The Music in Quentin Tarantino’s Films: Hear a 5‑Hour, 100-Song Playlist

in Music | March 9th, 2017

Earlier this week we told you about this 326-track, 20-hour playlist of music from the films of Martin Scorsese. One of the masters of juxtaposing song with image, Scorsese paved the way for another director with a fine record collection, Quentin Tarantino. And what do you know? There’s a similar Spotify playlist that you can enjoy featuring 100 tracks and running five hours. (If you need Spotify’s software, download it here.)

Tarantino might be more of a music geek, but he just hasn’t made as many films as Scorsese. However, if you came of cineaste age during the 1990s, dollars to donuts you had a CD of the Pulp Fiction soundtrack in your collection. Just like Tarantino resuscitated John Travolta’s career, he took an obscure single–a cover of a Turkish-Arabic-Egyptian melody called “Misirlou” by a once-popular surf guitarist–and made it not just the opening track, but the sound of 1980s filmmaking being shot and stuffed in a trunk. (And guitarist Dick Dale got to have a second career from it.) The soundtrack made surf instrumentals popular again, Urge Overkill relevant, Neil Diamond cool, and inserted a Statler Brothers’ song into the collections of thousands of people who wouldn’t touch country with a ten foot pole.

Prior to this, Reservoir Dogs used both “Little Green Bag” by George Baker and “Stuck in the Middle with You” by Stealers Wheel to great effect, and the soundtrack included the narcoleptic DJ patter by comedian Steven Wright, but it was just an appetizer for the full Pulp Fiction meal.

After that, there’s still flashes of brilliance–Jackie Brown is a safe but excellent collection of mostly ‘70s soul–but the soundtracks by themselves don’t stand up as cultural objects in the post-CD era. Instead, there’s moments like the 5.6.7.8’s “Woo Hoo” and Tomoyasu Hotei’s “Battle without Honor or Humanity” from Kill Bill, and the goosebump-inducing use of David Bowie’s “Cat People” in an otherwise period centric, WWII-set Inglourious Basterds.

In later films, he’s become more of a curator of Ennio Morricone works and other composers of the films he loves, and less of a pop magpie. But then, his films have darkened and deepened, and his soundtrack vinyl collection–which he has collected since a kid–just continues to grow.
In an interview with Billboard magazine, he mentioned how integral his record collection is to his filmmaking process.

I am always looking for some cool song that I could use as a big set piece. I’ll finish work and I’ll go into my record room and I’ll put on some song, and literally, I can see it on the screen. I can project myself into a movie theater and I’m watching the scene onscreen and I’m hearing the music and I’m imagining an audience: either an audience of people I know who are digging it or an audience of people I don’t know who are digging it — they’re always digging it. (laughs) And it keeps reminding me that I’m making a movie.

And Tarantino usually gets the rights to use whatever he pleases because of his fame and the Quentin-bump he gives the artists: “It’s actually quite easy to get the rights now, because I’ll use music that some people haven’t heard that much before,” he says in the same interview. “Then after my movie comes out, it seems like every commercial in the world buys it. They can double or triple and quadruple their income just by the exposure the movie gets it.”

Dive into this playlist and let us know any specific gems you find.

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Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.

by Ted Mills | Permalink | Make a Comment ( None ) |

Akira Kurosawa’s Adaptation of Edgar Allan Poe’s The Masque of the Red Death Finally in Production, Coming in 2020

in Film, Literature | March 9th, 2017

The filmmakers we most respect tend not to stop working until the very end, and so almost always leave pieces of incomplete projects behind. Stanley Kubrick did, giving Steven Spielberg the chance to pick up where his elder colleague left off on the sci-fi drama A.I.: Artificial Intelligence. That film began in the late 1970s as an adaptation of Brian Aldiss’ short story “Supertoys Last All Summer Long,” but over the decades became something more technically complex, and — given Spielberg’s involvement — more emotional. What, now, will emerge from the resurrection of Akira Kurosawa’s The Mask of the Black Death, a similarly unmade adaptation of Edgar Allan Poe’s “The Masque of the Red Death”?

“Chinese studios Huayi Brothers and CKF Pictures will produce the film based on the late Japanese filmmaker’s screenplay,” reported Indiewire’s Yoselin Acevedo last week. “He started penning the film right after his 1975’s Dersu Uzala.

Originally, the project was supposed to be filmed in 1998, but was shelved after Kurosawa suffered a stroke, and later died that same year.” Kurosawa intended to set his version of “The Masque of the Red Death” in Russia, where he’d made Dersu Uzala, and in an early twentieth century when, according to a Cinephilia & Beyond post featuring an English translation of the screenplay, “humanity is faced with a deadly contagion, and people’s characters, resilience and survival are being tested as the society is pushed well into the brinks of despair and possible annihilation.”

“The ‘Red Death,’ ” wrote Poe, “had long devastated the country. No pestilence had ever been so fatal, or so hideous.” A prince of this unnamed land summoned “a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys,” lavishly supplied behind its tightly barred doors. “With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think.” But months later, at the stroke of midnight during one of the prince’s masquerade balls, a “masked figure which had arrested the attention of no single individual before” makes itself seen, provoking “a buzz, or murmur, expressive of disapprobation and surprise — then, finally, of terror, of horror, and of disgust.”

One imagines that such a milieu, as anyone who’s seen the ominous revelry on display in Eyes Wide Shut, might have appealed to Kubrick as well. It certainly appealed to prolific “B‑movie” producer Roger Corman, the man responsible for a 1964 adaptation starring Vincent Price and another 25 years later starring Adrian Paul from Highlander. But Kurosawa, a filmmaker who showed a strong thematic interest in the upper classes’ disregard for the rest of society in everything from katana-and-topknots period pieces like Seven Samurai to modern-day crime stories like High and Low, could have done Poe’s chilling Gothic tale special justice. As for whether Huayi Brothers and CKF Pictures can do justice to Kurosawa’s vision, his fans will find out in 2020 — perhaps walled tightly up in their home theaters with his classic pictures until then.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Free Audio: Hear Stories by Jhumpa Lahiri, Margaret Atwood & Authors

in Audio Books, Literature | March 9th, 2017

Fyi: Penguin Random House and Crown Publishing Group recently produced “Season of Stories,” an eleven-week “serialized reading experience.” It features serialized stories by Jhumpa Lahiri, Margaret Atwood, and other authors. You can stream the episodes, right here. Or you can listen to them through this 60db iPhone app. We will be sure to add these to our collection, 1,000 Free Audio Books: Download Great Books for Free.

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Watch a 5‑Part Animated Primer on Afrofuturism, the Black Sci-Fi Phenomenon Inspired by Sun Ra

in Music, Sci Fi | March 9th, 2017

We recognize its hallmarks in music especially. It is the province of Sun Ra, George Clinton and Parliament/Funkadelic, Afrika Bambaataa, and, in recent years, Janelle Monae, Andre 3000, Beyoncé, and many other black artists who have updated for the 21st century the styles and sounds of Afrofuturism. Reaching back into an Afrocentric past—with heavy emphasis on Egyptology—and forward to an interstellar future, the genre of Afrofuturism reclaims the terrain of science fiction for people of African descent, serving as an “umbrella term,” as one contemporary Afrofuturist community puts it, “for the Black presence in sci-fi, technology, magic, and fantasy.”

One might be surprised to learn that the term itself did not originate with the visionary founder of its aesthetic. Sun Ra (formerly Herman Poole Blount)—bandleader of the Arkestra and space alien from Saturn—called his space-themed big band music “cosmic jazz” or, sometimes, “phre music—music of the sun.” Instead, “Afrofuturism” was coined by cultural critic Mark Dery in his seminal 1994 essay “Black to the Future,” which included interviews with sci-fi author Samuel R. Delany, critic and musician Greg Tate, and scholar Tricia Rose. Afrofuturism has taken on a variety of meanings, not only in music, but also in art, dance, film, and science fiction writing like that of Delany and Octavia Butler.

But as you’ll learn in the video above, the first in a 5‑part animated series on the genre from Dust, “its roots go back to the late 1930s in Huntsville, Alabama,” the actual birthplace of Sun Ra, where he maintained he was abducted, taken to Saturn (not Jupiter, as the narrator mistakenly says), and told by aliens to “transport black people away from the violence and racism of planet Earth.” The series traces the growth of Sun Ra’s original mission through the cultural touchstones of Lieutenant Uhura, George Clinton, Jimi Hendrix, and Missy Elliott.

Sun Ra died in 1993, the year before Dery invented the name for his generous legacy. “What does it say,” the narrator asks, “about how far we have or have not come if this message still resonates with each new generation?” Dery recently took on the question in a 2016 essay, in which he quotes Tate—now at work on a book on Afrofuturism: “Having ceded the racial ground war to Enlightenment-era imperialism somewhere back in the 17th century, black futurism determined that the fiery realms of the symbolic and the mythic and the rhetorical and the spiritual and the wickedly stylish, sonic, and polyrhythmic would become our culture’s bailiwick, raison d’être, and cultural triumphalist battleground.”

Afrofuturism transforms trauma, the erasure of the black past, and bleak prospects for the future into powerful displays of creative agency. The struggle to claim that agency in the face of imperial violence and plunder continues, Dery argues, but now takes place in the midst of technological developments even a space alien like Sun Ra could not have foreseen. While many of the questions once asked about the humanity of enslaved people have shifted to debates over androids, cyborgs, and other posthuman creations, the conditions for many colonized and marginalized people all over the world have not considerably improved.

As “Afrofuturism is all too aware,” Dery writes, “objects can have inner lives…. Consequently, it is less concerned with knocking the human off its ontological perch than it is in forging alliances with Others of any species, human or posthuman.”

Afrofuturism speaks to our moment because it alone – not the ahistorical, apolitical corporate precogs at TED talks; not the fatuous Hollywood franchises that have nothing to say about our times – offers a mythology of the future present, an explanatory narrative that recovers the lost data of historical memory, confronts the dystopian reality of black life in America, demands a place for people of color among the monorails and the Hugh Ferris monoliths of our tomorrows, insists that our Visions of Things to Come live up to our pieties about racial equality and social justice.

You can see three short episodes of Dust’s Afrofuturism series above, with parts four and five to come. (You will be able to find them all here.) Until then, watch the short Vox video explainer on Afrofuturism below.

via Electronic Beats

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

by Josh Jones | Permalink | Make a Comment ( 2 ) |

Leonard Bernstein Introduces 7‑Year-Old Yo-Yo Ma: Watch the Youngster Perform for John F. Kennedy (1962)

in Music | March 8th, 2017

Asked to think of a virtuoso cellist, many of us immediately imagine Yo-Yo Ma, not just because of his considerable skill but also because of the sheer length of his residency in popular culture. Though only 61 years old, barely middle-aged by classical musician standards, he’s been famous for well over half a century, starting with his entry into the prestigious child-prodigies-who-perform-for-American-presidents circuit. Seven years after his birth in Paris, Ma’s family relocated to New York, by which time he’d already been at the cello for nearly half his short life. From there, it took him no time at all to command an audience whose members included Dwight D. Eisenhower and John F. Kennedy.

The event, a benefit concert called “The American Pageant of the Arts,” happened on November 29, 1962. Its other guests, a who’s-who of the Cold War cultural scene, included Marian Anderson, Van Cliburn, Robert Frost, Fredric March, Benny Goodman, and Bob Newhart. As master of ceremonies, Leonard Bernstein introduced the evening’s wee entertainers.

“Yo-Yo came to our attention through the great master Pablo Casals, who had recently heard him play the cello. Yo-Yo is, as you may have guessed, Chinese, and has lived up to now in France — a highly international type.” The same could be said of his sister Yeou-Cheng, who accompanies him on the piano in a performance of Jean-Baptiste Bréval’s Concertino No. 3 in A Major.

Three years later, the still extremely young but much more famous Ma would write a letter to the conductor:

Dear Mr. Bernstein,

Do you still remember me? Now I am ten years old. This year I learned with Prof. Leonard Rose three concertos: Saint-Saëns’, Boccherini’s and Lalo’s. Last week my sister and I played in a Christmas Concert in Juilliard School. We are invited to give a joint recital in Brearley School on January 19 1966 at 1:45 p.m.

If you have time, I would be glad to play for you.

Yo-Y0 Ma

Not only did Bernstein remember him, he also, by presenting him as a vision of humanity’s artistic future, ensured that everyone else at The American Pageant of the Arts would as well. “Now here’s a cultural image for you to ponder as you listen,” he said just before letting Yo-Yo and Yeou-Cheng take it away. “A seven-year-old Chinese cellist playing old French music for his new American compatriots.” Did Ma recall those words of decades and decades ago when he formed the Silk Road Ensemble, subject of the recent documentary The Music of Strangers, which brought into the fold musicians from Syria, Mongolia, Japan, Armenia, Galicia, and elsewhere, all to share, mix, and reinterpret the music of one another’s homelands? Now there’s a cultural image for you.

via Peter B. Kaufman

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 14 ) |

Hear the Earliest Known Piece of Polyphonic Music: This Composition, Dating Back to 900 AD, Changed Western Music

in History, Music | March 8th, 2017

Like digging for fossils or panning for gold, the research process can be a tedious affair. But for any researcher, long days of searching and reading will eventually result in discovery. These are the moments scholars cherish. It’s the chance discovery, however rare, that makes the long hours and bleary late nights worthwhile. And some finds can change an entire field. Such was the discovery of St. John’s College PhD student Giovanni Varelli, who, in 2014, found what is now believed to be, writes Cambridge University, “the earliest known practical example of polyphonic music,” that is, music consisting of two or more melodic lines working together simultaneously.

You can hear the short composition—written in praise of the patron saint of Germany, Saint Boniface—performed above by St. John’s undergraduates Quintin Beer and John Clapham. Prior to Varelli’s discovery of this piece of music, the earliest polyphonic music was thought to date to the year 1000, from a collection called The Winchester Troper. Varelli’s discovery may date to 100 years earlier, around the year 900, and was found at the end of a manuscript of the Life of Bishop Maternianus of Reims. One reason musicologists had so far overlooked the piece, Varelli says, is that “we are not seeing what we expected.”

Typically, polyphonic music is seen as having developed from a set of fixed rules and almost mechanical practice. This changes how we understand that development precisely because whoever wrote it was breaking those rules. It shows that music at this time was in a state of flux and development.

Varelli’s specialization in early music notation also provided him with the training needed to recognize the piece, which was written using “an early form of notation that predates the invention of the stave” (see the piece below). According to British Library curator Nicolas Bell, “when this manuscript was first catalogued in the eighteenth century, nobody was able to understand these unusual symbols.” Varelli’s discovery shows a deviation from “the convention laid out in treatises at the time” and points toward the development of a musical technique that “defined most European music up until the 20th century.”

Varelli gives us a sense of how important this discovery is to scholars of early music: “the rules being applied here laid the foundations for those that developed and governed the majority of western music history for the next thousand years. This discovery shows how they were evolving, and how they existed in a constant state of transformation, around the year 900.”

So there you have it. If you’re stuck in the doldrums of a research project, waiting for the wind to pick up, don’t despair. The next rare artifact, treatise, or manuscript may be waiting for someone with exactly your specialized insights to decipher its secrets.

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

by Josh Jones | Permalink | Make a Comment ( 8 ) |

Alfred Hitchcock Meditates on Suspense & Dark Humor in a New Animated Video

in Animation, Film | March 8th, 2017

Back in 1957, while shooting a film tentatively called From Amongst The Dead (it would later be titled Vertigo), Alfred Hitchcock sat down for an interview with Colin Edwards, from Pacifica Radio. The conversation touched on many good themes–how suspense works in his films, the role of dark humor and beyond.

A half century later, Blank on Blank has revived and animated that conversation, thankfully bringing it back to life. You can find many more Blank on Blank reanimations of vintage interviews in our archive, including talks with Patti Smith, Nina Simone, Charles Bukowski, David Foster Wallace and much more.

Looking for free, professionally-read audio books from Audible.com? Here’s a great, no-strings-attached deal. If you start a 30 day free trial with Audible.com, you can download two free audio books of your choice. Get more details on the offer here.

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by OC | Permalink | Make a Comment ( 3 ) |

Women Have Always Worked: A New Online Course Premieres Today

in History, Online Courses | March 8th, 2017

It’s been said that the greatest achievement in American history in the 20th century is the progress that was made – although the journey continues – toward woman’s equality, what with women’s right to vote codified in the 19th amendment (1920), women’s reproductive rights affirmed by the Supreme Court over a half century later (1973), and every advance in between and since. Our national government has done what it can to recognize that progress, and to remind us whence we came. The National Park Service, for example, tells us that when our country started:

The religious doctrine, written laws, and social customs that colonists brought with them from Europe asserted women’s subordinate position. Women were to marry, tend the house, and raise a family. Education beyond basic reading and writing was unusual. When a woman took a husband she lost what limited freedom she might have had as a single adult. Those few married women who worked for pay could not control their own earnings. Most could neither buy nor sell property or sign contracts; none could vote, sue when wronged, defend themselves in court, or serve on juries. In the rare case of divorce, women lost custody of their children and any family possessions.…

And that … “Women actually lost legal ground as a result of the new United States Constitution.”

What if there were an opportunity to study this struggle and the progress we have made in great depth – in an online course from Columbia University and the New-York Historical Society featuring its star women’s historian, Alice Kessler-Harris, now emerita, and a lineup of guest voices from all around the country interviewed under her leadership to provide their expertise on matters of progress and equality? And what if there were a new Center for the Study of Women’s History launching at the same time, even on the same day – March 8, 2017 – to provide a more permanent place for examining and understanding how to make this progress even more expansive?

Women Have Always Worked, a 20-week online class, premieres its first 10 weeks today – free on the edX platform. The offering (enroll here) is unique in the history of education. The course introduces the first collaboration between a university and a historical society to present knowledge to the world – with extended video-recorded conversations and artifact and document discussions with renowned scholars and authors including Baruch’s Carol Berkin; Deborah Gray White from Rutgers; Iowa’s Linda Kerber; Carroll Smith Rosenberg from Michigan; Thavolia Glymph from Duke; St. John’s Lara Vapnek; Blanche Wiesen Cook from CUNY; Louise Bernikow; Harvard’s Nancy Cott; Elaine Tyler May at the University of Minnesota; NYU’s Linda Gordon; the great New York writer Vivian Gornick; and more.

The course page lists some of the questions covered:

• How women’s participation in, exclusion from, and impact on American economic, political, and social life have altered American history.
• How key figures and events have challenged the role of women in the home and workplace.
• How ideas, such as democracy, citizenship, liberty, patriotism, and equality have differently shaped the lives of women and men.
• How women of different races and classes have experienced work, both inside and outside the home.
• How historians of women and gender study America’s past, including hands-on opportunities to practice analyzing primary sources from the present and the past.
• How women’s history has developed and changed over time.
And did we say it’s free?

The second part of the course will launch in June, in association with the annual meeting of the Berkshire Women’s History Conference at Hofstra University – the largest meeting of women’s historians anywhere. The MOOC is inspired by Kessler-Harris’s book, Women Have Always Worked: A Historical Overview, first published by the Feminist Press in 1981 and coming out in a newly updated edition also in 2017 from the University of Illinois, publisher of Kessler-Harris’s landmark Gendering Labor History (2007). The original book brings forth a million gems of knowledge and analysis in text and images; the online course brings forward video and audio and documents and artifacts such as few media can accomplish. Intelligent Television had the opportunity to produce many of the video interviews, conversations, and testimonials.

The struggle of women at work is the struggle of all who seek a better and more just world. The course is a little miracle alight within it.

Peter B. Kaufman runs Intelligent Television (www.intelligenttelevision.com) and twice served as Associate Director of the Center for Teaching and Learning at Columbia.

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by Peter B. Kaufman | Permalink | Make a Comment ( None ) |

The Music in Quentin Tarantino’s Films: Hear a 5‑Hour, 100-Song Playlist

Akira Kurosawa’s Adaptation of Edgar Allan Poe’s The Masque of the Red Death Finally in Production, Coming in 2020

Free Audio: Hear Stories by Jhumpa Lahiri, Margaret Atwood & Authors

Watch a 5‑Part Animated Primer on Afrofuturism, the Black Sci-Fi Phenomenon Inspired by Sun Ra

Leonard Bernstein Introduces 7‑Year-Old Yo-Yo Ma: Watch the Youngster Perform for John F. Kennedy (1962)

Hear the Earliest Known Piece of Polyphonic Music: This Composition, Dating Back to 900 AD, Changed Western Music

Alfred Hitchcock Meditates on Suspense & Dark Humor in a New Animated Video

Women Have Always Worked: A New Online Course Premieres Today

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