Dating direct culdesac idaho
Third Man’s catalogue includes roughly four hundred titles. 8 album over all, but it’s only one project among several.Some are reissues (old blues songs, Detroit garage bands such as the Gories, and early Motown recordings), some are original records that White produced (Loretta Lynn, Neil Young, Wanda Jackson, and Karen Elson, White’s second wife, from whom he is now divorced), and some are recordings of concerts held at the Nashville offices (Willie Nelson, Pearl Jam, Jerry Lee Lewis, and the Detroit hip-hop artist Black Milk). White wrote the song “Don’t Hurt Yourself ” with Beyoncé, and sang it with her on her album “Lemonade.” He plays guitar in the Raconteurs, a band that started in Detroit in 2004, and drums in Dead Weather, which started in Nashville in 2009; he sings in both.He wasn’t planning to live in it, except perhaps occasionally on retreats—he lives in Nashville. The house was designed by George Nelson, a figure in American modernism, who mostly designed furniture.“A George Nelson house, there’s not too many of those,” White said in a car on the way there.White is forty-one, and since his adolescence, in Detroit, when he was an upholsterer’s apprentice, he has been avidly interested in modern design.He used to drive around the city looking for thrown-out furniture, and sometimes he found Nelson sofas and chairs and restored them.Its previous owner, a man named Dave Corner, was standing in the driveway.
As both a stance and a misdirection, they wore only red, white, and black.White used to be exclusively a rock star—he was half of the White Stripes—but his interests are diverse, and he has lately stopped touring and writing to dispose of them.His company, Third Man Records, which is based in Nashville and Detroit, produces vinyl records and sells them from stores at its offices.Meg was also his girlfriend, then his wife, then his ex-wife, though for a long time they told everyone that they were a family band, and that she was his sister. (The group split up in 2011.) Their second record, “De Stijl,” made in 2000, was an homage to the nineteen-twenties Dutch modernist movement of the same name, whose members included the painter Piet Mondrian.
De Stijl reduced artistic forms to fundamental terms, and the notion of restrictions appealed to White, who believes that, as far as his imagination is concerned, having too many choices is stultifying. He says it entered his awareness one day when he was an apprentice in the upholstery shop.
White sees many of his experiences as worth documenting, and he had hired a film crew to record him and Corner talking about the house.