Jazz: Monty Alexander makes a "Yard Movement" for Christmas

With a near inexhaustible list of major-league A-list credits - from the late Natalie Cole to the ageless Tony Bennett, an annual Jazz festival named after him in Maryland since 2010, and a listing in the Top 5 of Hal Leonard's 50 Greatest Jazz Pianists of all Time(2005), Monty Alexander might be forgiven for not being seen more often in his homeland.

But a decade-long wait comes to an end next month as Alexander, with is critically-acclaimed fusion project, The Harlem-Kingston Express, rolls into Kingston - on Dec 11 - in  benefit concert titled "Home For Christmas" in aid of the Global Giving Programme of the university of the West Indies. The show unfolds at the Jamaica Pegasus beginning at 7:00pm. The performance is under the Patronage of former Jamaican Prime Minister P J Patterson, who as former manager of the legendary Skatalites is certainly familiar with Alexander's oeuvre and development, and UWI Vice-Chancellor, Sir Hilary Beckles.

The affable and often effervescent pianist will continue his genre-bending explorations of the sounds of  his beloved homeland (mento, ska and reggae) and the swing stylings that established him in the US and caught the pleased ear of "Chairman of the Board" the late Frank Sinatra, who in turn was instrumental in  getting Alexander residency in America.

Of course, no one venue or event could contain the pianist's vast and still-growing discography, but patrons can expect him to expertly weave through his myriad associations - including a variety of combos with iconic Jamaican guitarist Ernie Ranglin and longtime trio partners Hassan Shakur (bass) and Herlin Riley (drums) as well as reggae stalwarts Glenn Browne and Courtney Panton.

Tickets are J$10,000, and outlets will be announced shortly.

Auto: 100 Thousand car buyers say "i" for BMW

Munich. Three years of BMW i, three years of innovation, three years of holistic sustainable mobility: since its market launch in November 2013, BMW i has not only been the technological pioneer of the BMW Group, but has also symbolised the company’s innovative strength and future orientation in every vehicle it brings onto the road.

Today, this can be seen more clearly than ever: the BMW Group has now delivered more than 100,000 purely electric-powered cars and plug-in hybrids to customers worldwide. The BMW i3 alone has reached a figure of more than 60,000 units, making it the most successful electric vehicle in the premium compact segment. Meanwhile, the BMW i8 ranks first among electrified sports cars, with more than 10,000 delivered since the middle of 2014. Additionally, there are the approximately 30,000 plug-in hybrids sold to date; known today under the label BMW iPerformance, these reflect the successful broad-based transfer of BMW i technology.

“BMW i remains our spearhead in terms of innovation and it will continue to open up groundbreaking technologies for the BMW Group,” says Chairman of the Board of Management of BMW AG, Harald Krüger. “When it comes to electric drivetrains, we’ve already successfully managed to put this technology transfer on the road. The next technological advance we will address is automated driving, where the BMW iNEXT will set a new benchmark.”

By establishing the BMW i brand and opting to develop a separate vehicle architecture and BMW eDrive technology for electric power, the BMW Group became a pioneer in the field of individual, sustainable mobility. Both the BMW i3, designed for locally emissions-free mobility in an urban environment, and the future-oriented plug-in hybrid sports car BMW i8 combine Sheer Driving Pleasure with a premium character that is consistently geared towards sustainability, including the use of resource-efficient production methods and materials. This also appeals to new groups of customers: more than 80 per cent of BMW i3 customers worldwide are new to BMW.

All in all, the BMW Group now offers seven models that either run on electric power alone, like the BMW i3, or are plug-in hybrids, combining a combustion engine and an electric motor. Other models will follow in the years to come, including a MINI Countryman plug-in hybrid in 2017. What is more, a new variant of the BMW i8 sports car with plug-in hybrid drive will come out in 2018 – an open-top BMW i8 Roadster. Looking further ahead, the portfolio will be extended to include a purely electric-powered MINI in 2019 and a purely electric-powered BMW X3 in 2020. At the start of the next decade, another, larger BMW i model with electric drive is due to appear: the BMW iNEXT. This highly innovative model will be the new innovation 

Int'l Affairs: The "Weed Ticket" How Clinton and Trump line up on cannabis

By the time you read this, the 2 US Presidential candidates will have completed the second, and arguably most pivotal, debate of this already remarkable Election Cycle.

To those of my countrymen, and others, who would insist on asking what the US Election has to do with us here in Jamaica - there are many simple answers: More than half the Jamaican diaspora resides in the US, more than half of Jamaica's nearly 3 million visitors bear a U.S. passport, and the US is still our largest export market - including for one commodity in particular that won't show up on the official trade balance computations of economists.

Weed. Marijuana. Cannabis. Ganja. Pot. Chronic. Hallowed. Storied. Plant of many names. Much travelled and, until fairly recently, much maligned in the Government circles of both the US (where it is still classified at the Federal level as a dangerous drug) and Jmaica, where legislation passed last year rremoved the "dangerous drug" classification and gave fiato to a butrgeoning medical marijuana industry spurred in large part by developments in the US.     All this notwithstanding the pioneering work of Dr Calvin Lockhart and the late Dr Manley West in developing Canasol (and asthmasol).

Interestingly, but perhaps unsurprisingly, the question of "Mary Jane" has scarcely come up during this bitter battle for the White House, and the very latest bombshell of Trump's impertinent (but frankly , familiar) comments a decade ago about being able to force himself on women by virtue of his position (then) as a "star" is just the latest in a string of personality and character questions for both candidates that - with the help of the media - have crowded out a lot of the less "soundbite-worthy" issues if you will.

 And make no mistake, dealing with the "new dispensation of marijuana" is a serious issue, on many fronts. On the purely economic side, marijuana is THE proverbial elephant in the US political room. Legal marijuana revenues to private interests topped US$4billion in 2015. Beginning with Colorado, four states plus the US Federal capital (Washington DC) have already made the recreational use of marijuana legal. Altogether, nine more states have marijuana Propositions on their ballots for next month, five specifically addressing recreational use. These include California, the most populous state in the US, as well as neighbouring Nevada - home to arguably the world's recreational hub in Las Vegas.

 Clearly, the greater the spread of legalization, the greater the opportunities for Jamaican marijuana- even though its generally accepted that the plant is grown, and used, in every US state (including Alaska, one of the four to already have legalization). At a time when the Jamaican Government desperately needs a solid income source, the Prime Minister, the Minister of Finance and the Minister of Tourism must undoubtedly be watching this "Green Revolution" in the US with considerable glee.

But the implications go way beyond trade and the Government. In this nascent period of "legal weed" the socio-cultural outcomes of marijuana acceptance are just being seen, much less examined. Will this men an end to "sniffer dogs" greeting Jamaicans deplaning at US airports? (of course. cocaine trafficking remains a serious problem). Will it mean an end to jail time for countless Jamaicans, and other minorities and foreign nationals previously held on possession and "attempting to export" or "dealing in"as worded in the Police Communications press releases? Will non-smokers accommodate the spliffs to any lesser or greater degree than they do the cigarettes and cigars? These are but a few of the questions that will arise as the use of cannabis, whether for medical or recreational purposes, or any combination thereof, broadens.

So, where exactly do the candidates stand on this issue Clinton, in a 2015 interview with Christiane Amanpour, says she prefers to wait and see what outcomes the existing medical marijuana regimes produce before going any further. New York, which she represented as Senator, has medical marijuana, with restrictions.Arkansas, where her political career began with her husband, who, by his own admission, has at least a passing acquaintance with recreational marijuana use, does not.



Trump meanwhile, has taken a familiar cop-out; no doubt taking note of the wave of support, "the Donald" who initially opposed marijuana legalization said, also in 2015, that it should be  a "state-by-state" issue. No doubt, his running mate, Indiana Governor and ultra-conservative Mike Pence will have something to say about that before it comes to his state. Trump surrogate and New Jersey Governor Chris Christie, said in i his own failed Presidential bid, that he would repeal marijuana legalizations if he were to get to the White House. Its anyone's guess as to whether that stance contributed to him now being on the sideline.

Its also anyone's guess, for now, as to how the next President will deal with marijuana once they are in the Oval Office. Hopefully someone in tonight's Town Hall-style showdown will get past the infidelities and the lewd comments and pose the weed question to either candidate.

Whether or not, we here should be watching, with great interest.

Culture: "Do As I....." Etana's reveal and what it says about the artist's responsibility

"My music is not my beliefs"

Do As I say, not as I do.

Singer Etana has placed herself in a really uncomfortable position when, on being quizzed by "Entertainment Report" host Anthony Miller, she revealed  that not only does she admire and support polarizing US Presidential candidate Donald Trump, but placed such support above an beyod the populistic lyrics for which she has become known

Her political leanings, whether for US or Jamaican politicians is almost irrelevant. Hilary Clinton is a less-than-ideal 2nd-time contender for the White House, with significant unpacked baggage, but she is not the under-informed fascist that Donald trump clearly is. A Trump win has potentially massive downside for US-Caribbean relations, and for Jamaica in particular.

So Etana's declaration of support for Donald trump, while problematic and even offensive to some, does not, in my view, have the power in itself to seriously diminish her standing as an artist.

The remark uttered by her at the top of this essay is, however, a very different matter.

There are some positions I wish for people to consider

An artist, a creative individual (or group) has a different level of engagement with the society than others. yes, the arts have a business and a professional side to them, moreso in today's world. Yet, with all of that said, the artist and the community are partners in a trust.

Trust. The audience - whether visually or otherwise - have expectations that they want fulfilled, and so too does the artist. The artist may create the work on his/her own, but draws for the community in terms of themes and ideas. Similarly, the community gives its support to the artist by choice, but depends, often unwittingly, on the creator to sow them something of themselves , whether it be uplifting, uncomfortable, but undeniable.

in short, the truth plays a significant role in the dynamic between artist and public.even parodists, Like Weird Al Yankovic and our own Lovindeer, are using the medium to express certain views on topics or figures that are apparently " hot" for the masses - be it losing weight ("Eat It") or the installation of nude statues in a public park ("Happ-iness in de Park"). satire, fable and allegory are all acceptable and important elements in getting certain truths across.

What cannot be acceptable is for the artist to dismiss the positions articulated in her work - the way that Etana has done - because the values espouse are irreconcilable with her political or other choices (religious, etc). it would be one thing for Etana to say that she truly believes trump will effect social justice, and opportunities for upward mobility for all in the US, as unlikely as those developments may seem to the rest of us.

But to regard the sentiments expressed in such songs as "Roots" "Not Afraid" and "Better Tomorrow" as disconnected from her personal beliefs (whether she penned the lyrics or not) simply because her professed support of Donald Trump is incongruous with the values of those songs does a huge disservice to her audience, the worldwide fan base she has built over the course of four albums and many live appearances. Drawn to the poignancy and the general uplift behind such words as "I am not Afraid/ If dem a come/ mek dem come/ Coz I'm protected/ by the Most High One".

Does she no longer hold the above to be true? Did she ever believe it in the first place? is her music career a purely mercenary exercise, driven bey the overarching need to secure her own welfare? Will she sing nay lyric to gain the trust of the public, only to disavow it under the heat and glare of media scrutiny (good job, by the way, Anthony Miller)?

These are questions that she and other creatives need to consider. Does my work -whether solo or collaborative - speak for me? is there room for divergence between what I offer to the public and my inner core?

My answer to this last one is "No" and, from the immediate social media backlash - powerful enough to force the singer into an unconvincing explanation of her position (the cliched "My words were twisted"), its clearly many share that view. The public has expectations of those offering them creations, and the main one, good or bad, is credibility.

Etana, I really think you need a total reset here.....for a better tomorrow.

Culture: "Do As I....." Etana's reveal and what it says about the artist's responsibility

"My music is not my beliefs"

her political leanings, whether for US or Jamaican politicians is almost irrelevant. Hilary Clinton is a less-than-ideal 2nd-time contender for the White House, with significant unpacked baggage, but she is not the under-informed fascist that Donald trump clearly is. A Trump win has potentially massive downside for US-Caribbean relations, and for Jamaica in particular.

So Etana's declaration of support for Donald trump, while problematic and even offensive to some, does not, in my view, have the power in itself to seriously diminish her standing as an artist.

The remark uttered by her at the top of this essay is, however, a very different matter.

There are some positions I wish for people to consider

An artist, a creative individual (or group) has a different level of engagement with the society than others. yes, the arts have a business and a professional side to them, moreso in today's world. Yet, with all of that said, the artist and the community are partners in a trust.

Trust. The audience - whether visually or otherwise - have expectations that they want fulfilled, and so too does the artist. The artist may create the work on his/her own, but draws for the community in terms of themes and ideas. Similarly, the community gives its support to the artist by choice, but depends, often unwittingly, on the creator to sow them something of themselves , whether it be uplifting, uncomfortable, but undeniable.

in short, the truth plays a significant role in the dynamic between artist and public.even parodists, Like Weird Al Yankovic and our own Lovindeer, are using the medium to express certain views on topics or figures that are apparently " hot" for the masses - be it losing weight ("Eat It") or the installation of nude statues in a public park ("Happ-iness in de Park"). satire, fable and allegory are all acceptable and important elements in getting certain truths across.

What cannot be acceptable is for the artist to dismiss the positions articulated in her work - the way that Etana has done - because the values espouse are irreconcilable with her political or other choices (religious, etc). it would be one thing for Etana to say that she truly believes trump will effect social justice, and opportunities for upward mobility for all in the US, as unlikely as those developments may seem to the rest of us.

But to regard the sentiments expressed in such songs as "Roots" "Not Afraid" and "Better Tomorrow" as disconnected from her personal beliefs (whether she penned the lyrics or not) simply because her professed support of Donald Trump is incongruous with the values of those songs does a huge disservice to her audience, the worldwide fan base she has built over the course of four albums and many live appearances. Drawn to the poignancy and the general uplift behind such words as "I am not Afraid/ If dem a come/ mek dem come/ Coz I'm protected/ by the Most High One".

Does she no longer hold the above to be true? Did she ever believe it in the first place? is her music career a purely mercenary exercise, driven bey the overarching need to secure her own welfare? Will she sing nay lyric to gain the trust of the public, only to disavow it under the heat and glare of media scrutiny (good job, by the way, Anthony Miller)?

These are questions that she and other creatives need to consider. Does my work -whether solo or collaborative - speak for me? is there room for divergence between what I offer to the public and my inner core?

My answer to this last one is "No" and, from the immediate social media backlash - powerful enough to force the singer into an unconvincing explanation of her position (the cliched "My words were twisted"), its clearly many share that view. The public has expectations of those offering them creations, and the main one, good or bad, is credibility.

Etana, I really think you need a total reset here.....for a better tomorrow.

Music: Yes, You Too Can Do Your Own Bonaroo (sort of)

The following story is featured in the latest issue of , The Pitchfork Review. 

When I was 17, I booked a music festival on my father’s farm. TheIndie 500 lasted two days, about 1000 people came, and the stage was a hay truck. That was a long time ago, but I still try to keep that kind of excited, nervous spirit alive in the events I organize. It’s just that now I actually know what I’m doing. As an experienced old person, I book Basilica SoundScape, a two-day “anti-festival” that takes place in a 19th century factory in Hudson, New York. We limit the audience to 1400, don’t have sponsors, and aim to keep the lineup small, particular, and multi-disciplinary. It’s been successful so far: In the five years of Basilica, I’ve never spotted anyone in attendance wearing a flower crown. 

In an idealistic, punk, all-inclusive sense, anyone can put on a festival. But, in reality, it takes a certain kind of person. You have to be detail-oriented, obsessive, and able to deal with major setbacks (and major personalities) without passing out. That said, if you find yourself tempted by the proposition, and want to test the waters and your own mettle, it’s helpful knowing where to begin. Here are some basic steps to get you started.

First off, ask yourself why you want to book a festival. There are tons of festivals, more than anyone needs. What will make yours different? Meditate on this. Think about Altamont.

If you think you can bring something unique to the festival calendar, choose an interesting place to host your event. A lot of festivals take place with fairly boring backdrops; if you have an unique place to host things, you’re already a step ahead. Still, unless you want a special smaller destination-festival, where the journey to the festival is part of the fun, make sure it’s easy for the audience to get there. I remember going to a festival on an island years ago, and most people left before the last band was halfway through (and the last band wasRadiohead) because they were all afraid of waiting in line to escape.

But be adventurous! I’ve done shows in basements and attics and backyards. Once I booked three floors of the New Museum (Grimesplayed in the glass-walled Sky Room, while Trash Talk destroyed things in the basement theater). I’ve also done shows in record stores and garages. I once had Pharmakon play in a bookstore, Björk DJ in a parking garage, and amateur wrestlers fight before a black metal show in a warehouse.

Keep in mind if you’re using a space where shows don’t generally happen, you’re going to have to spend money on a sound system and anything else a traditional venue might’ve supplied. You’ll need staff, too, if there isn’t one attached to the venue—people to handle the doors, security, bartenders, stage and production managers. The benefit to using a readymade club is that they’ll have a P.A. and staff on hand. And a liquor license (oh yeah, you’ll need one of those, too). The downside is that it can be kind of boring.

Now, this is crucial: No matter where the festival ends up being, make sure you have enough toilets. When I put on that festival at my dad’s farm, I only rented one Porta Potty. It filled up quickly. Major miscalculation. The event happened over the Fourth of July. I managed to find someone to drain it half-way through the weekend, and we survived, but we were very close to a fairly disgusting disaster.

Don’t overbook the festival. You also don’t need to book every band in a 100-yard radius. Be picky. Think of yourself as a curator, not just someone mindlessly adding all the “big” bands in any given genre or scene. Try to connect the bands in an interesting way. Think of their histories or some overall themes. Include non-musical stuff, too, like art and literature. But stay as rigorous in those zones as you would with the music. Focus on maintaining quality across all aspects of your festival.

As you book the bands, you’ll begin receiving lengthy hospitality riders. Don’t panic. In festival situations, you generally don’t buy everything on the rider for each and every band. It’s too expensive, and when there are dozens of acts on a bill, bands don’t really expect to get all of it anyway. When I was in college I booked an experimental guitarist in my friend’s attic, and because I didn’t know any better, I bought everything on his rider. He almost fainted when he showed up: I think I was the first person to ever fulfill it completely. I was out $350 for something that hadn’t even been expected.

Of course, this can be a case-by-case thing. If you book Kanye West, make sure to get all the stuff on his rider. And other stuff pops up, too. I recently booked a show where I was repeatedly asked to get hot water for a singer with a sore throat. I kept sending someone from the venue to the coffee shop next door, but by the time he’d find the singer, the water would be “too cold.” In situations like this, you can’t just bash that singer on the head like you may want to do. You have to smile, say you’ll get some more water, and move on.

Pay attention to the tech riders. These are more important than the right brand of hummus. If someone needs a special hand drum or in-ear monitor, and you don’t have it when they hit the stage, there will be issues. If you’re not familiar with tech and sound, make sure to hire a production manager who is. This is probably the single most important role at a festival. If the sound sucks, nobody will be happy, even if you’re in an amazing space with very good hummus.

Also, hire a good sound person. If you don’t know a sound person or anyone who can help with tech riders, and you’re starting to get nervous about all of this, then hire a production company. You can stick to your role as “curator,” and they’ll do all the other stuff.

You have the venue lined up, the staff in place, and the lineup booked… now you need to figure out how you’ll sell tickets. Will they be online only? Will people be able to get them at the door? Both? You’ll also need to set the price so you don’t lose your shirt. The price will be affected by whether or not you have sponsors. This is another big question: Do you want sponsors, which can make life easier, but can also be a pain in the ass? Or do you want to do it without sponsors, which can be stressful, but can also give you more control in the end? Up to you.

Once all of this is set, you’ll need to promote the festival on social media. You may also want to organize a street team to hang up physical flyers. Even with the internet, these are still really useful. As the festival date gets closer, switch up your promotional tactics a bit so people still pay attention. If you use the same approach each time, it’s easy for people to tune it out. See if any of the artists are up to tweeting the info or doing interviews. Speaking of which, if you have the money, you may want to hire a publicist.

Final tip: Don’t drink when you’re putting on a show. If someone needs your help, and you’re a sloppy mess, things won’t end well. By the end of the event, most folks will likely be wasted. They’ll need you. Stay the course!

All said, it comes down to controlling the things you can control, and dealing with (or working around) the things you can’t. Like, for instance, the weather. What if it rains for the entire event and you’re doing it outdoors? Did you think ahead and get a tent for over the stage? Did you provide ponchos? That’s the tip of the iceberg. Bands will have vans that break down. People will get lost. People will have meltdowns. People will have bass amps that explode (maybe more than once, speaking from memorable experience). People will shit themselves on stage and keep playing (another true story). And when this kind of thing happens, you’ll be standing there, smile on your face, knowing you did the best you could do, and that things will all be OK. And then you’ll tell the band it’s up to them to clean up that shit and you’ll go home and go to slee

WheRe wOrdS waNdeR: Knock it off

The command "knock it off" meaning "stop it" is first recorded 1880, perhaps from auctioneer's term for "dispose of quickly":

At the commencement of the sales, he gave every one that wanted to purchase a paper containing a description of the lands that were to be sold; and, as the sales were cried, he called over the numbers and described the land; and when it got up to one dollar and a quarter an acre, if no body bid, after it was cried two or three times, he would say, knock it off, knock it off. [U.S. Senate record, 1834]

The origin could possibly be from the habit of knocking a special beat to indicate a change of oarsmen in slave galleys. That's speculation but several of the earliest references to the term come from a nautical source; for example, William Clark Russell's novel An ocean tragedy, 1890:

"We were forced to knock off through sheer fatigue."

The Writers Alliance: Live and Write, with writing residencies

Here are 26 high-quality writing residencies and retreats you may not know about yet. While some of these are quite selective, others are a little more open with their admission policies.

1. Willapa Bay AiR

From the philosophy and mission; to the facilities; to the administration; to the meals; all has been well thought out. When I add in the lovely locale and the interesting and supportive Oysterville community I don’t know how it can get any better. — Betsy Best-Spadaro, visual artist

This fairly new residency program is already making waves. It’s located in Southwestern Washington and offers month-long residencies to emerging and established artists of all types. Lodging, meals and work space are provided to six residents per month from March 1 through September 30. $30 application fee.

2. Millay Colony for the Arts

For many reasons, my residency stay at the Millay Colony for the Arts has been the most prolific, in terms of artistic production and concentrated work. I attribute that to not only the bucolic and remote country landscape, which accords one lonely hikes, clear blue skies and muddy roads, but also the sheer lack of human interaction for my 26 days while in residence. — Kate Hers Rhee, visual artist

This small artist’s colony in upstate New York offers two-week and month-long residencies to six artists between the months of April and November. Unlike many other residencies, they don’t emphasize social events or speakers,  instead preferring for you to focus on producing your art. There are no costs, and food is included. You can also apply for a virtual residency or a “group residency” with your collaborating partners. $35 application fee.

3. Ucross Foundation

At Ucross I learned that I am capable of focusing deeply for long periods of time. I love to write. I don’t think I would have said that before this trip. — Edan Lepucki, novelist

A favorite among writers, this colony is located on a 20,000-acre working cattle ranch in Wyoming. It serves 85 artists per year, with up to nine people in residence at any one time. Lunches are delivered to your door, while dinners are eaten together in a group. Residencies last two to six weeks and are free of charge. $40 application fee.

4. Jentel

The month’s end is a time I am not looking forward to because with the space itself being gorgeous and comfy, the food being good, the people being wonderful, and me being productive I can see myself dreaming of this place once I leave. — Jennifer Baker, fiction writer

Sitting just eight miles away from UCross is Jentel, which hosts month-long residencies year-round; two writers and four visual artists are accepted for each session. Though food isn’t included, they do provide a stipend to help with the costs of your trip. Applicants must be over the age of 25. $23 application fee.

5. Virginia Center for the Creative Arts

There was something magical about being in such a  supportive and beautiful environment, having a different place (studio) to go to every day with the deliberate purpose of writing, and being inspired by the serious work ethic of all the other artists. — Penny Harter, poet

This selective residency is located in the Blue Ridge Mountains of Virginia and accepts artists of all types. Residencies are offered year-round and last from two weeks to two months, with around 20 artists in residence at one time. You’ll receive three meals per day and are asked to contribute what you can, up to their $180 per-day cost to host you. $40 application fee. (TWL Founder Alexis Grant attended this residency, and it is a lovely setting!)

6. Brush Creek Arts Foundation

This place is truly amazing and inspiring. I spent my mornings, early afternoons, and evenings working on a new orchestra piece (still pending), and my late afternoons hiking around the ranch… The other artists were fascinating. — Kari Besharse, pomposer

Wyoming ranches are popular places for writer’s residencies! This one offers two- and four-week residencies, complete with lodging, meals, workspaces and natural beauty. They provide bag lunches and communal dinners. Closed in December. $35 application fee.

7. Writing Between the Vines

Like wine and solitude? Then you’ll love this residency. Available at several different vineyards on the West Coast, this is different from other residencies in that there’s no community of artists. You’ll have a private cottage in which to write, with nobody else around to distract you. No meals are offered, though your stay is free if you’re accepted. $30 application fee.

8. Omi International Arts Center

The international character of [Omi] sharpens your perspective on what it means to be a writer outside the U.S.A. in the 21st century… As for the writing, my main reason for being here, it went sailing along, with only a few days when the anchor dragged. — Alfred Corn, writer

Writers Omi welcomes published writers of all types for residencies of one week to two months. Located on 300 acres in upstate New York, they offer full room and board and frequently host dinner guests from the New York City publishing community. There is no application fee, and no fee to attend.

9. Norton Island Residency

How did I get here? Where am I? I feel like I don’t exist, and it’s nice. — The Magic Wonder Blog

This residency is located off the coast of Maine and offers a rustic and outdoorsy experience for a flat fee of $125. It was closed for renovations in 2015, but the 2016 application will be available on their website in fall 2015. $25 application fee.

10. Kimmel Harding Nelson Center for the Arts

There was time to sleep in, time to stay up late and work, time to nap, time to eat when it was necessary. It allowed me to get wrapped up in the novel completely… The process of engagement was so much more complete at KHN. — Theodore Wheeler, fiction writer

Located in Nebraska City, Nebraska, the KHN Center offers up to 60 residencies per year, for stays of two to eight weeks. If accepted, you’ll receive free housing and a $100 stipend per week to cover food. $35 application fee.

11. Blue Mountain Center

It’s hard to describe joy. It was like I had come home, but the way home would be in heaven: yes, a community in the Adirondacks, but cleaner, fancier, peaceful and safe. More art and more cookies. — Micah Perks, novelist

Go off the grid in the heart of the Adirondacks. This artist’s community offers four different month-long sessions in the summer and early fall, including free room and board. Cell phones aren’t welcome at the center, though you’ll be able to use its phone booth and computer room with ethernet plug-ins (no Wi-Fi here!). $25 application fee.

12. Martha’s Vineyard Writer’s Residency

Perhaps the biggest advantage of doing a residency is to reminded of what I learned  in graduate school: The importance of integrating and valuing regular writing and reading every day. It is easy to get distracted, rush through life, and do only the paid work and chores during the week. —Chloe Yelena Miller, poet and freelance writer

This residency wants to give you time and space to create. They host nine writers at a time in the spring and fall for residencies of two to six weeks. The cost of lodging is $300 per week, and food is not included. $10 application fee.

13. Vermont Studio Center

VSC recreates the best parts of the MFA experience: living in a community of writers (artists), having time to devote to your craft, the sense that what you are working on is important, and friends to have a beer with at the end of the night. —Brendan Lynaugh, writer

Another favorite is the largest international artists’ and writers’ residency program in the United States, hosting 50 visual artists and writers each month in the heart of Northern Vermont.

While writers give it high marks, it’s not cheap; for the complete program, you’ll pay $2,050 for two weeks or $3,950 for four weeks. Some fellowships, grants and work-exchange programs are available to help reduce your cost. $25 application fee.

14. The Edward F. Albee Foundation

My room looked out over a rolling lawn and at night I could hear deer crossing through the streams in the surrounding woods. It was beautiful. Everything I imagined and I was lucky enough to be in residence with a great group of people who were also amazing cooks. — Nichelle Tramble, novelist

Located on a knoll on Long Island, “The Barn” is easy to get to, yet still secluded. It’s open from mid-May to mid-October and accepts artists for four- or six-week residencies. The Albee Foundation can accommodate up to five people at a time and does not provide food. But there’s no cost to apply and no fees if accepted.

15. Wildacres Retreat

If you’re looking for a short residency on the East Coast, look no further. Wildacres offers one- and two-week residencies from April through October. You’ll stay in one of three cabins on their property in the mountains of North Carolina. Meals are served in the main lodge, where you’ll interact with non-artists. There is a $20 application fee but no cost if accepted.

16. The Writer’s Colony at Dairy Hollow

It was a game changer. I learned a great deal about me and my life as a teacher-writer. It is no small thing to come face to face with one’s work with no distractions. And while it is not something I could do on constant basis… it is something I plan to incorporate into my writing year from now on. —Stephanie Vanderslice, creative writer and teacher

Open year-round, this colony in Arkansas hosts 50 writers each year for residencies ranging from one week to three months. If accepted, you’ll receive either a subsidized general residency or a fully-funded fellowship. Actual costs of the residencies are $170 per night, and they request residents contribute at least $60 per night. You can also expect a $25 cleaning fee and a $20 fee for Internet access. $35 application fee.

17. Writers in the Heartland

I’m back from my writing residency, which I can only describe as a wonderful and strange week full of so much hard work, good company in the other writers, and warm hospitality from the spa staff and guests. — Laura Maylene Walter, fiction writer

This small program in Illinois offers no-cost residences in September and October to up to five writers at a time. They provide three meals a day and 32 acres of woods and farmland for hiking, running and meditation. $20 application fee.

18. Artcroft

My writing for these first couple of weeks has been going well. The structure I set up for myself is working as I had hoped. I am getting to know the characters and find them interesting. I’m enjoying the story that is unfolding. — Jason F. McDaniel, writer

Ever wanted to work on a cattle ranch? Here’s your shot. Artcroft offers two- to four-week residencies on a working farm in Kentucky. They provide lodging and food staples, but you’ll be expected to help in cooking and other chores averaging 20 hours per week. $30 application fee.

19. Hedgebrook

I had no book when I was accepted to Hedgebrook in 1995. I’d published poems in a few journals but that was all… Fast forward 18 years. The stay at Hedgebrook changed my life in several important ways. — Susan Rich, poet

While this residency is pretty well-known, we wanted to include it on this list because it’s only for women, and only for writers. In their words, “We provide the time, space, and nourishment. All you do is write.” Featuring six cottages located on Whidbey Island, outside of Seattle, 40 women attend each year free residencies of two to six weeks from February through October. $30 application fee.

20. The Hambidge Center for the Creative Arts & Sciences

You know that saying, “I can hear myself think?” At this writer’s colony, I can. I can hear the words and phrases bouncing around in my head, begging me to put them down on paper… I can get to the heart of what I’m here to do: Create. — The Write Life founder Alexis Grant 

Located on 600 acres in the mountains of north Georgia, residencies last from two to eight weeks and cost $200 per week (though scholarships are available). $30 application fee.

21. Kerouac Project

This residency allows writers to spend three months typing away in the Orlando cottage where literary legend Jack Kerouac wrote his acclaimedDharma Bums. The Kerouac Project offers four residencies a year, and residents are expected to spend their time on their project, give a talk at the end of their residency, and participate in occasional events (such as readings and workshops) held at the cottage. Participants also receive an $800 food stipend. $25 application fee.

International Residencies

22. Gullkistan (Iceland)

As much as I love New York, I wanted to spend a month in a setting that couldn’t be more different — I wanted sublime natural beauty, peace and quiet, relaxation and simplicity — a reset button for myself. Gullkistan was an ideal answer. – Ben Valentine, writer

Located in Iceland’s Laugarvatn Valley, this quiet getaway has mountains, woods, creeks, and a peaceful setting. They welcome all sorts of artists and writers and have space for eight people at a time. The minimum stay is one month, but they may be able to work out a shorter stay for people who are interested. Fees vary based on accommodation preference, starting at 750 Euros. No application fee.

23. 360 Xochi Quetzal (Mexico)

This residency in Chapala, Jalisco, Mexico offers three to five live/work spaces in a small town with horses trotting on cobblestones and cowboys riding by. Writers over the age of 23 are welcome to apply for free one-month residency programs that include accommodations and a food stipend of 1,000 pesos. Apply for a summer or winter program or rent a live/work space other times of the year. $36 application fee

24. Arteles Creative Center (Finland)

Located in the Finnish countryside, these one to two-month residencies, available from June through October, house around 10 artists at any given time. Food is not provided, but participants enjoy a traditional Finnish wood-burning sauna and have access to a car and bicycle. Financial support is available, which reduces the cost to 970 Euros per month for one person in a single room with studio space; the full cost is 1,940 Euros per month.

25. La Napoule Art Foundation (France)

Apply for this interdisciplinary group residency and France for a five-week residency. Up to 10 artists at once live and work in Chateau de La Napoule. Some meals are provided, and $1,000 stipends may be available. $30 application fee.

26. Red Gate Residency (China)

Live and work in Beijing, China with this program which provides one to six-month residencies. Up to 20 residents can be in the program at any one time. However, participants are expected to pay their own living expenses during the program or seek funding and grants from artist organizations in their home country. Participants stay in downtown apartments.