Search Results for: music

Whoomp! (There It Was)

Longreads Pick

Twenty years ago, Steve Rolln and DC the Brain Supreme released their hit “Whoomp! (There It Is)”. The story behind the one-hit wonder:

“When he learned about the chant, Whoomp! There it is­, in the summer of 1992, he pitched the idea for a bass-heavy party song to Steve. Both men were now 26 and seriously considering their futures in the music business. They didn’t have a full album or a deal with a record label, and no one was paying attention to the one-off songs they were releasing in the club. With ‘Whoomp!’ though, DC thought they had something—even if he hadn’t written lyrics yet. Make a few beats, DC told Steve. Do the bass your way.

“At the recording studio in his house, Steve put together five beats and brought DC over to listen. They were good, DC said. But one stood out. Steve had sampled a 1980 dance track, ‘I’m Ready,’ by an Italian group named Kano. He’d heard the song years earlier and especially liked the synthesized, funked-out intro. To the Kano sample, he overlaid the bass—a sort of BOOOOOM-booooooooom rumble—and then the cymbals.”

Source: 5280 Magazine
Published: May 31, 2013
Length: 19 minutes (4,839 words)

The Invention of David Bowie

Longreads Pick

A brief history of the rock legend’s style and fashions:

“Bowie’s image was as carefully contrived for album covers as for the actual musical performances: Sukita Masayoshi’s black-and-white photograph of Bowie posing like a mannequin doll on the cover of ‘Heroes’ (1977), or Bowie stretched out on a blue velvet sofa like a Pre-Raphaelite pinup in a long satin dress designed by Mr. Fish for The Man Who Sold the World (1971), or Guy Peellaert’s lurid drawing of Bowie as a 1920s carnival freak for Diamond Dogs (1974).

“All these images were created by Bowie himself, in collaboration with other artists. He drew his inspiration from anything that happened to catch his fancy: Christopher Isherwood’s Berlin of the 1930s, Hollywood divas of the 1940s, Kabuki theater, William Burroughs, English mummers, Jean Cocteau, Andy Warhol, French chansons, Buñuel’s surrealism, and Stanley Kubrick’s movies, especially A Clockwork Orange, whose mixture of high culture, science fiction, and lurking menace suited Bowie to the ground. Artists and filmmakers have often created interesting results by refining popular culture into high art. Bowie did the opposite: he would, as he once explained in an interview, plunder high art and take it down to the street; that was his brand of rock-and-roll theater.”

Author: Ian Buruma
Published: May 7, 2013
Length: 15 minutes (3,932 words)

Knights of Soft Rock

Longreads Pick

Meet The Section—session players whose work in the studio fueled some of the biggest hits of the 1970s, from James Taylor, Jackson Browne, Carole King, and more:

“To critics, Taylor, Browne, and Crosby, Stills and Nash personified everything tame about Seventies rock, and the musicians who accompanied them were inevitably guilty by association. ‘We were the “Mellow Mafia,”‘ says Kortchmar. He recalls a particularly nasty write-up of Taylor from the time: ‘We had [writer] Lester Bangs threatening to stab a bottle of Ripple into James. What the fuck is he talking about? James is doing “Fire and Rain,” “Country Road,” about Jesus and questions and deep shit.'”

Source: Rolling Stone
Published: May 2, 2013
Length: 25 minutes (6,402 words)

Celebrating Four Years of Longreads

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Longreads just celebrated its fourth birthday, and it’s been a thrill to watch this community grow since we introduced this service and Twitter hashtag in 2009. Thank you to everyone who participates, whether it’s as a reader, a publisher, a writer—or all three. And thanks to the Longreads Members who have made it possible for us to keep going. 

To celebrate four years, here’s a rundown of some of our most frequent #longreads contributors, and some of their recent recommendations: 

#1 – @matthiasrascher


#2 – @hriefs


#3 – @roamin


#4 – @jalees_rehman


#5 – @LAReviewofBooks


#6 – @TheAtlantic


#7 – @nxthompson


#8 – @faraway67 


#9 – @PocketHits


#10 – @legalnomads


#11 – @brainpicker


#12 – @LineHolm1 


#13 – @Guardian


#14 – @stonedchimera


#15 – @MosesHawk


#16 – @James_daSilva


#17 – @chrbutler


#18 – @eugenephoto

#19 – @jaredbkeller


#20 – @morgank


#21 – @dougcoulson


#22 – @LaForgeNYT


#23 – @stephen_abbott

#24 – @venkatananth

#25 – @weegee

David Lee Roth Will Not Go Quietly

Longreads Pick

A profile of rock star David Lee Roth, who has had a diverse career and life. He’s now 57 years old and back doing shows with Van Halen:

“He eventually became a certified EMT in New York and then completed a tactical medicine training program in Southern California. Not famous enough to headline Madison Square Garden, plenty famous enough to stand out in a tactical medicine training program.

‘The altitude drop is when somebody realizes who you are and they take you to task. Now you’re the guy who gets to do garbage five days in a row instead of one, and doing ambulance-garage garbage is different from I-just-finished-dinner-and-now-I-have-to-dump-the-garbage-darling garbage. That will test you. But I was old enough and smart enough to know what I’d signed up for. These tactics are of value, they’re a contribution.’ For years he went on ambulance calls all over New York City, and found that a life in the music business was good preparation for rushing to the aid of grievously injured people in the less picturesque corners of the city. ‘My skills were serious,’ he says. ‘Verbal judo, staying calm in the face of hyper-accelerated emotion. Same bizarre hours. Same keening velocity.'”

Source: BuzzFeed
Published: Apr 12, 2013
Length: 25 minutes (6,495 words)

“Tribute to Phil Ramone.” Billy Joel, Rolling Stone.

Billy Joel Pays Tribute to Phil Ramone: ‘He Was the King’

Longreads Pick

A personal reflection on the relationship between a musician and his producer. Ramone, who produced for Joel, Paul Simon, Barbra Streisand and others, died March 30 at age 79:

“Phil perceived that recording hadn’t been fun for me for a very long time. The process was like pulling teeth. I don’t want to do 15 to 20 takes. I start to hate the song. If I gotta do more than a half a dozen takes, I’m ready to leave. I don’t wanna beat something to death. I just want to be as spontaneous and improvisational and free-wheeling and then I can walk away. I don’t think it’s a matter of laziness, it’s a matter of being in love. You gotta love what you’re doing. If you love what you’re doing, you’re gonna do a great job. If you’re starting to dislike the process, you’re gonna hear it on the recording.”

Author: Billy Joel
Source: Rolling Stone
Published: Apr 3, 2013
Length: 17 minutes (4,361 words)

Article of the Week: Making art

Article of the Week: Making art

The Ghost in the Machine

Longreads Pick

(NSFW, not single-page) An in-depth profile of rap legend the D.O.C., who penned many of N.W.A.’s and Eazy-E’s early songs and became an on-again, off-again studio partner to Dr. Dre:

“The shine finally started to trickle down. N.W.A’s first national tour opened in Nashville in the spring of 1989, with Doc doing eight minutes a night as an opening act. The crowds dug him. No One Can Do It Better dropped that June; within three months it sold 500,000 copies. By the end of the tour he was doing 30-minute sets. Radio picked up on “It’s Funky Enough,” a Dre production with way more commercial reach than, say, ‘Fuck tha Police.’ Years later, when Rolling Stone asked Chris Rock to make a list of the greatest rap albums of all time, the comedian put No One Can Do It Better at number 11. ‘I was going to school in Brooklyn,” he wrote, “and the only time you could see rap videos was on a weekend show with Ralph McDaniels called Video Music Box. D.O.C.’s video for ‘It’s Funky Enough’ premiered, and D.O.C. had an L.A. Kings hat on. When I came to school on Monday, half the kids in Brooklyn had L.A. Kings hats on. It was official.'”

Source: Playboy
Published: Apr 1, 2013
Length: 24 minutes (6,064 words)

Washed Away

Longreads Pick

Two years after Japan’s devastating earthquake and tsunami, the writer returns to the small town of Onagawa, which was wiped out:

“Through repeat visits and long stays as a volunteer relief worker, I would come to know Fujinaka and post-tsunami Onagawa well. Most of my fellow volunteers that summer were Japanese from undamaged prefectures—students with time on their hands, retirees, people in their early-to-middle years who were so casually employed that they could get off work or quit altogether. Many of these were what you might call ‘dropout’ types—musicians and the like. Few of us could say that anything had happened to us on March 11. But we all came to feel we had a stake in Onagawa. We planted that stake there ourselves, and it allowed us to claim that we loved the place too. Some of the younger ones said they wouldn’t leave until the town was fixed, however many years that might take.”

Source: Boston Review
Published: Mar 14, 2013
Length: 16 minutes (4,072 words)