DIPLO: Do you feel like you're busier now than ever? Or has it always been off and on for you in your career? RUBIN: In some ways, it felt busier a long time ago because of the difference in technology. In the old days, I spent a lot more time running from studio to studio, and it was just more grueling to probably get less work done. And now, because I can sit at home and they can beam me mixes and I can give comments, I have much more time in my life, even though I can still get a lot done. I think another part of it is that I recognize what part of is important and what part of is not.
Kate Moss knows a thing or a hundred about fashion. Here she answers some of our most pressing questions on what she loves, why she does it, and what she’d wear to the White House.
Who do you admire, fashion-wise that is?
AMANDA HARLECH Anyone who you think is a real style icon?
ANITA PALLENBERG What are some things you never travel without? CASHMERE BLANKET, CAMERA, PICTURES OF FRIENDS AND FAMILY, MUSIC What is your most cherished possession?
MY DAUGHTER What do you listen to on your iPod? THE ROLLING STONES, ARCTIC MONKEYS, PATTI SMITH, AND JANIS JOPLIN Doing any reading lately? If so, what?
RICHARD BRANSON’S AUTOBIOGRAPHY What is your favorite food?
SUSHI Your favorite scent?
lL’HEURE BLEUE BY GUERLAIN AND BLUEBELLS BY PENHALIGON
Name a designer or label you would wear to each of these venues. If you were going to “stop by” an Oscar party?
McQUEEN The White House?
A dinner party at the China Club in Hong Kong?
VINTAGE What do you wear the most?
a 19TH-CENTURY DIAMOND RING You seem to favor big sunglasses. Where are your favorites from?
CHANEL AND MARC JACOBS
When you started out, was there an outfit you saved up for and were really proud of? A VIVIENNE WESTWOOD SHEEPSKIN COAT
Love this. Not like making funnies ever went nowhere but you can easily see how the resurgence is so real.
Thirty years ago, comedians had to fight for a few large slices of a small pie. In the ’90s, a few performers made millions as stars of network sitcoms, but most were left in the cold when comedy clubs started shutting down. Now the pie is bigger and slices more plentiful, which benefits everyone from Buress (who now draws paychecks as a star on three cable shows) down to the armies of unknown UCB performers. Podcasting is just one of the many ways by which comedians can develop a fan base, but over the last couple years, it’s also become one of the most lucrative — “many comedians could survive today with the revenue from their podcasts alone." Sachs says a podcast with 40,000 downloads per episode can gross well over $75,000 a year, and shows in the 100,000-download range can gross somewhere between $250,000 and $400,000.
Late but interesting nonetheless. Especially now that things have settled a bit and I'm able to look at what it could mean for my story in the long run. Funny too, when Pitchfork doesn't post your music but runs such a dedicated editorial basically saying how fucking ill you are and it's sad no one knows. Gotta love it.
SHIRT, a Queens, N.Y.-based rapper who just dropped his latest album Museum, is not what would be described as struggle rapper, but he is one—on paper, at least. He's an unsigned rapper, whom you've likely never heard of, who releases free and cheap music on the Internet—his latest is available for five bucks (via PayPal). He uses gimmicks to garner attention—whether that means faking a New York Times article or trolling pop stars or name-dropping streetwear power player jeffstaple and actually getting jeffstaple to lip-sync his video. He's a seemingly self-contained entity who considers himself one of the best rappers alive, who plays on the outskirts of rap with dreams of getting in by using the cheap and free DIY tools available to him. Yet, he's so much more.
Some of your favorites came together on Monday to announce, as I understand it, a new service owned by Jay, Kanye, Jack White, Beyoncé, Madonna, Arcade Fire, Rihanna, Usher, Daft Punk and others, that brings together the capabilities of iTunes, Soundcloud, Spotify, YouTube and more. Throw in exclusive content, higher royalty payouts for artists, HD video and hi-fi sound, curated playlists and whatever else these guys think of next, and this shit is sounding pretty dope to me. There's even talk of the $10-20/month subscription allowing free access to concerts throughout the year. If you ask me they might fuck around and change the game.
How difficult is it for an indie artist to put their music onto TIDAL? Services like Spotify can be very difficult, if not on a label or going through a digital distributor. Does the same apply for TIDAL? Vania: There is that difficulty, I know, with other services. I'm not a musician, but some of my friends are and they tell me "I had to go through an aggregator, I had to wait six months for this and that and nobody paid attention to me." And these are all things that we hear and that are very personal to us, and that we are addressing. The truth of the matter is, we took control of this company a few weeks ago. We're still a very young, nascent company and we have a lot of initiatives that we're working on, especially when it comes to indie talent, emerging talent, giving people visibility, giving people a forum to put their music up and giving them control of their distribution and their creative content, how they want to communicate with their fans. Those are all initiatives, and that one specifically is something that we're working on addressing. Jay Z: As well as having a discovery program, where established artists can take things that they like and just showcase them. It's all about paying it forward and working very cyclically and discovering new music. Imagine if Win from Arcade Fire puts up an artist that he discovered in Haiti — and he had this idea, actually, I don't want to step on his idea — and through the curation process gets something really good and introduces it to the world. And then the world is inspired by that sound. It gets a little ethereal from there, but just the possibilities of what TIDAL can do are really exciting, on a creative front.
Eight of his notebooks, from the collection of Larry Warsh, will go on display next month at the Brooklyn Museum. The four most crowded with entries date from 1980 to 1981, when Basquiat was working furiously in a wide variety of media: writing and painting on every surface that came to hand, from walls to sweatshirts to refrigerator doors; playing with his band, Gray; appearing on Glenn O’Brien’s public access show “TV Party”; and making the color-Xerox postcards with which he first announced himself to the art world. In those days, it was perhaps not entirely clear to him what direction he would take, but painting was on the ascent. (Three of the other notebooks, speculatively dated 1981-84, 1983 and 1985, only contain a few written pages; the last is thought to be from 1987, a year before his death at 27.)
My guy Paul snags one of the greats to reflect on her massive debut.
XL took notice and gave me a record deal, and that was like the most liberating thing on the planet — to have somebody care that your work is any good, that they would give you a check. And for the first time I was able to like, pay rent — move in to somewhere and pay rent, put a deposit down to buy a computer — because up to that point I used Justine's Roland MC 505. She took the 505 back and I had to buy my own one. That to me was like a massive life-changing thing to be able to afford your own equipment, and you don't owe anything or anything you do to anyone. And to have that independence and freedom was amazing. But by the time I hit America and actually found out the press aspect of it and the success aspect of it and the fact that there's gonna be, you know, tons of people at the shows. . . and I had an encore at Coachella. That had never happened except for like, Radiohead and Nine Inch Nails, and it only happened like four times in the history of Coachella. By the time that was happening to me, I was with Diplo and he basically just like shat on every good thing that was happening to me, and I just didn't enjoy it because if I was on a cover of a magazine he'll be like, "What do you want to do, like be on the dentist waiting room table? Like, is that what a magazine is for? It's corny. Like, don't do magazines."