Bob Spitz on the Rolling Stones, Bruce Springsteen, and the Art of Biography

Bob Spitz has written major biographies of the Beatles, Led Zeppelin, Bob Dylan, and now the Rolling Stones — but also, somehow, Ronald Reagan and Julia Child. In rock, his credentials were hard won: he started out hustling gigs for an unknown Bruce Springsteen for six years, moved on to handling Elton John’s American business, and spent long enough in the world to find himself jamming with Paul McCartney and chatting with Bob Dylan on a stoop in the Village. The Reagan and Julia Child books are harder to explain, and perhaps that’s the point—Spitz seems to do his best work when he has no business writing the book at all.

Tyler and Bob discuss how the Stones became so great so quickly, what they added to the blues, how their melodies stack up against the Beatles’, whether Exile on Main Street deserves its canonical status, which songs are most underrated, what Charlie Watts actually got out of playing in a rock band, the rise and fall of Brian Jones, how the Stones outlasted nearly everyone, the influence of Mick’s London School of Economics training, why popular music has lost its cultural influence, what we should still be asking Paul McCartney and Ringo Starr, whether the Beatles’ breakup was good for the world, how senile Reagan really was in his second term and whether he was ever truly a communist, how good a cook Julia Child actually was, his next book on Lennon’s second act, and much more.

TYLER COWEN: Hello, everyone, and welcome back to Conversations with Tyler. Today I’m sitting here chatting with the great Bob Spitz, the biographer. He has a new book out, which I enjoyed very much, The Rolling Stones: The Biography. He has other very well-known books on the Beatles, Led Zeppelin, Bob Dylan, Ronald Reagan, Julia Child, and more. Bob, welcome.

BOB SPITZ: My pleasure, Tyler. Nice to be with you.

COWEN: Did the Rolling Stones have a long apprenticeship period the way the Beatles did? It seems they didn’t. How did they become so great so quickly?

SPITZ: Actually, they did. They worked in a little club called the Crawdaddy Club, which was in Richmond, a suburb of London. They worked long and hard there. In fact, the first time, and I document this in the book, the first time they show up, only six kids show up. They’re despondent. They go and talk to the head of the club. He said, “Look, play as if there are 100 people there and next week, there will be 100 people.”

Next week, there was 100 people. They played as if there were 100. The next week, 200 came. They worked in that club for about six months. Then they went on the road. They played a lot of really crappy little places, the same way that the Beatles did. Perhaps not as long an apprenticeship, but they served their time pretty well.

COWEN: That seems quite short, those six months. You read about Paul McCartney. He writes songs when he’s age 14, age 16. Is there anything comparable in the Rolling Stones?

SPITZ: No, not really. The Stones never dreamed that they would write music. It was beyond them. They were blues singers. Their primary goal in life was to bring that rich catalog of Delta and Mississippi, and Chicago blues to the world. They did not care about writing songs at all. They saw themselves as authentic blues masters. It was only their young manager, Andrew Oldham, who insisted if they were going to go anywhere, if they were going to compete in the music world, the pop music world, they would have to write music. They gave it a try. This came maybe two years after they were already on the road.

On the sound of the Rolling Stones

COWEN: There’s something they added to the blues. If you were to put your finger on what that was, the secret to their sound, the blues plus X, what’s the X there?

SPITZ: Rock ‘n’ roll. The X is rock ‘n’ roll. They jacked it up. They hotwired the blues. They turned it into a sound that we now know as rock ‘n’ roll. Chuck Berry and Bo Diddley started that sound. Then the Stones really gave it extra power and ferocious guitar and gave us the sound that we now know as rock ‘n’ roll today.

COWEN: They also have some songs that are very good. You could say almost Country and Western music, say, circa 1968. There’s some other element musically other than just rocking that they’re adding all along.

SPITZ: Absolutely. They took the records that the American servicemen had left behind after World War II. They left thousands of records behind. The majority of them were Country and Western records. The Stones grew up, like the Beatles did too, loving Country and Western music, courtesy of the American servicemen.

COWEN: Viewed objectively, how good are their melodies, just as melodies? If you ask about the Beatles, here, there, and everywhere, that’s an A-double-plus melody. How do you rate the Stones?

SPITZ: I would rate them maybe a B minus. Their rock and roll melodies are spectacular. “Gimme Shelter,” “Jumpin’ Jack Flash,” “You Can’t Always Get What You Want,” these are melodies that I would put up against some of the Beatles’ better songs, but perhaps not as lush, not as romantic as the Beatles. Melodies in a different mode. [...]

On art colleges and rock ‘n’ roll

COWEN: Here’s a sentence from you: “The nascent British rock ‘n’ roll movement was born in art colleges.” Please explain.

SPITZ: Oh, well, art colleges, we don’t have them here, but they are a foundation of UK education. There is an 11-plus test that is given to every student when they’re 11 years old, and it really determines whether or not they’re going to go on to university or they’re going to go to a vocational school. In those early days, a vocational school meant that you’d wind up working in a factory. You’d wind up working as a clerk for the railroad. You’d take on one of those jobs.

Art schools came into being, and this was a repository for people who had talent but didn’t know what to do with it and weren’t that academic. Art schools sprang up in almost every community in the UK. We have people like Jimmy Page coming out of art school, Keith Richards, Jeff Beck, Pete Townshend, all the great rock ‘n’ roll—

COWEN: John Lennon, also, right?

SPITZ: John Lennon, absolutely, went to Liverpool College of Art. It was an incubator for the arts, but also for rock ‘n’ roll because people brought their instruments to school, and they would play in the cloak rooms. That’s where they really formed bands and learned how to play with other musicians. The art school movement really gave us that whole British rock ‘n’ roll thing to this very day. Florence Welch of Florence and the Machine came out of it. Jarvis Cocker came out of art schools. They’re still thriving in the UK, and they’re still giving us new, innovative music. [...]

COWEN: Mick once said his favorite economist was Friedrich A. Hayek. Do you know anything more about that?

SPITZ: I do not, actually. I think it’s incredible that Mick had favorite economists. We do know that Mick was a scholarship student to the London School of Economics, and that for two and a half years, he attended and got pretty good grades. He did fairly well. The one thing that amazes me about Mick coming out of that London School of Economics is this. After 1967, when Andrew Loog Oldham stopped managing the Stones, they have never had another manager. They’ve had some money managers, but as far as managers go, Mick Jagger was their manager.

He has served as the Rolling Stones’ manager, bringing all of his experience from the London School of Economics since 1967. He’s negotiated all of the recording contracts, their publishing contracts. Every tour that comes along, he negotiates with the promoters. Every date he oversees, he designs the stage, and he invests the Stones’ money. So remarkable that this guy, a London School of Economics dropout, let’s call him that, has done so well for the rest of the band. [...]

COWEN: Let’s say we put you in charge of social welfare. Was it good that the Beatles split up when they did? I mean for the world, not for them.

SPITZ: Perhaps it was. I always felt that a lot of people run out of steam after three or four albums. If you look at Bob Dylan and Neil Young and Van Morrison and The Who and maybe even The Rolling Stones, after a couple years, after maybe four or five albums, they start trying to duplicate themselves. The Beatles gave us everything they had, and then they stopped. We have 230-some songs, perhaps the most remarkable songbook, aside from Hammerstein and Rodgers, that we know of from the 1900s on. The Beatles songbook I would put up against anybody’s. I think maybe if they had stayed together, they might have lost some of that spark.

COWEN: Think how many more George songs we got from this split, or Paul songs for that matter.

SPITZ: Absolutely right. George, toward the end, George really came into his own. Even after, in his solo career, we got some real gems out of George. I think it took him a little longer. More than that, I think he learned how to step out of the Lennon-McCartney shadow and stand on his own two feet.

COWEN: What did you learn jamming with Paul McCartney?

SPITZ: Boy, that was an experience.

COWEN: What year is this, just for context?

SPITZ: 1997. The New York Times Magazine sent me to the UK right after Paul was knighted to talk to him about that and give me a few of his memories of John Lennon. We were in Hastings in his house. It was a strange experience because I expected Paul McCartney to have an expensive house. It was really this tiny two-and-a-half, three-bedroom cottage. I said, “Do you actually live here?” He said, “I do.” I said, “But you have five children. You have three bedrooms.” He said, “Linda said that we all need to live on top of one another. That’s what we do. We are a family here.”

As I was leaving, he said, “Hey, you’re a musician, right? Want to see the studio?” Of course, that was like catnip to a guy like me. We went downstairs, and he shows me. It was a room no longer than say my dining room in New York City, but there were all the instruments from Abbey Road that he had, as well as Bill Black’s bass. Bill Black was Elvis Presley’s bass player. Paul had bought all these instruments and maintained them.

He said, “Sit down.” I said, “Sit down?” Paul sat down at the piano, and he nodded me into a guitar. What did we play? We played a few Beatles songs. It was frightening. I played with some great musicians before, but when you see Paul McCartney nodding you into a song, it’s a different feeling altogether, believe me.

COWEN: He was good?

SPITZ: Was he good? Oh, yes. I would say he was good. Then I let him sing “Maybe I’m Amazed” by himself on the piano. That was freakish, having a private audience in a tiny room. Never experienced anything like that before. [...]

On Robert Caro

COWEN: What is Robert Caro like?

SPITZ: Robert Caro is the guy I look up to whenever it comes to writing biographies. That man has a way with words that has often intrigued me and humbled me. I was at a party one time, and a guy came over and said, “I hear you’re writing a book about Ronald Reagan.” There were about 150 people in this party. I said, “I am.” He said, “Could you talk to me about it a little?”

We sat down on the couch. I looked, and I saw over the man’s shoulder, my wife was going, “It’s Robert Caro. It’s Robert Caro.” At which point, my semi-intelligent dialogue became bedab, bedab, bedab, bedab. He was an incredibly thoughtful man. He sent me a number of notes from time to time. He is the biographer’s biographer. I don’t know how he does it. A great read.

COWEN: Why doesn’t he do more in public? Is it a Bob Dylan kind of thing, or just he’s too busy writing and researching?

SPITZ: I think he’s too busy writing. This guy writes and researches around the clock. I have learned not to do that. From what I’ve gathered, he’s up to his eyeballs in work day and night. He lives to do that. That’s his process.

COWEN: Does he understand how much of a cult surrounds him since he’s not out in public much?

SPITZ: I think he does. When he’s out in public, people stop this guy on the street. He’s like a rock star. He gets a lot of letters from people, especially people who want to know if he’s ever going to finish that last installment of the Johnson biography. I expect we’re going to see that any day.

by Tyler Cowen and Bob Spitz, Conversations |  Read more:
Image: uncredited/Conversations with Tyler

Ted Turner, Cable TV Visionary Dies at 87

Ted Turner, a mercurial tycoon and gadfly visionary whose “superstation” TBS was a cornerstone of cable TV’s early success, whose 24-hour news channel CNN revolutionized TV journalism, and whose sprawling legacy encompassed conservation, philanthropy and professional sports, died Wednesday at his home near Tallahassee. He was 87.

His death was confirmed by Phillip Evans, a spokesman for Turner Enterprises. Mr. Turner revealed in 2018 that he had Lewy body dementia, a progressive brain disorder.

A serial entrepreneur known as “the Mouth of the South” for his bellicosity and bravado, Mr. Turner took over his family’s Georgia-based billboard company at 24, after his father’s suicide, and transformed the business into a media juggernaut that would forever alter broadcasting.

“CNN really heralds the world of Twitter and social networks and interactivity,” said Ken Auletta, a Turner biographer and media writer for the New Yorker. “During the Persian Gulf War, you had a live war for the first time, without commercial breaks. You’d see bombs dropping and people screaming and fire engines roaring. Everything is immediate. It’s the world we live in today. He’s the father of that world.”

Mr. Turner’s achievements transcended journalism and business, and his much-publicized personality — charming, vulgar, daring, impulsive, idealistic, titanically self-regarding — made him one of the most captivating public figures of his generation.

He presented himself as a Southern gentleman. But he also boasted of being a Ferrari in the bedroom, and with his incessant philandering, he burned through three marriages, including his last, to actress Jane Fonda.

The billionaire Mr. Turner championed a world free of conflict but was on friendly terms with dictators and despots, including Saddam Hussein and Vladi­mir Putin. A Goldwater Republican turned unabashed liberal, he had friends running the political gamut — from former President Jimmy Carter to Sen. Jesse Helms (R-North Carolina), from televangelist Jerry Falwell to communist Cuban leader Fidel Castro, who became a duck-hunting companion.

On his cable channels TBS and TNT, Mr. Turner delivered wholesome family fare, including sports and black-and-white reruns. But in his prime, he was a self-confessed absentee husband and father, with family below business and sailing on his list of priorities.

As skipper of the yacht Courageous in 1977, Mr. Turner won the America’s Cup, sailing’s most prestigious trophy. He also brought his competitive drive to ownership of the Atlanta Braves, the long-hapless baseball team he bought in 1976. The team rewarded his vigorous support and patience with a World Series victory in 1995 over the Cleveland Indians.

His interests and ambitions seemingly boundless, Mr. Turner became one of the largest private landowners in the Western Hemisphere, and he used his more than 2 million acres, from Montana to Argentina, to preserve endangered flora and fauna. He underwrote foundations that campaigned against nuclear arms proliferation and for such causes as population control, solar energy and debt forgiveness for developing countries.

In 1986, he created the Goodwill Games to foster brotherhood among athletes after the two world superpowers — the United States and Soviet Union — traded boycotts of the Summer Olympics in Moscow (1980) and Los Angeles (1984) during a surge in Cold War tensions. He lavished hundreds of millions of dollars on the venture before it was shuttered in 2001 because of low television ratings.

Years before Microsoft co-founder Bill Gates rose to the top of world philanthropy, Mr. Turner donated $1 billion to start a foundation to support United Nations projects in developing countries.

In business, as in all his undertakings, Mr. Turner cultivated a renegade persona. The bad boy yachtsman, who galled the elite gatekeepers of sailing in New York and Newport, Rhode Island, was also the Atlanta David battling the media Goliaths of New York. “I was cable,” he once quipped, “when cable wasn’t cool.”

Mr. Turner thrived on the role of buccaneer, and he looked the part with his rugged 6-foot-3 frame, square jaw, cleft chin and tidy mustache. A cigar, a beer can and a quip were ever at the ready. “If I only had a little humility,” he once joked in his booming Southern drawl, “I’d be perfect.” [...]

“Ted is a complicated guy, but he is part genius,” Fay Vincent, the former baseball commissioner, told The New York Times in 2001. “Ted doesn’t mean the harm he causes; he just cannot shut up.”

by Adam Bernstein, Washington Post/Seattle Times |  Read more:

Images:Michael Williamson/Craig Herndon/Washington Post

[ed. What a life. And he married Jane Fonda, too.]

Dr. Bobby

Bobby Wagner, former Seahawks star, earns honorary doctorate from Utah State.

Former Seahawk Bobby Wagner … oops. Former Seahawk Dr. Bobby Wagner had to crack a few jokes when he took the stage at Utah State University’s graduation last week.

Wagner, who played for the Seahawks from 2012 to 2021 and again in 2023, returned to his alma mater on April 29 as the commencement speaker. During the ceremony, Wagner received an honorary doctoral degree from Utah State.

“If you didn’t know, my name is now Dr. Bobby Wagner,” Wagner said. “And to any family members here, you need to update my name in your phone. It’s ‘Dr.’ now. I will no longer respond to ‘Bobby.’ It’s Dr. only.”

The honorary doctorate adds to a long list of accolades that Wagner has collected throughout his career. In addition to his Super Bowl win with the Seahawks, he is a 10-time Pro Bowler and six-time All-Pro. Wagner also was named the 2025 Walter Payton NFL Man of the Year.

Wagner’s jokes were on display when he accepted that award, too.

“I really didn’t think I was going to win this award,” Wagner said on stage after learning he won the Walter Payton award. “I almost didn’t even come to be honest. I’m glad I did.”

While accepting that honor back in February, Wagner delivered a speech that balanced humor with thoughtful reflection and gratitude for his mother who died of stroke complications when Wagner was a student athlete at Utah State.

Speaking to a crowd of more than 6,000 graduates in late April, Wagner joked about how lucky the graduating class was to have a Target in town, a luxury that wasn’t around during his time, before telling the story of how he ended up at Utah state.

He recalled a winter visit he made to the university with his mother. On the trip, he was offered a scholarship and despite having no other scholarship offers, Wagner told his mother he wanted to take his chances.

“She told me I either accept the scholarship, or I wasn’t coming back home,” Wagner said standing at the podium. “Back then there was no Ubers. There was no NIL. I wasn’t getting paid. So, I accepted the scholarship.”

“One of the things that taught me was the place you least expect to be is the place you’re exactly supposed to be,” Wagner said.

Wagner went on to be a four-year starter at Utah State, leading the program to their first bowl game in 14 years. He tied the school record with 446 career tackles and earned various other individual honors.

After graduating, Wagner was selected by the Seahawks in the second round of the 2012 draft.

The linebacker’s speech continued on, talking about the importance of building connections and going after personal goals. In addition to his NFL career, Wagner has various off-field pursuits including the Phenia Mae Fund and FAST54 that promote stroke education in honor of his mother. Wagner also recently earned his MBA from the Howard University School of Business.

Wagner’s 15-minute speech was threaded with jokes, including some well received trash talk.

“It’s fun to be able to talk trash to every other school, like I tell them, ‘I don’t know, Stanford’s cool, but it’s not Utah State,’ you know what I mean?” Wagner said.

by Sofia Schwarzwalder, Seattle Times | Read more:
Image: Dean Rutz/Seattle Times
[ed. Dr. Bobby. Blessed with class and talent. Seattle's been lucky. We've had Ichiro, too.]

Want to Be Friends With a Bravolebrity?

 That’ll be $5,000.

It’s a scorching Sunday in Los Angeles, and Devyn Parrott, a 36-year-old mother of twins from Phoenix, has already made the pilgrimage to a few sites of celebrity worship: the Beverly Hills Erewhon for a Hailey Bieber smoothie, the Four Seasons for a massage, and SUR, the main setting of Bravo’s Vanderpump Rules, for a glass of wine. Then comes the highlight: a dinner with Reza Farahan and Mercedes “MJ” Javid of the reality series Shahs of Sunset, The Valley: Persian Style, and The Traitors. It’s her second time meeting Farahan. The first took place in November, when she and her mother had drinks with him at BravoCon. “It was like catching up with an old friend,” she says. “He’s one of the most genuine people I’ve ever met.”

Parrott is a client of Fan Social, a start-up launched as a sort of Cameo on steroids: Whereas Cameo allows users to pay around a couple hundred bucks for a personalized video from a celebrity, Fan Social has its clients pay two, three, or ten times that amount to actually hang out with them in person. Parrott’s experience in L.A. would cost you $7,888 ($2,888 for Javid, $5,000 for Farahan); her drinks date at BravoCon was $2,500. On Fan Social’s menu, you can have lunch with Luann de Lesseps for $5,000, grab coffee with Jamie Kennedy for $750, dine with To Catch a Predator’s Chris Hansen for $3,500, or golf with former L.A. Laker Byron Scott for $20,000. For $10,000, The Real Housewives of New Jersey’s Margaret Josephs will officiate your wedding. For a tenth of that, comedian Tom Arnold will virtually preside over your divorce counseling.

The wealthy have always been able to buy access to celebrities (consider the many pop stars who appeared on My Super Sweet 16), but Fan Social seeks to standardize what were formerly backdoor negotiations with an individual’s management. The idea was born in 2024 when a fan called in to “Jeff Lewis Live,” a two-hour SiriusXM show hosted by the former star of Bravo’s Flipping Out, asking if she could take Lewis to dinner, to which he joked that she could — for $10,000. The dinner never happened, but other fans took him seriously: Soon Lewis was receiving multiple $10,000 dinner invitations over DM, which he accepted. Months later, Lewis started Fan Social along with Southern Hospitality showrunner Michael Beck and Charleston-based software and product designer Shannon Barnes. Fan Social launched with ten celebrities, mostly Lewis’s friends from the Bravoverse. Within a year, the site had hundreds of bookings; the roster now sits at around 50 and includes comedians, actors, and influencers. The founders are currently expanding Fan Social’s talent pool of athletes, who are often based in smaller cities and have local appeal; they’re also hoping to land Andy Cohen, who Lewis expects could charge up to $20,000 per dinner. Barnes describes the pitch as “Uber for celebrities,” a side hustle they can squeeze into their schedules whenever they want. “It’s such an easy way for somebody to make money for one hour of conversation — usually about themselves, which they’re happy to do,” says Beck. 

Like most Fan Social clients, Parrott had heard about the company on “Jeff Lewis Live,” which she listens to “religiously.” (Until now, the platform has done no traditional marketing or press, relying on celebrities to promote their own pages.) Along with her family, she owns three subcontracting companies and was using the trip to L.A. to “capitalize on alone time.” “Here’s the thing,” she tells me, a stack of gold designer bracelets dangling on her wrist, as we wait at the bar for Farahan and Javid to arrive. “You can spend $500 on a Cameo that you watch one time and post. This is more expensive, sure, but it’s the memory of it. That for me is what’s so cool: the memory.”  [...]

The day after Parrott’s meetup, Amy Powers, a 54-year-old from Tennessee, arrives at the SiriusXM offices in Hollywood for her “Jeff Lewis Live” studio visit — a Fan Social experience where, for $5,000, a client can listen in on the prep meeting and taping of Lewis’s show. Powers is a Fan Social power user, a tiny blonde OG Housewives fan with a southern drawl who owns a construction company with the husband she’s in the process of divorcing. ChumpCon, the convention for fans of “Jeff Lewis Live” held last year in Las Vegas, was “the best weekend ever,” she says. Last night, she had a Fan Social dinner at the West Hollywood restaurant Craig’s with Doug Budin ($2,000) and Jamison Scala ($1,500), who both work on “Jeff Lewis Live.” “Any time I’m in town, the first thing I do is call Shannon, like, ‘Where are my boys? Can they do something? Can they have lunch? Can we have dinner?’ ” she says. [...]

Not all “Jeff Lewis Live” listeners support Fan Social; posts on Lewis’s sub-Reddit have criticized him as being “desperate” and “grifting off his fans” for his $4,000 drinks and $7,500 dinner offerings. Lewis waves this off. “My guess is most of those people, if they had the opportunity to do what I’m doing, I’m pretty sure they’d be doing it. Why wouldn’t you?” he says. “You wanna go to a thousand-dollar dinner and have an amazing evening and then sometimes get a gift on top of it and be paid for it? It’s crazy.” Last year, Lewis did 33 Fan Socials and made well into the six figures on the platform (Fan Social takes a commission of around 20 to 25 percent). “I get to go to all my favorite restaurants for free,” he says; he’ll usually suggest Craig’s, the Polo Lounge, Boa, Cecconi’s, or Steak 48.

by Rebecca Jennings, The Cut | Read more:
Image: Michelle Groskopf
[ed. Sad. They'd have to pay me.]

A Humble ‘Jeopardy!’ Champ Ends His Run

For the past month, “Jeopardy!” episodes have followed a pattern.

The theme music plays. The three contestants stand at their lecterns. Then two of them are clobbered by a mild-mannered bureaucrat from New Jersey named Jamie Ding.

But on Monday’s episode, the unthinkable happened: After 31 victories, Ding lost.

His streak is the fifth-longest in “Jeopardy!” history. He fell just one win short of matching James Holzhauer’s 2019 run, and he left the Alex Trebek Stage with more than $880,000 in winnings.

Early in the game broadcast Monday, Ding found himself lagging behind Greg Shahade, an International Master in chess who was lightning-fast on the buzzer. During Final Jeopardy, Ding jotted down the correct response to a clue about South African languages — but it wasn’t enough to make up the deficit.

“It was over, just like that,” Ding, 33, said in an interview.

Contestants who went up against him included a statistician, a librarian and a professor. Ding produced so many correct answers (always in the form of a question) that it seemed he might never run out.

“Who was Trotsky?”

“What are non-Newtonian fluids?”

“What are waffle fries?”

Throughout his reign, he was matter-of-fact as he came up with arcana in a split second (“What is cuneiform?”). He endeared himself to viewers through his comically humdrum banter with the show’s host, Ken Jennings, about such topics as his favorite color (orange), his favorite letter (F) and his favorite number (6).

As the streak continued, the drama-free anecdotes and humble bits of personal information shared by Ding seemed to amuse Jennings, a former “Jeopardy!” champ who holds the record for consecutive wins, with 74.

The depth of Ding’s knowledge went along with a lack of bluster. He proudly identified himself as a “faceless bureaucrat.” When he won a game, he looked pleasantly surprised, as if he had been given an unusually good free sample at Trader Joe’s.

“Put Jamie Ding on the $20 bill,” one fan demanded in a tribute on the newsletter platform Substack.

After his “Jeopardy!” loss had been taped but before it was broadcast, Ding gave a video interview from his two-bedroom apartment in Lawrenceville, New Jersey.

There he was, in front of an orange couch and a stuffed orange clown fish. He said he had remained calm throughout his final game, even as he realized that he was on his way to a loss. He went backstage and stared at the mostly orange clothes he had brought along in the hope that his streak would continue.
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“During it, I was trying to stay grounded,” he said. “Planning to win a whole bunch of games of ‘Jeopardy!’ just feels like asking to lose.”

Ding filmed the show in five-episode chunks in Los Angeles during vacation days from his job as a program administrator for the New Jersey Housing and Mortgage Finance Agency. His work involves administering tax credits to build affordable housing in the state.

In an early appearance, he praised New Jersey’s efforts on the issue compared with those of New York, Connecticut and Pennsylvania. “If you’re from one of those states, then shame on you,” he said. “Build more housing.”

He spends his time away from his job studying law at Seton Hall University. He said he did not expect his “Jeopardy!” windfall to change his life all that much. He planned to donate some money and put the rest in a high-yield savings account.

In a way, Ding said, he had been preparing for the show since childhood. The son of a neuroscience professor and a high school math teacher, he grew up in Grosse Pointe Shores, a suburb of Detroit. He competed in geography bees and on his high school quiz bowl team. He recalled losing a sixth-grade spelling bee when he misspelled the word “bolero.”

“B-a-l-l-e-r-o,” he said. “Terrible.” [...]

Ding was a relatively conservative player, avoiding the all-in wagers on Daily Doubles that were a go-to stratagem for Holzhauer. But he was unusually fast on the buzzer and seemed to have few weak categories.

“The key to Jamie’s run really has been his incredibly wide base of knowledge in just about any category you can think of,” Saunders said.

Ding used a tactic he called “knight moves” — traversing the board in an L-shaped pattern, like a knight in chess. Maybe it threw his opponents off-balance, or maybe it was just nice to have a simple rule to follow, he said. “It’s basically a guaranteed way to pick something of a different difficulty, and in a different category,” he added.

He watched his first “Jeopardy!” appearance at Pint, a bar in Jersey City, with friends from so many different groups that it felt like a wedding. He is still getting used to the attention that comes with being a TV star.

“Watching my episodes, I can be pretty self-critical — like, ‘Why did you do that?’ Or, ‘What’s wrong with your face?’” he said. The outpouring of support has been worth the discomfort. “I’m trying to keep a list of people who did nice things for me because it’s so many,” he said.

Now that his streak has ended, he can return to his hobbies, like constructing cryptic crosswords and running an Instagram account rating General Tso’s chicken with his sister. He is also part of a group of intervenors seeking to block the U.S. Department of Justice from obtaining New Jersey’s voter registration records.

It won’t be long, though, before he starts studying for the “Jeopardy!” Tournament of Champions. He might even need some more orange clothes.

“I have a reputation to uphold,” he said.

by Callie Holterman, NY Times/Seattle Times |  Read more:

Image: Katy Kildee/The Detroit News/TNS

[ed. Feels refreshing to read about a normal, well-adjusted person who's main goal in life isn't self-promotion in some way.]

Something's Wrong With Tiger Woods

Something's wrong with Tiger Woods. We don't know the struggle’s precise shape, but it's there. It has been there. The evidence is not subtle, and it is not new. That is the sad and disconcerting thing, and until it is reckoned with honestly, everything else is secondary.

What happened with Friday’s two-vehicle crash in Jupiter Island, Fla., and Woods’ subsequent arrest, involved drugs or medication; the Martin County Sheriff said so plainly, because the breathalyzer said 0.00 and the man crawling out of the overturned SUV appeared lethargic, impaired, somewhere other than fully present. That part we know. What we also know, and have known for a while, is the context that surrounds it: all the surgeries, a body that has been broken and rebuilt so many times that the pharmaceutical architecture required just to get through a day is complex, possibly dangerous, and for someone with Woods' injury history genuinely hard to escape. Chronic pain and how people manage it are not moral failures. They are medical realities that have unmade careful, disciplined, strong-willed people for as long as the drugs have existed. Tiger Woods is, whatever else you want to say about him, among the most disciplined human beings to ever stand over a golf ball. That discipline did not protect him. It may have obscured how much protection he needed.

We are looking at a pattern. The 2017 arrest was not an isolated incident. It was a signal. The diversion program, the rehab, the public statement about an unexpected reaction to prescribed medications, these were events that fit a sequence the press was not particularly interested in identifying as one. There was a comeback to cover. There was Augusta to wonder about. And then 2019 came, and the green jacket, and it became nearly impossible to hold both things at once, the miracle of that Sunday and the unanswered question from two years earlier. So we didn't.

Consider 2021. Woods drove off a California road at high speed and shattered his leg, nearly lost it. The Los Angeles County Sheriff called it an accident. No blood was drawn. No substance test was administered. The official account was no evidence of impairment, and that was mostly accepted, because Woods had nearly died and it felt indecent to push. But the absence of a test is not the same as a clean result. It is the absence of a test. What we were left with, in place of information, was a story about survival and the road back. That was covered extensively, and which made it functionally impossible to also say: we don't know what was in his system that morning. That matters. It still matters.

The golf world, this publication included, has organized its Tiger coverage around one persistent question for years: Can he play? It is a reasonable question if you are covering sports. It becomes an incomplete one when the honest answer to a prior question—Is this man OK?—is visibly, and has for some time been, no.

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We hope we are wrong. Maybe there is an explanation for the refused urine test that has nothing to do with what it appears to suggest. Everyone is entitled to their privacy, and no one should be mocked for their trials. But privacy is a harder argument to make when the struggle keeps arriving in public. On roadsides, in mugshots, in sheriff's press conferences. At some point, looking away is not discretion. It's something closer to abandonment.

The other questions will come. The legal exposure, the Masters, the PGA Tour committee he chairs, what any of this means for a legacy that was secured long ago and cannot be taken back. Those are real, and they will get their due. The sport will process this the way it processes everything: with coverage and debate and hot takes and updates and eventually, probably, a return to the question of whether he might somehow play. That is what we do. That is what we have always done with Tiger Woods, turning him back into a story about golf.

But there is a 50-year-old man who has been in some form of pain, physical or otherwise, for longer than most of his fans have been watching him. Who has been trying, by every public account, to hold together a competitive life and an institutional role and a comeback narrative and a body that has been asked to do more than bodies are meant to do.

The golf can wait. It has waited before. The difference now is that what's at stake isn't a green jacket or a record or a comeback story. It's him.

Joel Beall and Joe Raedle, Yahoo Sports |  Read more:

Image: Getty

[ed. See also: Will Crash Shake Golf From Its Dependency on Woods? (BBC)]

McCartney In Tokyo, 1966.
via:

[ed. Tuned left-handed?]

Dick Griffith: Alaskan Adventurer Dies At 98

Roman Dial’s first encounter with Dick Griffith at the Alaska Mountain Wilderness Classic pretty much encapsulated the spirit of the man Dial called the “grandfather of modern Alaskan adventure.”

Griffith invited the 21-year-old Dial, who was traveling without a tent, to bunk with him while rain fell in Hope at the onset of the inaugural race. And then the white-haired Griffith proceeded to beat virtually the entire field of racers — most of whom were 30 years his junior — to the finish line in Homer.

Griffith, who died earlier this month at age 98, was a prodigious adventurer with a sharp wit who fostered a growing community of fellow explorers who shared his yearning for the Alaska outdoors.

Dial was one of the many acolytes who took Griffith’s outdoors ethos and applied it to his own adventures across the state.

“Someone once told me once that the outdoor adventure scene is like this big tapestry that we all add on to,” Dial said. “And where somebody else is sort of woven in something, we pick up and kind of riff on that. And he added a really big band to that tapestry, and then the rest of us are just sort of picking up where he left off.”

On that first meeting at the race in 1982, Dial and the other Alaska Mountain Wilderness Classic competitors got a sense of Griffith’s humor as well. In a story that is now Alaska outdoors lore, Griffith pulled a surprise move at the race’s first river crossing, grabbing an inflatable vinyl raft out of his pack and leaving the field in his rear view.

“You young guys may be fast, but you eat too much and don’t know nothin’,” Dial recalls Griffith quipping as he pushed off.

“Old age and treachery beats youth and skill every time.”

In those years, Griffith may have been known for his old age as much as anything. But it didn’t take long for the 50-something racing against a much younger crowd to make a mark.

Kathy Sarns was a teenager when she first met Griffith in the early 1980s, and the topic of the Alaska Mountain Wilderness Classic came up.

“He says, ‘You want to do that race? I think a girl could do that race,’ ” Sarns recalls. “And I’m thinking, ‘Who is this old guy?’ And then he says, ‘If you want to do the race, give me a call. I’ll take you.’ ”

Sarns took up Griffith on the offer and in 1984, she and her friend Diane Catsam became the first women to complete the race.

Sarns said the adventures “fed his soul,” and were infectious for those who watched Griffith and joined him along the way.

“He motivated and inspired so many people by what he was doing,” Sarns said. “It’s like, well if he can do that, then I guess I could do this.”

By the time Dial and Sarns had met Griffith, he had already established a resume for exploring that was likely unmatched in the state.

In the late 1950s, Griffith walked 500 miles from Kaktovik to Anaktuvuk Pass, passing through the Brooks Range. Later he went from Kaktovik to Kotzebue in what is believed to be the first documented traverse of the range.

In total, Griffith logged over 10,000 miles in the Alaska and Canadian Arctic. He raced the 210-mile Iditaski multiple times.

Starting in his 60s, Griffith made annual trips north to tackle a 4,000-mile route from Unalakleet to Hudson Bay in northeastern Canada. At age 73, he completed the journey.

“The reason he did a lot of trips by himself is because nobody could keep up,” Dial said. [...]

John Lapkass was introduced to Griffith through Barney, a friend with whom Lapkass shared outdoor adventures.

Like many, Lapkass connected with Griffith’s wry sense of humor. Griffith would write “Stolen from Dick Griffith” on all of his gear, often accompanied by his address.

In Alaska, Griffith basically pioneered rafting as a form of getting deep into the Alaska backcountry.

Anchorage’s Luc Mehl has himself explored large swaths of the state in a packraft. An outdoors educator and author, Mehl met Griffith over the years at the barbecues he hosted leading up to the Alaska Wilderness Classic.

Although he didn’t embark on any adventures with Griffith, Mehl was amazed at how much accomplished well into his 80s.

“There are people in these sports that show the rest of us what’s possible,” Mehl said. “It would be dangerous if everybody just tried what Dick did. But there is huge value in inspiration. Just to know it’s a possibility is pretty damn special.” [...]

Many of those adventures were done mostly anonymously as a course of habit with friends, some only finding out after the fact what Griffith had accomplished.

“He had the heart of an explorer,” Clark said. “Dick’s exploring 40 years ago would have been with the pure motivation of finding out if he could get from here to there.”

by Chris Bieri, Anchorage Daily News | Read more:
Images: Bob Hallinen/Kathy Sarns
[ed. I didn't realize Dick had died, he was the kind of guy you'd never imagine succumbing to mortality. Walked alone across most of Alaska. Father of pack rafting. Never carried a gun or bear spray (it wasn't invented back then). A type of Alaskan I call TOBs (tough old bastards). I've known a few. My father-in-law was one (doctor, polar bear hunter, bush pilot - flew from Anchorage to Little Diomede Island in the Bering Straits each spring to visit friends); my former supervisor and eventual rehire during the Exxon Valdez oil spill, Lee Glenn (world class bear researcher, had four wisdom teeth chiseled out and removed without novocaine because he didn't like drugs); and others, like Dick Proenneke, and our former governor Jay Hammond. TOBs. They were what made Alaska - Alaska. I can just imagine what they'd think of todays influencers, hype artists, podcasters, and fake reality stars who need to document every mental fart for attention. Or folks like these: Oregon tourist couple files lawsuit over dogsled crash in Fairbanks (AK Beacon).]

Banksy Revealed?

The once anonymous artist half-shredded ‘Girl with Balloon,’ his best-known work, now renamed 'Love is in the Bin.' Joe Maher/Getty Images via

In late 2022, an ambulance pulled up to a bombed-out apartment building in this village outside Kyiv. Three people emerged. One wore a gray hoodie, another a baseball cap. Both had masks covering their faces.

The third was more easily identifiable: He was unmasked, and had one arm and two prosthetic legs, witnesses told Reuters.

The masked men carried cardboard stencils from the ambulance and taped them to what had been an interior wall of an apartment before the Russians obliterated the place. Then they pulled out cans of spray paint and got to work. An absurd image appeared in minutes: a bearded man in a bathtub, scrubbing his back amid the wreckage.

Its creator was Banksy, one of the world’s most popular and enigmatic artists, whose identity has been debated and closely guarded for decades. Banksy is best known for simple yet sophisticated stencil paintings with searing social commentary. His work has generated tens of millions of dollars in sales over the years.

Once an annoyance to authorities who viewed him as a vandal, he has become a British national treasure. In one survey, Brits rated him more popular than Rembrandt and Monet. In another poll, his “Girl with Balloon” painting was voted the favorite piece of artwork Britain has produced.

Some critics believe Banksy’s anonymity is as important to his work as stencils and paint. The British press has run many articles over the years that tried to deduce his identity. Still, Banksy and his inner circle won’t talk about it. Some have signed non-disclosure agreements. Others keep quiet out of loyalty, or fear of crossing the artist, his fans and his influential company, Pest Control Office, which authenticates his work and decides who gets the first chance to buy Banksy’s latest pieces.

When the bathtub mural and other Banksy pieces began appearing in Ukraine, Reuters wondered about the artist and how he had pulled off the stunt. Horenka was less than five miles east of Bucha, where Russian forces had left behind at least 300 civilians dead seven months earlier.

So we set out to determine how Banksy did it – and who he really is. Weeks later, a reporter visited Horenka with a photo lineup of graffiti artists often rumored to be the artist and showed the pictures to locals to see if anyone recognized him. Not long after, we heard that a famous British musician – one of the people often whispered to be Banksy – had been spotted in Kyiv, giving us a theory to pursue.

In a wild Sotheby’s auction in London in 2018, Banksy’s “Girl with Balloon” sold for $1.4 million. Moments later, a device Banksy built into the frame partially shredded the piece. Renamed “Love is in the Bin,” it sold three years later for about $25 million. REUTERS/Tom Nicholson

Reuters interviewed a dozen Banksy-world insiders and experts. None would comment on his identity, but many filled in details about his life and career. We examined photos of the artist, most of which obscured his face but contained critical information. We later unearthed previously undisclosed U.S. court records and police reports.

These included a hand-written confession by the artist to a long-ago misdemeanor charge of disorderly conduct – a document that revealed, beyond dispute, Banksy’s true identity.

And in the process, we learned how and why the man behind the name Banksy vanished from the public record more than a decade ago.

by Simon Gardner, James Pearson and Blake Morrison, Reuters |  Read more:  

Image: Gleb Garanich/Reuters
[ed. They have to ruin everything. Why? Reading the article, I'm not sure they actually proved anything. But at least there are a lot of great Banksy pictures. See also: What to Know About Banksy and the Effort to Unmask Him (NYT).]

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His long-time lawyer, Mark Stephens, wrote to Reuters that Banksy “does not accept that many of the details contained within your enquiry are correct.” He didn’t elaborate. Without confirming or denying Banksy’s identity, Stephens urged us not to publish this report, saying doing so would violate the artist’s privacy, interfere with his art and put him in danger.

For years, Stephens wrote, Banksy has “been subjected to fixated, threatening and extremist behaviour.” (He declined to describe those threats.) Unmasking Banksy would harm the public, too, Stephens wrote.

Working “anonymously or under a pseudonym serves vital societal interests,” he wrote. “It protects freedom of expression by allowing creators to speak truth to power without fear of retaliation, censorship or persecution – particularly when addressing sensitive issues such as politics, religion or social justice.”

Reuters took into account Banksy’s privacy claims – and the fact that many of his fans wish for him to remain anonymous. Yet we concluded that the public has a deep interest in understanding the identity and career of a figure with his profound and enduring influence on culture, the art industry and international political discourse. In so doing, we applied the same principle Reuters uses everywhere. The people and institutions who seek to shape social and political discourse are subject to scrutiny, accountability, and, sometimes, unmasking. Banksy’s anonymity – a deliberate, public-facing, and profitable feature of his work – has enabled him to operate without such transparency. [ed. blah, blah, blah...]

Murder Music

One hundred and nine million albums sold.

Fifteen billion YouTube streams.

One hundred Billboard charting singles.

One hundred and twenty-six RIAA certified platinum songs.

Thirty-four Billboard charting albums.

Surely, we’re discussing Taylor Swift here, right? Beyoncé, perhaps? Drake? Prince? The Eagles? Mariah Carey? The Beatles? Possibly even Michael Jackson?

What if I told you it was none of the above? And what if I told you these stunning achievements were all accomplished by the time the artist was 25? And what if it was all achieved without a single legacy media feature piece, cover story, late night TV appearance or mainstream artist co-sign? What if I told you the artist was confusingly named YoungBoy Never Broke Again, a.k.a NBA YoungBoy, a.k.a YoungBoy, a.k.a YB, a.k.a Top? You’re most likely pretty befuddled right now. Chances are you’ve never even heard of YoungBoy Never Broke Again. And if you have, maybe from that younger cousin who spends his every waking moment buried in the YouTube app or your one weird friend who keeps up with niche youth culture well past the age they should be doing so. Even if you have heard of NBA YoungBoy, chances are you have absolutely no idea just how legitimately, massively popular this kid truly is.

But you should know, right? This is the type of mainstream superstardom that makes waves, makes household names, steps on stage at SNL, rocks the Super Bowl. This artist rivals Drake and has lapped Kendrick Lamar many, many times over. And you hear about those two all the time. Jay-Z, a superstar you have certainly heard of, once rapped, “Numbers don’t lie.” And Jay-Z himself would kill for those numbers. So why have you, dear reader, never heard of someone statistically proven to be a top-selling superstar in current American music? Are you just too old? Are your fingers no longer on the pulse? Are you too cultured for your own good? Did you miss a New York Magazine feature somewhere?

Breathe easy. You can be fully forgiven for never having heard of YoungBoy Never Broke Again. Because it remains a confusing fact that one of the top-selling rappers of all-time, and therefore one of the top-selling artists, period, has only been the subject of one significant New York Times article, and this came only after he was too massive to ignore any longer. YoungBoy Never Broke Again was not interviewed for that article, and though the reporter seems to have made his way into a studio session, he didn’t get a single quote. The article was basically a concert review, with the reporter noticeably shocked at the 18,000-strong crowd screaming back every word of every song, and oddly focusing on how YoungBoy smokes Newports.

The Times reporter wonders why the New York Times has been ignoring an all-time top-selling rapper. How did he get here? And, most importantly, how did he do it without us? Published in November of 2025, at a time when YoungBoy Never Broke Again’s Billboard reign was becoming impossible to ignore, the article was titled: “NBA YoungBoy, Rap’s Defining 2025 Superstar, Is Hiding in Plain Sight.” Or in other words, “We Don’t Understand Why Or How This Person Is Popular, And Therefore He Shouldn’t Be Popular.” Same for the lone New Yorker article, which was actually titled — wait for it — “NBA YoungBoy Stands Alone.” Which would be accurate if “alone” was defined as having hundreds of millions of worldwide fans, several McMansions full of day one friends and managers and blunt rollers and young men with big guns all ready to do your bidding at a moment’s notice. Essentially, what the New Yorker means by “alone” here is that YoungBoy Never Broke Again doesn’t need them. Nor does he need any of the legacy media press gauntlets every other superstar at his level had to walk through on their way to household recognition. So you’re not on the hook. You’re not as out of touch as you thought you were when reading this essay’s opening. YoungBoy Never Broke Again is a superstar that has been hidden from you by the ignorance of the mainstream media. This is as confusing as it is infuriating. But unlike that grudging New York Times piece, in this space we’re going to try to get to the bottom of why. So strap in. Roll up a blunt. It gets real ugly.

The Devil’s Radar

Let’s get something out of the way right from the start: YoungBoy Never Broke Again makes excellent music. It may not be your cup of chai latte, but pull up his top five popular songs on Spotify and you will hear hooks for days and days. Everything is a hook with YoungBoy Never Broke Again. The choruses are packed with hooks, the verses are hooks, the beat is a hook, the intro is a hook, the outro is a hook. The songs may not speak to you specifically, but you will be humming them for hours against your will. And if there’s one thing YoungBoy Never Broke Again has, it’s songs. There are thousands of them spread across traditional streaming platforms, YouTube and all social media nooks and crannies. The officially released tracks are only the tip of the iceberg, since YoungBoy’s many thousands of fans trade leaks and snippets like kids in the 50s traded baseball cards. There’s an entire black market of unreleased YoungBoy tracks that has taken on an obsessive life of its own that rivals Grateful Dead fanatics trading show tapes. And none of this would be happening if the songs weren’t good. And “good” here is meant in the traditional sense. This isn’t some off-kilter musical firebrand like Playboi Carti (another artist you’ve heard of that YoungBoy has easily outsold) or a tough-on-the-ears image rapper of the SoundCloud tradition with more personality than talent.

If anything, YoungBoy is something of a triple threat. His singing voice is pleasant, unique, with a melodic southern slur that harkens back to the country blues of artists like Slim Harpo. Yes, there’s autotune, but not the type that drenches the vocals in an effort to smooth out an unskilled singing voice. There are zero loverboy R&B concessions, no carboard cutout boasts of cars/cash/women. What you do hear is pain. Centuries of slow southern poverty, of Section 8 housing complexes reclaimed by swamps, of territorial feuds and generational grudges, of narcotics and their benefits and downsides, of disloyal women and the havoc they wreak. There’s a whole current genre of rap referred to as Pain Music, and this genre was sparked specifically by YoungBoy’s crooning. If you listen closely, you can hear Leadbelly in these songs, even the faint, disembodied echoes of Robert Johnson himself.

Which brings us to The Devil. There’s a reason YoungBoy appeals to so many white kids, from the suburbs to the trailer parks, for just as a hellhound stalked Robert Johnson’s trail, there are many such hounds of hell chasing our YoungBoy. This music is as unsettling as it is melodic. All the classic subject matter of the primal side of rock n’ roll and heavy metal is fully present here, especially within the tracks where YoungBoy lets loose his non-singing, non-pain music alter ego and simply raps. This kid can absolutely rap his ass off, no doubt. This isn’t the “lyrical miracle” type of rapping so popular with the kinds of white folk who play Wordle and search for double entendres in Kendrick lyrics. This is machine gun bursts of hyper-specific violence. YoungBoy is not concerned with bars, filling up verses with words upon words upon words until they’re top heavy, unstoppable monoliths.

To his fans, YoungBoy’s non-singing rap tracks have a whole category of their own: Murder Music. It’s a fitting title, since YoungBoy sounds like an absolute unhinged monster on many of these Murder Music tracks. Dead rivals are mocked mercilessly. Gang politics are broken down. Rap industry titans are threatened. Women and close friends betray. Guns upon guns upon guns upon guns. You see, YoungBoy is from Baton Rouge, the type of southern location where it’s fully legal to walk around the projects toting a loaded assault rifle out in the open. This is what he knows. Gangs are what he knows. Hopeless, generational urban southern poverty is what he knows. This is not party music. Nor is it of the opiated mumble rap class. It isn’t of the lean-drenched DJ Screw southern rap tradition. Nor are these songs attempting to break down oppression or aspiring to lofty lyrical accomplishments. It’s obvious that the majority of these tracks are off-the-cuff expressions of whatever YoungBoy was feeling in the studio that late night, that hour, that second, and those feelings fall squarely within the realm of extreme paranoia, PTSD from a lifetime of exposure to ultra-violence, fatalistic declarations, spiritual longing, extreme romantic strife of the baby mamma drama variety, plus that age-old, ever-lingering presence of The Devil. And all delivered with a natural earworm melodicism in the same league as someone like White Album-era Paul McCartney.

No wonder two entire generations of teenagers and counting love this shit.

by Daniel Falatko, The Metropolitan Review | Read more:
Image: NBA Young Boy, 2018/uncredited

The Plastic Surgeon Summit

We’re in a plastic surgery “renaissance period.”

Dr. Yannis Alexandrides: It is busier than ever. There’s a remarkable year-on-year demand increase that we see in surgical procedures, especially for the face, but also for the body. This is a trend that we have seen through the pandemic, but it has accelerated the last year.

Dr. Akshay Sanan: I think plastic surgery is in a renaissance period right now because of people publicly talking about it. Plastic surgery is now part of your wellness armamentarium. People used to flex what gym they went to, that they had a trainer, and now plastic surgery is part of that flex. People love to rock that they had their eyes done or their face and neck done or their body done. It’s just part of the cultural shift that we’re seeing.

Dr. Jason Champagne: This is where social media comes into play, camera phones and Zoom meetings. You see yourself from all these different angles nowadays that maybe you didn’t notice in the past.

Dr. Emily Hu: I find it very generational: Those who grew up in the social media era with a lot of sharing and openness are also very open about telling their friends [about the work they’ve had done].

Sanan: There’s a shift in consumer or patient habits. More people in their late 30s, early 40s, they’re choosing surgery earlier to age gracefully instead of waiting until things are advanced. They’re like, “I’m not going to wait until it drops down further. I just want to be hot in my 40s.”

Dr. John Diaz: It used to be that not everyone had access to a plastic surgeon. That was reserved within the realm of the elite. Well, not anymore. I have celebrities, executives, and business owners come in — but also teachers and waiters. There’s this democratization of attractiveness.

Dr. Paul Afrooz: Patients are very educated these days. They know what they’re looking for, they know what realistic results are, and they have the ability to do a lot of background research and understand who does things at an elite level. [...]

Let’s get into it: Why are we talking so much about facelifts this year?

Diaz: Facelifts have absolutely exploded for a few reasons. A lot of women see celebrities and influencers suddenly looking incredible, and they want to know how. Think about Kris Jenner — she had a huge impact when her pictures came out. And now it’s brought awareness to the fact that we have the technology to be able to take a young-looking woman and make her look better with surgery, without making her look fake. That was a real challenge 20 years ago.

Alexandrides: Kris Jenner was a very hot topic the last few months. Definitely a lot of the patients I see here take her as, let’s say, a model on how they want to look, because she looks fresh, but she doesn’t look pulled. She looks younger, and she looks happy, and you cannot see the scars, at least not in these pictures that we see.

Hu: I can’t tell you how many of my patients are like, “Yeah, my mom had a facelift. She was so scary. I’m never doing a facelift.” I mean, that was their response because they see their mom all bruised and scary looking.

Dr. Mark Murphy: Facelifts historically had a stereotypical “plastic surgery” look. Now people have realized, “I can look like myself 15 years ago and not have to look like a circus freak for it.” It’s become very digestible for patients. Social media is a huge driver behind it. Well, that, and the techniques are better.

So what’s actually new or changing about facelifts?

Dr. Mark Mani: We call it the golden age of facelift surgery. It’s primarily because of the success of the deep plane facelift.

Dr. David Shafer: There’s nothing new about [the deep plane facelift] as a procedure. It’s just very sophisticated marketing that’s being done now, and there are refinements to the procedures. But it’s not some plastic surgeon who’s marketing it now as some magic procedure that he came up with that nobody else does.

Mani: [A version of] the first deep plane lifts was performed in the late 1960s by a surgeon named Tord Skoog in Sweden [though the name came later]. I have his textbook and can show you results that would stand up to the best deep plane surgeons today. It’s not the procedure, it’s the surgeon, and facelift surgery, among all surgeries in plastic surgery, is an art form.

Afrooz: A surgeon named Sam Hamra — he just passed, but a wonderful human being, an extraordinary thinker, an extraordinary surgeon — first coined the phrase “deep plane facelift” in a 1990 paper and laid out some building blocks of the procedure. Just like everything else in plastic surgery, we stand on the giants before us.

Dr. Michael Stein: There are two main facelift techniques: deep plane and SMAS plication. The deep plane facelift is where you cut the layer under the skin called the SMAS, dissect underneath it, and tighten it in addition to the skin. In the SMAS facelift, instead of cutting and elevating the SMAS, you suture it to itself to tighten it from over top.

Dr. Amir Karam: The majority of surgeons, up until recently, have been doing the traditional SMAS technique, which is more or less horizontally pulling the face sideways, and that was leading to a very unnatural look.

Mani: I was the surgeon who wrote the most-read facelift academic article that convinced other surgeons to do deep plane facelifts. It was an article in Aesthetic Surgery Journal in 2016, where I detailed the specific anatomic reasons that deep plane is better.

Stein: The people who only do deep plane facelifts say they have a more longitudinal result, and vice versa. But the truth is, a good result is a good result. It depends more on the surgeon versus technique. A good facelift is a good facelift.

Facelifts aren’t done evolving.

Karam: The consumer is driving surgeons to create better and better results. So there’s been a massive increase in interest for surgeons to level up their strategies surgically and learn new techniques that are not new but new to them.

Afrooz: Even my facelift today is better than my facelift was one year ago. When you hone in on one thing as your career, you’re just constantly looking for ways to improve. It’s the cumulative effect of small subtleties over time and practice that you notice nuanced improvements to your results. One might assume that a deep plane facelift in one surgeon’s hands is the same as it is in another’s, but I’m here to tell you that it’s very much not the same.

Dr. Daniel Gould: There are new layers that we’re adding into the surgery. We’re recognizing the importance of the mid-face and volume position there. I’m recognizing adding fat to the mouth and the areas around the mouth, the chin, because all these areas have been neglected. We are now nailing all the low-hanging fruit: We’re nailing the neck, we’re nailing the face, we’re nailing the temple and the brows. Now it’s time to move forward and continue to innovate and push the limits of what we can really do in facial rejuvenation.

Mani: What I’ve developed is called the scarless lift, and it’s basically a deep plane facelift without a scar in front of the ear, with an endoscope. The endoscopic procedure involves a hidden incision within the hair, a short one behind the ear, and sometimes one under the chin. I still do about 60% open [non-endoscopic], but a good percentage of my facelifts are scarless endoscopic. The results are more beautiful because you don’t have to worry about the scar, and the vectors of lifting are better.

Alexandrides: I don’t think this will be now, “OK, let’s forget about facelifts, let’s move to something else.” What will probably happen is that people will discover intricate little different techniques and say, “You have the facelift that is done like that.” I have patients who ask me very technical questions: How do you design your scar around your ear?

Stein: Facelift surgery has survived the test of time. Every year there are new machines designed to tighten skin, and for some patients with mild laxity, they may see nice results. The truth is though, if you have jowls or droopy skin of the face and neck, the only thing that’s really going to give you the best bang for your buck and directly address your laxity is a facelift.

by Bustle Editors, Bustle |  Read more:

Image: uncredited

The Irsay Collection/Auction

Kurt Cobain’s famed Fender is part of $1 billion collection going to auction

In the summer of 1991, Nirvana filmed the music video for “Smells Like Teen Spirit” on a Culver City sound stage. Kurt Cobain strummed the grunge anthem’s iconic four-chord opening riff on a 1969 Fender Mustang, Lake Placid Blue with a signature racing stripe.

Nearly 35 years later, the six-string relic hung on a gallery wall at Christie’s in Beverly Hills as part of a display of late billionaire businessman Jim Irsay’s world-renowned guitar collection, which heads to auction at Christie’s, New York, beginning Tuesday. Each piece in the Beverly Hills gallery, illuminated by an arched spotlight and flanked by a label chronicling its history, carried the aura of a Renaissance painting.

Irsay’s billion-dollar guitar arsenal, crowned “The Greatest Guitar Collection on Earth” by Guitar World magazine, is the focal point of the Christie’s auction, which has split approximately 400 objects — about half of which are guitars — into four segments: the “Hall of Fame” group of anchor items, the “Icons of Pop Culture” class of miscellaneous memorabilia, the “Icons of Music” mixed batch of electric and acoustic guitars and an online segment that compiles the remainder of Irsay’s collection. The online sale, featuring various autographed items, smaller instruments and historical documents, features the items at the lowest price points.

A portion of auction proceeds will be donated to charities that Irsay supported during his lifetime.

Cobain’s Fender was only one of the music history treasures nestled in Christie’s gallery. A few paces away, Jerry Garcia’s “Budman” amplifier, once part of the Grateful Dead’s three-story high “Wall of Sound,” perched atop a podium. Just past it lay the Beatles logo drum head (estimated between $1 million and $2 million) used for the band’s debut appearance on “The Ed Sullivan Show,” which garnered a historic 73 million viewers and catalyzed the British Invasion. Pencil lines were still visible beneath the logo’s signature “drop T.” [ed. Also includes Eric Clapton's Martin acoustic guitar used on 'Unplugged'].

It is exceptionally rare for even one such artifact to go to market, let alone a billion-dollar group of them at once, Walker said. But a public sale enabling many to participate and demonstrate the “true market value” of these objects is what Irsay would have wanted, she added.

Dropping tens of millions of dollars on pop culture memorabilia may seem an odd hobby for an NFL general manager, yet Irsay viewed collecting much like he viewed leading the Indianapolis Colts.

Irsay, the youngest NFL general manager in history, said in a 2014 Colts Media interview that watching and emulating the legendary NFL owners who came before him “really taught me to be a steward.”

“Ownership is a great responsibility. You can’t buy respect,” he said. “Respect only comes from you being a steward.”

The first major acquisition in Irsay’s collection came in 2001, with his $2.4-million purchase of the original 120-foot scroll for Jack Kerouac’s 1957 novel, “On the Road.” He loved the book and wanted to preserve it, Walker said. But he also frequently lent it out, just like he regularly toured his guitar collection beginning 20 years later.

“He said publicly, ‘I’m not the owner of these things. I’m just that current custodian looking after them for future generations,’ ” Walker said. “And I think that’s what true collectors always say.”

At its L.A. highlight exhibition, Irsay’s collection held an air of synchronicity. Paul McCartney’s handwritten lyrics for “Hey Jude” hung just a few steps from a promotional poster — the only one in existence — for the 1959 concert Buddy Holly, Ritchie Valens and J.P. “The Big Bopper” Richardson were en route to perform when their plane crashed. The tragedy spurred Don McLean to write “American Pie,” about “the day the music died.”

Holly was McCartney’s “great inspiration,” Christie’s specialist Zita Gibson said. “So everything connects.”

Later, the Beatles’ 1966 song “Paperback Writer” played over the speakers near-parallel to the guitars the song was written on. [...]

Another fan-favorite is the “Wilson” volleyball from 2000’s “Cast Away,” starring Tom Hanks, estimated between $60,000 and $80,000, Gibson said.

Historically, such objects were often preserved by accident. But as the memorabilia market has ballooned over the last decade or so, Gibson said, “a lot of artists are much more careful about making sure that things don’t get into the wrong hands. After rehearsals, they tidy up after themselves.”

by Malia Mendez, Los Angeles Times/Seattle Times |  Read more:

Image:Cover Images/ZUMA Press/TNS
[ed. Mentioned this in a previous post but still can't believe what's here.]

Anthony Bourdain’s Moveable Feast

When the President of the United States travels outside the country, he brings his own car with him. Moments after Air Force One landed at the Hanoi airport last May, President Barack Obama ducked into an eighteen-foot, armor-plated limousine—a bomb shelter masquerading as a Cadillac—that was equipped with a secure link to the Pentagon and with emergency supplies of blood, and was known as the Beast. Hanoi’s broad avenues are crowded with honking cars, storefront venders, street peddlers, and some five million scooters and motorbikes, which rush in and out of the intersections like floodwaters. It was Obama’s first trip to Vietnam, but he encountered this pageant mostly through a five-inch pane of bulletproof glass. He might as well have watched it on TV.

Obama was scheduled to meet with President Trần Đại Quang, and with the new head of Vietnam’s national assembly. On his second night in Hanoi, however, he kept an unusual appointment: dinner with Anthony Bourdain, the peripatetic chef turned writer who hosts the Emmy-winning travel show “Parts Unknown,” on CNN. Over the past fifteen years, Bourdain has hosted increasingly sophisticated iterations of the same program. Initially, it was called “A Cook’s Tour,” and aired on the Food Network. After shifting to the Travel Channel, it was renamed “Anthony Bourdain: No Reservations,” and it ran for nine seasons before moving to CNN, in 2013. All told, Bourdain has travelled to nearly a hundred countries and has filmed two hundred and forty-eight episodes, each a distinct exploration of the food and culture of a place. The secret ingredient of the show is the when-in-Rome avidity with which Bourdain partakes of indigenous custom and cuisine, whether he is pounding vodka before plunging into a frozen river outside St. Petersburg or spearing a fatted swine as the guest of honor at a jungle longhouse in Borneo. Like a great white shark, Bourdain tends to be photographed with his jaws wide open, on the verge of sinking his teeth into some tremulous delicacy. In Bourdain’s recollection, his original pitch for the series was, roughly, “I travel around the world, eat a lot of shit, and basically do whatever the fuck I want.” The formula has proved improbably successful.

People often ask Bourdain’s producers if they can tag along on an escapade. On a recent visit to Madagascar, he was accompanied by the film director Darren Aronofsky. (A fan of the show, Aronofsky proposed to Bourdain that they go somewhere together. “I kind of jokingly said Madagascar, just because it’s the farthest possible place,” he told me. “And Tony said, ‘How’s November?’ ”) A ride-along with Bourdain promises the sidekick an experience that, in this era of homogenized tourism, is all too rare: communion with a foreign culture so unmitigated that it feels practically intravenous. Parachuted into any far-flung corner of the planet, Bourdain ferrets out the restaurant, known only to discerning locals, where the grilled sardines or the pisco sours are divine. Often, he insinuates himself into a private home where the meal is even better. He is a lively dining companion: a lusty eater and a quicksilver conversationalist. “He’s got that incredibly beautiful style when he talks that ranges from erudite to brilliantly slangy,” his friend Nigella Lawson observed. Bourdain is a font of unvarnished opinion, but he also listens intently, and the word he uses perhaps more than any other is “interesting,” which he pronounces with four syllables and only one “t”: in-ner-ess-ting.

Before becoming famous, Bourdain spent more than two decades as a professional cook. In 2000, while working as the executive chef at Les Halles, a boisterous brasserie on Park Avenue South, he published a ribald memoir, “Kitchen Confidential.” It became a best-seller, heralding a new national fascination with the grubby secrets and “Upstairs Downstairs” drama of the hospitality industry. Bourdain, having established himself as a brash truth-teller, got into public spats with more famous figures; he once laid into Alice Waters for her pious hatred of junk food, saying that she reminded him of the Khmer Rouge. People who do not watch Bourdain’s show still tend to think of him as a savagely honest loudmouthed New York chef. But over the years he has transformed himself into a well-heeled nomad who wanders the planet meeting fascinating people and eating delicious food. He freely admits that his career is, for many people, a fantasy profession. A few years ago, in the voice-over to a sun-dappled episode in Sardinia, he asked, “What do you do after your dreams come true?” Bourdain would be easy to hate, in other words, if he weren’t so easy to like. “For a long time, Tony thought he was going to have nothing,” his publisher, Dan Halpern, told me. “He can’t believe his luck. He always seems happy that he actually is Anthony Bourdain.”

The White House had suggested the meeting in Vietnam. Of all the countries Bourdain has explored, it is perhaps his favorite; he has been there half a dozen times. He fell for Hanoi long before he actually travelled there, when he read Graham Greene’s 1955 novel, “The Quiet American,” and the city has retained a thick atmosphere of colonial decay—dingy villas, lugubrious banyan trees, monsoon clouds, and afternoon cocktails—that Bourdain savors without apology. Several years ago, he seriously considered moving there.

Bourdain believes that the age of the fifteen-course tasting menu “is over.” He is an evangelist for street food, and Hanoi excels at open-air cooking. It can seem as if half the population were sitting around sidewalk cookfires, hunched over steaming bowls of phở. As a White House advance team planned the logistics for Obama’s visit, an advance team from Zero Point Zero, the company that produces the show, scoured the city for the perfect place to eat. They selected Bún chả Hương Liên, a narrow establishment across from a karaoke joint on a busy street in the Old Quarter. The restaurant’s specialty is bún chả: springy white noodles, smoky sausage, and charred pork belly served in a sweet and pungent broth.

At the appointed hour, Obama exited the Beast and walked into the restaurant behind a pair of Secret Service agents, who cleared a path for him, like linemen blocking for a running back. In a rear dining room on the second floor, Bourdain was waiting at a stainless-steel table, surrounded by other diners, who had been coached to ignore the cameras and Obama, and to focus on their bún chả. Like many restaurants in Vietnam, the facility was casual in the extreme: diners and servers alike swept discarded refuse onto the floor, and the tiles had acquired a grimy sheen that squeaked beneath your feet. Obama was wearing a white button-down, open at the collar, and he greeted Bourdain, took a seat on a plastic stool, and happily accepted a bottle of Vietnamese beer.

“How often do you get to sneak out for a beer?” Bourdain asked.

“I don’t get to sneak out, period,” Obama replied. He occasionally took the First Lady to a restaurant, he said, but “part of enjoying a restaurant is sitting with other patrons and enjoying the atmosphere, and too often we end up getting shunted into one of those private rooms.”

As a young waitress in a gray polo shirt set down bowls of broth, a plate of greens, and a platter of shuddering noodles, Bourdain fished chopsticks from a plastic container on the table. Obama, surveying the constituent parts of the meal, evinced trepidation. He said, “All right, you’re gonna have to—”

“I’ll walk you through it,” Bourdain assured him, advising him to grab a clump of noodles with chopsticks and dunk them into the broth.

“I’m just gonna do what you do,” Obama said.

“Dip and stir,” Bourdain counselled. “And get ready for the awesomeness.”

Eying a large sausage that was floating in the broth, Obama asked, “Is it generally appropriate to just pop one of these whole suckers in your mouth, or do you think you should be a little more—”

“Slurping is totally acceptable in this part of the world,” Bourdain declared.

Obama took a bite and let out a low murmur. “That’s good stuff” he said, and the two of them—lanky, conspicuously cool guys in late middle age—slurped away as three cameras, which Bourdain had once likened to “drunken hummingbirds,” hovered around them. Noting the unaffected rusticity of the scene, Obama was reminded of a memorable meal that he had eaten as a child, in the mountains outside Jakarta. “You’d have these roadside restaurants overlooking the tea fields,” he recalled. “There’d be a river running through the restaurant itself, and there’d be these fish, these carp, that would be running through. You’d pick the fish. They’d grab it for you and fry it up, and the skin would be real crispy. They just served it with a bed of rice.” Obama was singing Bourdain’s song: earthy, fresh, free of pretense. “It was the simplest meal possible, and nothing tasted so good.”

But the world is getting smaller, Obama said. “The surprises, the serendipity of travel, where you see something and it’s off the beaten track, there aren’t that many places like that left.” He added, wistfully, “I don’t know if that place will still be there when my daughters are ready to travel. But I hope it is.” The next day, Bourdain posted a photograph of the meeting online. “Total cost of Bun cha dinner with the President: $6.00,” he tweeted. “I picked up the check.” [...]

As he sipped a beer and picked at a platter of delicate spring rolls, he was still fidgeting with exhilaration from the encounter with Obama. “I believe what’s important to him is this notion that otherness is not bad, that Americans should aspire to walk in other people’s shoes,” he reflected. This idea resonates strongly with Bourdain, and, although he insists his show is a selfish epicurean enterprise, Obama’s ethic could be the governing thesis of “Parts Unknown.” In the opening moments of an episode set in Myanmar, Bourdain observes, “Chances are you haven’t been to this place. Chances are this is a place you’ve never seen.” [...]

In 1998, he answered an ad in the Times and got the executive-chef job at Les Halles. It was an ideal fit for Bourdain: an unpretentious brasserie with its own butcher, who worked next to the bar, behind a counter stacked with steak, veal, and sausages. “Kitchen Confidential,” which was excerpted in this magazine, was inspired by “Down and Out in Paris and London,” in which George Orwell describes chefs as “the most workmanlike class, and the least servile.” Karen Rinaldi, the editor who acquired the book, for Bloomsbury, told me that she underestimated the impact it would have. “It was a flyer,” she said—the profane musings of a guy who broiled steaks for a living. “But a lot of the books that end up shifting the culture are flyers.”

“Kitchen Confidential” was filled with admonitions: Bourdain assailed Sunday brunch (“a dumping ground for the odd bits left over from Friday and Saturday”) and advised against ordering fish on Mondays, because it is typically “four to five days old.” The book was marketed as a dispatch from the scullery, the type of tell-all that might be more interesting to the naïve restaurant-goer than to the battle-seasoned cook. (“I won’t eat in a restaurant with filthy bathrooms,” Bourdain warned. “They let you see the bathrooms. If the restaurant can’t be bothered to replace the puck in the urinal or keep the toilets and floors clean, then just imagine what their refrigeration and work spaces look like.”) But, for Bourdain, the most important audience was his peers. The final line of the acknowledgments page was “Cooks rule,” and he hoped, desperately, that other professionals would see the book in the spirit he had intended, and pass gravy-stained copies around the kitchen.

Bourdain did not quit his job at Les Halles when the book became a success. “I was careful to modulate my hopes, because I lived in a business where everybody was a writer or an actor,” he recalls. For decades, he’d seen colleagues come into work crowing about their latest callback, only to see their grand designs amount to nothing. “So at no point was it ‘So long, suckers.’ ” His confederates at Les Halles were amused, if mystified, by his blossoming career as a writer, and the owners were accommodating about the book tour. When Bourdain started travelling to promote the book, something curious happened. He’d amble into a restaurant alone and order a drink at the bar. Out of nowhere, a plate of amuse-bouches would appear, compliments of the house. It marked an affirmation for Bourdain: chefs were reading the book, and they liked it. But it also signified a profound inversion. He had spent the first half of his life preparing food to feed others. He would spend the second half getting fed.

by Patrick Radden Keefe, New Yorker | Read more:
Image: William Mebane
[ed. I was reading another article in the New Yorker and got sidetracked. Great read. Still miss not having him in this world. And Obama in the presidency.]