The National took the long view and it has paid off for them. Incubating in the same Brooklyn scene as The Strokes, Yeah Yeah Yeahs, and Interpol, the band watched all three explode to international popularity while they nurtured a more modest fan base with a decidedly less intense sound. With their third studio album, Alligator (2005), something started to click. On endless tours their audiences started to grow organically and expectations grew for the their next album. Boxer would have a difficult birth, however, as the band exited the record studio after months of effort with a half-finished album. Their diligent work and experimentation would pay off, though, as the album would catapult the band to newfound fame.
Everything counts a little more than we think: An oral history of The National’s Boxer
In 1989 Mexican billionaire Emilio Azcárraga wanted to know why America did not have a national newspaper devoted to sports. Other countries did and America was as sports mad as any of them, he reasoned. In a remarkably short amount of time he decided to start such a paper, and he threw millions at the endeavor, hiring the best talent in the industry and building the necessary infrastructure to get papers in the bins across the country. It was a colossal failure, and a dearly lamented one. As national auto racing writer Ed Hinton put it: “I always tell people, I sailed on that Titanic and it was quite a luxury liner, too.” Grantland takes a look back at an enterprise that foreshadowed much to come in the internet age, but tried to do too much, too fast and for too much money.
The Greatest Paper That Ever Died