Search Results for: Boston Magazine

The Producers: A Reading List on Musical Masterminds

From Matt Graves: Here are six of his story picks on the topic of music producers, the often-overlooked architects of the music we hear and love.

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1. “The Song Machine: the Hitmakers Behind Rihanna,” by John Seabrook (The New Yorker, March 2012)

In her ascent to the pop throne, Rihanna had some unlikely help: a singer from Muskogee, Oklahoma and a two-man team of Norwegian producers. Meet Ester Dean and Stargate, pop’s unknown puppeteers.

2. “Disco Architect: 12 x 12 with Brass Construction’s Randy Muller,” by Andrew Mason (Wax Poetics, Fall 2004)

The true story of how one 18-year-old, born in Guyana and raised in Brooklyn, became the unsung godfather of 1970s disco.

3. “How Copyright Law Changed Hip Hop: An interview with Public Enemy’s Chuck D and Hank Shocklee,” by Kembrew McLeod (Stay Free! Magazine, 2002)

Public Enemy burst onto the 1980s hip-hop scene with a sound unlike anything the world had ever heard. Their groundbreaking beats were supplied by The Bomb Squad, a two-man team who turned sampling into a complex, noisy and compelling new art form that changed hip-hop forever.

4. “Philippe Zdar: The French Touch,” by Amber Bravo (The Fader, June 2012)

Is Philippe Zdar the best producer you’ve never heard of? From Parisian disco and Phoenix’s “Wolfgang Amadeus Mozart” to records from Cat Power, Beastie Boys and Cassius, you’ve probably felt his influence, even if you didn’t know his name.

5. “Arthur Baker: From Planet Rock To Star Maker,” by Richard Buskin (Sound on Sound, June 1997)

How Arthur Baker, a failed disco DJ from Boston, made his musical mark on the 1980s—from hip-hop (Afrika Bambaata’s “Planet Rock”) and dance (New Order’s “Confusion”), to pop (New Edition’s “Candy Girl”) and rock.

6. “Rick Rubin: The Intuitionist,” by Will Welch (The Fader, 2004)

From Kanye’s “Yeezus” and Jay-Z’s “99 Problems” to Johnny Cash’s cover of NIN’s “Hurt”, Rick Rubin has been the music world’s (mad)man behind the curtain.

The Letter

Longreads Pick

S.I. Newhouse’s contentious appointment of Robert Gottlieb as the editor of The New Yorker in 1987, and what Gottlieb did to bring the magazine into a new era:

“Orlean was an early Gottlieb-era hire. ‘She came in off the street,’ said McGrath, her Talk of the Town editor (though, she noted, Gottlieb was often her second reader). ‘She came into my office and, in the space of a twenty-minute conversation, she had about a hundred ideas for stories, and about eighty of them were good.’

“Orlean laughed about this. ‘By the standards of The New Yorker I was being brought in off the street. I had a book contract; I was writing for Rolling Stone and The Boston Globe, so that’s hilarious. That’s so classic of The New Yorker to feel that if you weren’t at The New Yorker you were essentially homeless and living hand-to-mouth on crap.’

“‘When I got there the mood was not very nice,’ she said. Orlean was unusual among New Yorker writers, most of whom, she said, had spent their careers at the magazine and hadn’t written for other publications. ‘It’s a little bit like, I wasn’t a virgin, and more typically people came to The New Yorker as virgins. They came into their adulthood there.’ The place was cliquey, she said, but that has since dissipated, in no small part because Gottlieb brought in so many writers who ‘weren’t born in the manger.’ At this point, ‘that aristocratic, inbred feel—that if you weren’t there from birth you didn’t deserve to be there—has really dissolved.'”

Author: Elon Green
Source: The Awl
Published: Jul 3, 2013
Length: 17 minutes (4,379 words)

Longreads Guest Pick: Emily Keeler on 'To Err, Divine, so Improvise' and 'Afterlife'

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Today’s guest pick comes from Emily M. Keeler, a writer, critic, and the editor of Little Brother Magazine. She recommends two stories, “To Err, Divine, so Improvise” by Kaitlin Fontana in Hazlitt and “Afterlife” by Chris Wallace in The Paris Review:

“This past week was one of several missteps; headlines and cover lines and tweets let us down even though we already were so low. Breaking news is broken. Steven Saideman put it another way in The Globe and Mail: ‘It is natural that we are impatient and curious, but we must be conscious that false steps may do much damage to innocents along the way.’ Sometimes it’s better to wait for the longreads.

“Here are two things I read while I waited:

“1. On the topic of shortcomings, Kaitlin Fontana has a wonderful three-part essay on Hazlitt this past week, describing the evolution of failure, and it’s eventual adulation, in the public imagination. For the time pressed, I’d jump to the final section—or do it right and space parts one, two, and three out over a few days, give yourself over gradually to your own failures.

“2.  While it’s not fiction—the place I’m most likely to find solace, this essay on self mythology, the interaction between a name and a story, and Big Poppa nonetheless does the trick. After all, one particular Chris Wallace would go so far as to say that ‘Biggie was a fiction—not so farfetched as to court incredulity, but idealized, a romanticization of the writer.’”

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What are you reading (and loving)? Tell us.

The New Yorker's Nicholas Thompson: My Top 5 Longreads of 2011

Nicholas Thompson is a senior editor at The New Yorker and a frequent Longreader.

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I’m a sucker for stories about reinvention, disappearence, and people who pretend to be someone they aren’t. The genre has cliches, and can become trite. But it can also be wonderful. And this year, the category brought us some wonderful longreads.

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“Where’s Earl?” Kelefa Sanneh, The New Yorker

I’m biased, but the story by Kelefa Sanneh in The New Yorker about the rapper Earl Sweatshirt is, I think, a classic. The character Earl is the reinvention of another boy, whose amazing past and origins Sanneh describes. But then there’s the second disappearence of Earl himself, and then his quandry about whether and how to return to his career. Sanneh is also, stylistically, one of the most original and graceful writers around. Every sentence is a pleasure.

“His Own Private Idaho,” Sean Flynn, GQ

This piece by Flynn about a mobster who reinvents himself in Idaho, seems familiar at first. But then it turns out the central character is much more complex than you might have thought—and he ends up undone by something surprising and redemptive. It’s great. 

“My Mother’s Lover,” David Dobbs, The Atavist ($1.99)

I’m biased on this one too (I’m a co-founder of The Atavist), but Dobbs’s piece has deservedly been one of the best-selling “e-singles” of the year. It’s an amazing tale of a man discovering that his mother harbored a secret her entire adult life. And then, as Dobbs tries to resolve a mystery of his own family’s past, he gets tangled in the story of another’s. 

“Dave Sanders: Fiber-Optics Exec by Day, Defender of Justice by Night”, Joshua Davis, Wired

Joshua Davis is one of the most cinematic magazine writers around; he’s wonderful at introducing groups of characters, crafting scenes, and keeping a narrative moving. This recent piece in Wired about a fiber-optics-executive who recreates himself as a (sort-of) good-guy vigilante is a classic. It’s complicated, but Davis tells the story smoothly and smartly. 

“The Incredible Case of the P.I. Moms,” Joshuah Bearman, This American Life

I know this is a long “reads” list, but the lines with long “listens” are blurry, and there was a story this fall on This American Life of this type that I just loved: Joshuah Bearman’s “The Incredible Case of the P.I. Moms.” Like many of the other best stories in this genre, it takes, layer by layer, through a complicated series of reinventions and disguises. Plus it mixes in reality television, a mole, and an heroic journalist.

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See more lists from our Top 5 Longreads of 2011 >

Share your own Top 5 Longreads of 2011, all through December. Just tag it #longreads on Twitter, Tumblr or Facebook. 

Within the past five years, museums have returned to the Italian and Greek governments more than 100 artifacts worth nearly $1 billion. The Met gave back 21 pieces, including its celebrated Euphronios krater, a Greek vessel dating to about 515 B.C., which the museum had acquired in 1972 for a then-record $1 million. The Boston MFA returned 13 objects, including a statue of Sabina, wife of the second-century A.D. Roman emperor Hadrian. In no case did a museum acknowledge wrongdoing on its part, and, in a historic shift, the Italian government agreed to make long-term loans of other antiquities to take the place of those that had been repatriated.

The Getty gave back more objects than any other museum—47, nearly a dozen of them masterpieces—and the last piece to go was its iconic goddess. The story of the statue stands as a case study of how longstanding practices in the market for Greek and Roman antiquities were overtaken by changes in attitude, the law and law enforcement.

“The Goddess Goes Home.” — Ralph Frammolino, Smithsonian Magazine

See more #longreads from Smithsonian Magazine