Hear Benedict Cumberbatch Read John Keats’ “Ode to a Nightingale” and Other Great Works by Shakespeare, Dante & Coleridge

Would Bene­dict Cum­ber­batch have such ardent fans if he could­n’t read poet­ry so well? Almost cer­tain­ly he would, although his way with verse still seems not like a bonus but an inte­gral com­po­nent of his dra­mat­ic per­sona. Though not eas­i­ly explained, that rela­tion­ship does come across if you hear any of the actor’s read­ings of poet­ry. In the video above, Cum­ber­batch per­forms “Ode to a Nightin­gale,” the longest and best-known of John Keats’ 1819 odes that casts into verse the poet­’s dis­cov­ery of “neg­a­tive capa­bil­i­ty,” or as he defined it in a let­ter two years ear­li­er, “when a man is capa­ble of being in uncer­tain­ties, mys­ter­ies, doubts, with­out any irri­ta­ble reach­ing after fact and rea­son.”

Yet one sens­es that the Cum­ber­batch fans who put up these videos, such as the one accom­pa­ny­ing “Ode to a Nightin­gale” with imagery rem­i­nis­cent of a Tiger Beat pic­to­r­i­al, care less about his neg­a­tive capa­bil­i­ty than cer­tain oth­er qual­i­ties. His voice, for instance: the uploader of the video com­bin­ing five poems just above describes as “the vel­vety dul­cet tones of a jaguar hid­ing in a cel­lo.”

That com­pi­la­tion includes “Ode to a Nightin­gale” as well as Shake­speare’s “The Sev­en Ages of Man” (“All the world’s a stage”), Lewis Car­rol­l’s “Jab­ber­wocky,” a piece of Dan­te’s Divine Com­e­dy, and Samuel Tay­lor Coleridge’s “Kubla Khan.” With Coleridge’s dream of Asia and Dan­te’s Ital­ian vision of the after­life, this poet­ic mix does get more exot­ic than it might seem (at least by the stan­dards of the eras from which it draws).

But Cum­ber­batch, who in 2015 received the hon­or of Com­man­der of the Most Excel­lent Order of the British Empire from the Queen and even read at the rebur­ial cer­e­mo­ny of King Richard III, clear­ly match­es best with the canon of his native Eng­land. As a ver­sa­tile per­former, and thus one who pre­sum­ably under­stands all about the need for neg­a­tive capa­bil­i­ty, Cum­ber­batch and his cel­lo-hid­den jaguar deliv­ery (a poet­ic descrip­tion, in its own way) has done jus­tice in the past to Kaf­ka, Kurt Von­negut, and Moby-Dick. Still, one won­ders what poem Cum­ber­batch could per­form in order to achieve an unsur­pass­able state of peak Eng­lish­ness. How long could it take for him to get around, for instance, to “If—”?

Cum­ber­batch’s read­ing of “Ode” will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

F. Scott Fitzger­ald Reads Shakespeare’s Oth­el­lo and Keats’ “Ode to a Nightin­gale” (1940)

Coleridge’s Rime of the Ancient Mariner Ani­mat­ed: A Clas­sic Ver­sion Nar­rat­ed by Orson Welles

Hear 20 Hours of Roman­tic & Vic­to­ri­an Poet­ry Read by Ralph Fiennes, Dylan Thomas, James Mason & Many More

Hear Bene­dict Cum­ber­batch Read Kafka’s The Meta­mor­pho­sis

Bene­dict Cum­ber­batch Reads Kurt Vonnegut’s Incensed Let­ter to the High School That Burned Slaugh­ter­house-Five

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Tom Petty Takes You Inside His Songwriting Craft

Briefly not­ed: Give this wide-rang­ing inter­view with Tom Pet­ty some time. Record­ed in 2014, Pet­ty talks with inter­view­er Jian Ghome­shi about his song­writ­ing craft. The writ­ing of songs, the rehearsal and record­ing process, the work in the stu­dio, it all gets cov­ered here. As he talks, one thing comes across: What­ev­er tal­ents he had, Pet­ty put in the hard work. He and the Heart­break­ers mas­tered their instru­ments, kept get­ting bet­ter, and did­n’t take short cuts, to the point where they could do mag­i­cal things togeth­er in the record­ing stu­dio.

Watch Part 1 above, and Part 2 below, where, at one point he says, “I’m doing the best I can. You can’t say I did­n’t try real­ly hard because I’m real­ly try­ing hard to be good.” The val­ue of trying–trying consistently–can nev­er be under­stat­ed.

Note: Some of the same themes get echoed in Tom Pet­ty’s final inter­view, which he gave to the LA Times last week. You can stream it here.

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, BlueSky or Mastodon.

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:

A 17-Hour, Chrono­log­i­cal Jour­ney Through Tom Petty’s Music: Stream the Songs That Became the Sound­tracks of Our Lives

Watch Tom Pet­ty (RIP) and the Heart­break­ers Per­form Their Last Song Togeth­er, “Amer­i­can Girl”: Record­ed on 9/25/17

Prince, Joined by Tom Pet­ty, Plays a Mind-Blow­ing Gui­tar Solo On “While My Gui­tar Gen­tly Weeps”

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The Hummingbird Whisperer: Meet the UCLA Scientist Who Has Befriended 200 Hummingbirds

Com­mon wis­dom, and indeli­ble mem­o­ries of The Birds, warn that feed­ing seag­ulls, pigeons and oth­er crea­tures who trav­el in flocks is a can of worms best left unopened.

But what about hum­ming­birds?

Melanie Bar­boni is research geo­chemist in UCLA’s Depart­ment of Earth, Plan­e­tary and Space Sci­ences. Near the UCLA Court of Sci­ences she took a break from vol­canos and the moon long enough to hang a feed­er filled with sug­ar water out­side her ground floor office win­dow.

This com­pli­men­ta­ry buf­fet proved such a hit, she hung up more.

Two years lat­er, Bar­boni is serv­ing a colony of over 200 hum­ming­birds from four 80-ounce feed­ers. Their metab­o­lism requires them to con­sume 8 to 10 times their body weight on a dai­ly basis.

Barboni’s ser­vice to her tiny jew­el-toned friends extends well beyond the feed­ers. She’s divert­ed cam­pus tree trim­mers from inter­fer­ing with them dur­ing nest­ing sea­son, and giv­en pub­lic talks on the habi­tat-destroy­ing effects of cli­mate change. She’s col­lab­o­rat­ing with anoth­er pro­fes­sor and UCLA’s Chief Sus­tain­abil­i­ty Offi­cer Nurit Katz to estab­lish a spe­cial gar­den on cam­pus for hum­ming­birds and their fel­low pol­li­na­tors.

The inti­ma­cy of this rela­tion­ship is some­thing she’s dreamed of since her bird­watch­ing child­hood in Switzer­land where the only hum­ming­birds avail­able for her view­ing were the ones in books. Her dream came true when a fel­low­ship took her from Prince­ton to Los Ange­les, where hum­ming­birds live year-round.

Some long­time favorites now perch on their benefactor’s hand while feed­ing, or even per­mit them­selves to be held and stroked. A few like to hang out inside the office, where the warm glow of Barboni’s com­put­er mon­i­tor is a com­fort­ing pres­ence on inclement days.

She’s bestowed names on at least 50: Squeak, Star­dust, Tiny, Shy…

(Show of hands from those who wish she’d named them all after not­ed geol­o­gists: Mary Anning, Eugene Mer­le Shoe­mak­erCecil­ia Hele­na Payne-Gaposchkin…)

Get to know the UCLA hum­ming­birds bet­ter through Melanie Barboni’s up-close-and-per­son­al doc­u­men­tary pho­tos. Learn more about the species itself through the Nation­al Geo­graph­ic doc­u­men­tary below.

via The Kids Should See This

Relat­ed Con­tent:

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

Google Uses Arti­fi­cial Intel­li­gence to Map Thou­sands of Bird Sounds Into an Inter­ac­tive Visu­al­iza­tion

Free Enter­tain­ment for Cats and Dogs: Videos of Birds, Squir­rels & Oth­er Thrills

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

People Walked a Little Differently During Medieval Times: A Quick Primer

Roland Warzecha runs a Youtube chan­nel where he delves into the world of medieval weapons and com­bat. If you want to learn some­thing about Viking shields and swords, medieval spears and com­bat tech­niques, spend some time there.

Above, Roland departs from his reg­u­lar­ly sched­uled pro­gram­ming and explores anoth­er facet of medieval life. Walk­ing. That’s right, walk­ing. It turns out that, as Boing Boing sum­ma­rizes it, “before struc­tured shoes became preva­lent in the 16th cen­tu­ry … peo­ple walked with a dif­fer­ent gait, push­ing onto the balls of our feet instead of rock­ing for­ward on our heels.” And that’s your les­son on medieval body mechan­ics for today…

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, BlueSky or Mastodon.

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:

Fash­ion­able 2,000-Year-Old Roman Shoe Found in a Well

What’s It Like to Fight in 15th Cen­tu­ry Armor?: A Sur­pris­ing Demon­stra­tion

Won­der­ful­ly Weird & Inge­nious Medieval Books

See The Guidon­ian Hand, the Medieval Sys­tem for Read­ing Music, Get Brought Back to Life

Wear­able Books: In Medieval Times, They Took Old Man­u­scripts & Turned Them into Clothes

How Walk­ing Fos­ters Cre­ativ­i­ty: Stan­ford Researchers Con­firm What Philoso­phers and Writ­ers Have Always Known

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Enter the The Cornell Hip Hop Archive: A Vast Digital Collection of Hip Hop Photos, Posters & More

The music and the cul­ture of hip-hop are insep­a­ra­ble from the Bronx, Queens, Harlem, and Brook­lyn, NY. And now that the form is a glob­al cul­ture that exists in online spaces as much as it does where peo­ple meet and shake hands, its doc­u­men­tary his­to­ry may be more valu­able than ever. Hip-Hop began, unques­tion­ably, as a region­al phe­nom­e­non, and its for­mal qual­i­ties always bear the traces of its matrix, a con­flu­ence of African-Amer­i­can, Caribbean, and Latin Amer­i­can socio-cul­tur­al expe­ri­ences and cre­ative streams, meet­ing with new con­sumer audio tech­nol­o­gy and a dri­ve toward coun­ter­cul­tur­al exper­i­ments that took hold all over New York amidst the urban decay of the 70s.

Pho­to by Joe Con­zo, Jr.

We know the sto­ry in broad strokes. Now we can immerse our­selves in the dai­ly life, so to speak, of ear­ly hip hop, thanks to a par­tial dig­i­ti­za­tion of Cor­nell University’s vast hip hop col­lec­tion. The phys­i­cal col­lec­tion, housed in Itha­ca New York, con­tains “hun­dreds of par­ty and event fly­ers ca. 1977–1985; thou­sands of ear­ly vinyl record­ings, cas­settes and CDs; film and video; record label press pack­ets and pub­lic­i­ty; black books, pho­tog­ra­phy, mag­a­zines, books, cloth­ing, and more.”

Pho­to by Joe Con­zo, Jr.

While this impres­sive trove of phys­i­cal arti­facts is open to the pub­lic, most of us won’t ever make the jour­ney. But whether we’re fans, schol­ars, or curi­ous onlook­ers, we can ben­e­fit from its cura­to­r­i­al largesse through online archives like that of Joe Con­zo, Jr., who “cap­tured images of the South Bronx between 1977 and 1984, includ­ing ear­ly hip hop jams, street scenes, and Latin music per­form­ers and events.”

Pho­to by Joe Con­zo, Jr.

While still in high school, Con­zo became the offi­cial pho­tog­ra­ph­er for the ear­ly influ­en­tial rap group the Cold Crush Broth­ers. The posi­tion gave him unique access to the “local­ized, grass­roots cul­ture about to explode into glob­al aware­ness.” Cornell’s site remarks that “with­out Joe’s images, the world would have lit­tle idea of what the ear­li­est era of hip hop looked like, when fabled DJ, MC, and b‑boy/girl bat­tles took place in parks, school gym­na­si­ums and neigh­bor­hood dis­cos.”

Anoth­er of Cornell’s col­lec­tions, the Bud­dy Esquire Par­ty and Event Fly­er Archive, pre­serves over 500 such arti­facts, the “largest known insti­tu­tion­al col­lec­tion of these scarce fly­ers, which have become increas­ing­ly val­ued for the details they pro­vide about ear­ly hip hop cul­ture.” Local, grass­roots scenes like this one seem increas­ing­ly rare in a glob­al­ized, always-online 21st cen­tu­ry. Archives like Cornell’s not only tell the sto­ry of such a cul­ture, but in so doing they doc­u­ment a crit­i­cal peri­od in New York City, much like punk or jazz archives tell impor­tant his­to­ries of Lon­don, New York, D.C., Paris, New Orleans, etc.

The third dig­i­tal col­lec­tion host­ed by Cor­nell, the Adler Hip Hop Archive, comes from jour­nal­ist and Def Jam Record­ings pub­li­cist Bill Adler. The mate­ri­als here nat­u­ral­ly skew toward the indus­try side of the cul­ture, doc­u­ment­ing its leap from the New York streets to “glob­al aware­ness” and a spread to cities nation­wide, through mag­a­zine pho­to spreads, ads, pro­mo­tion­al pics, press clip­pings, and much more.

Some of these col­lec­tions are eas­i­er to nav­i­gate than others—you’ll have to wade through many non-hip-hop pho­tos in the huge Joe Con­zo, Jr. archive, though most of them, like his Puer­to Rican por­traits and land­scapes for exam­ple, are of inter­est in their own right. Con­zo’s pho­to jour­nal­ism of the Bronx in the late 70s and 80s has all the inti­ma­cy and can­dor of a fam­i­ly album or col­lec­tion of year­book pictures—charmingly awk­ward, exu­ber­ant, and a stark con­trast to the high-pro­file glam­our of com­mer­cial hip-hop eras to fol­low.

The core of Cornell’s col­lec­tion came from author, cura­tor, and for­mer record exec­u­tive Johan Kugel­berg, who donat­ed his col­lec­tion in 1999 after pub­lish­ing Born in the Bronx: A Visu­al His­to­ry of the Ear­ly Days of Hip Hop with Joe Con­zo, Jr. It has since expand­ed to 13 dif­fer­ent col­lec­tions from the archives of some of the cul­ture’s ear­li­est pio­neers and doc­u­men­tar­i­ans. Hope­ful­ly many more of these will soon be dig­i­tized. But we might want to heed Jason Kottke’s warn­ing in enter­ing the three that have: “don’t click on any of those links if you’ve got press­ing things to do.” You could eas­i­ly get lost in this incred­i­bly detailed trea­sury of hip-hop—and New York City—history.

Pho­to by Joe Con­zo, Jr.

via Kot­tke

Relat­ed Con­tent:

Found­ing Fathers, A Doc­u­men­tary Nar­rat­ed By Pub­lic Enemy’s Chuck D, Presents the True His­to­ry of Hip Hop

The “Amen Break”: The Most Famous 6‑Second Drum Loop & How It Spawned a Sam­pling Rev­o­lu­tion

Hip Hop Hits Sung Won­der­ful­ly in Sign Lan­guage: Eminem’s “Lose Your­self,” Wiz Khalifa’s “Black and Yel­low” & More

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

How Marilyn Monroe Helped Break Ella Fitzgerald Into the Big Time (1955)

Think of movie stars, and you’ll almost cer­tain­ly think of Mar­i­lyn Mon­roe; think of jazz singers, and you’ll almost cer­tain­ly think of Ella Fitzger­ald. Their skills as per­form­ers, their inher­ent icon­ic qual­i­ties, the time of the mid-twen­ti­eth cen­tu­ry in which they rose to fame, and oth­er fac­tors besides, have ensured that these two women still define the images of their respec­tive crafts. But before their ascen­sion to cul­tur­al immor­tal­i­ty, the Ange­leno Mon­roe and the New York­er Fitzger­ald’s paths crossed down here on Earth in 1955, and, when they did, the movie star played an inte­gral role in break­ing the jazz singer into the big time.

If you want­ed to play to an influ­en­tial crowd in Hol­ly­wood back in the 1950s, you had to play the Mocam­bo, the Sun­set Strip night­club fre­quent­ed by the likes of Clark Gable, Humphrey Bog­a­rt, Lana Turn­er, Bob Hope, Sophia Loren, and Howard Hugh­es. But at the time, a singer of the reput­ed­ly scan­dalous new music known as jazz did­n’t just waltz onto the stage of such a respectable venue, espe­cial­ly giv­en the racial atti­tudes of the time. But as luck would have it, Fitzger­ald found an advo­cate in Mon­roe, who, “tired of being cast as a help­less sex sym­bol, took a break from Los Ange­les and head­ed to New York to find her­self,” writes the Inde­pen­dent’s Ciar Byrne.

There Mon­roe “immersed her­self in jazz,” rec­og­niz­ing in Fitzger­ald “the cre­ative genius she her­self longed to pos­sess.” Togeth­er with Fitzger­ald’s man­ag­er, jazz impre­sario and Verve Records founder Nor­man Granz, Mon­roe pres­sured the glam­orous Hol­ly­wood club to book Ella. “I owe Mar­i­lyn Mon­roe a real debt,” Fitzger­ald said lat­er, in 1972. “She per­son­al­ly called the own­er of the Mocam­bo, and told him she want­ed me booked imme­di­ate­ly, and if he would do it, she would take a front table every night.” He agreed, and true to her word, “Mar­i­lyn was there, front table, every night. The press went over­board. After that, I nev­er had to play a small jazz club again.”

Though Mon­roe’s efforts did­n’t make Fitzger­ald the first black per­former to take the Mocam­bo’s stage — Herb Jef­fries, Eartha Kitt, and Joyce Bryant had played there in 1952 and 1953 — she did use it as a plat­form to ascend to unusu­al­ly great career heights, com­pa­ra­ble to the way Frank Sina­tra launched his solo career there. The sto­ry has remained com­pelling enough for sev­er­al retellings, includ­ing Bon­nie Greer’s musi­cal Mar­i­lyn and Ella and, more recent­ly, through the hilar­i­ous unre­li­a­bil­i­ty of an episode of Drunk His­to­ry. As real his­to­ry would have it, Fitzger­ald would go on to enjoy a much longer and more var­ied career than the trag­ic Mon­roe, but she did her own part to repay the favor by adding nuance to Mon­roe’s super­fi­cial pub­lic image: “She was an unusu­al woman — a lit­tle ahead of her times. And she did­n’t know it.”

Relat­ed Con­tent:

Ella Fitzger­ald Sings ‘Sum­mer­time’ by George Gersh­win, Berlin 1968

Mar­i­lyn Monroe’s Go-Get­ter List of New Year’s Res­o­lu­tions (1955)

The 430 Books in Mar­i­lyn Monroe’s Library: How Many Have You Read?

Mar­i­lyn Mon­roe Recounts Her Har­row­ing Expe­ri­ence in a Psy­chi­atric Ward in a 1961 Let­ter

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Smithsonian Presents a Gallery of 6,000+ Rare Rock ‘n Roll Photos on a Crowdsourced Web Site, and Now a New Book


Rock pho­tog­ra­phy is an art form in itself, as demon­strat­ed by books and exhi­bi­tions of some of its mas­ters like Mick Rock, Jen­ny Lens, Pen­nie Smith, and so many oth­ers. But two years ago, the Smith­son­ian turned to the crowd, to the fan, to the ama­teur pho­tog­ra­ph­er, with a call to sub­mit pho­tos from over six decades of rock and roll that weren’t hang­ing on gallery walls, but sit­ting in a shoe­box some­where. From fans with insta­mat­ic cam­eras to ama­teurs cov­er­ing con­certs for their school paper, the Smith­son­ian want­ed anoth­er angle on our cul­tur­al obses­sion.

Many of the con­tri­bu­tions now live on a crowd­sourced web­site. And a result­ing book Smith­son­ian Rock and Roll: Live and Unseen col­lects the best of these in a chrono­log­i­cal his­to­ry of the genre, from post-war blues to the late 20th cen­tu­ry. It will be offi­cial­ly released on Octo­ber 24, though you can pre-order now.

Web­sites Mash­able and Dan­ger­ous Minds present a selec­tion of pho­tos from the book, such as a shot of Sly Stone at the height of his pow­ers (and belt buck­le size), a pic of the Talk­ing Heads on stage in Berke­ley, 1977; a dark and mys­te­ri­ous glimpse of Bon­nie Raitt, cir­ca 1974; and a shot of Cream play­ing the Chica­go Col­i­se­um tak­en from the side of the stage, with Gin­ger Baker’s head a com­plete blur. Also find Joni Mitchell at Klein­hans Music Hall. And The Ramones in Tempe, Ari­zona, cir­ca 1978.

Bon­nie Raitt at the Har­vard Square The­atre, by Bar­ry Schneier/Smithsonian Books

It’s a reminder of how unpre­ten­tious these live shows could be, hap­pen­ing in a world with the sim­plest of light­ing rigs and decades from the big screen pro­jec­tions even up-and-com­ing bands now indulge in. For the most part, this was an inti­mate con­tract between the artist and the audi­ence, all crammed into small clubs with smoke, sweat, heat, and, most impor­tant­ly, elec­tric­i­ty in the air.

The new book also fea­tures tales from the peo­ple who took the pho­tos, along with some more pro­fes­sion­al pho­tos to “flesh out this overview of rock and roll,” accord­ing to the intro­duc­tion by orga­niz­er Bill Bent­ley. He adds: “The results, span­ning six decades, aim for nei­ther ency­clo­pe­dic author­i­ty nor com­pre­hen­sive final­i­ty, but rather an index of supreme influ­ence.”

The Ramones in Tempe, Ari­zona, by Dori­an Boese/Smithsonian Books

That supreme influ­ence con­tin­ues to be felt, for sure. Although the sub­mis­sion win­dow is now closed, the Smith­so­ni­an’s web­site allows you to look through the hun­dreds of sub­mis­sions to the project.

Relat­ed Con­tent:

UC San­ta Cruz Opens a Deadhead’s Delight: The Grate­ful Dead Archive is Now Online

Bea­t­les, Friends & Fam­i­ly: Pho­tos by Lin­da McCart­ney

Judy!: 1993 Judith But­ler Fanzine Gives Us An Irrev­er­ent Punk-Rock Take on the Post-Struc­tural­ist Gen­der The­o­rist

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Depeche Mode Releases a Goosebump-Inducing Cover of David Bowie’s “Heroes”

40 years ago, David Bowie record­ed “Heroes,” a song that tells the sto­ry of two lovers who embrace in a kiss by the Berlin Wall. How the song was record­ed gets won­der­ful­ly retold by pro­duc­er Tony Vis­con­ti, in a post/video we fea­tured in Jan­u­ary 2016. Don’t miss it.

Above, you can watch Depeche Mod­e’s new cov­er of “Heroes,” record­ed to com­mem­o­rate the 40th anniver­sary of the song’s offi­cial release (Sep­tem­ber 23, 1977). “ ‘Heroes’ is the most spe­cial song to me at the moment,” Depeche Mode front­man Dave Gahan told NME. “Bowie is the one artist who I’ve stuck with since I was in my ear­ly teens. His albums are always my go-to on tour and cov­er­ing ‘Heroes’ is pay­ing homage to Bowie.”

In anoth­er inter­view with Rolling Stone, Gahan talked more about the expe­ri­ence of record­ing this song: “I was so moved, I bare­ly held it togeth­er, to be hon­est.” Watch­ing the per­for­mance, I got a few goose­bumps, I have to admit.

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, BlueSky or Mastodon.

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:

Pro­duc­er Tony Vis­con­ti Breaks Down the Mak­ing of David Bowie’s Clas­sic “Heroes,” Track by Track

David Bowie Per­forms a Live Acoustic Ver­sion of “Heroes,” with a Bot­tle Cap Strapped to His Shoe, Keep­ing the Beat

David Bowie & Bri­an Eno’s Col­lab­o­ra­tion on “Warsza­wa” Reimag­ined in a Com­ic Ani­ma­tion

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