Brain Pickings

Posts Tagged ‘SoundCloud’

21 MAY, 2013

Patti Smith’s Lettuce Soup Recipe for Starving Artists

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“We hadn’t much money, but we were happy.”

Reconstructionist Patti Smith is among the most extraordinary and influential artists of the past century, her achievements consistently demolishing the artificial wall between “high” and “low” culture by spanning from Billboard Chart hits to poetry inspired by Rimbaud and Blake, from CBGB to London’s Trolley Gallery, from the Rock and Roll Hall of Fame to the National Book Award. Most remarkable, however, is Smith’s self-made journey of creative discovery and fame. When she moved to New York City in her early twenties, she met legendary photographer Robert Mapplethorpe, who became her lover and comrade in arms, and they lived the quintessential life of the starving artist — not in the fashionable political-statement sense of creative poverty but in the penurious caloric-deficiency sense.

At the opening of her exhibition The Coral Sea at Cincinnati’s Contemporary Arts Center, titled after her poetic masterpiece of the same name honoring Mapplethorpe, Smith reads from her 2010 memoir Just Kids (public library), which tells the story of the pair’s early years in New York and which earned her the National Book Award. Here, witty and wry as ever, she shares her famous lettuce soup recipe, one of the strange concoctions, at once endearing and heartbreaking, that sustained the two as they struggled to get by on virtually no money — a wonderful reminder that money is not the object of the creative life and a fine addition to The Artists’ and Writers’ Cookbook:

Just Kids is absolutely breathtaking in its entirety. Complement it with Smith’s spoken-word homage to Virginia Woolf.

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15 MAY, 2013

Fail Safe: Debbie Millman’s Advice on Courage and the Creative Life

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“Imagine immensities, don’t compromise, and don’t waste time.”

The seasonal trope of the commencement address is upon us as wisdom on life is being dispensed from graduation podiums around the world. After Greil Marcus’s meditation on the essence of art and Neil Gaiman’s counsel on the creative life, here comes a heartening speech by artist, strategist, and interviewer extraordinaire Debbie Millman, delivered to the graduating class at San Jose State University. The talk is based on an essay titled “Fail Safe” from her fantastic 2009 anthology Look Both Ways: Illustrated Essays on the Intersection of Life and Design (public library) and which has previously appeared on Literary Jukebox. The essay, which explores such existential skills as living with uncertainty, embracing the unfamiliar, allowing for not knowing, and cultivating what John Keats has famously termed “negative capability,” is reproduced below with the artist’s permission.

If you imagine less, less will be what you undoubtedly deserve. Do what you love, and don’t stop until you get what you love. Work as hard as you can, imagine immensities, don’t compromise, and don’t waste time. Start now. Not 20 years from now, not two weeks from now. Now.

Look Both Ways: Illustrated Essays on the Intersection of Life and Design is an absolute treasure in its entirety, the kind of read you revisit again and again, only to discover new meaning and new access to yourself each time. It was preceded by How to Think Like a Great Graphic Designer and followed by the recent Brand Thinking and Other Noble Pursuits, both excellent in very different but invariably stimulating ways.

Images and audio courtesy Debbie Millman

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14 MAY, 2013

How to Make the Perfect Cup of Tea: George Orwell’s 11 Golden Rules

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“One strong cup of tea is better than twenty weak ones. All true tea lovers not only like their tea strong, but like it a little stronger with each year that passes.”

After the recently examined history of how coffee changed the world, the most democratic thing to do would be to offer those of us who prefer tea a comparable treat — and what would be more appropriate than a reading of George Orwell’s his secret to the perfect cup of tea? The passage, which discusses “one of the most controversial parts of all” — the matter of the milk — is part of his altogether fantastic 1945 essay “A Nice Cup of Tea,” originally published in the Evening Standard on January 12, 1946, and later included in the indispensable 1968 anthology George Orwell: As I Please, 1943-1945: The Collected Essays, Journalism & Letters, Vol 3 (public library). Excerpted below, it presents Orwell’s eleven “golden” rules for the ultimate tea experience.

UPDATE: There seems to be a bit of confusion about the recording: To clarify, it is a reading of Orwell, not by Orwell, from an old documentary. The voice is that of actor Chris Langham. No recording of Orwell’s voice is known to exist.

If you look up ‘tea’ in the first cookery book that comes to hand you will probably find that it is unmentioned; or at most you will find a few lines of sketchy instructions which give no ruling on several of the most important points.

This is curious, not only because tea is one of the main stays of civilization in this country, as well as in Eire, Australia and New Zealand, but because the best manner of making it is the subject of violent disputes.

When I look through my own recipe for the perfect cup of tea, I find no fewer than eleven outstanding points. On perhaps two of them there would be pretty general agreement, but at least four others are acutely controversial. Here are my own eleven rules, every one of which I regard as golden:

First of all, one should use Indian or Ceylonese tea. China tea has virtues which are not to be despised nowadays — it is economical, and one can drink it without milk — but there is not much stimulation in it. One does not feel wiser, braver or more optimistic after drinking it. Anyone who has used that comforting phrase ‘a nice cup of tea’ invariably means Indian tea.

Secondly, tea should be made in small quantities — that is, in a teapot. Tea out of an urn is always tasteless, while army tea, made in a cauldron, tastes of grease and whitewash. The teapot should be made of china or earthenware. Silver or Britannia ware teapots produce inferior tea and enamel pots are worse; though curiously enough a pewter teapot (a rarity nowadays) is not so bad.

Thirdly, the pot should be warmed beforehand. This is better done by placing it on the hob than by the usual method of swilling it out with hot water.

Fourthly, the tea should be strong. For a pot holding a quart, if you are going to fill it nearly to the brim, six heaped teaspoons would be about right. In a time of rationing, this is not an idea that can be realized on every day of the week, but I maintain that one strong cup of tea is better than twenty weak ones. All true tea lovers not only like their tea strong, but like it a little stronger with each year that passes — a fact which is recognized in the extra ration issued to old-age pensioners.

Fifthly, the tea should be put straight into the pot. No strainers, muslin bags or other devices to imprison the tea. In some countries teapots are fitted with little dangling baskets under the spout to catch the stray leaves, which are supposed to be harmful. Actually one can swallow tea-leaves in considerable quantities without ill effect, and if the tea is not loose in the pot it never infuses properly.

Sixthly, one should take the teapot to the kettle and not the other way about. The water should be actually boiling at the moment of impact, which means that one should keep it on the flame while one pours. Some people add that one should only use water that has been freshly brought to the boil, but I have never noticed that it makes any difference.

Seventhly, after making the tea, one should stir it, or better, give the pot a good shake, afterwards allowing the leaves to settle.

Eighthly, one should drink out of a good breakfast cup — that is, the cylindrical type of cup, not the flat, shallow type. The breakfast cup holds more, and with the other kind one’s tea is always half cold before one has well started on it.

Ninthly, one should pour the cream off the milk before using it for tea. Milk that is too creamy always gives tea a sickly taste.

Tenthly, one should pour tea into the cup first. This is one of the most controversial points of all; indeed in every family in Britain there are probably two schools of thought on the subject. The milk-first school can bring forward some fairly strong arguments, but I maintain that my own argument is unanswerable. This is that, by putting the tea in first and stirring as one pours, one can exactly regulate the amount of milk whereas one is liable to put in too much milk if one does it the other way round.

Lastly, tea — unless one is drinking it in the Russian style — should be drunk without sugar. I know very well that I am in a minority here. But still, how can you call yourself a true tea-lover if you destroy the flavour of your tea by putting sugar in it? It would be equally reasonable to put in pepper or salt. Tea is meant to be bitter, just as beer is meant to be bitter. If you sweeten it, you are no longer tasting the tea, you are merely tasting the sugar; you could make a very similar drink by dissolving sugar in plain hot water.

Some people would answer that they don’t like tea in itself, that they only drink it in order to be warmed and stimulated, and they need sugar to take the taste away. To those misguided people I would say: Try drinking tea without sugar for, say, a fortnight and it is very unlikely that you will ever want to ruin your tea by sweetening it again.

These are not the only controversial points to arise in connexion with tea drinking, but they are sufficient to show how subtilized the whole business has become. There is also the mysterious social etiquette surrounding the teapot (why is it considered vulgar to drink out of your saucer, for instance?) and much might be written about the subsidiary uses of tea leaves, such as telling fortunes, predicting the arrival of visitors, feeding rabbits, healing burns and sweeping the carpet. It is worth paying attention to such details as warming the pot and using water that is really boiling, so as to make quite sure of wringing out of one’s ration the twenty good, strong cups of that two ounces, properly handled, ought to represent.

The same year, Orwell published one of his most celebrated and enduring essays, titled “Why I Write” and exploring the four universal motives for creation. It appears on this essential reading list of famous writers’ wisdom on writing.

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13 MAY, 2013

Greil Marcus SVA Commencement Address: How the Division of High vs. Low Robs Culture of Its Essence

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“What art does … is tell us, make us feel that what we think we know, we don’t.”

However skeptical one might be of formal education, one of its great traditions remains the art of the stirring graduation speech. At the 2013 commencement ceremony for the graduating class of New York’s School of Visual Arts — which rounds out creative culture with such diverse programs as Design Criticism, Computer Arts, Animation, and Visual Effects, and the country’s only Masters in Branding degree — cultural critic and prolific author Greil Marcus delivers an absolutely remarkable commencement address that captures everything that’s wrong about our divisive high/low model of culture and all the hope that art, at its heart, gives for bridging this divide by speaking to the most profound depths of the human psyche:

Echoing Perry Meisel’s defiance of “high” vs. “low” culture, Marcus argues:

I’ve always believed that the divisions between high art and low art, between high culture, which really ought to be called “sanctified culture,” and what’s sometimes called popular culture, but really ought to be called “everyday culture” — the culture of anyone’s everyday life, the music I listen to, the movies you see, the advertisements that infuriate us and that sometimes we find so thrilling, so moving — I’ve always believed that these divisions are false. And, as a result of trying to make that argument over the years, I’ve also come to believe that these divisions are permanent — they can be denied, but they can never go away.

He points to MoMA’s 1990 exhibition High and Low, which presented wildly famous “high art” pop paintings next alongside their “low-art,” pop-culture inspirations, as a dramatization of this dichotomy, then observes:

I couldn’t understand then, and I don’t understand now, why George Herriman’s Krazy Kat strips, or the comic books by anonymous artists and inkers and graphics people, were lesser art — really, why whey weren’t better art, the real art — than the pop art classic that Philip Guston and Roy Lichtenstein had made of them. Nearly everything I’ve written is based on the conviction — the experience — that there are depths and satisfactions in blues, rock & roll, detective stories, movies, television, as rich and as profound as those that can be found anywhere else. Who, really, could argue that the sense of transportation, even in the religious sense — taking of oneself out of oneself, connecting oneself to something greater, something you know in the moment, in your heart, that every person who was ever born must experience or their life is going to be poor — who can argue that that sense of transportation is not as present in The Rolling Stones’ “Gimme Shelter” … as in the art most exalted in motive, most revered in history?

(Of course, in an era when MoMA is acquiring data visualization and video games into its permanent collection, the lines are clearly blurring even for traditional arbiters of “high” culture.)

Marcus makes a beautiful addition to history’s finest definitions of art:

What art does — maybe what it does most completely — is tell us, make us feel that what we think we know, we don’t. There are whole worlds around us that we’ve never glimpsed.

His own sense of art, Marcus says, was shaped by the views of the late critic Dennis Potter, citing his 1987 meditation:

I think we all have this little theatre on top of our shoulders, where the past and the present and our aspirations and our memories are simply and inevitably mixed. What makes each one of us unique, is the potency of the individual mix.

Marcus extrapolates from his transcendent experience of seeing a painting of the Virgin Mary in Venice’s famous Basilica di Santa Maria Gloriosa dei Frari and being swept off his feet by the all-consuming glory of it:

That’s what art does, that’s what it’s for — to show you that what you think can be erased, cancelled, turned on its head by something you weren’t prepared for — by a work, by a play, a song, a scene in a movie, a painting, a collage, a cartoon, an advertisement — something that has the power that reaches you far more strongly than it reaches the person standing next to you, or even anyone else on Earth — art that produces a revelation that you might not be able to explain or pass on to anyone else, a revolution that you desperately try to share in your own words, in your own work.

He articulates beautifully the tantalizing beauty of influence:

What’s the impulse behind art? It’s saying in whatever language is the language of your work, “If I could move you as much as it moved me … if I can move anyone a tenth as much as that moved me, if I can spark the same sense of mystery and awe and surprise as that sparked in me, well that’s why I do what I do.”

Playing off the recent controversy over the two versions of The Great Gatsby cover design — one based on the Hollywood adaptation and the other featuring the original 1925 cover art — Marcus bemoans the “fascist vanity” underpinning the assumptions about each:

It all comes down to that urge to fascism — maybe a big word to use for art, but I think the right word — it comes down to that urge to fascism to know what’s best for people, to know that some people are of the best and some people are of the worst; the urge to separate the good from the bad and to praise oneself; to decide what covers on what books people ought to read, what songs people ought to be moved by, what art they ought to make, an urge that makes art into a set of laws that take away your freedom rather than a kind of activity that creates freedom or reveals it. It all comes down to the notion that, in the end, there is a social explanation for art, which is to say an explanation of what kind of art you should be ashamed of and what kind of art you should be proud of. It’s the reduction of the mystery of art, where it comes from, where it goes…

Marcus’s most recent book, A New Literary History of America (public library) from Harvard University Press, dives deeper into many of the subjects he touches on in the speech.

Complement with other remarkable and timelessly inspiring commencement addresses by Ann Patchett, Jacqueline Novogratz, Neil Gaiman, David Foster Wallace, Ellen DeGeneres, Aaron Sorkin, Barack Obama, Ray Bradbury, J. K. Rowling, Steve Jobs, Robert Krulwich, Meryl Streep, and Jeff Bezos.

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