Hear Lost Recording of Pink Floyd Playing with Jazz Violinist Stéphane Grappelli on “Wish You Were Here”

Those of you deeply into both jazz vio­lin and pro­gres­sive rock no doubt jumped right on the play but­ton above. Quite a few more will lis­ten — so expe­ri­ence has taught me — pure­ly out of inter­est in any­thing and every­thing Pink Floyd has done. But on the lev­el of music his­to­ry, the track above, a ver­sion of the cere­bral Eng­lish rock band’s Pink Floy­d’s well-known 1975 song “With You Were Here” promi­nent­ly fea­tur­ing a solo from the French “Grand­fa­ther of Jazz Vio­lin­ists” Stéphane Grap­pel­li, should fas­ci­nate just about any­one. It speaks to the par­tic­u­lar kind of high-pro­file musi­cal exper­i­men­tal­ism that thrived in that era, at least in some quar­ters — or, rather, in some stu­dios. In this case, the Grap­pel­li and the Floyd boys found them­selves record­ing in adja­cent ones. Why would the lat­ter invite the for­mer, already an elder states­man of jazz and a col­lab­o­ra­tor with the likes of Djan­go Rein­hardt, to sit in on a ses­sion? (Watch Djan­go and Grap­pel­li play togeth­er in the 1938 film, Jazz Hot here.) Well… why not? They need­ed some­thing impres­sive to fol­low Dark Side of the Moon, after all.

Still, for all the rich­ness of the result you hear here and all the fan-hours spent lis­ten­ing to Pink Floy­d’s Wish You Were Here album in the 35 years after it came out, the pub­lic nev­er got to hear Grap­pel­li’s play­ing fore­ground­ed until Immer­sion reis­sued it three years ago. This long-lost but redis­cov­ered mix of the title track marks, to the mind of Pink Floyd found­ing mem­ber Nick Mason, a marked improve­ment over the ver­sion on the orig­i­nal album. “I think that was the jew­el in that par­tic­u­lar crown,” he said to Son­ic Real­i­ty. “It was some­thing that I assumed had been lost for­ev­er. I thought we’d record­ed over it. [ … ] I can’t imag­ine why we didn’t use it at the time.” In the one they did use at the time, what remains of Grap­pel­li’s play­ing came out so inaudi­ble that the album’s cred­its did­n’t even name the vio­lin­ist. I’d like to chalk up anoth­er point for the cul­tur­al revi­sion made pos­si­ble by our tech­no­log­i­cal age, but alas, I doubt any sort of redis­cov­ery will break true Floyd acolytes of their adher­ence to the canon.

via Some­thing Else Reviews

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Relat­ed Con­tent:

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Dark Side of the Rain­bow: Pink Floyd Meets The Wiz­ard of Oz in One of the Ear­li­est Mash-Ups

Watch Pink Floyd Play Live in the Ruins of Pom­peii (1972)

Jazz ‘Hot’: The Rare 1938 Short Film With Jazz Leg­end Djan­go Rein­hardt

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Listen to the Los Angeles Philharmonic Play Through an Earthquake

As they say, the show must go on.…

Writes the LA Phil­har­mon­ic on their Youtube Chan­nel:

On March 28, 2014 at 9:09pm, a 5.1 mag­ni­tude earth­quake rocked Los Ange­les. The Los Ange­les Phil­har­mon­ic was six min­utes into a per­for­mance of Rav­el’s “Daph­nis and Chloé” with guest con­duc­tor Charles Dutoit when the quake hit. A strong jolt fol­lowed by a minute of rum­bling did not unhinge the orches­tra or Mae­stro Dutoit, and the stir­ring con­cert con­tin­ued with­out a hitch.

What you’ll hear above is an actu­al record­ing. Anno­ta­tions help explain the sequence of events.

via Boing­Bo­ing

Listen to John Cage’s 5 Hour Art Piece: Diary: How To Improve The World (You Will Only Make Matters Worse)

JohnCage_Diary

John Cage was born in 1915 and died in 1992. Dur­ing that inter­ven­ing time, he changed the face of avant-garde music and art.

An ear­ly dis­ci­ple of Arnold Schoen­berg, Cage made his biggest cre­ative break­through by study­ing the I Ching, Zen Bud­dhism and the art of Mar­cel Duchamp. The com­pos­er decid­ed to let ele­ments of chance into his work. He start­ed to write pieces for a “pre­pared piano” where things like thumb­tacks, nails and forks were placed into the instrument’s strings to alter its sound in unex­pect­ed ways.

Cage’s most famous work, 4’33”, took con­cep­tu­al music about as far as it could go. A musi­cian walks out onto the stage, sits in front of a piano and does absolute­ly noth­ing for four min­utes and thir­ty sec­onds. The sounds of the audi­ence rustling, the traf­fic out­side and any oth­er ambi­ent noise that might hap­pen dur­ing that time peri­od become a part of the piece. Watch a per­for­mance here.

The folks over at Ubu.com have placed online anoth­er one of Cage’s work, Diary: How To Improve The World (You Will Only Make Mat­ters Worse) (1991). Clock­ing in at over 5 hours total, the piece is some­thing of a Mount Ever­est of sound art.

Record­ed in Switzer­land a lit­tle over a year before his death, Diary fea­tures thoughts, obser­va­tions and insights along with quotes from the likes of Buck­min­ster Fuller, Hen­ry David Thore­au and Mao Zedong. You can lis­ten to Part 1 below, and click these links to lis­ten to the remain­ing parts: Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8.

Cage’s diaries appeared pre­vi­ous­ly in print as M: Writ­ings, 1967–72. On the page, the text ran­dom­ly changed both font and let­ter size. You can see what this looks like here. Cage and com­pa­ny repro­duced this effect in the audio ver­sion by chang­ing the posi­tion of the micro­phone and the record­ing vol­ume. If you lis­ten to Diary on head­phones (which I rec­om­mend), you’ll hear Cage’s silken voice first behind your left ear, then in front of you and then, dis­con­cert­ing­ly, inside your head.

Much of the time, Cage’s words will feel obscure and poet­ic. And then, as you’re lulled by the rhythm of his voice, he’ll hit you with some­thing as pro­found as a Zen koan. (“The goal is not to have a goal.”) Just sit back and let the words flow over you.

Relat­ed Con­tent:

Hear Joey Ramone Sing a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake

Watch a Sur­pris­ing­ly Mov­ing Per­for­mance of John Cage’s 1948 “Suite for Toy Piano”

Woody Guthrie’s Fan Let­ter To John Cage and Alan Hov­haness (1947)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

 

Human, All Too Human: 3‑Part Documentary Profiles Nietzsche, Heidegger & Sartre

Cer­tain­ly three of the most rad­i­cal thinkers of the last 150 years, Niet­zsche, Hei­deg­ger, and Sartre were also three of the most con­tro­ver­sial, and at times polit­i­cal­ly tox­ic, for their per­ceived links to total­i­tar­i­an regimes. In Nietzsche’s case, the con­nec­tion to Nazism was whol­ly spu­ri­ous, con­coct­ed after his death by his anti-Semit­ic sis­ter. Nev­er­the­less, Nietzsche’s phi­los­o­phy is far from sym­pa­thet­ic to equal­i­ty, his pol­i­tics, such as they are, high­ly unde­mo­c­ra­t­ic. The case of Hei­deg­ger is much more disturbing—a mem­ber of the Nazi par­ty, the author of Being and Time noto­ri­ous­ly held fas­cist views, made all the more clear by the recent pub­li­ca­tion of his infa­mous “black note­books.” And Sartre, author of Being and Noth­ing­ness, has long been accused of sup­port­ing Stalinism—a charge that may be over­sim­pli­fied, but is not with­out some mer­it.

Despite these trou­bling asso­ci­a­tions, all three philoso­phers are often held up as representatives—along with Søren Kierkegaard and Albert Camus—of Exis­ten­tial­ism, broad­ly a phi­los­o­phy of free­dom against oppres­sive reli­gious and polit­i­cal sys­tems that seek to define and order human life accord­ing to pre­de­ter­mined val­ues. Whether all three thinkers deserve the label (Hei­deg­ger, like Camus, flat­ly reject­ed it) is a mat­ter of some dis­pute, and yet, the BBC doc­u­men­tary series Human, All Too Human, named for Nietzsche’s 1878 col­lec­tion of apho­risms, loose­ly uses the term to tie them togeth­er, acknowl­edg­ing that it had yet to be coined in Nietzsche’s time.

The first episode, at the top, intro­duces the great 19th cen­tu­ry Ger­man athe­ist by way of inter­views with Niet­zsche schol­ars and biog­ra­phers. Episode two cov­ers Hei­deg­ger, with frank dis­cus­sions of his Nazi par­ty affil­i­a­tion and its impli­ca­tions for his thought.

The third episode focus­es on Sartre, the only thinker of the three to call him­self an exis­ten­tial­ist. Both Sartre and his part­ner Simone de Beau­voir wrote on the sub­ject, defend­ing the philo­soph­i­cal out­look in essays and inter­views.

In one of Sartre’s most famous defens­es, “Exis­ten­tial­ism and Human Emo­tion,” he emphat­i­cal­ly defines his philo­soph­i­cal stance as anti-essen­tial­ist and atheistic—unlike the Chris­t­ian Kierkegaard before him.

Athe­is­tic exis­ten­tial­ism, which I rep­re­sent, is more coher­ent. It states that if God does not exist, there is at least one being in whom exis­tence pre­cedes essence, a being who exists before he can be defined by any con­cept, and that this being is man, or, as Hei­deg­ger says, human real­i­ty. What is meant here by say­ing that exis­tence pre­cedes essence? It means that, first of all, man exists, turns up, appears on the scene, and, only after­wards, defines him­self. If man, as the exis­ten­tial­ist con­ceives him, is inde­fin­able, it is because at first he is noth­ing. […] Thus, there is no human nature, since there is no God to con­ceive it. Not only is man what he con­ceives him­self to be, but he is also only what he wills him­self to be after this thrust toward exis­tence.

Exis­ten­tial­ism has become a wide net, used to cap­ture sim­i­lar­i­ties in the work of oth­er­wise wide­ly diver­gent thinkers. How­ev­er, the use of the term his­tor­i­cal­ly belongs to the 1940s and 50s, to a move­ment as much lit­er­ary as philo­soph­i­cal, and Sartre was its great­est cham­pi­on and, some would say, the only true Exis­ten­tial­ist philoso­pher. Nev­er­the­less, the label cap­tures some­thing of the dar­ing and the dan­ger of rad­i­cal phi­los­o­phy that rede­fines, or out­right rejects, tra­di­tion­al norms. For all their flaws and con­tra­dic­tions, all three of the thinkers pro­filed above made sig­nif­i­cant con­tri­bu­tions to our under­stand­ing of what it means to be human—and to be an individual—in an increas­ing­ly mech­a­nized, homog­e­nized, and dehu­man­iz­ing civ­i­liza­tion.

Relat­ed Con­tent:

Wal­ter Kaufmann’s Clas­sic Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

Mar­tin Hei­deg­ger Talks About Lan­guage, Being, Marx & Reli­gion in Vin­tage 1960s Inter­views

Philosophy’s Pow­er Cou­ple, Jean-Paul Sartre and Simone de Beau­voir, Fea­tured in 1967 TV Inter­view

100 Free Phi­los­o­phy Cours­es Online

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

How to Survive the Coming Zombie Apocalypse: An Online Course by Michigan State

These days, the naysay­ers like to ask: “What is a col­lege edu­ca­tion good for? What does it pre­pare you to do in the world?”

Here’s one com­pelling answer for you: Sur­vive an Apoc­a­lypse.

Start­ing on May 12, Michi­gan State stu­dents can take an award-win­ning online course called Sur­viv­ing the Com­ing Zom­bie Apoc­a­lypse — Dis­as­ters, Cat­a­stro­phes, and Human Behav­ior. The course “brings togeth­er the lat­est think­ing on how and why humans behave dur­ing dis­as­ters and cat­a­stro­phes. Why do some sur­vive and oth­ers don’t? What are the impli­ca­tions for plan­ning, pre­pared­ness, and dis­as­ter man­age­ment?” Along the way, stu­dents will form sur­vival groups whose goal is to escape death, endure cat­a­stroph­ic events, and pre­serve the future of civ­i­liza­tion. Togeth­er, they will learn a valu­able les­son:  sur­vival depends not on the indi­vid­ual, but on the group. Unfor­tu­nate­ly, the course is only open to MSU stu­dents and guest stu­dents for a fee. But you can watch the trail­er above for free. Be warned, the film, and espe­cial­ly the Charles Man­son-like char­ac­ter, is a lit­tle intense.

via Men­tal Floss

Relat­ed Con­tent:

An Ani­mat­ed Sur­vival Guide to the Post Apoc­a­lypse

How a Clean, Tidy Home Can Help You Sur­vive the Atom­ic Bomb: A Cold War Film from 1954

53 Years of Nuclear Test­ing in 14 Min­utes: A Time Lapse Film by Japan­ese Artist Isao Hashimo­to

Duck and Cov­er, or: How I Learned to Elude the Bomb

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Watch Episode #5 of Neil deGrasse Tyson’s Cosmos: Unlocking the Mysteries of Light (US Viewers)

Episode 5 of Neil deGrasse Tyson’s Cos­mos series aired last night on Fox. Thanks to Hulu, US view­ers can now watch it online. The episode, called “Hid­ing the Light,” explores the wave the­o­ry of light. It moves across 2000+ years of his­to­ry and even­tu­al­ly gets into the sci­en­tif­ic work of Isaac New­ton, William Her­schel and Joseph von Fraun­hofer, before wind­ing up in mod­ern times and touch­ing on big ques­tions con­tem­plat­ed by astronomers. (For a deep­er dive into this mate­r­i­al, see our col­lec­tion of Free Astron­o­my Cours­es.) If you need to catch up on ear­li­er episodes, you can find them below.

Pre­vi­ous Episodes:

Episode #1: “Stand­ing Up in the Milky Way”

Episode #2: “Some of the Things That Mol­e­cules Do”

Episode #3: “When Knowl­edge Con­quered Fear

Episode #4: “A Sky Full of Ghosts”

Notebook on Cities and Culture’s In-Depth Podcast Tour of South Korea Kickstarts Today

NCC-Korea-Tour1

When not writ­ing here at Open Cul­ture, I host and pro­duce Note­book on Cities and Cul­ture (iTunes link), a globe-trav­el­ing pod­cast ded­i­cat­ed to in-depth con­ver­sa­tion with cul­tur­al cre­ators, inter­na­tion­al­ists, and observers of the urban scene about the work they do and the world cities they do it in. Through Kick­starter, I’ve fund­ed the show’s first four sea­sons, with inter­views record­ed in places like Los Ange­les, Osa­ka, Van­cou­ver, Mex­i­co City, Copen­hagen, and Lon­don. Today, a new Kick­starter dri­ve begins to fund the show’s lat­est and most ambi­tious ven­ture: the Korea Tour, a sea­son of con­ver­sa­tions record­ed all around the most fas­ci­nat­ing coun­try in Asia today.

You may well have already enjoyed the con­sid­er­able and often sur­pris­ing fruits of mod­ern Kore­an cul­ture through its film (Hong Sang­soo’s work first pulled me in, and boy, does it con­tin­ue to), its music (which, I can assure you, goes well beyond Girls’ Gen­er­a­tion and “Gang­nam Style”), its tele­vi­sion (which, by the same token, offers more than all report­ed­ly addic­tive melo­dra­mas), or its food (the expe­ri­ence of which does­n’t start and end at bar­be­cue joints). On Note­book on Cities and Cul­ture’s Korea Tour, you’ll go much deep­er, hear­ing from a wide vari­ety of inter­est­ing peo­ple based in Korea, out­side as well as in the vast and undoubt­ed­ly excit­ing cap­i­tal of Seoul. I’ll talk to as wide a range as pos­si­ble of Kore­ans and for­eign­ers alike, includ­ing the lit­er­ar­i­ly, tech­no­log­i­cal­ly, aca­d­e­m­i­cal­ly, culi­nar­i­ly, and cin­e­mat­i­cal­ly inclined — to name but a few of their many incli­na­tions.

If you’d like to make the Korea Tour hap­pen, please do vis­it its Kick­starter page with­in the week, dur­ing which we’ll need to raise its $5000 bud­get. Should you decide to become a backer, rewards include post­cards from Korea, men­tions of your project or mes­sage on the show, and copies from the very-lim­it­ed-indeed print run of my tex­tu­al and pho­to­graph­ic Korea Diary. 여러분, 읽어 주셔서 감사합니다. 한국에 갑시다!

Relat­ed Con­tent:

“Note­book on Cities and Cul­ture,” a World­wide In-Depth Inter­view Pod­cast, Kick­start­ing Now

A Wealth of 20th-Cen­tu­ry Kore­an Cin­e­ma, Free Online from the Kore­an Film Archive

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Free Online Shakespeare Courses: Primers on the Bard from Oxford, Harvard, Berkeley & More

free shakespeare courses

I had the great good for­tune of hav­ing grown up just out­side Wash­ing­ton, DC, where on a fifth grade class trip to the Fol­ger Library and The­ater, I fell in love with Shake­speare. This expe­ri­ence, along with a few vis­its to see his plays per­formed at near­by Wolf­trap, made me think I might go into the­ater. Instead I became a stu­dent of lit­er­a­ture, but some­how, my love of Shake­speare on the stage didn’t trans­late to the page until col­lege.  While study­ing for a sopho­more-lev­el “His­to­ries & Tragedies” class, I sat, my Nor­ton Shake­speare open, in front of the TV—reading along while watch­ing Ken­neth Branagh’s styl­ish film adap­ta­tion of Ham­let, which draws on the entire text of the play.

Only then came the epiphany: this lan­guage is music and mag­ic. The rhyth­mic beau­ty, depths of feel­ing, humor broad and inci­sive, extra­or­di­nary range of human types.… If we are to believe pre-emi­nent Shake­speare schol­ar Harold Bloom, Shake­speare invent­ed mod­ern human­i­ty. If this seems to go too far, he at least cap­tured human com­plex­i­ty with greater inven­tive skill than any Eng­lish writer before him, and pos­si­bly after. Is there any shame in final­ly “get­ting” Shakespeare’s lan­guage from the movies? None at all. One of the most excel­lent qual­i­ties of the Bard’s work—among so many rea­sons it endures—is its seem­ing­ly end­less adapt­abil­i­ty to every pos­si­ble peri­od, cul­tur­al con­text, and medi­um.

While engage­ment with any of the innu­mer­able Shake­speare adap­ta­tions and per­for­mances promis­es reward, there’s lit­tle that enhances appre­ci­a­tion of the Bard’s work more than read­ing it under the tute­lage of a trained schol­ar in the playwright’s Eliz­a­bethan lan­guage and his­to­ry. Uni­ver­sal though he may be, Shake­speare wrote his plays in a par­tic­u­lar time and place, under spe­cif­ic influ­ences and work­ing con­di­tions. If you have not had the plea­sure of study­ing the plays in a col­lege setting—or if your mem­o­ries of those long-ago Eng­lish class­es have faded—we offer a num­ber of excel­lent free online cours­es from some of the finest uni­ver­si­ties. See a list below, all of which appear in our list of Free Online Lit­er­a­ture Cours­es, part of our larg­er list of 875 Free Online Cours­es.

Also, speak­ing of the Fol­ger, that ven­er­a­ble insti­tu­tion has just released all of Shakespeare’s plays in free, search­able online texts based on their high­ly-regard­ed schol­ar­ly print edi­tions. And though some beg to dif­fer, I still say you can’t go wrong with Branagh.

Relat­ed Con­tent:

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Take a Vir­tu­al Tour of Shakespeare’s Globe The­atre

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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