Joanna newsom’s high dive market value of futures

.

The harpist and songwriter likely won’t read the entry about herself, but she frequently dives down Wikipedia rabbit holes. “Reading something on Wikipedia will often send me off in a new direction,” she says. While living in New York’s Greenwich Village several years ago, for instance, Newsom found herself digging up historical nuggets on the neighborhood around Washington Square Park.

Unlike most of us, Newsom channels these procrastinatory-seeming Internet binges into song. Vivid, stunning songs of melancholy and longing, written for the harp or piano, with dizzying and self-referential verses rich with literary allusion funny quotes with pictures. The song spurred by the Washington Square Park rabbit hole, “Sapokanikan” (a word I am very much afraid of mispronouncing in Newsom’s presence), is named after a Native American village located in what is now lower Manhattan.


Built around a winding piano melody, the song tells of forgotten mayors and Tammany Hall, of the 19th-century sonnet “Ozymandias” and of history’s inevitable fade into obscurity.

When Newsom released “Sapokanikan” unexpectedly one morning in August, accompanied by a music video and the news that she would be releasing her first album in five and a half years, the Internet erupted, as if the folksinger had just climbed out of an unmarked grave. Within hours, fans—and NPR—set to work deciphering the song’s tangle of references nzd to usd converter. Newsom’s fan base is deep, devoted and (on a somewhat smaller scale) as obsessive as Radiohead’s or Bob Dylan’s a generation prior. There is even a collection of both personal and scholarly interpretations of her music titled Visions of Joanna Newsom and a modestly successful band named after her in Wales (Joanna Gruesome).

There were nonmusical holdups too. In 2013, Newsom married Samberg, her longtime boyfriend, in Big Sur, California fraction worksheets free. Then, in 2014, Newsom made her film debut, narrating and appearing briefly on screen as the mystic Sortilège in Paul Thomas Anderson’s mega-stoned Thomas Pynchon adaptation Inherent Vice.

This, it turns out, was very much unplanned. Newsom came to know director Paul Thomas Anderson through his longtime partner, actress Maya Rudolph, a friend of Samberg’s binary multiplication examples. At dinner one night, Newsom and Anderson started talking about the book and their mutual love for Pynchon, who was one of her favorite writers in her teens and early 20s.

“A few months later, he texted me and asked if I might be interested in trying an idea,” Newsom recalls. “He was fooling around with the idea of having the narration from the book be voiced by a character.” She didn’t believe she was really being considered for the role. “I think he said, ‘I’m trying an idea out. Would you mind recording these lines into your phone and sending them back?’ I didn’t have a lot of information out the gate. I think I kind of figured that if he liked the idea, he was going to hire a professional actor to do the job.”

Then, after being asked to take part in a table read, another surprise: “I got a call from the wardrobe department at Warner Bros. asking for my measurements, and I was like, OK, I guess there’s a chance I’m going to be on camera then usd gbp conversion. But Paul never asked me or told me.” Newsom ended up appearing in several scenes. The filming took just five days, but the narration process stretched on for months. Anderson kept rewriting the script slightly. Then Newsom got a cold and had to redo a number of great takes when her voice became hoarse without warning.

The album was largely recorded by the time she began filming, but it hadn’t been mixed. “I had a distinct feeling through the whole process of making this record that the thing that would give it its identity, the thing that would breathe life into the album, was going to be the mixing process,” Newsom explains. She doesn’t listen to any music while recording an album, until the mixing convert usd to cny. Then she revisits her favorite albums for inspiration. “Right now, everything under the sun sounds like garbage to me,” Newsom admits of this process (though she does declare an affection for Kendrick Lamar’s recent To Pimp a Butterfly). “I get ear fatigue, and it’s really nice to orient yourself to a complete record that sounds great.” For this album, her reference points for mixing were mostly from the early 1970s jpy usd exchange rate. She rattles off a list: Richard and Linda Thompson’s First Light, Mickey Newbury’s Looks Like Rain, Roy Harper’s Stormcock, Joni Mitchell’s Blue.

She pauses at the mention of Blue. “That record is astonishing. If you just look at it as a technical document, it’s incredible. The piano sound that she has on that record—there’s no piano that has sounded like that before or since.”

Newsom knows there’s a feverish cult surrounding her. She’s unconcerned with the details. She doesn’t Google herself, she says. “I don’t think it’s a great idea for me to read reviews,” she says when does the futures market open. Nor does she keep a social media presence or much of a public persona outside of the music. She is walled off from the incessant chatter, the daily distractions us stock futures market. When I mention a fashion Tumblr that exists solely to chronicle her outfits—vintage dresses, silver leather heels—she nods in recognition, but says she hasn’t looked at it. In February, Pitchfork ran a piece titled “ The Atypical Fashion Cult of Joanna Newsom.” “I have been made aware of that as well,” she says. “It’s sweet. It’s awesome. But it’s probably not the best idea for me to personally read it.”

Though her relationship with Samberg has garnered her Emmy appearances and mentions on Us Weekly, she guards her private life. Before we sat down for an interview, I was told she doesn’t want to discuss her marriage or her home program for binary search. The record has much to say about love and loss and places in between, but it is not diaristic. Newsom refers to her songs as being sung by a “narrator,” voiced by something apart from herself. “Every single song is narrated by a slightly different entity on this record,” she explains. “They’re all kind of about the same thing, but they are approaching that collection of themes from different angles.” Divers is the first Newsom album not to feature the artist on the cover in some fantastical garb, but “the cover still is representative of the narrator.”

I ask Newsom if she would articulate the themes. She refuses, as if I’ve asked a novelist for the CliffsNotes version. That’s a task for the cult, the devoted followers, who’ll get to the bottom of Divers like divers for pearls.

All materials are found on open spaces of a network the Internet as freely extended and laid out exclusively in the fact-finding purposes. If you are what lawful legal owner or a product and against its placing on the given site, inform us and we will immediately remove the given material. The administration of a site does not bear responsibility for actions of the visitors breaking copyrights. abuzesite@bigmir.net

banner