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John Seabrook

John Seabrook

Staff Writer at The New Yorker

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Location
United States
Languages
  • English
Covering topics
  • Technology

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Recent Articles

newyorker.com

Annals of Music | The New Yorker

A collection of articles about Annals Of Music from The New Yorker, including news, in-depth reporting, commentary, and analysis.
newyorker.com

The Women of Wet Leg

How Rhian Teasdale and Hester Chambers, two friends from the Isle of Wight, got a music career and five Grammy nominations by fixating on an old chaise longue.
newyorker.com

The Ministers of the Lap-Steel Revival Tour

The sisters Rebecca and Megan Lovell, of the rock band Larkin Poe, hit up a guitar store before a gig at Webster Hall.
newyorker.com

How Graham Nash Still Does It

The newly remarried rock star ponders life without David Crosby and why he still sends roses to Joni Mitchell.
newyorker.com

The Case for and Against Ed Sheeran

The pop singer’s trial for copyright infringement of Marvin Gaye and Ed Townsend’s “Let’s Get It On” highlights how hard it is to draw the property lines of pop.
newyorker.com

Margo Price Puts a Hurtin’ on Some (Alcohol-Free) Bottles

Over alternative whiskey sours, the singer-songwriter explains how a psilocybin-induced revelation prompted to her to go secretly sober.
newyorker.com

Chess Records, Revived

Marshall Chess never got to run his father’s label, which recorded musicians like Muddy Waters and Chuck Berry. Now he has an album of reinterpreted classics.
newyorker.com

A Drummer’s-Eye View of the Arctic Monkeys

The four-piece British rock band was in town recently for two sold-out shows at Forest Hills Stadium. On the morning between gigs, Helders went to Fotografiska New York, the U.S. branch of the Swedish photography museum. He wanted to check out an exhibition of the work of Terry O’Neill, the British lensman who assisted in the birth of rock photography, in the early sixties. Helders carried his digital Leica. Over an Americano in the museum’s lobby, he explained that he’d shot the cover photo wit…
newyorker.com

Johnny Marr Loves his Axes

Over French toast at Ladybird, an East Village vegan place, Marr recalled selecting guitars for his collaborator, Pat Graham, to photograph. He soon realized that “Marr’s Guitars” was going to be more than a coffee-table book for fetishists. It became a musical memoir of his encounters with great guitars that, he said, “turned my daydreams into sound.” Each time he pulled out an instrument, he said, “I remembered what movies I was watching, why I bought it—who I fookin’ was. It all came back.” I…
newyorker.com

Inside the Music Industry’s High-Stakes A.I. Experiments

As UMG’s leader, he has solidified the dominance of Universal, the largest of the Big Three label groups, helping it to overtake Warner Music and Sony. More than half of Spotify’s twenty most streamed artists of all time are signed to UMG. But Grainge is also the consummate music man, with forty-five years of experience on both the publishing and the label sides of the business. He oversees a long list of formerly independent labels, including Interscope, Republic, Capitol, Motown, and Island. “…
newyorker.com

Billy Corgan on Heels vs. Baby Faces, and the Case of Donald Trump

The Smashing Pumpkins front man and wrestling impresario ponders why Kim Gordon made fun of the band (snobbishness) and worries about being “constrained by wokeness.”