A writer on his experience spending time in an artist colony—and why they actually work:
The poet in the studio next to me, Kathryn Levy, was at the time revising her work by reading it aloud, recording it, and playing it back to herself. The murmur of it was reassuring somehow. Years later, when I remembered it to her, she laughed and said ‘I don’t work that way anymore.’ I recently asked her about thoughts on colonies, and she said: ‘You have all the solitude you want, with none of the usual distraction of daily life at home, and then when you want to be in a social situation with interesting people, you have that as well. I find that I experiment in colonies more often than I do at home because I have such an expanse of time, and that I not only write more and think about writing more, but think about life more as well.’
Colonies also teach lessons. Typically, there are older, more experienced artists who offer tips on, for example, finding and maintaining silence. I also learned there is almost nothing better for your work than having someone cook and clean for you who is neither a relative nor someone you’re sleeping with. I am something of a cook, for example, and between food prep and shopping, I spend about 14 hours a week on meals. But when I go away to a residency, that becomes writing time. I gain two whole working days from the week.
And so sometimes people would complain about a meal and my only thought was What is wrong with you?
“Go Away.” — Alexander Chee, The Morning News
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A writer on his experience spending time in an artist colony—and why they actually work:
“The poet in the studio next to me, Kathryn Levy, was at the time revising her work by reading it aloud, recording it, and playing it back to herself. The murmur of it was reassuring somehow. Years later, when I remembered it to her, she laughed and said ‘I don’t work that way anymore.’ I recently asked her about thoughts on colonies, and she said: ‘You have all the solitude you want, with none of the usual distraction of daily life at home, and then when you want to be in a social situation with interesting people, you have that as well. I find that I experiment in colonies more often than I do at home because I have such an expanse of time, and that I not only write more and think about writing more, but think about life more as well.’
“Colonies also teach lessons. Typically, there are older, more experienced artists who offer tips on, for example, finding and maintaining silence. I also learned there is almost nothing better for your work than having someone cook and clean for you who is neither a relative nor someone you’re sleeping with. I am something of a cook, for example, and between food prep and shopping, I spend about 14 hours a week on meals. But when I go away to a residency, that becomes writing time. I gain two whole working days from the week.
“And so sometimes people would complain about a meal and my only thought was What is wrong with you?“
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Published: Aug 13, 2012
Length: 17 minutes (4,404 words)
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Inside the group’s 50th anniversary reunion tour: How the legendary group fell apart and came back together, and how Brian Wilson gets along with his old bandmates:
The vibe in Burbank is collegial, but each Beach Boy is locked into his own orbit. Wilson and Love tend to communicate through the musical directors they’ve retained from their respective touring bands; Jardine, Johnston, and Marks hover on the margins. Over lunch, Jardine tells me he’s been urging Love to open the second half of the set with ‘Our Prayer,’ the hushed choral prelude to Smile, but so far, Love has been brushing him off. ‘With him, you never know if it’s confrontational or uncomfortable because he’s able to mask any kind of negativity,’ Jardine says. ‘You never know if you’ve fucked up or not.’ When I mention ‘‘Til I Die,’ a stark Wilson solo composition from 1971, Johnston, who’s sitting nearby, insists that it was ‘the last Brian Wilson recording. Ever. The career ended for me right with that song.’ But why? ‘Because he was still 100 percent,’ Johnston explains. ‘Now, he’s … you know, a senior guy.’
“The Beach Boys’ Crazy Summer.” — Andrew Romano, Newsweek
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Inside the group’s 50th anniversary reunion tour: How the legendary group fell apart and came back together, and how Brian Wilson gets along with his old bandmates:
“The vibe in Burbank is collegial, but each Beach Boy is locked into his own orbit. Wilson and Love tend to communicate through the musical directors they’ve retained from their respective touring bands; Jardine, Johnston, and Marks hover on the margins. Over lunch, Jardine tells me he’s been urging Love to open the second half of the set with ‘Our Prayer,’ the hushed choral prelude to Smile, but so far, Love has been brushing him off. ‘With him, you never know if it’s confrontational or uncomfortable because he’s able to mask any kind of negativity,’ Jardine says. ‘You never know if you’ve fucked up or not.’ When I mention ‘‘Til I Die,’ a stark Wilson solo composition from 1971, Johnston, who’s sitting nearby, insists that it was ‘the last Brian Wilson recording. Ever. The career ended for me right with that song.’ But why? ‘Because he was still 100 percent,’ Johnston explains. ‘Now, he’s … you know, a senior guy.'”
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Published: May 29, 2012
Length: 22 minutes (5,663 words)
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Technical interview with the sound engineer on two classic U2 albums and how the band recorded them:
The band subsequently spent almost half a year in a rented house by the sea near Dublin, using equipment rented from Audio Engineering, Ireland’s largest pro-audio hire company, before moving on to the legendary Windmill Lane studios in Dublin for the final mixes. Similarily, Zooropa was also largely recorded in improvised surroundings. These unusual recording surroundings must have awoken the muses, because the stories of the recording sessions for Achtung Baby and Zooropa recount chaotic and almost manic outpourings of creativity. They feature such unusual tales as: the band simultaneously using three rooms to record and mix and the various bandmembers overdubbing in the different studios with people running around with tapes from room to room; last minute overdubs during or even after the final mix; nightly flights home straight after European gigs to complete Zooropa; the filling of 180 2-hour DAT tapes with a procedure called ‘fatting’, complete disregard for standard recording objectives such as separation and low noise levels, and last but not least the interesting dichotomy between the intense 11 months that it took to complete Achtung Baby, endlessly sculpting the songs into perfect shape, and the attitude of ‘recklessness’ and ‘performance first’ encouraged by Daniel Lanois.
“Robbie Adams: Recording U2’s Achtung Baby & Zooropa (1994).” — Editors, Sound on Sound
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2012 Pulitzer Prize winner: A woman testifies about her rape and the rape and murder of her partner:
“She understood, sitting up there on the witness stand, why people might need to imagine her window coverings. But this is not what the survivor of the South Park rapes and murder had come to talk about. The mechanics, both psychological and practical, of how the attacks might have come to pass were now well beside the point. In any sense that would satisfy, they are probably unknowable.
“The reason for her sitting on the witness stand of a packed and sweltering eighth-floor courtroom at the King County Courthouse on June 8, in jeans and a short-sleeved black blouse, hands clasped over knees, a jury of strangers taking notes, a crowd of family and friends and strangers observing, a bunch of media recording, was to say: This happened to me. You must listen. This happened to us. You must hear who was lost. You must hear what he did. You must hear how Teresa fought him. You must hear what I loved about her. You must know what he took from us. This happened.”
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Published: Apr 16, 2012
Length: 21 minutes (5,349 words)
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Inside the rock star’s Nashville home and the headquarters for his growing company, Third Man Records:
White walked back to a room called the Vault, which is maintained at a constant 64 degrees. He pressed his thumb to a biometric scanner. The lock clicked, and he swung the door open to reveal floor-to-ceiling shelves containing the master recordings of nearly every song he’s ever been involved with. Unusually for a musician, White has maintained control of his own masters, granting him extraordinary artistic freedom as well as truckloads of money. ‘It’s good to finally have them in a nice sealed environment,’ White said. I asked where they’d been before, and he laughed. ‘In a closet in my house. Ready to be set on fire.’
White said the building used to be a candy factory, but I had my doubts. He’s notoriously bendy with the truth — most famously his claim that his White Stripes bandmate, Meg White, was his sister, when in fact she was his wife. Considering the White Stripes named themselves for peppermint candies, the whole thing seemed a little neat. ‘That’s what they told me,’ he insisted, not quite convincingly. I asked if I needed to worry about him embellishing details like that, and he cackled in delight. ‘Yes,’ he said. ‘Yes.’
“Jack White Is the Coolest, Weirdest, Savviest Rock Star of Our Time.” — Josh Eells, New York Times Magazine
See also: “The Fresh Air Interview: Jay-Z.” Terry Gross, Nov. 16, 2010
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Inside the rock star’s Nashville home and the headquarters for his growing company, Third Man Records:
“White walked back to a room called the Vault, which is maintained at a constant 64 degrees. He pressed his thumb to a biometric scanner. The lock clicked, and he swung the door open to reveal floor-to-ceiling shelves containing the master recordings of nearly every song he’s ever been involved with. Unusually for a musician, White has maintained control of his own masters, granting him extraordinary artistic freedom as well as truckloads of money. ‘It’s good to finally have them in a nice sealed environment,’ White said. I asked where they’d been before, and he laughed. ‘In a closet in my house. Ready to be set on fire.’
“White said the building used to be a candy factory, but I had my doubts. He’s notoriously bendy with the truth — most famously his claim that his White Stripes bandmate, Meg White, was his sister, when in fact she was his wife. Considering the White Stripes named themselves for peppermint candies, the whole thing seemed a little neat. ‘That’s what they told me,’ he insisted, not quite convincingly. I asked if I needed to worry about him embellishing details like that, and he cackled in delight. ‘Yes,’ he said. ‘Yes.'”
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Published: Apr 6, 2012
Length: 20 minutes (5,206 words)
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A family discovers new details about their son’s death in Iraq, and wonders why the U.S. lieutenant responsible was not punished:
A year after Dave Sharrett II died, his parents, Vicki and Dave Sr., were nearly at peace. They had come to accept the Army’s explanation of how it all happened in the “fog of war.” They were confident in the Army’s promises of transparency and accountability for the lieutenant who fired the fatal shot.
Then came the third knock on the door.
After a memorial service for their son at Fort Campbell, Ky., in February 2009, soldiers who fought alongside him paid a surprise visit to the Sharretts. In a cramped room at the Holiday Inn Express, the soldiers used words such as “cover-up” and “lies.” They brought video recordings shot from aircraft high above the chaos that showed how Dave Sharrett II and two other American soldiers were killed.
“David Sharrett’s Family Still Wants Justice for Friendly Fire Death in Iraq.” — Tom Jackman, Washington Post
See also: “The Life and Death of Pvt. Danny Chen.” — Jennifer Gonnerman, New York magazine, Jan. 7, 2012
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A family discovers new details about their son’s death in Iraq, and wonders why the U.S. lieutenant responsible was not punished:
“A year after Dave Sharrett II died, his parents, Vicki and Dave Sr., were nearly at peace. They had come to accept the Army’s explanation of how it all happened in the ‘fog of war.’ They were confident in the Army’s promises of transparency and accountability for the lieutenant who fired the fatal shot.
“Then came the third knock on the door.
“After a memorial service for their son at Fort Campbell, Ky., in February 2009, soldiers who fought alongside him paid a surprise visit to the Sharretts. In a cramped room at the Holiday Inn Express, the soldiers used words such as ‘cover-up’ and ‘lies.’ They brought video recordings shot from aircraft high above the chaos that showed how Dave Sharrett II and two other American soldiers were killed.”
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Published: Feb 27, 2012
Length: 21 minutes (5,308 words)
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