geometric cutouts by the Lebanese designer, George Chakra. Just before the red carpet ended, Beyoncé quietly arrived in a black and white pantsuit. She stopped for E!’s 360 camera, but not Ryan Seacrest, at least from what we could see on television. There were mixed reactions on Twitter about Adele’s Valentino dress, though it was a nice departure from her usual black.

Other artists like Janelle Monáe stuck to their uniforms with a ew enhancements. “I’m wearing ideas,” she told Mr. Seacrest. Taylor Swift stayed loyal to her flesh-toned and cream red carpet palette. Mr. Seacrest said her J. Mendel Grecian-style dress was the color of vanilla yogurt. Jack White of the White Stripes arrived in his usual wide-eyed, pale-skinned “Edward Scissorhands”-inspired appearance, wearing black on black.

The couples delivered their own double dose of style. Nicole Kidman wore a gold Vera Wang gown, and Keith Urban wore Rick Owens and mix of other things, he told E!. Country Music’s royal couple, Faith Evans and Tim McGraw, wore all black. Ms. Evans wore a knee-length J. Mendel pencil skirt with transparent panels, showing off her tiny frame. Mr. McGraw was dressed in Tom Ford.

Nicki Minaj and Lady Gaga skipped the red carpet - a disappointment to the many viewers who wanted to see their reaction to the outfit guidelines.



Live: The 2013 Grammy Awards

Tyrese and Elle Varner onstage before the broadcast.Joe Klamar/Agence France-Presse â€" Getty Images Tyrese and Elle Varner onstage before the broadcast.

There is no heavy favorite to sweep the Grammy awards this year, but there is still plenty of drama to watch out for. The show, which is to be broadcast on CBS at 8 p.m. Eastern time from the Staples Center in Los Angeles, will include performances from Justin Timberlake, Taylor Swift, the Lumineers, Mumford & Sons, Kelly Clarkson and Jack White. Bruno Mars, Sting and Rihanna will collaborate with Daian Marley on a reggae segment.

The finale could turn into a memorable moment. As James C. McKinley Jr. writes, “Producers are promising a fusion of rap, punk rock and electronica, with the rapper Chuck D., the electronic musician Z-Trip, the drummer Travis Barker of Blink 182, the guitarist Tom Morello from Rage against the Machine. LL Cool J, who is hosting the show, will join them.”

Follow along here for all the winners and running commentary from Jon Caramanica, a pop music critic for The New York Times, and Dave Itzkoff, a culture reporter.

Earlier: What to Expect Tonight | Ken Ehrlich, the Man Behind the Grammys | Grammy Dramas to Watch For



Live: The 2013 Grammy Awards

Tyrese and Elle Varner onstage before the broadcast.Joe Klamar/Agence France-Presse â€" Getty Images Tyrese and Elle Varner onstage before the broadcast.

There is no heavy favorite to sweep the Grammy awards this year, but there is still plenty of drama to watch out for. The show, which is to be broadcast on CBS at 8 p.m. Eastern time from the Staples Center in Los Angeles, will include performances from Justin Timberlake, Taylor Swift, the Lumineers, Mumford & Sons, Kelly Clarkson and Jack White. Bruno Mars, Sting and Rihanna will collaborate with Daian Marley on a reggae segment.

The finale could turn into a memorable moment. As James C. McKinley Jr. writes, “Producers are promising a fusion of rap, punk rock and electronica, with the rapper Chuck D., the electronic musician Z-Trip, the drummer Travis Barker of Blink 182, the guitarist Tom Morello from Rage against the Machine. LL Cool J, who is hosting the show, will join them.”

Follow along here for all the winners and running commentary from Jon Caramanica, a pop music critic for The New York Times, and Dave Itzkoff, a culture reporter.

Earlier: What to Expect Tonight | Ken Ehrlich, the Man Behind the Grammys | Grammy Dramas to Watch For



What to Expect at Tonight\'s Grammy Awards

LOS ANGELES -When the 55th Annual Grammy Awards are announced on Sunday, music fans should be in for a wild ride. There is no heavy favorite to sweep the awards like Adele did last year, and the nominees this year for the big awards â€" best new artist, album, record and song of the year â€" include a heavy presence of alternative bands and young artists that are not yet household names.

The trio Fun. has a chance to become the first act since Chris Cross in 1981 to win all four of the major categories, and Frank Ocean, a critically acclaimed R&B newcomer, is nominated in three of them. Both have six nominations overall.

They are not alone. Others with six nominations include Dan Auerbach of the Black Keys, Mumford & Sons, Kanye West and Jay-Z. Miguel, another young R&B singer, is up for five awards, and Nas, the vetean New York rapper, has a chance to sweep the rap category with four nods.

The drama over the awards are only a small part of the spectacle, however. Ken Ehrlich, the show’s executive producer, has planned 19 performances, including several imaginative collaborations. Taylor Swift, nominated for song of the year, is expected to open the show with a big production, and several other of nominees will have solo spots: the Lumineers, Mumford & Sons, Rihanna, Kelly Clarkson and Jack White.

Some of the collaborations are predictable; others are head-scratchers. The Black Keys will perform their hit “Lonely Boy” with Dr. John and the Preservation Hall Jazz Band. Elton John with perform with Ed Sheeran, the 21-year-old British songwriter whose “The A-Team” is up for song of the year.

As usual there will be plenty of in memoriam tributes. Chick Core! a, Stanley Clarke and Kenny Garrett will honor Dave Brubeck by playing “Take Five.” And Levon Helm will be remembered with a Hootenanny version of “The Weight,” offered up by Mavis Staples, Mumford & Sons, Zac Brown, T-Bone Burnett and Brittany Howard, the vocalist for Alabama Shakes. There will also a Bob Marley tribute, starring Bruno Mars, Sting, Rihanna and Damian Marley.

Expect the finale to be the source of water-cooler talk on Monday. Producers are promising a fusion of rap, punk rock and electronica, with the rapper Chuck D., the electronic musician Z-Trip, the drummer Travis Barker of Blink 182, the guitarist Tom Morello from Rage against the Machine. LL Cool J, who is hosting the show, will join them.

The 55th Annual Grammy Awards will be broadcast on CBS on Sunday starting at 8 p.m. Join us here on ArtsBeat for live-blogging of the event from Dave Itzkoff and Jon Caramanica.



\"Identity Thief\" Tops Weekend Box Office

Despite storm-shuttered theaters in the Northeast, “Identity Thief” took in a super-sized $36.6 million at the weekend box office, offering a counter example to the widespread belief in Hollywood that smart marketing can’t overcome dismal reviews in the Twitter age. Universal Pictures backed this relatively inexpensive comedy (budget: $35 million) with a deft ad campaign; billboards, for instance, featured a smiling Jason Bateman with the slogan “Is this the face of a sucker” plastered across his forehead. And audiences responded, overlooking sharply negative reviews. The movie’s increasingly popular female lead, Melissa McCarthy, also helped turn out ticket buyers, particularly in the Midwest, analysts said. Making the film’s large debut even more impressive: Universal estimated that the gigantic winter storm that struck the Northeast on Friday took a 10 percent bite out of sales. “Warm Bodies” (Lionsgate) took second place at North American theaters, selling about $11.5 million in tickets for a two-week total of $36.7 million, according to Hollywood.com, which compiles box-office data. The thriller “Side Effects” (Open Road) took in about $10 million in its first weekend, for third place. Two hold-overs rounded out the top five: “Silver Linings Playbook” (the Weinstein Company) sold about $6.9 million in tickets, lifting its 13-week total to about $90 million, while “Hansel and Gretel: Witch Hunters” (Paramount) took in about $5.8 million, for a three-week total of $43.8 million.