Search Results for: GQ

Chuck Klosterman on the Success of Taylor Swift, and the Word ‘Calculating’

If you don’t take Swift seriously, you don’t take contemporary music seriously. With the (arguable) exceptions of Kanye West and Beyoncé Knowles, she is the most significant pop artist of the modern age. The scale of her commercial supremacy defies parallel—she’s sold 1 million albums in a week three times, during an era when most major artists are thrilled to move 500,000 albums in a year. If a record as comparatively dominant as 1989 had actually existed in the year 1989, it would have surpassed the sales of Thriller. There is no demographic she does not tap into, which is obviously rare. But what’s even more atypical is how that ubiquity is critically received. Swift gets excellent reviews, particularly from the most significant arbiters of taste. (A 2011 New Yorker piece conceded that Swift’s reviews are “almost uniformly positive.”) She has never gratuitously sexualized her image and seems pathologically averse to controversy. There’s simply no antecedent for this kind of career: a cross-genre, youth-oriented, critically acclaimed colossus based entirely on the intuitive songwriting merits of a single female artist. It’s as if mid-period Garth Brooks was also early Liz Phair, minus the hat and the swearing. As a phenomenon, it’s absolutely new.

-In GQ, Chuck Klosterman interviews Taylor Swift on self-awareness while deducing whether or not she’s as shrewd and “calculating” (a word she hates) as her reputation suggests.

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Pablo Escobar: Renaissance Man

As dusk settles on the Magdalena Valley, the jungly middle stretch of Colombia’s great river basin, the hippopotamuses bawl and snort. The indelicate groans of these multi-ton beasts border on comedic, but mostly their ruckus is a fearsome thing—a primal ritual that has churned these waters ever since Pablo Escobar imported four hippos to his narco-sanctuary, Hacienda Nápoles, in the 1980s.

The hippos came not from Africa but from America, the nation whose appetites and prohibitions would catapult the cocaine king onto the Forbes billionaires list. He went shopping for them at the International Wildlife Park, a bygone drive-through zoo outside Dallas that featured camel rides and a boxing kangaroo. For one male and three females, plus a menagerie of other exotics, Pablo reportedly paid $2 million in cash.

Flown to Colombia on a military-grade Hercules, the hippos found paradise in the swampy heat of Hacienda Nápoles, halfway between Medellín and Bogotá. During the 7,000-acre retreat’s heyday, when the fortune of cocaine was still new and wondrous and too opportune for most Colombians to question, Pablo opened Hacienda Nápoles to the public: “Son, this zoo is the people’s,” he told his eldest, Juan Pablo. “As long as I’m alive, I’ll never charge, because I like that poor people can come and see this spectacle.”

The hippos have not only survived their master but multiplied: to a bloat of twenty-nine, or thirty-six, or maybe sixty. Nobody really knows.

Over 20 years after his death, notorious cocaine trafficker Pablo Escobar is undergoing a renaissance. In 2014, Benicio Del Toro starred in the biopic, Escobar: Paradise Lost.  El Padrino’s legend is currently being re-examined in the hit Netflix original series Narcos, and Javier Bardem is filming Escobar, alongside Penelope Cruz for a 2016 release.

At GQ, Jesse Katz examines the commodification of Pablo Escobar and his legacy in Colombia.

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The Nine Lives of Cat Videos

Photo: Children posing with life-size Lil Bub. This photo first appeared on Hyperallergic. Courtesy Jillian Steinhauer.

Jillian Steinhauer | Longreads | September 2015 | 15 minutes (3,800 words)

 

The following essay is excerpted from Cat Is Art Spelled Wrong, in which 14 writers address the following question: Why can’t we stop watching cat videos?

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The position that an epoch occupies in the historical process can be determined more strikingly from an analysis of its inconspicuous surface-level expressions than from that epoch’s judgments about itself.

—Siegfried Kracauer, “The Mass Ornament”

The spectacle creates an eternal present of immediate expectation: memory ceases to be necessary or desirable.

—John Berger, “Why Look at Animals?”

The Grandstand filling up with people early in the night. This photo first appeared on Hyperallergic. Courtesy Jillian Steinhauer.

The Grandstand filling up with people early in the night. This photo first appeared on Hyperallergic. Courtesy Jillian Steinhauer.

1.

One evening in the summer of 2013, I joined 11,499 other people—give or take—at the Minnesota State Fair Grandstand to sit and watch cat videos. I had spent the day leading up to the Internet Cat Video Festival (or CatVidFest, as it’s nicknamed) wandering the fair in extreme heat, eating assorted fried foods on sticks, watching butter sculptors, and paying money to take off my shoes and traverse an artsy blow-up castle with “rooms” of saturated color (think Dan Flavin goes to the fair). Hours later, dehydrated and probably sunstroked, I met up with a journalist from Minnesota Public Radio for a brief interview. He wanted to talk to me because I was an art critic, and because I had served as a juror for that year’s CatVidFest. Read more…

How Billionaires Do Burning Man

Like all people who hate Burning Man, I enjoy nothing more than reading articles about Burning Man. In February, Felix Gillette chronicled the semi-clad class warfare at last year’s Burning Man for Bloomberg BusinessweekDespite being a festival based on radical self-reliance, Black Rock City is seemingly overrun with tech billionaires setting up their own exclusive festivals-within-a-festival; ultra-luxe camps that are fully built and staffed by paid “sherpas.” In his piece, Gillette described plans for an over-the-top camp hosted by Jim Tananbaum, a former member of Burning Man’s governing board:

 In the spring [Tananbaum] and his team sent out a detailed invitation, enticing potential guests with an early vision of the camp, named Caravancicle. Anyone concerned about living in a hot, unforgiving wilderness could rest assured. There would be no roughing it at Caravancicle. Accommodations would consist of a series of cubical tents with carbon fiber skeletons. Each cube would have 9-foot ceilings, comfortable bedding, and air conditioning. The surrounding camp, enclosed by high walls, would be safe and private. Amenities would include a central lounge housed in a geodesic dome, private showers and toilets, solar panels, wireless Internet, and a 24-hour bar. Guests could count on a “full-service” staff, who would among other things help create “handcrafted, artisanal popsicles” to offer passers-by. To help blend in with the Burning Man regulars, who tend to parade around the commons in wild, racy outfits (if anything at all), the camp would include an entire shipping container full of costumes.

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See Also:
1. “The Old Man at Burning Man” (GQ, Feb. 2013)

Wells Tower’s legendary 2013 GQ account of attending the aforementioned festival with his father.

2. “Why the Rich Love Burning Man” (Jacobin, Aug. 2015)

An essay by Keith A. Spencer about why business leaders, particularly in Silicon Valley, are so enamored with Burning Man:

 This is the dark heart of Burning Man, the reason that high-powered capitalists — and especially capitalist libertarians — love Burning Man so much. It heralds their ideal world: one where vague notions of participation replace real democracy, and the only form of taxation is self-imposed charity. Recall Whole Foods CEO John Mackey’s op-ed, in the wake of the Obamacare announcement, in which he proposed a healthcare system reliant on “voluntary, tax-deductible donations.”

The Top 5 Longreads of the Week

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Stephen Colbert on How All Late-Night Shows Are ‘Chopped’

GQ magazine interviews Stephen Colbert, who compares making a late-night show to the Food Network show Chopped:

Back at his office, Colbert delivered a soliloquy on the necessity of focus and intention, being fully present for whatever moment you are in. He was talking about comedy, and how to make a TV show 200 times a year, but it also felt like a text lifted from the Buddha’s sutras. The final goal, the product, is beside the point. “The end product is jokes, but you could easily say the end product is intention. Having intentionality at all times… The process of process is process.”

And then he talked about the Food Network show Chopped. The reason he loves Chopped is that it’s a show that is wholly about process, about creation within a limited range of possibilities. “This show,” he said, meaning The Late Show, “is Chopped. Late-night shows are Chopped. Who are your guests tonight? Your guests tonight are veal tongue, coffee grounds, and gummy bears. There, make a show.… Make an appetizer that appeals to millions of people. That’s what I like. How could you possibly do it? Oh, you bring in your own flavors. Your own house band is another flavor. You have your own flavor. The audience itself is a base dish, like a rice pilaf or something. And then together it’s ‘Oh shit, that’s an actual meal.’ And that’s what every day is like at one of these shows. Something is one thing in the morning, and then by the end of the day it’s a totally different thing. It’s allprocess.”

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Backlash: Richard Bernstein on the New York Times’ Nail Salons Exposé

At The New York Review of Books, former New York Times reporter—and current salon co-owner—Richard Bernstein takes the paper to task for its much-talked-about twopart 7000-word exposé on the exploitation and abuse of employees at nail salons in New York City.

He says the article—which led to a state-wide investigation and a new law instituted by Governor Andrew Cuomo—misrepresents the salon industry as a whole by focusing mainly on one undocumented and unlicensed worker. He also suggests it wasn’t as thoroughly reported as author Sarah Maslin Nir claims—although apparently he didn’t reach out to her for comment.

As a former New York Times journalist who also has been, for the last twelve years, a part owner of two day-spas in Manhattan, I read the exposé with particular interest. (A second part of the same investigation, which appeared in the Times a day later, concerned chemicals used in the salon industry that might be harmful to workers.) Our two modestly-sized establishments are operated by my wife, Zhongmei Li, and my sister-in-law, Zhongqin Li, both originally from China, and “mani-pedi” is a big part of the business. We were startled by the Times article’s Dickensian portrait of an industry in which workers “spend their days holding hands with women of unimaginable affluence,” and retire at night to “flophouses packed with bunk beds, or in fetid apartments shared by as many as a dozen strangers.” Its conclusion was not just that some salons or even many salons steal wages from their workers but that virtually all of them do. “Step into the prim confines of almost any salon and workers paid astonishingly low wages can be readily found,” the story asserts. This depiction of the business didn’t correspond with what we have experienced over the past twelve years. But far more troubling, as we discovered when we began to look into the story’s claims and check its sources, was the flimsy and sometimes wholly inaccurate information on which those sweeping conclusions were based….

… How to account for these evident flaws, the one-sidedness of the Times story? Recently the Times’s own Nick Kristof wrote in a column that “one of our worst traits in journalism is that when we have a narrative in our minds, we often plug in anecdotes that confirm it,” and, he might have added, consciously or not, ignore anecdotes and other information that doesn’t. The narrative chosen by the Times, what might be called the narrative of wholesale injustice, is one of the most powerful and tempting in journalism. Certainly, as Mr. Baquet put it, it had “impact.” It was read, he told an audience in mid-June, by 5 million people, which is five times the readership of the Sunday print edition, and produced an immediate government response.

Surely, Bernstein’s exposé-on-the-exposé isn’t the last word. Nir and others at the Times have taken to Twitter, and Times deputy Metro editor Michael Luo has Storified that activity and other developing aspects of the story. In a tweet, Nir suggests that Times executive editor Dean Baquet has a response in the works.

Stay tuned to find out whether it might in fact be okay to get inexpensive manicures after all…

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What Jacques Pepin Would Eat for His Last Meal

Photo: YouTube

I can think of no better summary than an interview conducted by the photographer Melanie Dunea for her book ‘My Last Supper: 50 Great Chefs and Their Final Meals.’ His answer to the question of what his final meal would be begins:

“The menu for my last meal would be eclectic, relaxed, informal, and would go on for a very, very long time—years!…I cannot conceive of anything better than the greatest baguette, deep golden, nutty, and crunchy, with a block of the sublime butter of Brittany and Bélon oysters. I would consume tons of the best beluga caviar with my wife, dispose of the best boiled ham and the most excellent Iberíco ham, and would eat eggs cooked in butter, scrambled, mollet-style or sunny-side up, with the ham.”

And the list continues: fingerling potatoes cooked in goose fat, pâté of pheasant with black truffles, a lobster roll, a hot dog, apricots, cherries, white and wine peaches, “I would pile homemade apricot jam onto thin, buttery crêpes, hot from the pan and accompany them with a Bollinger Brut 1996 champagne.”

— Brett Martin in GQ, writing about his life-changing meeting with Jacques Pepin.

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The Top 5 Longreads of the Week

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