Friday, 21 March 2025

LINKED UP 116

The True Story of the Billionaire Boys Club
They were the sons of some of the most powerful families in California, never at a loss for money or kicks. Then they met Joe Hunt, who offered them the one thing they didn’t have: belief in themselves. They will pay for it forever. (Esquire)

GQ columnist Chris Black talks to novelist Josh Duboff, whose debut novel Early Thirties follows two friends navigating the ups and downs of present-day life in New York City, about friendship dynamics, New York media, and why young people are such dorks about splitting the check. 
(GQ)

Naomi Fry on Jay McInerney’s “Chloë’s Scene”
In McInerney’s telling, Chloë Sevigny, then a young It Girl, was the font from which absolute cool flowed. She was New York. (New Yorker)

Gwyneth Paltrow on Motherhood, MAHA, Meghan Markle, Making Out With Timothée Chalamet - and Much More
With Apple and Moses having flown the nest, and Goop humming along, the star is making her big return to film as she seeks the answer to “Who am I now?”. (Vanity Fair)

An editor from the heyday of glossy magazines dishes about Anna Wintour and recounts his long-running feud with Donald Trump. (NYT)

“I hope the vendors come up hard from this” says graffiti icon 10Foot ahead of release of one-of-a-kind Big Issue edition. (Big Issue)

Sex Magazine Goes Against the Grain
Launched by Asher Penn in 2012, in some ways the story of Sex Magazine is a story of how print, publishing and the Internet have evolved and intersected over the past decade. (Antenne)


To Create a “Portrait of the Modern Dandy”, the Met Enlisted a Superstar
The 29-year-old fashion photographer Tyler Mitchell had his own ideas about how to shoot the catalog for the museum’s spring Costume Institute show. (NYT)

Young at Heart: James Hartley
The late 2000s to early 2010s are well regarded as the golden era of the Australian hardcore scene. (Monster Children)

Anarchy in the U.S.
Ahead of their reunion, British punk band the Sex Pistols recall the madness of their 1970s American tour - drugs, cowboys, and all. (Air Mail)

Deafheaven: “If Power Is Influence, We Have a Responsibility to Be as Understanding, Empathetic and Knowledgeable as Possible”
Deafheaven frontman George Clarke has grappled with the self-examination through music for years now. Where his Californian pioneers’ icy blackgaze has often felt like an exercise in abstract deflection, however, awesome sixth album Lonely People With Power finds healing fire in its complex interrogation of human relationships and the art of influence over one another... (Kerrang!)

What Do Architecture School, Giant Bouncy Castles, and Post Malone Have In Common? PlayLab.
On the studio’s 20th birthday, we talk to founders Archie Lee Coates IV and Jeff Franklin about trust, inflatables, and the power of staying playful. 
(It's Nice That)

David Hockney Just Keeps Painting
As he prepares for the most comprehensive exhibition of his career, the 87-year-old legendary artist opens up about aging, iPhone art, and the unstoppable urge to create. (W Magazine)

Life With: Niccolò Debole
Niccolò Debole is an artist and designer based in New York City. We sat down with him to learn how the story of his parents' meeting shaped his artistic journey, how an apprenticeship provided him with an authentic glimpse into the art world, and how he knows when a piece of art is truly complete. (Another Aspect)

The Hobbyist #8: An Interview With A Continuous Lean Founder Michael Williams
The menswear guru chats life as a consultant and his favourite golf course on Earth. (The Hobbyist)

Moons Under Water: The Iconography of the Pub Sign
In an exclusive extract from his new book for Bloomsbury's Object Lessons series, Cambridge Historical Geography professor Philip Howell explores the lore and language of alehouse signage. (The Quietus)

Say Goodbye to Gem Wine
Flynn McGarry is closing his LES wine bar and going west (but staying in Manhattan). (Grub Street)

Could This Be the End of the Party in Dimes Square?
The rejection of one bar’s sidewalk seating permit may be a sign of what’s to come. (NYT)