209 Beatles Songs in 209 Days: Memphis Musician Covers The Beatles’ Songbook

in Music | July 3rd, 2017

There’s a danger for musicians in covering well-known songs from famous artists. The obvious problem: one can fail to meet the challenge and deliver a substandard performance of a beloved classic, almost a criminal act in the estimation of die-hard fans. But it’s too tempting not to try. Musicians, like writers and other artists, learn best by mimicking the greats, then take what they’ve learned and develop their own style. Some of the best covers of popular songs are those that transpose them into a different key, style, tempo, or another genre entirely. “Make it your own!” as they say. Still a risky move… especially when it comes to the Beatles.

There are indeed many phenomenal Beatles covers—such as Bad Brains’ live take on “Day Tripper” (for me anyway)—that rival the originals. Some others… not so much. But when a Beatles cover is really good, and I mean really, really good… it’s usually a pro who pulls it off. So hats off to David Brookings, an able non-famous musician and Beatles superfan who set himself the gargantuan task of covering 209 Beatles songs in 209 days. Are all his cover versions gems?

No, but the bar is set so high that it’s an impossible expectation, especially given the constraints. Brookings isn’t re-inventing the pop genius wheel. He’s having fun with Beatles’ songs, accompanied by an acoustic guitar, a keyboard, a friend—singing Yoko’s parts in the silly “The Continuing Story of Bungalow Bill,” above—or his wife Shelby, as in “Please Please Me,” below.…

With their home video production values, Brookings’ covers don’t rise far above the wealth of other such efforts that flood YouTube, many of which are highly admirable in their own way. But what sets his project apart—beyond its ambitious scope—is his occasionally trenchant commentary and an interesting personal backstory. Brookings undertook his Beatles covers project in 2010 as a tribute not only to the Beatles, but also, perhaps, to Steve Jobs, founder of that company named after the band’s own label (and likely tax shelter). Brookings says the whole thing may have been just a stunt just to show that “some idiot recorded all 209 songs in 209 days.” But it’s surely more than a coincidence that the year earlier, while working as a tour guide at Memphis’ legendary Sun Studios, he made such an impression on Jobs that the Apple founder invited him to Cupertino to help build Apple’s iTunes library of blues and early rock and roll.

A dream gig for any musician and student of musical history, and enough of an inspiration to take on the entire catalog of the most famous band in the world. What’s more, Brookings happened to be recovering from liver-transplant surgery when he met Jobs at Sun and scored the job. See Brookings and his adorable daughter McKinley sing “Norwegian Wood,” above and “She Said She Said” below, and check out all of his covers, as well as original songs and performances with his band, on his YouTube channel. Find Beatles covers 1–110 here. And songs 111–209 here.

h/t Mark at PartiallyExaminedLife

The 15 Worst Covers of Beatles Songs: William Shatner, Bill Cosby, Tiny Tim, Sean Connery & Your Excellent Picks

Jimi Hendrix Plays “Sgt. Pepper’s Lonely Hearts Club Band” for The Beatles, Just Three Days After the Album’s Release (1967)

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

by Josh Jones | Permalink | Make a Comment ( None ) |

Arnold Schoenberg Creates a Hand-Drawn, Paper-Cut “Wheel Chart” to Visualize His 12-Tone Technique

in Math, Music | June 30th, 2017

“These go up to eleven,” Spinal Tap famously said of the amplifiers that, so they claimed, took them to a higher level in rock music. But the work of Austrian composer Arnold Schoenberg, one of the best-known figures in the history of avant-garde music, went up to twelve — twelve tones, that is. His “twelve-tone technique,” invented in the early 1920s and for the next few decades used mostly by he and his colleagues in the Second Viennese School such as Alban Berg, Anton Webern, and Hanns Eisler, allowed composers to break free of the traditional Western system of keys that limited the notes available for use in a piece, instead granting each note the same weight and making none of them central.

This doesn’t mean that composers using Schoenberg’s twelve-tone technique could just use notes at random in complete atonality, but that a new set of considerations would organize them. “He believed that a single tonality could include all twelve notes of the chromatic scale,” writes Bradford Bailey at The Hum, “as long as they were properly organized to be subordinate to tonic (the tonic is the pitch upon which all others are referenced, in other words the root or axis around which a piece is built).” The mathematical rigor underlying it all required some explanation, and often mathematical and musical concepts — mathematics and music being in any case intimately connected — become much clearer when rendered visually.

Hence Schoenberg’s twelve-tone wheel chart pictured at the top of the post, one of what Arnold Schoenberg’s Journey author Allen Shawn describes as “no fewer than twenty-two different kinds of contraptions” — including “charts, cylinders, booklets, slide rules” — “for transposing and deriving twelve-tone rows” needed to compose twelve-tone music. (See the slide ruler above too.) “The distinction between ‘play’ and ‘work’ is already hard to draw in the case of artists,” writes Shawn, “but in Schoenberg’s case it is especially hard to make since he brought discipline, originality, and playfulness to many of his activities.” These also included making special playing cards (two of whose sets you can see here and here) and even his own version of chess.

As Shawn describes it, Koalitionsscach, or “Coalition Chess,” involves “the armies of four countries arrayed on the four sides of the board, for which he designed and constructed the pieces himself.” Instead of an eight-by-eight board, Coalition Chess uses a ten-by-ten, and the pieces on it “represent machine guns, artillery, airplanes, submarines, tanks, and other instruments of war.” The rules, which “require that the four players form alliances at the outset,” add at least a dimension to the age-old standard game of chess — a form that, like traditional Western music, humanity will still be struggling to master decades and even centuries hence. But apparently, for a mind like Schoenberg’s, chess and music as he knew them weren’t nearly challenging enough.

The Avant-Garde Project: An Archive of Music by 200 Cutting-Edge Composers, Including Stravinsky, Schoenberg, Cage & More

Interviews with Schoenberg and Bartók

John Coltrane Draws a Picture Illustrating the Mathematics of Music

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on the book The Stateless City: a Walk through 21st-Century Los Angeles, 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 ) |

Watch Johnny Cash’s Poignant Final Interview & His Last Performance: “Death, Where Is Thy Sting?” (2003)

in Music | June 29th, 2017

“Ask someone to name a song that always has the power to reduce them to tears,” writes Independent culture editor Christopher Hooton, “and the chances are they’ll swiftly reply ‘Johnny Cash. Hurt,’” the country legend’s heartbreaking cover of Trent Reznor’s masochistic anthem. Asked to name a music video with the same emotional resonance, and you’re just as likely to get the same answer. I find myself tearing up just reading Hooton’s description of it. Shot at The House of Cash, the singer’s decrepit home (and shuttered museum), director Mark Romanek’s wrenching video speaks to us of “the transience of life, the gracelessness of death, the Ozymandian crumbling of an oeuvre and the decline of a genre, an era and an attitude.”

It does all that, but does much more besides: the video, and Cash’s last recordings in general, show us a man in the depths of lovelorn grief, yet unafraid to face mortality and decline and unwilling to deny their ravages. We mourn with Cash and for him, but his final performances are so riveting because, while most of us may fear death, he did not.

“Corinthians 15:55,” his last original song—on his final, posthumous collection, Ain’t No Grave—is named after the verse that asks “Death, where is thy sting?” Throughout the album, Cash sounds, writes Adam Richter, “unimpressed by the threat of death…. Singers are almost never as prepared as Cash was to bid adieu to all that.”

The “Hurt” video netted Cash, Romanek, and his team six MTV Video Music Award nominations. Before it won for Best Cinematography, Cash sat down with Kurt Loder on August 20th, 2003, for what would turn out to be his final interview. Although he confesses to a distaste for the work of making videos, of “Hurt,” he says, “I felt we were doing something worthwhile.” He talks about meeting Rick Rubin and making the American Recordings series of albums, some of the most widely praised records of his career, and the music he had always wanted to make. And he expresses the fierce independence, compassion, and authenticity that made him such a phenomenal writer and admirable human being.

“You can’t let people delegate to you what you should do,” Cash says, pointing at his heart, “when it’s coming from way in here, you know?… I wouldn’t let anybody influence me into thinking I was doing the wrong thing by singing about death, hell, and drugs.” We’re all lucky that he didn’t. Cash’s expressions of grief after the death of June Carter cut deep, but it was his ability not only to play the outlaw but also to empathize with people who are abused, persecuted, and excluded by the law that set him apart from other country and gospel singers, and made him a hero to millions of people who don’t share his roots or his faith.

The month before Cash gave his final interview, he gave his last performance at the Carter Ranch. (Watch it above.) Less than a month after the interview, he was dead. In 2007, the House of Cash, the house Cash had lived in since 1968, burned to the ground. Cash surely would have mourned the loss, but it wouldn’t have kept him down for long, I suspect. Not only did he stare down death with grace, humor, and dignity, but he faced the pains of life with those same qualities.

Johnny Cash & Joe Strummer Sing Bob Marley’s “Redemption Song” (2002)

Johnny Cash’s Christmas Specials, Featuring June Carter, Steve Martin, Andy Kaufman & More (1976–79)

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

by Josh Jones | Permalink | Make a Comment ( 1 ) |

The Animated Score for Penderecki’s “Threnody to the Victims of Hiroshima,” the Horrifying Composition Featured in Lynch’s Twin Peaks, Cuarón’s Children of Men & Other Films

in Music | June 29th, 2017

If you were watching episode 8 of Twin Peaks on Sunday night, you might still be recovering from an overdose of uncut, pure David Lynch. We’re not here to summarize the episode but instead to point to the musical accompaniment to one of the most startling sequences in all of the director’s filmography: The slow tracking aerial shot into the heart of the first nuclear test mushroom cloud, right into the middle of hell itself (see below).

Although Angelo Badalamenti is back on board as the show’s composer, Lynch chose to use for this scene the modern classical work by Krzysztof Penderecki, Threnody to the Victims of Hiroshima, one of the most harrowing works of the 20th century.

The eight-and-a-half minute composition—-which you can listen to while following the composer’s abstract score in the video above—-was written by the Polish composer for 52 strings, nothing else. This accounts for the shrill, all treble nature of the piece. The title and dedication came later, only after Penderecki had listened to it being performed.

“I was struck by the emotional charge of the work,” Penderecki said, “I searched for associations and, in the end, I decided to dedicate it to the Hiroshima victims.”

The work went on to take third place at the Grzegorz Fitelberg Composers’ Competition in Katowice in 1960 and won the Tribune Internationale des Compositeurs UNESCO prize in 1961, two major awards that began Penderecki’s journey to become one of Poland’s most respected composers, second only to Henryk Górecki.

This isn’t Lynch’s first use of Penderecki, having put an excerpt of 1970’s Kosmogonia in Wild at Heart’s “lipstick freakout” scene, and six pieces in Inland Empire.

And it isn’t the first time Threnody to the Victims of Hiroshima, has been used in film. It was chosen by Alfonso Cuarón for Children of Men, and by Wes Craven for The People Under the Stairs, which coincidentally starred two actors from Twin Peaks.

Interestingly, Penderecki had scored films in the ‘60s, but they were work for hire jobs: a pleasant folk filled score for Wojciech Has’s The Saragossa Manuscript and choral pastiche in a Renaissance style for Alain Resnais’ Je t’aime, Je t’aime, along with some television work. But he kept that music separate from his serious work as a concert composer, seeing soundtrack work as undignified—-this was long before Philip Glass was scoring films, when careers were more regimented.

Because he refused to score William Friedkin’s The Exorcist for that reason, the director chose instead to use five of Penderecki’s already existing works for some of the film’s scariest moments: the appearance of words on Regan’s body, Father Merrin’s vision of evil near the start of the film, and during the exorcism itself. People remember Mike Oldfield’s “Tubular Bells” for its futuristic sound of occult apprehension, but it’s Penderecki’s work that accompanied all the screaming from the audiences.

Six years later in 1979, Stanley Kubrick would use seven Penderecki works for The Shining, underlining the state of madness in that particularly jarring film.

By the mid-1970s, the composer was turning away from the discordant tonal clusters of these early works and towards a more traditional and often beautiful style. But for a certain generation of filmmakers, Penderecki will be synonymous with horror. Last Sunday showed the piece still holds a grim, devastating power.

The Scores That Electronic Music Pioneer Wendy Carlos Composed for Stanley Kubrick’s A Clockwork Orange and The Shining
Angelo Badalamenti Reveals How He and David Lynch Composed the Twin Peaks‘ “Love Theme”

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.

by Ted Mills | Permalink | Make a Comment ( 1 ) |

Edvard Munch’s Famous Painting “The Scream” Animated to the Sound of Pink Floyd’s Primal Music

in Art, Music | June 28th, 2017

In this short video, Romanian animator Sebastian Cosor brings together two haunting works from different times and different media: The Scream, by Norwegian Expressionist painter Edvard Munch (1863–1944), and “The Great Gig in the Sky,” by the British rock band Pink Floyd.

Munch painted the first of four versions of The Scream in 1893. He later wrote a poem describing the apocalyptic vision behind it:

I was walking along the road with two Friends
the Sun was setting — the Sky turned a bloody red
And I felt a whiff of Melancholy — I stood
Still, deathly tired — over the blue-black
Fjord and City hung Blood and Tongues of Fire
My Friends walked on — I remained behind
– shivering with anxiety — I felt the Great Scream in Nature

Munch’s horrific Great Scream in Nature is combined in the video with Floyd’s otherworldly “The Great Gig in the Sky,” one of the signature pieces from the band’s 1973 masterpiece, Dark Side of the Moon. The vocals on “The Great Gig” were performed by an unknown young songwriter and session singer named Clare Torry.

Torry had been invited by producer Alan Parsons to come to Abbey Road Studios and improvise over a haunting piano chord progression by Richard Wright, on a track that was tentatively called “The Mortality Sequence.” The 25-year-old singer was given very little direction from the band. “Clare came into the studio one day,” said bassist Roger Waters in a 2003 Rolling Stone interview, “and we said, ‘There’s no lyrics. It’s about dying — have a bit of a sing on that, girl.’ ”

Forty-two years later, that “bit of a sing” can still send a shiver down anyone’s spine. For more on the making of “The Great Gig in the Sky,” and Torry’s amazing contribution, see the clip below to hear Torry’s story in her own words.

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!

Hear How Clare Torry’s Vocals on Pink Floyd’s “The Great Gig in the Sky” Made the Song Go from Pretty Good to Stunning

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

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

The Night Frank Zappa Jammed With Pink Floyd … and Captain Beefheart Too (Belgium, 1969)

Three Pink Floyd Songs Played on the Traditional Korean Gayageum: “Comfortably Numb,” “Another Brick in the Wall” & “Great Gig in the Sky”

by Mike Springer | Permalink | Make a Comment ( 1 ) |

The Sound of Avant Garde Jazz: Stream 35 Hours of Experimental Jazz by Sun Ra, Ornette Coleman, John Coltrane & More

in Jazz, Music | June 27th, 2017

Jazz has become institutionalized, for both good and ill. On the upside, it has found a permanent home in prestigious performing arts centers like Jazz at Lincoln Center, where its memory will be preserved for generations. High priests like Wayne Shorter, Wynton Marsalis, and Herbie Hancock pass on the traditions to young jazz acolytes at universities. The American art form has achieved the level of respectability that some of its most innovative practitioners, such as Duke Ellington and Charles Mingus, had always sought, the recognition of the high art world.

On the other hand, we too easily forget how dangerous jazz used to be—how thoroughly cutting edge and disturbing to middlebrow sensibilities. But of course, jazz has passed through many cultural cycles, with each generation of artists shocking its elders by pushing against musical decorum. Late 40s and 50s bebop gave us the lean, mean combo as a challenge to the big band swing era, and produced superstar improvisers who veered thrillingly off script in every performance. But this incarnation of jazz, too, threatened to become staid as the sixties neared.

And so a handful of artists created, to take the title of Ornette Coleman’s groundbreaking 1959 album, “the shape of jazz to come,” free jazz, which represented, writes Chris Kelsey, “a final break with the music’s roots as a popular art form, casting it in an alternative role as an experimental art music.” The sixties saw profound innovation in jazz, as artists like Coleman, Coltrane, Eric Dolphy, Sun Ra, Pharoah Sanders, and others expanded its possibilities. But to read this music as solely experimenting “along the lines of the European ‘classical’ avant-garde” is to ignore the deep cultural wellspring from which it came.

As Amiri Baraka wrote in the liner notes for a 1965 compilation, The New Wave in Jazz, avant-garde jazz was a “touch stone of the new world,” a form that transcended the conditions of slavery, miseducation, and social control; it was the “music of contemporary black culture.”

The people who make this music are intellectuals or mystics or both. The black rhythm energy blues feeling (sensibility) is projected into the area of reflection, intentionally. As Expression…where each term is (equally) co-respondent.

     Projection over sustained periods (more time given, and time proposes a history for expression, hence it becomes reflective projection.

     Arbitrariness of Form (variety in nature)

     Intention of performance as a Learning experience

These were the distinctive “new world” qualities of experimental jazz. Its hip signifiers, Baraka wrote, mark it as “an invention of Black Lives”; it is not music to lull and soothe but to instruct, with force, if necessary. “Getting hit in the head with a stick,” he writes with a wink, “can do you as much good as meditating.” It might be hard for us to hear, now that the music has been so thoroughly enshrined in academic departments and conservatories, but avant-garde jazz once had the power to thoroughly shock and surprise, as the statement of a culture both in dialogue with and revolt against oppressive traditional forms.

In the playlist above, The Sound of Avant-Garde Jazz, you recover a sense of the music’s edginess with recordings from some of its most experimental gurus, including Coleman, Sun Ra, McCoy Tyner, Yusef Lateef, Alice Coltrane, and many, many more. The playlist spans the last 60 years or so, featuring later white adopters like Pat Metheny, John Zorn, and Bill Frisell, and including rocking electric jazz from diverse, eclectic bands like Tony Williams’ Lifetime, whose “Proto-Cosmos,” at the top, epitomizes the expansive range of 70s fusion. The overall experience of this comprehensive playlist may not only shake up your preconceptions of jazz, but may, as Baraka writes, change your preconditioned sense of “the normal feeling of adventure.”

The playlist offers up 350 tracks, and runs 35 hours. If you need Spotify’s free software, download it here.

Langston Hughes Creates a List of His 100 Favorite Jazz Recordings: Hear 80+ of Them in a Big Playlist

The History of Spiritual Jazz: Hear a Transcendent 12-Hour Mix Featuring John Coltrane, Sun Ra, Herbie Hancock & More

Herbie Hancock to Teach His First Online Course on Jazz

The Night When Charlie Parker Played for Igor Stravinsky (1951)

Hear Ornette Coleman Collaborate with Lou Reed, Which Lou Called “One of My Greatest Moments”

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

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Going to Concerts and Experiencing Live Music Can Make Us Healthier & Happier, a New Psychology Study Confirms

in Music, Psychology | June 26th, 2017

Image by Niels Epting, via Flickr Commons

It can sometimes seem like so much qualitative science confirms what we already know through experience and folk wisdom. But that does not make such research redundant. Instead, it sets the stage for more detailed investigations into specific causes and effects, and can lead to more refined understanding of general phenomena. For example, “a new study out of Australia,” reports CNN, “confirms what we probably already knew,” by concluding that if you want to be happier, you should get out more.

Specifically, you should get out to concerts and music festivals and dance your you-know-what off. The Australian researchers found that “people who actively engaged with music through dancing and attending events like concerts and musicals reported a higher level of subjective wellbeing.” The March, 2017 study, cheekily titled “If You’re Happy and You Know It: Music Engagement and Subjective Wellbeing,” defines the latter phrase as “the scientific psychological term for general mood ‘happiness,’ which is positive, stable, and consistent over time.”

Subjective wellbeing (SWB), although a self-reported measure, helps psychologists identify effective therapies for depression and mood disorders. Engaging meaningfully with music is one of them, and one needn’t be a musician to reap the benefits. While “producing music and performing encourage self-exploration, emotional expression, self-esteem and confidence,” the study’s authors write, interacting with music as a fan is also “associated with higher mood when considered in terms of activation and valence.”

Simply consuming recorded music, however, will not have the same benefits. While “recent technological advances” and streaming services have “increased the availability of and accessibility to music… engaging with music extends beyond just passive listening.” In large part, the active participation in a music scene—as part of a fan community or festival audience, for example—shows positive outcomes because of the “social component of music engagement.” Listening by oneself “may improve physical health and emotional wellbeing.” Listening “in the company of others is associated with stronger positive experiences.”

As the site Live for Live Music puts it, “live music universally lowers stress levels, increases social bonds while decreasing levels of pain, and can even physiologically cause people to get “skin-gasms.” And if that’s not reason enough to get tickets to see your favs, I don’t know what is. One would also hope the study makes a convincing case for funding live music as a mental health initiative. Unless you live in a city with lots of free concerts, the expense of such events can be prohibitive. At least in Australia, the researchers note, “attending musical events is costly, and may be a privilege afforded to those who earn a higher income.”

Susan Perry at Minnpost sums up a few other limitations of the study, such as its lack of data on frequency of attendance, and that it does not “differentiate between people who are musically talented and those who aren’t.” Nonetheless, one particular finding should have you shedding inhibitions to increase your SWB. “Dancers,” Perry summarizes, were “more likely than non-dancers to be happy,” as were those who sing along.

Playing an Instrument Is a Great Workout For Your Brain: New Animation Explains Why

Music in the Brain: Scientists Finally Reveal the Parts of Our Brain That Are Dedicated to Music

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

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

A Light Show on The Empire State Building Gets Synced to the Dead’s Live Performance of “Touch of Grey” (6/24/2017)

in Art, Music | June 25th, 2017

Some of my favorite things come together…

Last night, Dead & Company played a huge show at Citi Field in New York City. And when they performed “Touch of Grey” during their encore, a light show on the Empire State Building got underway, completely synchronized with the song. According to Jam Band, the lights were “controlled by veteran lighting designer Marc Brickman, who has worked on tour with Pink Floyd, Paul McCartney, Hans Zimmer and many more.” Enjoy the visual display above. And see the scene on the stage below:

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!

via Live for Music

Bob Dylan & The Grateful Dead Rehearse Together in Summer 1987: Hear 74 Tracks

The Night When Miles Davis Opened for the Grateful Dead in 1970: Hear the Complete Recordings

Jerry Garcia Talks About the Birth of the Grateful Dead & Playing Kesey’s Acid Tests in New Animated Video

The Grateful Dead Play at the Egyptian Pyramids, in the Shadow of the Sphinx (1978)

by OC | Permalink | Make a Comment ( None ) |

209 Beatles Songs in 209 Days: Memphis Musician Covers The Beatles’ Songbook

Arnold Schoenberg Creates a Hand-Drawn, Paper-Cut “Wheel Chart” to Visualize His 12-Tone Technique

Watch Johnny Cash’s Poignant Final Interview & His Last Performance: “Death, Where Is Thy Sting?” (2003)

The Animated Score for Penderecki’s “Threnody to the Victims of Hiroshima,” the Horrifying Composition Featured in Lynch’s Twin Peaks, Cuarón’s Children of Men & Other Films

Edvard Munch’s Famous Painting “The Scream” Animated to the Sound of Pink Floyd’s Primal Music

The Sound of Avant Garde Jazz: Stream 35 Hours of Experimental Jazz by Sun Ra, Ornette Coleman, John Coltrane & More

Going to Concerts and Experiencing Live Music Can Make Us Healthier & Happier, a New Psychology Study Confirms

A Light Show on The Empire State Building Gets Synced to the Dead’s Live Performance of “Touch of Grey” (6/24/2017)

Essentials

Support Us

Free Courses

Receive our Daily Email

FREE UPDATES!

GET OUR DAILY EMAIL

Free Movies

Free Language Lessons

Free eBooks

Free Audio Books

Free Textbooks

K-12 Resources

Free Art & Images

Free Music

Writing Tips

Archive

Personal Finance

Categories

Great Lectures

Sign up for Newsletter

About Us

Great Recordings

Book Lists By

Syllabi

Favorite Movies

Archives

Search