Caropop

Susan Orlean has a brilliant talent for crafting compelling narratives from idiosyncratic topics that have piqued her interest: orchid poachers in Florida for The Orchid Thief, a movie star dog for Rin Tin Tin: The Life and the Legend and the Los Angeles Central Library for The Library Book, among others. Last year she shifted the focus to herself for a revealing, inspirational memoir, Joyride, that celebrates pursuing one’s curiosity into odd corners. Here Orlean, who preceded me at the Boston Phoenix by a few years, discusses when she knows a topic has reached critical mass to become a book, whether she does all of her reporting before she begins writing, how she decides how much of herself to put into a story, whether she can write whatever she wants now and how her life was affected by Meryl Streep portraying a fictionalized version of her in Adaptation. (Photo by Chloe Aftel.)

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Enjoy your late summer, and we'll be back with you soon!

Laura Benanti is a Tony Award-winning Broadway musical star who noticed some things while looking back on her life and career. She has channeled these observations—about being a perpetual people-pleaser and evolving from The Sound of Music-starring ingenue to a fortysomething singer, actor and mother—into a one-woman comedy-musical show Laura Benanti: Nobody Cares (which plays at Chicago’s Steppenwolf Theatre Aug. 6-9). Here she talks about how she created the material and co-wrote the songs, how different cities and audiences affect her performances, whether she grew up preferring singer-songwriters or musical soundtracks, how she connected with Stephen Colbert and crafted her Melania Trump impersonation on The Late Show, how she’d like to keep scratching her comedy itch, how television factors into her plans and what it might take to get her back onto a Broadway stage. (Photo by Heather Gershonowitz)

Michael Hampton earned the nickname Kidd Funkadelic as the hotshot guitarist who at age 17 joined the Funkadelic/Parliament universe after wowing P-Funk leader George Clinton with his rendition of Eddie Hazel’s epic “Maggot Brain” solo. Hampton eventually made “Maggot Brain” his own and turned in much more head-spinning guitar work, including on Funkadelic’s relentlessly funky “(Not Just) Knee Deep.” Hampton takes us along for the concurrent run of classic 1970s Parliament and Funkadelic albums, such as Funkentelechy vs. the Placebo Syndrome and One Nation Under a Groove. When he entered the studio, did he know which band's session it was? Was the scene as much of a party as it sounded like? Did that atmosphere help or get in the way or both? Hampton also discusses his new mini concept album, King Kong, and how, with and without P-Funk, he continues to make his guitar sizzle and sing. (Photo by Philip Samuel Smith)

Urge Overkill appeared to be riding high after the critical triumph of its 1993 album, Saturation, and the prominent appearance of its Neil Diamond cover, “Girl, You’ll Be a Woman Soon,” in Pulp Fiction in 1994. But by the time the alt-rock trio reunited with producers the Butcher Bros. to record the follow-up album, expectations and circumstances had changed. As singer-songwriter-guitarists Nash Kato and Eddie “King” Roeser recall here in stark detail, the two of them were in different places personally and musically, drummer Blackie Onassis was fighting his own demons, and an unhealthy environment developed around the Butcher Bros.’ new studio outside Philadelphia. Exit the Dragon, the resultant album that recently marked its 30th anniversary, is a dark, slithery, ragged work that has achieved a lasting power amid its tattered nerve endings. What happened here, and why did Exit the Dragon turn out to be the final Urge Overkill album featuring Kato, Roeser and the late Onassis? (Photo: Jerod Herzog)