Search Results for: Vanity Fair

Iggy Pop’s Brand of Experience

Iconic punk progenitor Iggy Pop is touring through the US this spring, and I caught his show in Portland, Oregon last month. As a huge Iggy fan, this tour was no small deal to me. Iggy delivered. Despite new physical limitations, he gave everything his body could give, and the set list of new and old tunes like “Some Weird Sin” and “Repo Man” was a fan’s dream. Ticket prices were not.

Three months earlier, Iggy revealed that he’d recorded a new album in secret with musician Josh Homme. Stephen Colbert featured a debut live performance. The New York Times ran a story. It was savvy marketing. Named Post Pop Depression, the album has generated lots of excitement because it’s Iggy’s first since 2013, and because Iggy, as Homme said, “is the last one of the one-of-a-kinds.” The album even peaked at number one on the Billboard charts ─ Iggy’s first number-one album. But with concert tickets ranging from $50 to $125 (and as high as $400 on the secondary market), people were grumbling.

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The Freelancers’ Roundtable

Illustration by: Kjell Reigstad

Eva Holland | Longreads |February 2016 | 25 minutes (6,339 words)

 

There’s been more talk than usual lately about the state of freelance writing. There are increasing numbers of tools for freelancers: among them, the various incarnations of “Yelp for Journalists.” There’s advice floating around; there are Facebook support groups.

With the exception of one 10-month staff interlude, I’ve been freelancing full time now for seven and a half years. I’ve learned a few things along the way, but I also still have a ton of questions, and often feel as if I’ve outgrown some of the advice I see going by in the social media stream.

So I gathered a handful of well-established freelance writers and asked them to participate in a group email conversation about their experiences and advice. Josh Dean is a Brooklyn-based writer for the likes of Outside, GQ, Rolling Stone, and Popular Science. Jason Fagone lives in the Philadelphia area and has recently published stories in the New York Times Magazine, Mother Jones, Matter, and Grantland. May Jeong is based in Kabul, and has written for publications including the New York Times Magazine, the Guardian, and Al-Jazeera America. (She managed to fit in her contributions to this roundtable while reporting from a remote corner of Afghanistan, so thank you, May.) As for me, I live in Canada’s northern Yukon Territory, and my work has appeared in AFAR, Pacific Standard, Smithsonian, and other places on both sides of the border. Read more…

The Top 5 Longreads of the Week

Photo by Jabin Botsford/The Washington Post

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.
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The Secretive Life of a Michelin Inspector

Sam Kashner delves into the mysterious world of Michelin stars in the new issue of Vanity Fair, talking to top chefs about what it takes to gain—and keep—the restaurant world’s highest honor. Although restaurant critics are often recognized, Michelin inspectors remain virtually unknown. Kashner spoke on the phone with one inspector (even he wasn’t allowed to know her name), who described her life on the road, eating at least 200 restaurant meals a year.

When you start as a Michelin inspector, your first weeks of training are abroad, she says. “You go to the mother ship in France. Depending on your language skills, maybe you go to another European country and train with an inspector there.” There’s no prescribed path to becoming a food inspector, “though inspectors are all lifers in one way or another,” she explained, and they usually come from families devoted to food and the table. “One inspector was a chef at a very well-known, three-star restaurant, another came from a hotel…. I think you’re either built for this or you’re not,” she added. “You have to really be an independent personality. You have to be somewhat solitary but also work as part of a team. You have to be comfortable dining alone. Most of the time, I think, inspectors all live in a perpetual state of paranoia. That’s the job: the C.I.A. but with better food.”

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Further Reading:

“Lunch With M” (The New Yorker, ’09)

John Colapinto joins an undercover Michelin inspector (code name: Maxime) for lunch at New York’s Jean Georges restaurant.

Seeing Robert Johnson’s Face for the Third Time

In 2008, Vanity Fair published a story about a guitar salesman named Steven Schein, who found a photograph of Robert Johnson, the world’s most influential Bluesman, for sale on eBay for $25. The photo was mislabeled “Old Snapshot Blues Guitar B.B. King???”. Only two photos of Johnson had been publicly released. The article is about Schein’s experience buying and identifying Johnson’s face, and the issues it raised about who gets to control and profit from the music and images of one of the world’s most influential musicians, and one of Columbia Records’ big sellers, who happened to be a black man:

With the eBay photo still on his computer monitor, Schein dug up his copy of the Johnson boxed set and took another look. Not only was he more confident than ever that he had found a photo of Robert Johnson, he had a hunch who the other man in the photo was, too: Johnny Shines, a respected Delta-blues artist in his own right, and one of the handful of musicians who, in the early 1930s and again in the months before Johnson’s death, had traveled with him from town to town to look for gigs or stand on busy street corners and engage in a competitive practice known as “cuttin’ heads,” whereby one blues musician tries to draw away the crowd (and their money) gathered around another musician by standing on a nearby corner and outplaying him.

Shines had died in 1992. His picture was included in the boxed-set booklet, and Schein saw a resemblance; if both of his hunches were right, then the photo was even more of a find. At that point, Schein became possessed of two thoughts: One was “to hold the photo in my hands,” he says. The other was “to protect it.”

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Oliver Sacks: 1933-2015

In Vanity Fair, a rare look at the early career of Oliver Sacks. Lawrence Weschler, a close friend of Oliver Sacks, looks back on the life of the best-selling author and neurologist in the early ’80s. The neurologist and acclaimed author died today at the age of 82.

He wrote his first book, “Migraine,” in nine days. “It had gotten to the point,” he tells me, “where I said to myself, ‘Now look, Sacks, you really must write this thing. I’ll give you 10 days or else we’re going to have to kill ourselves.’ This worked. It scared me into starting.”

He says, “At times, the world seems rife with malevolence, chaos. I am almost overwhelmed, but then it suffices for me to perceive the spectacle of quiet goodness, say the Little Sisters of the Poor, and everything is all right.

“I see 10 patients a day and write 500 words on each meeting—a thousand patients a year, a thousand stories.”

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The Newman’s Own Origin Story

In 1982 actor Paul Newman and his friend, writer A.E. Hotchner, started the Newman’s Own food company and made the decision to donate all profits to charity. Here’s the company’s origin story, from Mark Seal’s account in Vanity Fair of how the company is doing today:

Hotchner recalled how, a few days before Christmas in 1980, Newman phoned to say, “How about coming over and giving me a hand with something?” Hotchner did, only to find his friend drinking beer in his barn, with “a big washtub of vinegar and olive oil and condiments and a lot of dirty wine bottles. It was ridiculous, but it was fun. We drank beer and we mixed up the stuff.”

“The stuff” was Newman’s soon-to-be-famous salad dressing, which he had bottled for years and given away. Newman and Hotchner tied ribbons around the wine bottles, gathered their kids, and went Christmas caroling, distributing the bottles along the way. One of Newman’s neighbors then was a young caterer named Martha Stewart, who held a blind taste test. Newman’s was voted No. 1. Calling it Newman’s Own, Newman allowed his face to be put on the label. In 1982 the dressing went on sale in local gourmet shops and groceries.

Recalled Hotchner, “To our absolute disbelief, we banged quite a profit that first year”—$920,000, in fact. “Paul said, ‘We can’t be in the business of making money off of it! You’re a writer and I’m an actor and this isn’t what we do. Let’s give it all away to charity.’ ”

Seal’s story focuses on the feud over Paul Newman’s food empire and charitable foundation after his death.

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The Minds Behind Diversity in Comics: A Reading List

Comics inspire me to be brave, to collaborate with my friends, to try new things, to stand up for myself. Maybe that’s trite, but it’s true. Vanity Fair’s profile of Kelly Sue DeConnick (#7) includes statistics about women: they are the fastest-growing demographic interested in comics; they are protagonists of twice the story arcs. Wired says diversity isn’t just good business–it’s honest, truthful storytelling (#1). I want everyone who walks into a comic book store to feel comfortable (#4), to find someone who looks or feels like them (#9) when they open a new issue of their favorite series. The people interviewed and profiled in the following pieces–creators and critics who advocate for diversity and inclusion in pages and on-screen–are the real superheroes.

1. “It’s Time to Get Real About Diversity in Comics.” (Laura Hudson, Wired, July 2015)

Rather than a superficial issue of optics or quotas […] Rather than seeing diversity initiatives as a matter of altruism or avoiding controversy, the most transformational approach advocated by critics and creators alike is the one that views it both as a form of honesty and as a valuable creative investment… Read more…

The Roots of the Greek Debt Crisis

The crisis in Greece is getting worse. Its people on July 5 voted against the terms of the most recent bailout deal in a referendum, rejecting austerity. If a new deal isn’t reached soon, its government won’t be able to pay its debts and will run out of euros, which many expect it will mean exiting the euro zone. This 2010 Michael Lewis classic for Vanity Fair, “Beware of Greeks Bearing Bonds,” helps explain the current situation:

For most of the 1980s and 1990s, Greek interest rates had run a full 10 percent higher than German ones, as Greeks were regarded as far less likely to repay a loan. There was no consumer credit in Greece: Greeks didn’t have credit cards. Greeks didn’t usually have mortgage loans either. Of course, Greece wanted to be treated, by the financial markets, like a properly functioning Northern European country. In the late 1990s they saw their chance: get rid of their own currency and adopt the euro. To do this they needed to meet certain national targets, to prove that they were capable of good European citizenship—that they would not, in the end, run up debts that other countries in the euro area would be forced to repay. In particular they needed to show budget deficits under 3 percent of their gross domestic product, and inflation running at roughly German levels. In 2000, after a flurry of statistical manipulation, Greece hit the targets. To lower the budget deficit the Greek government moved all sorts of expenses (pensions, defense expenditures) off the books. To lower Greek inflation the government did things like freeze prices for electricity and water and other government-supplied goods, and cut taxes on gas, alcohol, and tobacco. Greek-government statisticians did things like remove (high-priced) tomatoes from the consumer price index on the day inflation was measured. “We went to see the guy who created all these numbers,” a former Wall Street analyst of European economies told me. “We could not stop laughing. He explained how he took out the lemons and put in the oranges. There was a lot of massaging of the index.”

Which is to say that even at the time, some observers noted that Greek numbers never seemed to add up. A former I.M.F. official turned economic adviser to former Greek prime minister Konstantinos Mitsotakis turned Salomon Brothers analyst named Miranda Xafa pointed out in 1998 that if you added up all the Greek budget deficits over the previous 15 years they amounted to only half the Greek debt. That is, the amount of money the Greek government had borrowed to fund its operations was twice its declared shortfalls. “At Salomon we used to call [the head of the Greek National Statistical Service] ‘the Magician,’ ” says Xafa, “because of his ability to magically make inflation, the deficit, and the debt disappear.”

In 2001, Greece entered the European Monetary Union, swapped the drachma for the euro, and acquired for its debt an implicit European (read German) guarantee. Greeks could now borrow long-term funds at roughly the same rate as Germans—not 18 percent but 5 percent. To remain in the euro zone, they were meant, in theory, to maintain budget deficits below 3 percent of G.D.P.; in practice, all they had to do was cook the books to show that they were hitting the targets. Here, in 2001, entered Goldman Sachs, which engaged in a series of apparently legal but nonetheless repellent deals designed to hide the Greek government’s true level of indebtedness. For these trades Goldman Sachs—which, in effect, handed Greece a $1 billion loan—carved out a reported $300 million in fees. The machine that enabled Greece to borrow and spend at will was analogous to the machine created to launder the credit of the American subprime borrower—and the role of the American investment banker in the machine was the same. The investment bankers also taught the Greek-government officials how to securitize future receipts from the national lottery, highway tolls, airport landing fees, and even funds granted to the country by the European Union. Any future stream of income that could be identified was sold for cash up front, and spent. As anyone with a brain must have known, the Greeks would be able to disguise their true financial state for only as long as (a) lenders assumed that a loan to Greece was as good as guaranteed by the European Union (read Germany), and (b) no one outside of Greece paid very much attention. Inside Greece there was no market for whistle-blowing, as basically everyone was in on the racket.

And in this essay published in mid-June, Wall Street Journal correspondent Matina Stevis shares her feeling of impotence as she watches her country struggle.

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How the Modern Modeling Agency Came to Be

Photo by FordModels.com

This was a precursor for what would become the protocol by which models were paid for the rest of the century, but as Natálie [Nickerson] put it to Eileen [Ford] in their late-night Barbizon conversations, the system was back to front. According to Eileen, Natálie told her, “Models were treated as if they worked for the agencies, instead of the agencies working for them. There was too much sink-or-swim. Models needed to know exactly where they had to be for a job, and what they were supposed to bring with them, and the big agencies were not efficient in making sure their girls knew even such simple things. There was no career planning, no special training or care, no help with hair or makeup—no real system at all.”

So the two women decided to work out a system together. Eileen would act as secretary and booker to Natálie and to another model, Inga Lindgren, a Swedish beauty with high-arching eyebrows and meticulously manicured nails. Each model would pay Eileen $65 per month for her secretarial assistance and for making phone bookings, while Natálie would act as a discreet publicist and drummer-up of business, quietly recommending the energy and efficiency of Eileen’s services to other models. “I realized,” Natálie explained to Michael Gross, “that for any new operation to be successful, they had to have at least one top girl, and I was the model of the moment.” Natálie beat the bushes well. Eileen started working for her and Lindgren in the fall of 1946, and by March of the following year Natálie’s word of mouth and Eileen’s proven efficiency had attracted the signing of seven additional successful models—high-flying women who were all fed up with how men were handling their business. Each newcomer paid Eileen a further $65 for her services, which took her monthly income to almost $600—some $7,000 per year.

Robert Lacey writing in Vanity Fair about the history of Ford Models. Started by a pair of newlyweds in post-World War II Manhattan, Ford Models quickly became one of the most powerful agencies in the business and helped “launch the era of the supermodel.” Lacey’s Vanity Fair piece is adapted from his forthcoming book, Model Woman: Eileen Ford and the Business of Beauty.

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