So sometimes I say, "Oh, it's only five dollars. I think I stole it. So that's special. In terms of that technique of using two tracks to make a rhythm: in the yearthis record called It Was Hot, We Stayed in the Water starts in a similar way with a rhythmic foundation. It starts with a beautifully recorded chord on acoustic guitar for a while before the singing starts. And I really liked how it goes on for long enough that it ushers you into a new place.
You forget the world you were in before you started listening to the album. It's like the waiting room before the album starts. Why is it important that we sit with that sound for the first seven minutes of this album? No voice, no other instrument — just the guitar. I didn't decide, like, "Okay, it's going to go for seven minutes. I played it until it felt right.
I wanted to push up against the edges, similar to extreme drone music, the way that it wears down at your sense of time and reality and makes you forget yourself or maybe similar to the way that meditation works. It's not pushing beyond discomfort because it's not uncomfortable. It's a beautiful zone to hang out in, I think. And So Long - No. 2 (2) - No Memory (CD also wanted to use that seven-minute space to account for the 20 years that have passed or whatever.
How many years have passed since the last Microphones album? Everything fundamental about you as a person and you as a songwriter had changed in such open and open-ended ways. Your songwriting style has changed significantly: You now favor long phrases that would never scan and there's little in the way of traditional verse-chorus-verse format.
I'm listening to this record and wondering how old forms meet new modes. What did the songwriting process look like? I always write my songs in a notebook on paper with pencil and scribble it out and erase it and move things around. But this one, it's so long; it was very papery because I was taping pieces of paper together to make a scroll long enough to hold the whole thing.
For a while, Album), it was different pages, but I was spending so much time rifling through my different sheets and losing track of what section I was in that I just made a big, long scroll. It's about nine feet long or something, and it comes with the record — there's a poster in there that's a scan of it.
And actually, that long scroll is sort of the last step of the writing process. At first, I just walk around with it in my head and mumble to myself. And get ideas for different vignettes and scenes and almost write in a non-poetic way. I just write an account of what I remember and then from there, hone it down into something.
So, for example, in the passage where I'm talking about watching the movie Crouching Tiger, Hidden Dragonbelieve it or not, it started off as a much deeper, much longer account of me watching that movie.
It may seem like, "Wait, you're telling me that you only included the necessary parts? I tried and tried to get it down to only the necessary parts. I was just trying to find moments that exemplified a certain thing about whoever I was during those years and whatever So Long - No. 2 (2) - No Memory (CD Microphones, as a project in time and space, meant. I had lots of little narrative moments that didn't make it into the song.
But that one, I felt like exemplified this one certain thing beyond just a cool movie that I liked. It was a pivotal point for me because it shifted the thing Album) was trying to say in my music. It shifted it away from romantic sorrow and towards something more ephemeral and universal and deeper, I guess. Something more transcendent.
Were you always so aware of what you wanted this music to convey, or has that come with time? No, I haven't been aware. I feel like, in the past, when I've been asked, "What are your hopes for this music?
What do you want people to hear out of it? I'm not talking about my hopes for other people. I want to make "fog imbued with light and emptiness" for myself because I feel like that's what I want to hear and that's what I feel compelled to make.
Maybe I was able to phrase that succinctly because I gave myself the assignment: I was like, OK, I'm going to make a new Microphones album. What is that? What does that mean? What was The Microphones and what were my goals then and what are my goals now in terms of this weird pursuit of creativity? How can I say it directly? You reference your own work quite a bit — not as a backwards-looking wink but as a set of thematic motifs. That's an important distinction.
On this Album), maybe I strayed across the line, but it's tempting to do self-referential stuff because it feels good and it gives people clues to follow — that's the embarrassing kind of nostalgia.
But I do those things because I want to make a body of work that is woven together because it is — that's what the world is like, that's what my life is like. There are several lyrics I could choose from, but, for instance, when you would sing about the moon, you provided both an earthly sense of place being under the moon, often with someone or some idea but also illustrated a cosmic power to behold.
Here, you revisit and often question many of those motifs, but also build on a new one about life's uncertainty: "the true state of all things. Do those old themes still ring true in any way? As a result, very few of them have survived into the modern era, which makes a vintage CD long box by a collectible artist, like this one, the very definition of a hard to find collector's item.
As a long time record collector who always prized the jacket art, I couldn't bring myself to destroy the colorful artwork on CD long boxes once I began buying compact discs in the mids. And so I didn't. Instead, whenever I purchased a new CD, I carefully opened the bottom flap of the long box and slipped the CD jewel box out the bottom, leaving the bottom flap of the long box in place. I'd Album) place the CD on a shelf and store the long box away, where it would remain preserved in close to its original state until now.
Long box is in nice condition with the opened shrink-wrap with original store price stickers affixed still in place on the outside of the box. We will compute a variable called price2 which will be double the value of price. If we use the describe command again, we see the variable we just created is part of the data in memory. We also see a note from Stata saying dataset has changed since last saved.
Stata knows that the data in memory has changed, and would need to be saved to avoid losing the changes. If we shut the computer off before saving the changes, the changes we made would be lost. The save command is used to save the data in memory permanently on disk. We will compute a variable called price3 which will be three times the value of price. Did you see how Stata said file auto2. Stata is worried that you will accidentally overwrite your data file.
You need to use the replace option to tell Stata that you know that the file exists and you want to replace it. We can try to use the auto file.
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