The Pointy End

What’s happening to New York city’s record stores?

This week saw the closure of one of New York’s best-loved record shops. Other Music was an institution seemingly immune to the forces of gentrification, with a turnover that most record stores would die for.

The Vinyl Factory

Why I Hate Music/cisuM evoL I yhW

Sometimes I hate music. It blares out of the car stereo at me, talking too fast and too loud.

Cue Point

Music and Identity

A mashup of image, word, and sound, from the Race/Related newsletter.

The New York Times

Never mind the bus pass: punks look back at their wildest days

From bassist to banker and punk rocker to priest, six lifelong rebels on the movement that made them.

The Guardian

Can music help us fall asleep?

Insomniacs can train themselves to become better at falling asleep by listening to music.

The Guardian

How to create a blockbuster musical

When looking for the secret to success, the 1980s is the place to start. Perhaps there was something in the hairspray, as the West End’s five longest-running productions premiered between 1981 and 1986.

The Economist

Pourquoi le retour de la musique sur les stations généralistes est inévitable ?

Vous en doutez ? Et pourtant. Un programme radio c’est un ensemble d’éléments que l’on met en forme et ces éléments permettent à l’auditeur de reconnaitre et d’en saisir le sens.

La Lettre Pro

Nina Simone and the clichés of the musical biopic

Simone was trained as a classical pianist in her home town of Tryon, North Carolina, and moved to New York for a year’s study at Juilliard (with the great Carl Friedberg, who had known Brahms), with the intention of auditioning for the Curtis Institute of Music, in Philadelphia, which, unlike Juilliard, taught its students tuition-free.

The New Yorker

Opera Startups: Small companies in New York take on the Met.

The Met, despite its perpetual financial struggles, shows no signs of capsizing. Though dozens of competitors have come and gone, it lumbers on, embattled but essential. But New York’s operatic startups offer cheap seats for curious newcomers, opportunities for young performers, and a theatrical intimacy that can’t be found at the Met. At their best, they give you the feeling of looking at opera from the inside.

The New Yorker


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