A sit-down with Ms. Franklin.
A sit-down with Ms. Franklin.
Uncovering Southern California’s country music roots.
A profile of new Ticketmaster CEO Nathan Hubbard, who in another life was a touring musician and hated Ticketmaster just like everyone else.
A profile of Justin Timberlake:
This need to succeed, to become his generation’s multi-talented Sammy Davis Jr., is part of what makes him appealing to filmmakers. “I needed someone who could be a Frank Sinatra figure, someone who could walk into the room and command all the attention,” says David Fincher, of casting Timberlake as Sean Parker, the Facebook investor and rogue, in The Social Network. “I didn’t want someone who would just say, ‘I know how to play groovy.’ You can’t fake that stuff. That’s the problem with making movies about a rock star—actors have spent their lives auditioning and getting rejected, and rock stars haven’t.”
TM The only other time I saw you was in Bleecker Bob’s in the ‘70s. You walked in eating pizza and wearing aviator glasses and Bleecker Bob showed you an Ian Dury picture sleeve and you said, “I don’t listen to music by people I don’t wanna fuck.” PS (laughter) Yeah, that was me.
The rise and fall of “Rock Around the Clock” singer Bill Haley.
Joyce Hatto, unknown to even the most ardent classical music collectors until late in her life, released a string of incredible performances of great works, distributed by her husband’s mail-order CD business. But how was it possible for her to record difficult works at such a dizzying rate? And if wasn’t her playing, who was it?
Ah yes, you should also know that most of your colleagues are some of the biggest neurotics in the country, so you might as well get used right now to the way they're gonna be writing you five and ten page single spaced inflammatory letters reviling you for knocking some group that they have proved is the next Stones.
When I hear music as a fan, I see fields. I see landscapes. I close my eyes and see an entire universe that that music and the voice, or the narrative, create. A music video-and any other kind of visual reference-is created by someone else. For me, as a music fan, visuals kind of steal away the purity of the song.
A profile of Hole lead singer Courtney Love.
An essay on music and family, sparked by the author’s realization that his speakers sucked.
An interview with Heart guitarist and film composer Nancy Wilson.
On the producer Timbaland, then best known for collaborations with Missy Elliott, Aaliyah, and Ginuwine.
The birth of the Beastie Boys—an oral history on the 25th anniversary of Licensed to Ill.
On what you do when you can do whatever what you want.
Let's settle on the bald facts: Eminem has secured his place in the rap pantheon.
A decade later, on the then twenty-three-year-old Van Morrison’s 1968 album Astral Weeks.
Reposted after it was pulled by The Atlantic:
How the little known $50/bottle champagne Antique Gold became the $300/bottle Armand de Brignac that Jay-Z “happened upon in a wine shop” and then featured in a video.
On the many lives and careers of Owsley Stanley (1935-2011), chemist, sound design innovator, and outback jeweler, whose name appears in the OED as a synonym for “a particularly pure form of LSD.”
An oral history of the Strokes.
“By the time we got to Woodstock 99 …” In a grim finale, the nineties get their Altamont.
Six months after playing an electric guitar at the Newport Folk Festival, a rambling Dylan holds forth on style, songwriting, and fame. “People have one great blessing—obscurity—and not really too many people are thankful for it.”
“You’re either with Korn and Limp Bizkit, or you’re against them.” The birth of nu-metal.
On Sam Cooke, theme parties, and the importance of McDonald’s-related jingles when street performing.
On the young and ascendant Frank Sinatra, “who ruled crowds by seductive magnetism and surrounded himself with courtiers, but had once been an adolescent alone in his room listening to Bing Crosby on his Atwater-Kent.”