Posts Tagged ‘Kurt Andersen’

For the next couple weeks on the radio show, we’ll be taking a peek at Studio 360’s new book, Spark: How Creativity Works. It draws on ten years (!) of interviews with America’s most accomplished filmmakers, musicians, art, and others about what it takes to live a creative life.

This week, Kurt talks with Julie Burstein, the show’s former executive producer, about a subject that’s meat and potatoes in the interview biz: childhood. We hear about Chuck Close painting from a nude model at age eight, “which made me the envy of everyone in my neighborhood” and helped him get past a severe learning disability.  Richard Ford tells us that his childhood memories are cans stored in his mental “pantry,” waiting till he has the right recipe.  One such memory, Ford explains, was an untimely end of the family cat under the family station wagon — which found its way into one of Ford’s celebrated Frank Bascombe novels.

You can hear Kurt’s full, original conversations with the artists below.

[Amazon] [Barnes & Noble] [IndieBound]


Chuck Close, painter

(Originally broadcast January 19, 2002)

For over 30 years, Chuck Close has been making huge, meticulous paintings of faces — 9 foot, looming images of himself, and of friends such as the composer Philip Glass and the late painter Robert Rauschenberg. He is one of today’s most famous and seriously regarded portraitists — particularly impressive since Close suffers from prosopagnosia, face blindness.  Kurt visits Close at his New York studio.

Richard Ford, novelist

(Originally broadcast November 10, 2006)

He’s not the type of novelist who cranks out a new book every year. Ideas marinate in Richard Ford’s mind for years – sometimes fifty years – before they surface in his stories. Ford spent so much time gathering material and reworking the manuscript of his latest novel, The Lay of the Land (2006), he kept the pages in his freezer for safekeeping. Ford talks with Kurt about the challenges of aging a character in real time.

Mira Nair, filmmaker

(Originally broadcast March 16, 2007)

Mira Nair’s films take place all over the Indian diaspora – from the rough city streets of Salaam Bombay! (1988) to the American Deep South in Mississippi Masala (1991). The Namesake (2006) spanned the distance from Calcutta to New York: a young Indian couple who makes a life together in the US, and the struggles of their American-born son. Nair tells Kurt why unconventional love stories have inspired so many of her films. And how an encounter with a band of street performers set her on the path to becoming a filmmaker.

Richard Serra, sculptor

(Originally broadcast May 25, 2007)

Richard Serra began working with steel as a teenager, on a summer job in a steel mill. He went on to become one of America’s greatest sculptors. Serra’s recent pieces are massive, 12-foot-tall steel walls that curve and lean together to form fascinating spaces you can enter and walk around. Serra walks Kurt through a major retrospective of his work at New York’s MoMA as he finishes up its installation.

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Anyone else feeling a little political déjà vu?  Fifteen years ago this month a salacious political novel called Primary Colors was published.  It offered a thinly veiled account of President Bill Clinton’s election campaign and was written by…well, no one knew. In spite of this, or perhaps, because of it Primary Colors became a huge bestseller and eventually a movie starring John Travolta.  Now, as if on cue, we get O: a Presidential Novel, a juicy bit of speculative fiction that purports to be about  President Obama’s 2012 re-election campaign. The book features cartoonishly large ears on the cover and another “Anonymous” author.

Joe Klein

During Primary Colors run atop the bestseller list Studio 360 host Kurt Andersen was editor of New York Magazine at the time.  Aided by professor Don Foster, a Shakespeare scholar who analyzed writing styles, Kurt publicly outed TIME journalist Joe Klein.  Now that there’s a new mystery author, Kurt is back on the case, this time with the help of New York political writer John Heilemann.  Heilemann has a terrific Obama cover story out this week and is working on the sequel to his dishy 2008 (nonfiction) campaign book Game Change.

He told Kurt that the biggest clue to the author of O is hiding in plain sight, on page two no less.  It involves a specific real-life anecdote in the text that, according to Heilemann, was never reported in the press.  Apparently the story could only be known by a senior strategist to John McCain, and since only one of McCain’s advisers has any real writing experience, Heilemann has narrowed the list to one probable suspect.

Mark Salter.

Mark Salter

Salter is a McCain confidant and former ghostwriter whose name has come up before.  But as far as we know no one, until now, has pointed out the revelatory passage on Page 2.  We’ve yet to reach Salter directly, but he recently told the New York Post, “I’ve been asked by the publisher, as apparently many other people have, not to comment. So, no comment.”

Hmm… did we mention that back in 1996 after Joe Klein spent months vehemently denying writing Primary Colors he eventually came clean, proving Kurt right?  But don’t take our word for it.  We’re relying on the wisdom of the crowd for this one.  If you do a little sleuthing and come up with a better guess, by all means add it to the comments below.  We’ll keep an open case file until the mystery is solved.

-Derek L. John

UPDATE: Salter has been revealed as the mystery author.  Gold star, Heilemann.

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2011 is a big year for Studio 360.  We’re celebrating our tenth anniversary on the radio and online — time flies, we know — and we’re marking the milestone with a foray into another medium: the printed word.

Spark: How Creativity Works will hit bookshelves on February 15.  Written by Studio 360’s long-time executive producer Julie Burstein, it’s a how-to guide for summoning your inner artist – with advice drawn from Kurt’s decade of interviews with some of the greatest creative minds of our time: including Richard Serra, Chuck Close, Isabel Allende, and Patti Lupone, among many others.

To get you in the mood, we’ve got a sneak-preview: Kurt Andersen’s foreword.

[Amazon] [Barnes & Noble] [IndieBound]


I graduated from college with no job in the offing and no desire to return home to Nebraska. All I knew for sure was that I wanted to live in New York City, hang out with people doing creative work, and get paid for doing creative work myself, but that I didn’t know how to act or sing or dance or play an instrument or draw. When I was twenty-one, that was the extent of my career plan. And oddly enough, I’ve executed it in all its half-assed, unkempt glory for the last thirty-five years: I’m a New Yorker; my friends are mostly writers and artists and filmmakers and musicians and designers, and I’ve earned my living in pretty much every creative field that doesn’t require me to make music or draw. Or dance.

But it was just a decade ago that I had two back-to-back aha moments that finally explained my zigzagging professional path to myself and also made me understand the prerequisites for creativity.

The first lightbulb went off when I read an essay called “The Amateur Spirit” by the great scholar and writer Daniel Boorstin. The main obstacle to progress is not ignorance, Boorstin wrote, but “pretensions to knowledge. . . . The amateur is not afraid to do something for the first time. . . . the rewards and refreshments of thought and the arts come from the courage to try something, all sorts of things, for the first time. . . . An enamored amateur need not be a genius to stay out of the ruts he has never been trained in.”

Here was a supremely credentialed prince of the Establishment, the ultimate professional intellectual—Rhodes Scholar, Ph.D., professor at the University of Chicago and Cambridge University, museum director, Librarian of Congress—arguing in his seventies that while professionalism of the good kind (knowledge, competence, reliability) has its place, it is the curious, excited, slightly reckless passion of the amateur that we need to nurture in our professional lives, especially if we aspire to creativity in the work we do.

A few months later I found myself interviewing my funny, brilliant friend Tibor Kalman, the graphic designer and multifarious auteur. A transcript of our conversation would appear in a monograph about his work. He was forty-nine and when we talked he knew he had only months to live. Tibor had always been smart about the nature of creative work, but now the wisdom was pouring out.

“You don’t want to do too many projects of a similar type,” he told me. “I did two of a number of things. The first one, you fuck it up in an interesting way. The second one, you get it right. And then you’re out of there. I have sought to move into as many other fields as possible, anything that could be a step away from ‘graphic design,’ just to keep from getting bored. As long as I don’t completely know how to do something, I can do it well. And as soon as I have [completely] learned how to do something, I will do it less well, because what I do will become more obvious.”

I realized my entire professional and creative life so far had been conducted in a similar way, by indulging the amateur spirit: I’d repeatedly, presumptuously barged into jobs for which I had no credentials or much specific training and then worked extra hard, hoping that my rank inexperience might somehow be transmuted into interesting innovation. I’d had no experience writing radio and TV news scripts (for NBC, my first job), or about politics or crime (for Time, my second job), or about architecture and design (also for Time), and when I cofounded Spy magazine (my fourth job), I had never edited anyone’s writing but my own, or run a business. Ditto when I wrote and produced prime-time network comedy specials (for NBC), wrote an off-Broadway revue, wrote a screenplay (for Disney), and sold my first novel (to Random House). Professor Boorstin and my friend Tibor had convinced me retroactively that what I’d done by accident, going from interesting gig to interesting gig with no real strategy, had a philosophical basis.

Shortly after that double epiphany, executives from Public Radio International and WNYC called me out of the blue and asked if I might be interested in hosting a new program they wanted to create about the arts and entertainment and creativity. Really? Me? My total on-air experience consisted of having been interviewed a few times about books and articles I’d written. Host a weekly show on public radio? Were they serious? I’d done plenty of things I had no standing to do, but no one before had ever invited me to do something I had no standing to do.

That’s not completely true. Twenty years earlier, a theater director had called me out of the blue and asked if I might be interested in playing the lead in his upcoming production of Othello. Really? Me? My total acting experience consisted of playing Captain Hook in a grade school production of Peter Pan. And also, I am, um, er, Caucasian. Was he serious? Well, as it turned out, um, er, uh, no: he’d meant to call an (African American) actor named Curt Anderson. Wrong number.

But this time, it turned out, the public radio grown-ups really had intended to call me, and not the veteran radio personalities Curtis Andreessen or Karl Andrews or Carter Andrazs. They were serious. And that’s how I came to help invent and host Studio 360.

What we do every week on Studio 360 is try to show how creativity works by means of individual case studies, by talking at length and in depth to some of the world’s most talented people about how and why they do what they do. And for this book we’ve distilled the most relevant wisdom from my hundreds of conversations to create a kind of plain-English master class about the difficult, exhilarating process of pursuing one’s creative passions. It’s Creativity 101 featuring guest lectures by visual artists and designers Chuck Close, Denise Scott Brown, and Robert Venturi; filmmakers Kathryn Bigelow, Ang Lee, Mira Nair, and Kevin Bacon; writers Richard Ford, Joyce Carol Oates, John Irving, and Tony Kushner; musicians Patti LuPone, Rosanne Cash, Robert Plant, Yo-Yo Ma; and many other artests. Maybe you’re an artist or would-be artist yourself; maybe you’re an amateur singer or painter or writer. If so, consider this a collegial primer on how some supremely talented and successful people unleashed their talents and achieved their successes. But I’m also convinced that there are plenty of valuable, hard-won lessons about living and working creatively that can be applied to almost any life and any job. Or maybe you simply want to enjoy an unbuttoned, intimate look at the life and times of a few dozen cultural superstars. If so, enjoy.

What I’ve realized after talking to this remarkable pantheon of creative people for our five hundred shows is that what I learned from Daniel Boorstin and Tibor Kalman a decade ago is true of pretty much all work worth doing, especially creative work: the prerequisite for doing exciting work is to be excited about it yourself, reaching to do or make something that you haven’t done or made before and which seems at least a little scary, just beyond your comfort zone. E. B. White famously wrote that “no one should come to New York to live unless he is willing to be lucky.” The same goes for people who want to do any kind of creative work.

As soon as I adopted this paradigm of the amateur spirit just over a decade ago, taking risks to try new things, staying out of ruts, refusing to be paralyzed by the fear of imperfection or even failure, opening myself to luck—that is, once it became my conscious MO rather than simply the way I’d unthinkingly stumbled through life—I began spotting other members of the club, such as Danny Boyle, the director who made 127 Hours, Slumdog Millionaire, Trainspotting, and eight other feature films. “Everything after the first one,” he told the New York Times, “is business. There’s something about that innocence and joy when you don’t quite know what you’re doing.” And Steve Jobs, talking about the unexpected upside of being purged from Apple nine years after he founded the company. “The heaviness of being successful,” he says, “was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.” A period during which, among other things, he founded the amazing animation studio Pixar.

I’m not much of a religious person, but if forced to choose I’d probably go with Buddhism, because its practitioners write and say paradoxical things, such as this line by the Zen master Shunryu Suzuki: “In the beginner’s mind there are many possibilities, but in the expert’s mind there are few.” That’s what Tibor was getting at, and Boorstin and Boyle and Jobs. And Richard Serra, as he explained a few years ago in a conversation on Studio 360, which we’ve included in Chapter 2. “I’m just going to start playing around,” Serra told me about his decision to abandon painting as a young man, “without the faintest idea of what I was doing.”
I learned how to make a national radio show by making a national radio show in the company of people who knew lots more about radio than I did, especially Julie Burstein, my executive producer from 2000 through 2009. Having written for TV and radio and the movies, I knew how to write sentences for the voice and ear rather than the eye, and I knew how to tell stories. But I learned how to have a new kind of conversation, in which I uttered sentences that parsed and contained a minimum of ums and uhs and you knows, conversations in which I seldom interrupted but nevertheless took the lead.

Moreover, in creating Studio 360 with Julie and the rest of our team of producers, I had the same goal as when I’d created magazines and websites and produced TV shows and written novels—to make a thing that I would want to read or see or hear even if I’d had nothing to do with it, and that was unlike anything extant. For me, that’s also how creativity works, when it works. In this sense, creativity is selfish—but it derives from what I call “good selfishness,” something like good cholesterol.

In the ten years that I’ve hosted the show, I’ve had more than a thousand conversations with some of the most creative and interesting people on earth. Many of them have surprised me. Before I met Susan Sontag, for instance, I was terrified. She’d been a hero of mine for decades, and her assistant had informed my producer that “Ms. Sontag does not suffer fools,” just in case I happened to be one. But our hour-long talk turned out to be one of the best I’ve ever had—and the only one for Studio 360 that generated a handwritten thank-you note. I was very differently surprised by the novelist and journalist Nick Tosches, who did his best to offend me and then, failing to do so, left the studio for a smoke halfway through the show and never returned. I was surprised when Gore Vidal remembered he had once threatened to sue me for an article I’d published about him, surprised when Twyla Tharp started crying, surprised when Rosanne Cash became a close friend, and surprised when Neil Gaiman asked me, years after he’d appeared on the show, if I would write a piece of short fiction for an anthology he was editing—and thus last summer I published my first science fiction story. Once again, I’d never done it, didn’t know for sure if I could do it, but did it anyway, and was pleased with the result. Such is the terror and delight of trusting one’s amateur spirit, being willing to be lucky and seeing where creativity takes you.

— Kurt Andersen
August 6, 2010

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On Thursday, January 27, Shara Worden will bring her synergetic mix of classical music, cabaret, and punk to Lincoln Center’s American Songbook series — and we’re thrilled that she’s given us  an exclusive sneak preview of a song she wrote for the event.

Worden is probably best known for her classical/rock project My Brightest Diamond and her collaborations with The Decemberists, Sufjan Stevens, and David Byrne.

Last Friday, she and the yMusic ensemble stopped by Studio 360 and premiered “We Added It Up”:

It’s a performance that showcases Worden’s syncretic style.  She told Kurt the song was inspired by President Obama’s recent “shellacking” speech, in which he conceded midterm election losses, saying we need to “learn to disagree without being disagreeable.”  The song draws that premise wide, picking up on its productive friction and extending it from politics to include lovers, atoms, and the idea that the world, itself, is held together by opposites.

Listen to Studio 360 this weekend to hear Kurt’s full interview with Worden and another live performance.

-Michael Guerriero

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Ah, Christmas. Time to sit around the fire with eggnog and tell stories of… extraterrestrial spies?

This holiday week, Studio 360 presents a new kind of holiday tale.  “Human Intelligence” is by none other than Kurt Andersen, and was published this year in Stories: All-New Tales, edited by Neil Gaiman and Al Sarrantonio.  Studio 360’s Jonathan Mitchell created this audio cinema adaptation.

Ed Herbstman (narrator) is a co-founder of the Magnet Theater in New York City.  John Ottavino (Nicholas) has performed in 36 states and 7 countries, including a role in the Tony Award-winning production of “A Doll’s House” on Broadway.  Melanie Hoopes (Nancy) is a writer, actress, and the host of “Laurie Stanton’s Sound Diet.”

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Earlier this week, one-of-a-kind comedian/musician Reggie Watts rocked WNYC’s Jerome L. Greene Performance Space for a special “Studio 360” all about Theoretical Physics. That’s right…Theoretical Physics.  Here at 360, we like a little science sprinkled in with our arts and culture.

It turns out that Reggie Watts – an improviser who seeds audiences with disinformation (some of it in musical form), confusing them into fits of sublime, disoriented laughter – is also a well-versed physics enthusiast.  Watch him raise the curtain on our show, and tune the crowd to his unique frequency:

Over the course of the evening, Reggie talked physics with Kurt and astrophysicist Janna Levin – they even had a sort of informal science smack down (you can watch the full show here).  Reggie closed the evening with another song – a hip-hop ballad dedicated to perhaps the most ambitious topic, ever: the universe.

– Michael Guerriero

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The Apples in stereo have been turning out impeccable indie pop tunes for nearly 17 years now.  The band’s latest album is something a little different: Travellers in Space and Time is a danceable concept album about time travel.

When the band stopped by Studio 360 recently, frontman Robert Schneider told Kurt Andersen that his inspiration for the album was a trip to Disney World’s “Tomorrowland.”  The album’s gleaming production — rife with synthesizers and vocoders — is meant to be an aural version of the theme park’s humorously outdated vision of the future.

The "miniaturization control" at Disney World's "Tomorrowland," circa 1967

So naturally, when The Apples showed up to perform in-studio, the band wore futuristic costumes.  Yes, they look a little silly to our 2010 sensibilities, but Robert assured us that they’re “impervious to time travel” (so maybe form follows function?).


And when you listen to the full interview, you can hear why Kurt believes the incredibly excited Robert may contain enough pent-up energy to blow up the planet.


—Becky Sullivan

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Have you noticed how the rituals of Valentine’s Day seem to be designed for children? The red hearts, the overload of candy, and that weird baby Cupid. It’s all so bizarre, and may I say — nauseating?

We here at Studio 360 think the so-called holiday is due for a serious redesign. And we need your help.

On this week’s show, Kurt and design writer Alissa Walker explained why:

This is an initiative I can get behind.

I’ve never been a fan of V Day, but I decided to give it a shot last year. I was newlywed, so I figured: if not now, when?

I wanted a gift that was grown-up, but not too earnest. Modest, but not drugstore cheesy. So I arranged for my husband and me to take a tennis lesson together.

But about 10 minutes in, I realized this instructor wasn’t going to foster the loving-yet-sporting atmosphere I’d envisioned. Instead, she pitted us against one another. Then I made the mistake of telling her this was my Valentine’s Day gift to my husband, so she snarked about that for the rest of the hour. By the end of the lesson, an over-priced and mediocre prix fixe dinner was actually looking good.

I know we can do better to reinvent this horrid holiday. Now’s your chance to do your part to stop the flood of ugly cards and half-dead roses.

Submit your entrees HERE — we’ll feature the best entries on our show the weekend of Valentine’s Day.

– Cary Barbor

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As the New Year closes in and we all take a little time for reflection, I can’t help but wonder what I’ll be doing at the close of the next decade — and the next, and the next…  I get solace and inspiration from a “Studio 360” episode from last February which featured several older  folks who are still productive, or had even started something new later in life.

The two-time Pulitzer Prize-winning composer Elliott Carter blew me away with his keen insights and artistic vitality at 100 years-young. Not only did he complete a composition to celebrate his historic birthday at Carnegie Hall, but it was just one of 16 other pieces he’s completed in the last two years.

I was especially taken by the residents of the Lillian Booth Home for retired entertainers who were working on a production of Samuel Beckett’s “Waiting for Godot.” I am a huge fan of Beckett and was wowed that resident Adene O’Kelly had actually met, worked and laughed with the great writer (who was not known for his sense of humor). Actors Alex Reed and Bill Story were rehearsing “Godot,” and I sympathized with their attention and dedication to his every word.

(Quick aside: when I went to see this year’s Broadway revival of “Godot,” starring Bill Irwin and Nathan Lane, I brought a script to make sure they didn’t add so much as an extra “What?” – they did pretty well but for an exchange at the bottom of the first act).

Ultimately, Kurt’s old boss Gene Shalit had the words to help bolster us through the New Year:

“Keep your sense of humor, keep your enthusiasm… Enthusiasm in life is the secret to good life.”


– Susie Karlowski

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Have you been acquainted with a Mr. Elyot Vionnet?

You may not think so, but he’s actually someone we have all experienced at one time or another. For instance, remember the time when that woman with the cell phone and the couture shopping bags slammed right into you on the sidewalk and then gave you a scowl that seemed to accuse you of being at fault? Remember your not-so-buried desire to see her get mowed down by a bus as she crossed the street? That desire was Elyot Vionnet talking to you.

In I Shudder: And Other Reactions to Life, Death, and New Jersey, playwright, screenwriter, and humorist Paul Rudnick (“I Hate Hamlet,” “In & Out,” “Jeffrey”) draws portraits of some of the larger-than-life characters he’s known over the years working in Hollywood and New York. But perhaps the most tantalizing character of all is the fictional Elyot Vionnet, whose diary entries are interspersed throughout the book. Elyot comes from Rudnick’s darker, wayward impulses.

When Paul was in Studio 360 last week, we got him to read from that “most deeply intimate and personal diary of one Elyot Vionett” – and he couldn’t help but do so in-character:

In Elyot, he has, perhaps, his greatest character yet.  Unless you count Rudnick himself.

– Jordan Sayle

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