Julia Child Shows How to Edit Videotape with a Meat Cleaver, and Cook Meat with a Blow Torch

in Food & Drink, Television | March 27th, 2014

Julia Child changed the way Amer­i­cans eat. Before Julia, French cook­ing was seen as some­thing reserved sole­ly for fine restau­rants. Recipes for home-cooked meals stressed hygiene and con­ve­nience over fresh­ness and taste. Thus, as was the case at my grandmother’s house, din­ner would often involve a pork chop cooked with­in an inch of its life and a hor­rif­ic jel­lo sal­ad con­coc­tion.

But with the launch of her huge­ly influ­en­tial PBS TV show, The French Chef (1963–1973), Julia Child start­ed to change America’s mind about what good food is and how it should be pre­pared. It’s hard to imag­ine the recent food­ie rev­o­lu­tion with its empha­sis on sea­son­al, fresh ingre­di­ents with­out Child.

While the series was a show­case for her cook­ing prowess — honed by years of train­ing at the pres­ti­gious Le Cor­don Bleu and with some of France’s most famous mas­ter chefs – Child’s play­ful, eccen­tric per­son­al­i­ty is what turned the show into a hit. The French Chef was video­taped live from start to fin­ish, so every screw up was record­ed for pos­ter­i­ty. And yet those mis­takes — along with her par­tic­u­lar way of speak­ing and her endur­ing love of wine — endeared her to the audi­ence. She was always poised, resource­ful and sur­pris­ing­ly fun­ny.

You can see that sense of humor on dis­play in the video above, which was made for the staff’s hol­i­day par­ty just after the show pre­miered. With tongue square­ly in cheek, Child demon­strates how to edit video with mask­ing tape and a meat clever. (Note: do not edit video­tape with mask­ing tape and a meat cleaver.) When asked by her inter­view­er (in this slight­ly longer ver­sion here) whether the tape she was using was spe­cial, Child retorts, “Well, it’s just a nice sticky tape.”

Anoth­er exam­ple of Child’s keen sense of humor, along with her skills with a blow torch, is this late 1980s appear­ance on Late Night with David Let­ter­man. Child orig­i­nal­ly intend­ed on show­ing Let­ter­man how to make a ham­burg­er, but when the hot plate failed to work, she quick­ly impro­vised a brand new dish – beef tartare grat­iné.

via @WFMU & The Atlantic

Relat­ed Con­tent:

Remem­ber­ing Julia Child on Her 100th Birth­day with Her Clas­sic Appear­ance on the Let­ter­man Show

MIT Teach­es You How to Speak Ital­ian & Cook Ital­ian Cui­sine All at Once (Free Online Course)

Sci­ence & Cook­ing: Har­vard Profs Meet World-Class Chefs in a Unique Free Online Course

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.

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Harvard’s Free Computer Science Course Teaches You to Code in 12 Weeks

in Harvard, How to Learn for Free, MOOCs, Technology | March 27th, 2014

At the begin­ning of last year, we wrote about CS50, Harvard’s Intro­duc­to­ry Com­put­er Sci­ence course, taught by Pro­fes­sor David Malan. Today, we bring you the updat­ed ver­sion of the class, filmed through­out the past semes­ter at Har­vard. Why revis­it an updat­ed ver­sion of the same class a year lat­er? For one thing, the mate­r­i­al has been updat­ed. And, as you can tell by the rous­ing recep­tion Malan receives from the audi­ence at the start of the first lec­ture (above), Malan is kind of a big deal. From his open­ing boom of “This is CS50,” Malan imme­di­ate­ly comes off as an unusu­al­ly charis­mat­ic pro­fes­sor. He offers what might just be the most engag­ing online class you’ve ever seen.

So what does this charis­mat­ic com­put­er sci­en­tist cov­er over three months? An impres­sive­ly large amount of infor­ma­tion about cod­ing. Malan builds the course from the ground up, and begins by describ­ing how tran­sis­tors are employed to trans­mit infor­ma­tion with­in com­put­ers. From then on, he out­lines a vast amount of com­put­er sci­ence in high­ly acces­si­ble lan­guage. This will almost undoubt­ed­ly be the clear­est pre­sen­ta­tion of top­ics like “com­mand-line argu­ments,” “cryp­tog­ra­phy,” and “dynam­ic mem­o­ry allo­ca­tion” that you’re like­ly to hear.

The class videos are avail­able on iTune­sU, YouTube, and in audio, 1080p HD video, and text tran­script form on a crisp course web­site. The course may also be accessed through edX, Har­vard and MIT’s MOOC plat­form, which allows users to receive a cer­tifi­cate upon com­ple­tion. It’s easy to tell that Malan and his team have gone above and beyond the require­ments of cre­at­ing a help­ful intro­duc­tion to com­put­er sci­ence. They deliv­er an astound­ing­ly easy-to-grasp primer on a daunt­ing top­ic.

For oth­er Comp­Sci class­es taught by David Malan, check out our list of Free Com­put­er Sci­ence cours­es, part of our larg­er list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman, or read more of his writ­ing at the Huff­in­g­ton Post.

Relat­ed Con­tent:

Com­put­er Sci­ence: Free Cours­es

Codecademy’s Free Cours­es Democ­ra­tize Com­put­er Pro­gram­ming

Learn to Build iPhone & iPad Apps with Stanford’s Free Course, Cod­ing Togeth­er

 

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What Does a $45 Million Viola Sound Like? Violist David Aaron Carpenter Gives You a Preview

in Music | March 26th, 2014

This spring, one of the best-pre­served Strads in exis­tence will go up for auc­tion at Sotheby’s. Built some time between 1700 and 1720, dur­ing the very best peri­od of Stradivari’s work, the vio­la is a real rar­i­ty, one of only ten in exis­tence. Maybe that jus­ti­fies the start­ing price of $45 mil­lion. What does that prized strad actu­al­ly sound like, you might won­der? Filmed by The New York Times, the clip above fea­tures David Aaron Car­pen­ter (called “The Hottest Vio­list of the 21st Cen­tu­ry”) play­ing Suite No. 3 in C by Johann Sebas­t­ian Bach. If you’re a vio­la afi­ciona­do, we would be curi­ous to get your take on what you hear.

via NYTimes

Relat­ed Con­tent:

The Art and Sci­ence of Vio­lin Mak­ing

The Musi­cal Mind of Albert Ein­stein: Great Physi­cist, Ama­teur Vio­lin­ist and Devo­tee of Mozart

A Stringed Salute to AC/DC and Guns N’ Ros­es

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Simone de Beauvoir & Jean-Paul Sartre Shooting a Gun in Their First Photo Together (1929)

in Philosophy, Photography | March 26th, 2014

simone-de-beauvoir-jean-paul-sartre-fairground-at-porte-d_orlc3a9ans-1929

In late 2012, an exhi­bi­tion called Shoot! Exis­ten­tial Pho­tog­ra­phy was held in Lon­don. And it traced the his­to­ry of an unusu­al attrac­tion that start­ed appear­ing in Euro­pean fair­grounds after World War I — the pho­to­graph­ic shoot­ing gallery. It worked some­thing like this: A con­tes­tant paid a lit­tle mon­ey, and tried to hit the cen­ter of a tar­get with a gun. If he or she hit the tar­get, a cam­era took a pho­to, and instead of win­ning a lit­tle toy, the con­tes­tant received a snap­shot of him or her­self shoot­ing the gun. Accord­ing to the exhi­bi­tion, this side-show “fas­ci­nat­ed many artists and intel­lec­tu­als in its hey­day, includ­ing Simone de Beau­voir, Jean-Paul Sartre, Man Ray and Lee Miller.” You can see a gallery of pho­tos here. But above, we have a pic­ture of de Beau­voir and Sartre at the shoot­ing gallery togeth­er. Tak­en at the Porte d’Or­léans fair­ground in Paris in June, 1929 — the same year the young philoso­phers met — this pho­to­graph is, accord­ing to the blog Avec Beau­voir, the cou­ple’s first pic­ture togeth­er. Do note that de Beau­voir appar­ent­ly hit the tar­get with her eyes closed. You can click the image to see it in a larg­er for­mat.

Relat­ed Con­tent:

Lovers and Philoso­phers — Jean-Paul Sartre & Simone de Beau­voir Togeth­er in 1967

Simone de Beau­voir Explains “Why I’m a Fem­i­nist” in a Rare TV Inter­view (1975)

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

Free Phi­los­o­phy Cours­es Online

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Enjoy 15+ Hours of the Weird and Wonderful World of Post Soviet Russian Animation

in Film | March 26th, 2014

Back dur­ing the wan­ing years of the Sovi­et Union, ani­ma­tor Alek­san­dr Tatarsky left the state-run stu­dio Écran to form his own ani­ma­tion com­pa­ny called Stu­dio Pilot, the first pri­vate­ly owned com­pa­ny of its kind in Rus­sia. The stu­dio quick­ly made a name for itself by turn­ing out bizarre, sur­re­al and, at times, down­right dis­turb­ing ani­mat­ed shorts. If you went to ani­ma­tion fes­ti­vals dur­ing the Clin­ton pres­i­den­cy, you prob­a­bly saw some­thing from Stu­dio Pilot.

Metafil­ter user “Nomyte,” who clear­ly knows both ani­ma­tion and Russ­ian, put togeth­er an exhaus­tive list of movies on Youtube from Stu­dio Pilot.  A whop­ping 17 hours of footage. Here are a few favorites:

His Wife is a Chick­en (1989) — A sur­re­al­ist domes­tic dra­ma tale about a guy who rejects his lov­ing, hard­work­ing wife when he real­izes that, well, she’s a chick­en. Told com­plete­ly with­out words, the film (shown above) mas­ter­ful­ly fus­es every­day banal­i­ty with some tru­ly unnerv­ing bits of weird­ness – like that hor­rif­ic worm dog crea­ture with a human face. I saw this movie at some point in the ear­ly ‘90s and it gave me night­mares.

The Coup  (1991) – An ani­mat­ed polit­i­cal car­toon that — 20 some odd years lat­er — has become a fas­ci­nat­ing his­tor­i­cal doc­u­ment. The short shows a svelte Boris Yeltsin lit­er­al­ly flush away the lead­ers of the doomed 1991 coup attempt­ed against Mikhail Gor­bachev. The inci­dent was the last gasp of the Sovi­et old guard; its fail­ure result­ed in the even­tu­al dis­so­lu­tion of the USSR. As the film’s end title points out, all of the short’s ani­ma­tors were per­son­al­ly involved in fight­ing the coup: “From 19 to 21 of August 1991, all ani­ma­tors who made this film have been [sic] defend­ing the white house of Rus­sia. Only by night on August 21 they could start work­ing on the film.”

Gone with the Wind (1998) – Noth­ing about romance dur­ing the Civ­il War here. Instead, this movie is about, once again, a chick­en. The short ani­ma­tion is a macabre tale about a boiled bird that comes back from the dead and strug­gles to return to its orig­i­nal unplucked state. You won’t look at eggs in quite the same way again.

2+1= (2003) – A light­heart­ed com­e­dy about dinosaurs in love.

If you want to see the com­plete list of Stu­dio Pilot ani­ma­tions, check it out here. Many more great ani­mat­ed shorts can be found on our list of Free Ani­mat­ed Films, part of our big­ger col­lec­tion 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Watch Dzi­ga Vertov’s Unset­tling Sovi­et Toys: The First Sovi­et Ani­mat­ed Movie Ever (1924)

Two Beau­ti­ful­ly-Craft­ed Russ­ian Ani­ma­tions of Chekhov’s Clas­sic Children’s Sto­ry “Kash­tan­ka”

Watch Sovi­et Ani­ma­tions of Win­nie the Pooh, Cre­at­ed by the Inno­v­a­tive Ani­ma­tor Fyo­dor Khitruk

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.

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Watch Six TED-Style Lectures from Top Harvard Profs Presented at Harvard Thinks Big 5

in Harvard, TED Talks | March 26th, 2014

Har­vard has a few propo­si­tions it would like you con­sid­er. Take, for exam­ple, the one expound­ed on above by Robert Lue, whose titles include Pro­fes­sor of the Prac­tice of Mol­e­c­u­lar and Cel­lu­lar Biol­o­gy, Richard L. Men­schel Fac­ul­ty Direc­tor of the Derek Bok Cen­ter for Teach­ing and Learn­ing, and the fac­ul­ty direc­tor of Har­vardX. As an Open Cul­ture read­er, you might have some expe­ri­ence with that last institution—or, rather, dig­i­tal institution—which releas­es Har­vard-cal­iber learn­ing oppor­tu­ni­ties free in the form of Mas­sive Open Online Cours­es (or MOOCs). You’ll find some of them on our very own reg­u­lar­ly-updat­ed col­lec­tion of MOOCs from great uni­ver­si­ties. Per­haps you haven’t enjoyed tak­ing one, but you may well do it soon. What, though, does their increas­ing pop­u­lar­i­ty mean for uni­ver­si­ties, one of the old­est of the tra­di­tion­al indus­tries we so often speak of the inter­net “dis­rupt­ing”? Lue, who offers eight and a half min­utes of the choic­est words on the sub­ject, would like you to con­sid­er the MOOC’s moment not one of dis­rup­tion for the uni­ver­si­ty, but one of “inflec­tion, and ulti­mate­ly a moment of poten­tial trans­for­ma­tion.”

Lue’s argu­ment comes laid out in one of the six brief but sharp lec­tures from Har­vard Thinks Big 5, the lat­est round of the famed uni­ver­si­ty’s series of TED-style talks where “a col­lec­tion of all-star pro­fes­sors each speak for ten min­utes about some­thing they are pas­sion­ate about.” Jef­frey Miron, Senior Lec­tur­er and Direc­tor of Under­grad­u­ate Stud­ies in the Depart­ment of Eco­nom­ics and senior fel­low at the Cato Insti­tute, has a pas­sion for drug legal­iza­tion. In his talk just above, Miron tells us why we should recon­sid­er our assump­tions about the ben­e­fits of any kind of drug pro­hi­bi­tion — or at least, the ben­e­fits we just seem to assume it brings. And as we rethink our posi­tions on the role of gov­ern­ment in drug use and tech­nol­o­gy in the uni­ver­si­ty, why not also rethink the role of large news orga­ni­za­tions — and large orga­ni­za­tions of any kind — in our lives? Below, Nic­co Mele, Adjunct Lec­tur­er in Pub­lic Pol­i­cy at the Shoren­stein Cen­ter at Har­vard’s Kennedy School, explains why all kinds of pow­er, from man­u­fac­tur­ing san­dals all the way up to gath­er­ing news, has and will con­tin­ue to devolve from insti­tu­tions to indi­vid­u­als.

The rest of the Har­vard Thinks Big 5 line­up includes Senior Lec­tur­er on Edu­ca­tion Kather­ine K. Mer­seth advo­cat­ing careers in teach­ing,  Pro­fes­sor of Mol­e­c­u­lar and Cel­lu­lar Biol­o­gy Jeff Licht­man advo­cat­ing “chang­ing the wiring in your brain,” and African Amer­i­can Stud­ies pro­fes­sor and Hiphop Archive at Har­vard Uni­ver­si­ty found­ing direc­tor Mar­cyliena Mor­gan advo­cat­ing a rich­er study of what grown-ups used to call, with a groan, “rap music.” You can read more about the talks and the pro­fes­sors giv­ing them at the Crim­son, before watch­ing and decid­ing whether to agree with them, dis­agree with them, or sim­ply con­sid­er — in oth­er words, to think. The videos are also avail­able on iTune­sU.

Kather­ine K. Mer­seth

Jeff Licht­man

Mar­cyliena Mor­gan

Relat­ed Con­tent:

Har­vard Presents Free Cours­es with the Open Learn­ing Ini­tia­tive

Har­vard Thinks Green: Big Ideas from 6 All-Star Envi­ron­ment Profs

Har­vard Thinks Big 4 Offers TED-Style Talks on Stats, Milk, and Traf­fic-Direct­ing Mimes

Har­vard Thinks Big 2012: 8 All-Star Pro­fes­sors. 8 Big Ideas

Har­vard Thinks Big 2010

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.

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Bruce Springsteen and Pink Floyd Get Their First Scholarly Journals and Academic Conferences

in Education, Music | March 26th, 2014

TheBoss2008

When I first entered col­lege in the mid-‘90s, the phe­nom­e­non of pop cul­ture stud­ies in acad­e­mia seemed like an excit­ing nov­el­ty, bound to the ethos of the Clin­ton years. Often inci­sive, occa­sion­al­ly friv­o­lous, pop cul­ture stud­ies made acad­e­mia fun again, and rein­vig­o­rat­ed the world of schol­ar­ly pub­lish­ing and col­lege life in gen­er­al. All man­ner of fan­dom ruled the day: we took class­es in hip hop videos and Buffy the Vam­pire Slay­er, Ala­nis Mor­ris­sette rede­fined irony, and near­ly every­one got hired right after grad­u­a­tion (see for ref­er­ence the cult clas­sic 1994 film PCU). These days I don’t need to tell you that the prospects for new grads are con­sid­er­ably reduced, but I’m very hap­py to find aca­d­e­m­ic soci­eties and jour­nals still orga­nized around TV shows, fan­ta­sy nov­els, and pop music. Today we bring you two exam­ples from the world of Clas­sic Rock & Roll Stud­ies (to coin a term). First up we have BOSS, or “The Bian­nu­al Online-Jour­nal of Spring­steen Stud­ies.”

Spring­steen Stud­ies is not new. In fact, a mas­sive Spring­steen sym­po­sium called “Glo­ry Days”—joint­ly spon­sored by Vir­ginia Tech, Penn State, and Mon­mouth Uni­ver­si­ty—has tak­en place twice in West Long Branch, New Jer­sey since 2005 and is cur­rent­ly prepar­ing for its next event. BOSS, how­ev­er, only just emerged, the first schol­ar­ly Spring­steen jour­nal ever pub­lished. The first issue will appear in June of this year, and the edi­tors are now solic­it­ing 15 to 25 page aca­d­e­m­ic arti­cles for their Jan­u­ary, 2015 issue. Describ­ing them­selves as a “schol­ar­ly space for Spring­steen Stud­ies in the con­tem­po­rary acad­e­my,” BOSS seeks “broad inter­dis­ci­pli­nary and cross-dis­ci­pli­nary approach­es to Springsteen’s song­writ­ing, per­for­mance, and fan com­mu­ni­ty.” Spring­steen schol­ars: check the BOSS site for dead­lines and con­tact info.

Unlike most schol­ar­ly jour­nals, BOSS is open-access, so fans and admir­ers of all kinds can read the sure-to-be fas­ci­nat­ing dis­cus­sions it fos­ters as it works toward secur­ing “a place for Spring­steen Stud­ies in the con­tem­po­rary acad­e­my.” Spring­steen Stud­ies’ advo­ca­cy appears to be working—Rutgers Uni­ver­si­ty plans to add a Spring­steen the­ol­o­gy class, cov­er­ing Springsteen’s entire discog­ra­phy, and oth­er insti­tu­tions like Prince­ton and the Uni­ver­si­ty of Rochester have offered Spring­steen cours­es in the past.

In anoth­er first for a spe­cial­ized pop cul­ture field, the first-ever aca­d­e­m­ic con­fer­ence on the work of Pink Floyd will be held this com­ing April 13 at Prince­ton Uni­ver­si­ty. Called “Pink Floyd: Sound, Sight, and Struc­ture,” the event promis­es to be a mul­ti-media extrav­a­gan­za, fea­tur­ing as its keynote speak­er Gram­my-award win­ning Pink Floyd pro­duc­er and engi­neer James Guthrie. (See Guthrie and oth­ers dis­cuss the pro­duc­tion of the sur­round-sound Super Audio CD of Wish You Were Here in the video above). In addi­tion to Guthrie’s talk, and his sur­round sound mix of the band’s music, the con­fer­ence will offer “live com­po­si­tions and arrange­ments inspired by Pink Floyd’s music,” an “exhi­bi­tion of Pink Floyd cov­ers and art,” and a screen­ing of The Wall. Papers include “The Visu­al Music of Pink Floyd,” “Space and Rep­e­ti­tion in David Gilmour’s Gui­tar Solos,” and “Sev­er­al Species of Small Fur­ry Ani­mals: The Genius of Ear­ly Floyd.” Admis­sion is free, but you’ll need to RSVP to get in. The town of Prince­ton will join in the fes­tiv­i­ties with “Out­side the Wall,” a series of events and spe­cials on drinks, din­ing, art, and music.

While these events and pub­li­ca­tions may seem to locate pop cul­ture stud­ies square­ly in New Jer­sey, those inter­est­ed can find con­fer­ences all over the world, in fact. A good place to start is the site of the PCA (“Pop Cul­ture Asso­ci­a­tion”), which hosts its annu­al con­fer­ence next month in Chica­go, and the Inter­na­tion­al Con­fer­ence on Media and Pop­u­lar Cul­ture will be held this May in Vien­na. Pop cul­ture and media stud­ies still seem to me to be par­tic­u­lar prod­ucts of the opti­mistic ‘90s (due to my own vin­tage, no doubt), but it appears these aca­d­e­m­ic fields are thriv­ing, despite the vast­ly dif­fer­ent eco­nom­ic cli­mate we now live in, with its no-fun, belt-tight­en­ing effects on high­er ed across the board.

Relat­ed Con­tent:

Bruce Spring­steen Exhi­bi­tion Held in Philadel­phia; It’s Now Offi­cial, The Boss is an Amer­i­can Icon

Heat Map­ping the Rise of Bruce Spring­steen: How the Boss Went Viral in a Pre-Inter­net Era

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

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

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The World Concert Hall: Listen To The Best Live Classical Music Concerts for Free

in Music | March 26th, 2014

municipal_smetana-hall

While the Inter­net may not have helped glob­al music sales, it’s cer­tain­ly been a boon for fans want­i­ng to lis­ten to oth­er­wise-inac­ces­si­ble music, espe­cial­ly clas­si­cal music. We often post clas­si­cal musi­cal finds on Open Cul­ture. Take for exam­ple this com­pendi­um of freely down­load­able music from over 150 clas­si­cal com­posers, this open ver­sion of Bach’s Gold­berg vari­a­tions and all of Bach’s organ works, and then this col­lec­tion of 85,000 free clas­si­cal scores. Today, we bring you anoth­er fan­tas­tic resource: the World Con­cert Hall.

Just over a cen­tu­ry after the first radio per­for­mance of Rug­gero Leoncavallo’s “Il Pagli­ac­ci,” and Pietro Mascagni’s “Cav­al­le­ria Rus­ti­cana” were broad­cast live from the Met­ro­pol­i­tan Opera House in 1910, the World Con­cert Hall has made it its mis­sion to bring free live clas­si­cal con­certs to the world. The web­site con­tains a col­lec­tion of links to free radio per­for­mances each week, allow­ing lis­ten­ers to tune into live con­certs per­formed across the globe. You can browse per­for­mances accord­ing to the site’s sched­ule, or choose from a selec­tion of clas­si­cal radio sta­tions in a large num­ber of coun­tries. As you might expect, the U.S has the largest selec­tion by far, with 80 sta­tions. But for more curi­ous music lovers, World Con­cert Hall also offers a taste of what oth­er fans are lis­ten­ing to in oth­er coun­tries, like Chi­na, Japan, and Israel.

Inter­est­ed in check­ing out Mendelssohn’s con­cer­to for vio­lin, piano, and strings at Brus­sels’ Klara Fes­ti­val (today, 7pm, GMT) or Iri­na Ior­daches­cu and the Roman­ian Radio Nation­al Orches­tra per­form­ing Tchaikovsky’s last works (Fri­day, 5pm, GMT)? Lis­ten to your heart’s con­tent at World Con­cert Hall.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman, or read more of his writ­ing at the Huff­in­g­ton Post.

Relat­ed Con­tent:

Stravinsky’s The Rite of Spring, Visu­al­ized in a Com­put­er Ani­ma­tion for Its 100th Anniver­sary

Debussy Plays Debussy: The Great Composer’s Play­ing Returns to Life

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

New­ly Dis­cov­ered Piece by Mozart Per­formed on His Own Fortepi­ano

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