The Chorus Project Features Teenagers Performing Hits by the Kinks, David Byrne, the Jackson 5 & More

in K-12, Music | March 24th, 2014

The Cho­rus Project is the sort of oppor­tu­ni­ty par­ents dream about—talent-based, high pro­file, and helmed by vision­ary adults in tune with teenagers’ emo­tion­al and pre-pro­fes­sion­al needs. The select few—there are 39, lead­ing one to won­der what hap­pened to num­ber 40—range in age from 14–18. They hail from a vari­ety of back­grounds, com­ing togeth­er after school and over the sum­mer to sing, and ulti­mate­ly record, choral arrange­ments of rock and pop hits, orches­trat­ed by well known musi­cians. The 1970s Lan­g­ley Schools Music Project is a big influ­ence, as is the tele­vi­sion show Glee.

Their fresh-faced, ortho­don­tia-enhanced take on the David Byrne / St.Vincent col­lab­o­ra­tion “Who,” above, embod­ies the Cho­rus Project approach, gar­ner­ing St. Vin­cen­t’s stamp, or rather, Tweet, of approval.

Byrne recent­ly advised young musi­cans to expect that retain­ing free­dom and cre­ative con­trol means tak­ing a finan­cial hit. How com­fort­ing to find Cho­rus Project founder Lau­ren Brom­ley Hodge ennu­mer­at­ing that path’s alter­nate rewards:

 Music is a uni­ver­sal lan­guage, cross­ing cul­tur­al and income bar­ri­ers. Singing in a cho­rus cre­ates com­mu­ni­ty, friend­ship and trust. In a soci­ety where arts based edu­ca­tion­al oppor­tu­ni­ties are dras­ti­cal­ly reduced and threat­ened, this music project gives young singers the chance to learn about singing, per­form­ing and record­ing from musi­cians and teach­ers.

Cul­tur­al and income bar­ri­ers aren’t the only bound­aries music tran­scends. As one Metafil­ter user remarked after view­ing the Cho­rus Pro­jec­t’s spin on The Kinks’ “Water­loo Sun­set,” arranged by the dBs’ Chris Stamey:

Can some­one let that ado­les­cent boy singing lead on “Water­loo Sun­set” know that my six­teen year-old self called and his heart is bro­ken from the crush he’ll nev­er be able to say hel­lo to?

Because sob.

See, kids? You don’t need leather pants or facial hair to be cool!

My favorite Cho­rus Project per­for­mance thus­far is their cov­er of the Jack­son 5’s  “I Want You Back.” The puri­ty of those open­ing bars remind­ed me of high school and “You Can’t Always Get What You Want” in equal parts. I dug the cin­der blocks in the back­ground. I appre­ci­at­ed the deep look of con­cen­tra­tion upon soloist Presyce Baez’s face, as well as the cat­like, canary-stuffed expres­sion of his part­ner, Ally Copen­haver, bid­ing her time until the one-and-a-half minute mark when… leapin’ lizards! That kid’s got an impres­sive set of pipes, mak­ing it all the more grat­i­fy­ing to see her show­ing up in a sup­port­ing capac­i­ty else­where in her cho­rus’s oeu­vre.

You can enjoy more of the Cho­rus Pro­jec­t’s videos here, after which you can move to Raleigh-Durham, where project Sea­mus Ken­ney, leads a week­ly, drop-in Pop­up Cho­rus for adults.

Relat­ed Con­tent:

Teens Pon­der Mean­ing of Con­tem­po­rary Art

Ele­men­tary School Kids Sing David Bowie’s “Space Odd­i­ty” & Oth­er Rock Hits: A Cult Clas­sic Record­ed in 1976

Ayun Hal­l­i­day can’t sing, but she can crank out the zines like nobody’s busi­ness. Fol­low her @AyunHalliday

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Titanic: The Nazis Create a Mega-Budget Propaganda Film About the Ill-Fated Ship … and Then Banned It (1943)

in Film, History | March 24th, 2014

James Cameron’s Titan­ic appeared in 1997 as the most expen­sive film ever made. Wern­er Klin­gler and Her­bert Selpin’s Titan­ic appeared in 1943 as the most expen­sive Ger­man film ever made. And the two share even more than their bud­gets’ record-break­ing sta­tus, their famous­ly “unsink­able” sub­ject, and their title in com­mon: both endured trou­bled pro­duc­tions, both fea­ture a late scene where their male hero con­vinces his lover to just get on a lifeboat already, and both set out to make strong state­ments indeed. The lat­er, Amer­i­can Titan­ic has much to say about the cin­e­mat­ic tri­umph of late-20th-cen­tu­ry visu­al effects, where­as the ear­li­er, Ger­man Titan­ic takes a more neg­a­tive tack, mount­ing an indict­ment of the sup­pos­ed­ly sav­age avarice and thor­ough cor­rup­tion of that coun­try’s bit­ter wartime ene­my, Great Britain. In its ill-fat­ed tit­u­lar ship, the huge-scale pro­pa­gan­da film found what must have seemed like the per­fect­ly opu­lent illus­tra­tion of its argu­ment.

But things worked out no bet­ter for this Titan­ic than for the actu­al Titan­ic — and indeed, for Ger­many in the Sec­ond World War. “Nev­er shown in Nazi Ger­many, its direc­tor was found hanged  by his own braces and is sus­pect­ed of hav­ing been mur­dered by the Gestapo,” writes David Ger­rie in the Dai­ly Mail. “And the ship that took the role of the Titan­ic, the Cap Arcona, was lat­er sunk with 5,000 con­cen­tra­tion camp pris­on­ers on board, a vast­ly greater loss of life than the 1,517 who died in the Titan­ic dis­as­ter.” For all the time, ener­gy, and mon­ey the regime piled into it, the film turned out “far from the mas­ter­piece [Nazi Min­is­ter of Pro­pa­gan­da Joseph] Goebbels had wait­ed two years to see. Fear­ing Nazi cit­i­zens under attack by Allied bombers would be fright­ened by the sink­ing, he banned its release in Ger­many.” Just as Cameron’s Titan­ic shocked the indus­try-watch­ers who had solemn­ly pre­dict­ed a megaflop by cre­at­ing one of the most suc­cess­ful movies of all time, Klin­gler and Selpin’s Titan­ic must have giv­en the Nazis quite a start when it emerged as a tes­ta­ment not to Britain’s hubris, but, inad­ver­tent­ly, to their own.

Relat­ed Con­tent:

Watch Lam­beth Walk—Nazi Style: The Ear­ly Pro­pa­gan­da Mash Up That Enraged Joseph Goebbels

The Nazi’s Philis­tine Grudge Against Abstract Art and The “Degen­er­ate Art Exhi­bi­tion” of 1937

Don­ald Duck’s Bad Nazi Dream and Four Oth­er Dis­ney Pro­pa­gan­da Car­toons from World War II

“The Duck­ta­tors”: Loony Tunes Turns Ani­ma­tion into Wartime Pro­pa­gan­da (1942)

The Nazis’ 10 Con­trol-Freak Rules for Jazz Per­form­ers: A Strange List from World War II

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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Herbie Hancock Presents the Prestigious Norton Lectures at Harvard University: Watch Online

in Harvard, Music, Philosophy | March 24th, 2014

There may be no more dis­tin­guished lec­ture series in the arts than Harvard’s Nor­ton lec­tures, named for cel­e­brat­ed pro­fes­sor, pres­i­dent, and edi­tor of the Har­vard Clas­sics, Charles Eliot Nor­ton. Since 1925, the Nor­ton Pro­fes­sor­ship in Poetry—taken broad­ly to mean “poet­ic expres­sion in lan­guage, music, or fine arts”—has gone to one respect­ed artist per year, who then deliv­ers a series of six talks dur­ing their tenure. We’ve pre­vi­ous­ly fea­tured Nor­ton lec­tures from 1967–68 by Jorge Luis Borges and 1972–73 by Leonard Bern­stein. Today we bring you the first three lec­tures from this year’s Nor­ton Pro­fes­sor of Poet­ry, Her­bie Han­cock. Han­cock deliv­ers his fifth lec­ture today (per­haps even as you read this) and his sixth and final on Mon­day, March 31. The glo­ries of Youtube mean we don’t have to wait around for tran­script pub­li­ca­tion or DVDs, though per­haps they’re on the way as well.

The choice of Her­bie Han­cock as this year’s Nor­ton Pro­fes­sor of Poet­ry seems an over­due affir­ma­tion of one of the country’s great­est artis­tic inno­va­tors of its most unique of cul­tur­al forms. The first jazz com­pos­er and musician—and the first African American—to hold the pro­fes­sor­ship, Han­cock brings an eclec­tic per­spec­tive to the post. His top­ic: “The Ethics of Jazz.” Giv­en his emer­gence on the world stage as part of Miles Davis’ 1964–68 Sec­ond Great Quar­tet, his first lec­ture (top) is apt­ly titled “The Wis­dom of Miles Davis.” Giv­en his swerve into jazz fusion, synth-jazz and elec­tro in the 70s and 80s, fol­low­ing Davis’ Bitch­es Brew rev­o­lu­tion, his sec­ond (below) is called “Break­ing the Rules.”

Noto­ri­ous­ly wordy cul­tur­al crit­ic Homi Bhab­ha, a Nor­ton com­mit­tee mem­ber, intro­duces Han­cock in the first lec­ture. If you’d rather skip his speech, Han­cock begins at 9:10 with his own intro­duc­tion of him­self, as a “musi­cian, spouse, father, teacher, friend, Bud­dhist, Amer­i­can, World Cit­i­zen, Peace Advo­cate, UNESCO Good­will Ambas­sador, Chair­man of the Thelo­nious Monk Insti­tute of Jazz” and, cen­tral­ly, “a human being.” Hancock’s men­tion of his glob­al peace advo­ca­cy is sig­nif­i­cant, giv­en the sub­ject of his third talk, “Cul­tur­al Diplo­ma­cy and the Voice of Free­dom” (below). His men­tion of the role of teacher is time­ly, since he joined UCLA’s music depart­ment as a pro­fes­sor in jazz last year (along with fel­low Davis Quin­tet alum­nus Wayne Short­er). Always an ear­ly adopter, push­ing music in new direc­tions, Han­cock calls his fourth talk “Inno­va­tion and New Tech­nolo­gies” (who can for­get his embrace of the key­tar?). His iden­ti­ty as a Bud­dhist is cen­tral to his talk today, “Bud­dhism and Cre­ativ­i­ty,” and his final talk is enig­mat­i­cal­ly titled “Once Upon a Time….” Find all of the lec­tures on this page.

Hancock’s last iden­ti­fi­ca­tion in his intro—“human being”—“may seem obvi­ous,” he says, but it’s “all-encom­pass­ing.” He invokes his own mul­ti­ple iden­ti­ties to begin a dis­cus­sion on the “one-dimen­sion­al” self-pre­sen­ta­tions we’re each encour­aged to adopt—defining our­selves in one or two restric­tive ways and not “being open to the myr­i­ad oppor­tu­ni­ties that are avail­able on the oth­er side of the fortress.” Han­cock, a warm, friend­ly com­mu­ni­ca­tor and a pro­po­nent of “mul­ti­di­men­sion­al think­ing,” frames his “ethics of jazz” as spilling over the fortress walls of his iden­ti­ty as a musi­cian and becom­ing part of his broad­ly human­ist views on uni­ver­sal prob­lems of vio­lence, apa­thy, cru­el­ty, and envi­ron­men­tal degra­da­tion. He calls each of his lec­tures a “set,” and his first two are care­ful­ly pre­pared talks in which his life in jazz pro­vides a back­drop for his wide-rang­ing phi­los­o­phy. So far, there’s nary a key­tar in sight.

Relat­ed Con­tent:

Her­bie Han­cock: All That’s Jazz!

Miles Davis and His ‘Sec­ond Great Quin­tet,’ Filmed Live in Europe, 1967

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed in 1973)

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

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How the Ancient Greeks Shaped Modern Mathematics: A Short, Animated Introduction

in Animation, Math | March 24th, 2014

If you think Ancient his­to­ry does­n’t mat­ter to your life today, think again. Cre­at­ed by The Roy­al Insti­tu­tion and the ani­ma­tion shop 12Foot6, this short ani­mat­ed video reminds us that the Greeks gave us some of the most basic con­cepts used in math­e­mat­ics — con­cepts that we still use to nav­i­gate our mod­ern world today. As with dra­ma and phi­los­o­phy, every­thing goes back to the Ancient Greeks.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book and BlueSky.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

What Ancient Greek Music Sound­ed Like: Hear a Recon­struc­tion That is ‘100% Accu­rate’

Dis­cov­er the “Brazen Bull,” the Ancient Greek Tor­ture Machine That Dou­bled as a Musi­cal Instru­ment

Intro­duc­tion to Ancient Greece: A Free Online Course from Yale

Free Cours­es Online Math Cours­es from Great Uni­ver­si­ties

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A Glimpse Into How Wes Anderson Creatively Remixes/Recycles Scenes in His Different Films

in Film | March 23rd, 2014

Wes Anderson’s movies always trig­ger a healthy buzz in the pop cul­ture world, and his recent­ly released Grand Budapest Hotel is no dif­fer­ent. Already, the film has won the Sil­ver Bear at the Berlin Inter­na­tion­al Film Fes­ti­val, and if IMDB rat­ings are any­thing to go by, it’s well on its way to becom­ing anoth­er Ander­son clas­sic.

Anderson’s cin­e­mat­ic style is one of the most dis­tinc­tive in Hol­ly­wood today, and we’ve recent­ly writ­ten about two video essays that high­light some of his favorite styl­is­tic tech­niques. If you’ve ever seen The Roy­al Tenen­baums, you’ll imme­di­ate­ly rec­og­nize his trade­mark visu­als: the soft, sur­re­al palette, the tight­ly framed cen­tered shots, and the steady cam­er­a­work are among his favorite tools.

Above, we bring you yet anoth­er visu­al essay on Anderson’s film­mak­ing, cour­tesy of the Cri­te­ri­on Col­lec­tion. This time, how­ev­er, the focus is Anderson’s sole ani­mat­ed fea­ture, Fan­tas­tic Mr. Fox. The clip, enti­tled The Fox & Mr. Ander­son, is a split-screen short, which match­es Mr. Fox to Anderson’s oth­er films, shot for per­fect shot. Here we see the Mr. Fox pro­tag­o­nists march­ing in step with the broth­ers of The Dar­jeel­ing Lim­it­ed, and Steve Zis­sou, of The Life Aquat­ic With Steve Zis­sou fame, mir­ror­ing the scowl of Mr. Fox him­self; here is Rat, Fox’s mor­tal ene­my, lying wound­ed, oppo­site Rush­more’s  injured Max Fis­ch­er. While brief, the col­lec­tion is a beau­ti­ful anthol­o­gy of Ander­son­’s work and some of the visu­als that make encore per­for­mances.

via Bib­liok­lept

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:

Watch 7 New Video Essays on Wes Anderson’s Films: Rush­more, The Roy­al Tenen­baums & More

Wes Anderson’s Favorite Films: Moon­struck, Rosemary’s Baby, and Luis Buñuel’s The Exter­mi­nat­ing Angel

Watch Wes Anderson’s Charm­ing New Short Film, Castel­lo Cav­al­can­ti, Star­ring Jason Schwartz­man

Wes Anderson’s First Short Film: The Black-and-White, Jazz-Scored Bot­tle Rock­et (1992)

 

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Pink Floyd Plays With Their Brand New Singer & Guitarist David Gilmour on French TV (1968)

in Music | March 22nd, 2014

In 1968, Pink Floyd’s rela­tion­ship with increas­ing­ly drug-addled lead singer/songwriter/guitarist Syd Bar­rett unrav­eled. Though Barrett’s depar­ture wasn’t offi­cial­ly announced until April, that band had already begun, by neces­si­ty, per­form­ing and record­ing with­out him late the pre­vi­ous year, adding gui­tarist David Gilmour to the line­up to sup­plant Syd’s errat­ic per­for­mances. In Feb­ru­ary of ’68 the band appeared minus Syd on a French live-music pro­gram called Baton Rouge. Six­ties music blog A Dandy in Aspic describes the show as cap­tur­ing dur­ing its year-long run “some of the best British Mod/Psych bands at their peak,” includ­ing The Small Faces, The Moody Blues, and the Yard­birds, with Jim­my Page.

This Floyd footage, how­ev­er, is espe­cial­ly sig­nif­i­cant for its por­trait of the band find­ing its way through the trau­ma of its chief architect’s men­tal demise, with a seem­ing­ly awk­ward Gilmour tak­ing over:  “It still sounds great, but the band are vis­i­bly uncom­fort­able. Roger Waters’ dark psy­che­del­ic gem ‘Set The Con­trols For the Heart Of The Sun’ sounds amaz­ing, and ‘Let there Be [More] Light’ is an indi­ca­tion of Pink Floy­d’s new, post-Syd direc­tion.”

In addi­tion to those two songs from their upcom­ing sec­ond album A Saucer­ful of Secrets, the band plays two songs from their debut, Piper at the Gates of Dawn. The weird mys­ti­cal chant “Astron­o­my Domine” doesn’t suf­fer at all, since key­boardist Richard Wright sang the lead vocals on the album ver­sion and does so again here. David Gilmour takes over the lead for Barrett’s “Flam­ing,” which is such a Syd song, with its dis­turb­ing and child­like lyrics and loopy vocal melody, that his absence becomes notice­able. But it comes off fine, if some­what stiff, and the song remained in their set for years after­ward.

For more clas­sic psy­che­del­ic per­for­mances from the 1967–68 Baton Rouge, head over to A Dandy in Aspic.

via Kurt Loder/Dan­ger­ous Minds

Relat­ed Con­tent:

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

Psy­che­del­ic Scenes of Pink Floyd’s Ear­ly Days with Syd Bar­rett, 1967

Syd Bar­rett: Under Review, a Full Doc­u­men­tary About Pink Floyd’s Bril­liant and Trou­bled Founder

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

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

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Hear Orson Welles’ Radio Performances of 10 Shakespeare Plays (1936–1944)

in Film, Theatre | March 22nd, 2014

welles shakes

Before he direct­ed Cit­i­zen Kane, Orson Welles was already famous. He was an enfant ter­ri­ble of that new medi­um radio — one of his plays, an adap­ta­tion of War of the Worlds by H.G. Wells, famous­ly ter­ri­fied the nation in 1938. He was also known as a wun­derkind of the stage.

Dur­ing the late 1930s, Welles and his pro­duc­ing part­ner John House­man (yes, that John House­man) were the toast of Broad­way, thanks to a string of auda­cious clas­si­cal revivals. The most famous of these pro­duc­tions was a 1937 adap­ta­tion of William Shakespeare’s Julius Cae­sar, which gave the play an unex­pect­ed rel­e­vance. Welles dressed the cast in mod­ern attire; sol­diers were out­fit­ted to look like Nazi black shirts. And the show was lit in a man­ner meant to recall a Nurem­berg ral­ly. Pre­sent­ed at a time when Hitler’s pow­er was grow­ing, the pro­duc­tion jolt­ed Amer­i­can audi­ences and made Welles famous. Time Mag­a­zine even put him on its cov­er.

Being a trail­blaz­er in both radio and the stage, Welles adapt­ed many of his stage pro­duc­tions for the wire­less.  The Inter­net Archive has post­ed many of these record­ings online, which you can lis­ten to for free. The selec­tion includes per­for­mances of Ham­let, Romeo and Juli­et, Richard III, Mac­beth and, of course, Julius Cae­sar, among oth­ers. In most cas­es, these record­ings — along with a few set pho­tos — are the only doc­u­ments left of Welles’s ground­break­ing pro­duc­tions.

But if you want to get a sense of what Welles’s Julius Cae­sar actu­al­ly looked like, you can check out Richard Lin­klater’s lit­tle-seen, crit­i­cal­ly-praised com­e­dy Me and Orson Welles (2008). The movie stars Zac Efron as a young actor who lands a small part in the pro­duc­tion only to find him­self com­pet­ing with the great direc­tor for the affec­tions of a girl. The movie might be a tri­fle but experts have mar­veled at how close the film is to Welles’s vision. Check out the trail­er below.

Relat­ed Con­tent:

Lis­ten to Eight Inter­views of Orson Welles by Film­mak­er Peter Bog­danovich (1969–1972)

Watch Orson Welles’ The Stranger Free Online, Where 1940s Film Noir Meets Real Hor­rors of WWII

The Hearts of Age: Orson Welles’ Sur­re­al­ist First Film (1934)

Orson Welles Explains Why Igno­rance Was His Major “Gift” to Cit­i­zen Kane

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 the Talking Heads Play Live in Dortmund, Germany During Their Heyday (1980)

in Music | March 22nd, 2014

Back in 2012, we fea­tured a 1975 Talk­ing Heads con­cert at CBGB, ref­er­enc­ing Gen­er­a­tion X author Dou­glas Cou­p­land’s telling def­i­n­i­tion of who, exact­ly, con­sti­tutes that cohort: “If you liked the Talk­ing Heads back in the day, then you’re prob­a­bly X.” Simul­ta­ne­ous­ly iron­ic and sin­cere, artis­tic and com­mer­cial, ram­shackle and pol­ished, cere­bral and impul­sive: the sen­si­bil­i­ties of David Byrne’s influ­en­tial new-wave band and the zeit­geist pro­file of Gen­er­a­tion X share too many qual­i­ties to list. 1975, for a Gen Xer, would cer­tain­ly count as “back in the day,” though per­haps a bit too far back in the day for many of them to have gained entrance to such a vibrant­ly scuzzy venue as CBGB. Just five years lat­er, though, many more of them would have come of just enough age to engage with the Heads, who by that point had blown up in pop­u­lar­i­ty, play­ing huge venues all over the world.

You may have seen the band play­ing Rome in 1980 when we post­ed that show in 2012, and today we give you anoth­er of their Euro­pean gigs from that same break­out year, in Dort­mund. That loca­tion, about 250 miles from Cou­p­land’s Cana­di­an Air Force base birth­place in Ger­many, in a Ger­many still divid­ed, brings to mind not just the impor­tance of themes of the late Cold War to the nov­el­ist’s work, but to Gen­er­a­tion X itself, the last kids to grow up under the cred­i­ble threat of sud­den nuclear anni­hi­la­tion. Such an uneasy psy­cho­log­i­cal and ide­o­log­i­cal envi­ron­ment would have an effect on the for­ma­tion of any­one’s cre­ative mind, as it must also have on that of Gen­er­a­tion X’s pre­de­ces­sors, the Baby Boomers — a group in which the 1952-born Byrne falls right in the mid­dle. The Cold War may have end­ed, but the Talk­ing Heads’ music, as you’ll expe­ri­ence in this Dort­mund con­cert, tran­scends both tem­po­ral and geo­graph­i­cal con­text.

Set list:

  1. “Psy­cho Killer”
  2. “Cities”
  3. “Zim­bra”
  4. “Once in a Life­time”
  5. “Ani­mals”
  6. “Crosseyed and Pain­less”
  7. “Life Dur­ing Wartime”
  8. “The Great Curve”

Relat­ed Con­tent:

The Talk­ing Heads Play CBGB, the New York Club that Shaped Their Sound (1975)

Live in Rome, 1980: The Talk­ing Heads Con­cert Film You Haven’t Seen

Talk­ing Heads’ “This Must Be the Place (Naive Melody)” Per­formed on Tra­di­tion­al Chi­nese Instru­ments

David Byrne: How Archi­tec­ture Helped Music Evolve

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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