Bach’s Prélude N°1 Played on Boomwhacker Percussion Tubes

Since 1999, the French jug­gling group Les Objets Volants (The Fly­ing Objects) have been enter­tain­ing audi­ences world­wide. Beyond jug­gling, their shows incor­po­rate ele­ments of the­ater, visu­al arts and even math­e­mat­ics. And the group takes spe­cial pride in explor­ing new ways of han­dling and manip­u­lat­ing every­day objects. Which brings us to the per­for­mance above. There you can see Les Objets Volants per­form Bach’s Prélude N°1. (which more typ­i­cal­ly sounds some­thing like this) on “boomwhack­ers,” those hol­low, col­or-cod­ed, plas­tic per­cus­sion tubes, which are tuned to dif­fer­ent musi­cal pitch­es. Record­ed last March, the clip is an out­take from a Les Objets Volants show called Liai­son Car­bone,” which explores con­cepts in physics. Enjoy.

via Digg

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Relat­ed Con­tent:

Stream the Com­plete Works of Bach & Beethoven: 250 Free Hours of Music

All of Bach Is Putting Videos of 1,080 Bach Per­for­mances Online

Down­load the Com­plete Organ Works of J.S. Bach for Free

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

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B.B. King Plays Live at Sing Sing Prison in One of His Greatest Performances (1972)

“I was told that some of you dudes don’t know any­thing about blues,” he said from the stage before begin­ning what he would go on to call the one of the great­est shows of his career: “So I wan­na say this to you: I came to swap some with you. I imag­ine that quite a few of you dudes have the blues already.” After a lit­tle more friend­ly ban­ter and an acknowl­edg­ment that it is Thanks­giv­ing Day, B.B. King launch­es into “Down­heart­ed” (or “How Blue Can You Get”) in front of his admir­ing audi­ence of inmates at Sing Sing Cor­rec­tion­al Facil­i­ty in Ossin­ing, New York.

It is three years after John­ny Cash per­formed at San Quentin (four years after his Fol­som con­cert) and one year after Nixon declared the “war on drugs” and began the peri­od of mass incar­cer­a­tion that has reached epi­dem­ic pro­por­tions today.

The con­cert at Sing Sing includ­ed not only King but also per­for­mances from come­di­an Jim­my Walk­er (J.J. from Good Times, who intro­duces King at the top), ensem­ble vocal group Voic­es of East Harlem, and Joan Baez and her sis­ter Mimi Far­iña, who you can see below sing “I Shall Be Released” and “Viva mi patria Bolivia.” In-between the stars per­for­mances, inmates put on a play and recit­ed orig­i­nal poet­ry.

Baez, as you’ll see, was very well received, but the star of the night was King. The entire show was cap­tured on film by doc­u­men­tary direc­tor David Hoff­man, who had been teach­ing film at the prison and who orga­nized the show. In the clips above, Hoff­man shows us sev­er­al close-ups of the inmates’ faces in beau­ti­ful­ly human­iz­ing por­traits rem­i­nis­cent of the pho­tographs of Gor­don Parks. You can see Hoff­man below briefly describe the cir­cum­stances of the con­cert before anoth­er clip of the “Down­heart­ed” per­for­mance and more.

See a few more clips from the con­cert on Youtube here, and buy a copy of the com­plete DVD here (Richard and Mimi Fariña’s web­site has a com­plete list­ing of per­for­mances). The Sing Sing con­cert had an impact on the per­form­ers as well as the inmates. Baez wrote an orig­i­nal song for the film’s cred­its (below) and her sis­ter Mimi was inspired after­ward to found Bread & Ros­es, which orga­nizes con­certs for peo­ple in hos­pi­tals, home­less shel­ters, pris­ons, and oth­er insti­tu­tions (“any­where they serve Jell‑O,” joked come­di­an Don Nov­el­lo).

This was not the first time King had per­formed at a prison. The year pre­vi­ous, in 1971, he put on a con­cert at Chicago’s Cook Coun­ty Jail. The result­ing record made Rolling Stone’s 500 best albums list, though it didn’t mer­it the most favor­able review from the mag­a­zine. Nonethe­less, All­mu­sic pro­nounced it a “live album with some real sparks to it,” and “pos­si­bly the best live ver­sion of ‘The Thrill is Gone’ of all its many incar­na­tions.” Hear it below and decide for your­self, and hear the full Cook Coun­ty live album here.

Of that ear­li­er prison con­cert, King’s key­boardist Ron Levy remarked, “If any­body had the blues, it was those peo­ple incar­cer­at­ed. And B.B. real­ly felt com­pas­sion for those guys…. Peo­ple don’t real­ize B.B. King was much more than just a musi­cian and enter­tain­er. He’s a human being, a human­i­tar­i­an. He cared. He’s one of the real­ly good guys. There aren’t many like him in his­to­ry. He’s not just the king of the blues. He’s one of the kings of human­i­ty.”

Relat­ed Con­tent:

The Thrill is Gone: See B.B. King Play in Two Elec­tric Live Per­for­mances

B.B. King Explains in an Ani­mat­ed Video Whether You Need to Endure Hard­ship to Play the Blues

B.B. King Changes Bro­ken Gui­tar String Mid-Song at Farm Aid, 1985 and Doesn’t Miss a Beat

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

Stream 22 Hours of Funky, Rocking & Swinging Christmas Albums: From James Brown and Johnny Cash to Christopher Lee & The Ventures

When you think Christ­mas, you prob­a­bly think recent­ly deceased Stone Tem­ple Pilots singer Scott Wei­land, no? No, you prob­a­bly don’t, but he made a Christ­mas record all the same in 2011 (see his “Win­ter Won­der­land” video above). You might say crit­ics didn’t love it, but that’s not real­ly the point. Artists often record Christ­mas records as nov­el­ty items for shop­pers on a tear to snatch up and shove in the bas­ket with oth­er last-minute detri­tus. It seems like com­mon wis­dom that if you get your Christ­mas album on a Star­bucks or Tar­get prod­uct dis­play, you’ll prob­a­bly have a pret­ty hap­py new year.

James Browns Funky Christmas

But then there are the rare excep­tions, Christ­mas albums made with care, by artists who sure­ly want­ed to make mon­ey, but who also made some­thing unique­ly great of well-worn hol­i­day clas­sics, or penned new ones of their own. There is, of course, the most­ly instru­men­tal jazz great­ness of Vince Guaraldi’s Char­lie Brown Christ­mas sound­track. But have you heard instru­men­tal surf-rock leg­ends The Ven­tures Christ­mas album? It’s out­stand­ing. You’re inti­mate­ly famil­iar with The Jack­son 5’s bril­liant soul ren­di­tions of songs like “San­ta Claus is Com­ing to Town,” but you haven’t yet begun to yule­tide, I say, until you’ve put on James Brown’s Funky Christ­mas, fea­tur­ing such orig­i­nal tunes as “Go Pow­er at Christ­mas Time” and the heart­felt plea on behalf of impov­er­ished kids, “San­ta Claus Go Straight to the Ghet­to.”

We’ve got these albums and many more greats—from Bob Dylan, John­ny Cash, The Beach Boys, Willie Nel­son, Ella Fitzger­ald, Elvis Pres­ley etc.—compiled in the Spo­ti­fy playlist above, where they rub shoul­ders with unex­pect­ed gems from indie band Low, punk rock­ers Bad Reli­gion, and hor­ror leg­end Christo­pher Lee, whose Heavy Met­al Christ­mas and Heavy Met­al Christ­mas Too should be required lis­ten­ing at every hol­i­day par­ty. Host­ing one of your own? Pull up our playlist of Christ­mas music worth hear­ing, hit play, and enjoy many qual­i­ty hours of jazz, funk, coun­try, soul, and rock and roll cheer and tid­ings. These sug­ges­tions come to us via Rolling StoneCom­plex, and our read­ers on Twit­ter. If you need to down­load Spo­ti­fy’s soft­ware, get it here. You can find a com­plete list of the albums below, with links to pur­chase them, should you need a last minute gift.

James Brown’s Funky Christ­mas

John­ny Cash — The Clas­sic Christ­mas Album

The Beach Boys’ Christ­mas Album

Louis Arm­strong and Friends — What a Won­der­ful Christ­mas

A Motown Christ­mas

Elvis’ Christ­mas Album

A Christ­mas Gift for You from Phil Spec­tor

A Char­lie Brown Christ­mas

Bob Dylan, Christ­mas in the Heart

We Wish You a Met­al Xmas … And a Head­bang­ing New Year

The Ven­tures’ Christ­mas Album

Jacob Miller, Nat­ty Christ­mas

A Very She and Him Christ­mas

A Very Spe­cial Christ­mas Vol­ume 1

A Jol­ly Christ­mas from Frank Sina­tra

Willie Nel­son, Pret­ty Paper

Ella Wish­es You a Swing­ing Christ­mas

Soul Christ­mas

Bing Cros­by, White Christ­mas

Christ­mas on Death Row

Christ­mas with the Rat Pack

The Jack­son 5 Christ­mas Album

Suf­jan Stevens, Songs for Christ­mas

Emmy­lou Har­ris, Light of the Sta­ble

James Brown, Soul­ful Christ­mas

Car­pen­ters’ Christ­mas Col­lec­tion

Low, Christ­mas

Bad Reli­gion, Christ­mas Songs

Christo­pher Lee, Heavy Met­al Christ­mas and Heavy Met­al Christ­mas Too

Squir­rel Nut Zip­pers, Christ­mas Car­a­van

Relat­ed Con­tent:

Lis­ten to the Bea­t­les’ Christ­mas Records: Sev­en Vin­tage Record­ings for Their Fans (1963 – 1969)

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

John Waters Makes Hand­made Christ­mas Cards, Says the “Whole Pur­pose of Life is Christ­mas”

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

CBGB is Reborn … As a Restaurant in Newark Airport

cbgb tweet

CBGB, the birth­place of New York’s 1970s punk scene, closed in 2006, with Pat­ti Smith head­lin­ing the final show. It was the end of an era, anoth­er great New York insti­tu­tion shut­ting its doors.

Since then, if you want­ed to re-live the CBGB expe­ri­ence, you could take a vir­tu­al tour of the grungy digs online, or watch vin­tage videos of 197s0s CBGB shows fea­tur­ing The Ramones, the Talk­ing Heads, Blondie, and even a young Pat­ti Smith. And now you can seem­ing­ly try to recap­ture the Bow­ery vibe in Newark, New Jer­sey.

As the tweet above from indie radio sta­tion WFMU sug­gests, CBGB will be rein­car­nat­ed appar­ent­ly as a restau­rant in a Newark Air­port ter­mi­nal, with a menu offer­ing Cheese­burg­ers, Chick­en Wings, Cap­rese Sal­ads, Seared Tog­a­rashi Tuna, and Kobe Chili Dogs. The menu does­n’t seem to be shoot­ing for authen­tic­i­ty, but maybe, hope­ful­ly the bath­rooms will.

via @WFMU

Relat­ed Con­tent:

Pat­ti Smith Plays Songs by The Ramones, Rolling Stones, Lou Reed & More on CBGB’s Clos­ing Night (2006)

Take a Vir­tu­al Tour of CBGB, the Ear­ly Home of Punk and New Wave

The Ramones in Their Hey­day, Filmed “Live at CBGB,” 1977

William S. Burroughs Narrates a Claymation of His Grim Holiday Story “The Junky’s Christmas”

Let’s face it, the hol­i­days are a mis­er­able time of year for many peo­ple. Writ­ers have mined this fact for pathos and much dark humor in sto­ries fea­tur­ing low-rent mall San­tas, squab­bling fam­i­ly din­ners, inept home invaders, and King of the Hill’s res­i­dent sad sack, Bill Dau­terive. Most nar­ra­tives of unhap­py hol­i­days end with some kind of redemption—someone dis­cov­ers a Christ­mas mir­a­cle, the real San­ta shows up, the Grinch’s heart grows to near­ly burst­ing from his chest, Ebenez­er Scrooge repents….

What if the redemp­tion is one down-and-out junky shar­ing his only fix with a man suf­fer­ing from kid­ney stones—that is, after the junky spends the day try­ing to steal enough to buy hero­in, finds a suit­case con­tain­ing two sev­ered human legs, and final­ly scores a lit­tle mor­phine by gold­brick­ing at a crooked doctor’s house? That’s the plot of William S. Bur­roughs’ sto­ry “The Junky’s Christ­mas,” which appeared in the 1989 col­lec­tion Inter­zone and there­after achieved some noto­ri­ety in two adap­ta­tions from 1993.

The first (above)—produced by Fran­cis Ford Cop­po­la and direct­ed by Nick Donkin and Melodie McDaniel—-animates a read­ing by Bur­roughs in Clay­ma­tion, with appear­ances from the man him­self at the begin­ning and end. The sto­ry ends with a Christ­mas mir­a­cle of sorts, the “immac­u­late fix” the main char­ac­ter Dan­ny receives as if from heav­en after his unselfish act. It ain’t Frank Capra, but it’s a lot clos­er to some people’s real lives than It’s a Won­der­ful Life’s angel­ic vis­i­ta­tion.

Also in 1993, Bur­roughs col­lab­o­rat­ed with anoth­er artist plagued by addic­tion, enter­ing a stu­dio in Lawrence, Kansas with Kurt Cobain to read an ear­li­er ver­sion of “The Junky’s Christ­mas” titled “The ‘Priest’ They Called Him.” (Hear it in the fan-made video above.) This ver­sion of the sto­ry also has the suit­case full of sev­ered legs, but this time the recip­i­ent of the junky’s char­i­ty is a dis­abled Mex­i­can fel­low addict suf­fer­ing from with­draw­al. Under­neath Bur­roughs’ dead­pan, Cobain plays bars of “Silent Night” on a gui­tar that sounds like it’s being stran­gled to death. You can read Bur­roughs’ ear­li­er unhap­py Christ­mas sto­ry in full here. And if you’re still not bummed out enough, check out Nerve’s “Ten Most Depress­ing Christ­mas Songs Ever Record­ed.”

Relat­ed Con­tent:

William S. Bur­roughs Reads Naked Lunch, His Con­tro­ver­sial 1959 Nov­el

Watch William S. Bur­roughs’ Ah Pook is Here as an Ani­mat­ed Film, with Music By John Cale

William S. Bur­roughs’ “The Thanks­giv­ing Prayer,” Shot by Gus Van Sant

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

Religious Songs That Secular People Can Love: Bob Dylan, The Byrds, Sam Cooke, Johnny Cash & Your Favorites

There are good rea­sons to find the onslaught of reli­gious music this time of year objec­tion­able. And yet—though I want to do my part in the War on Christmas—I don’t so much object to the con­tent of Christ­mas songs. It’s the music! It’s hack­neyed and tired and gross­ly over­played and a lot of it was nev­er very good to begin with. I’d make the same dis­tinc­tion with any kind of music, reli­gious or oth­er­wise. I grew up in church­es full of Chris­t­ian music, and a lot of it was just ter­ri­ble: the worst of kind of soft rock or adult con­tem­po­rary paired with lyrics so insipid they would make the gospel writers—whoever they were—cringe. Updates with the slick pro­duc­tion of alt-rock, hip-hop, or pop-coun­try styles have only made things worse. On the oth­er hand, some of the most pow­er­ful and mov­ing music I’ve ever heard comes from the church, whether Han­del, The Sta­ples Singers, the Lou­vin Broth­ers, or so many oth­er clas­si­cal and gospel artists and com­posers.

Any­one with a deep affec­tion for West­ern clas­si­cal music prob­a­bly has their share of favorite Chris­t­ian music, what­ev­er their per­son­al beliefs. So, too, do fans of Amer­i­can folk, blues, and coun­try. Some artists have cov­ered the odd reli­gious tune as part of a broad roots reper­toire, like the Byrds’ cov­er of Blue­grass gospel leg­ends the Lou­vin Broth­ers’ corn­ball “The Chris­t­ian Life,” above, from 1968’s Sweet­heart of the Rodeo. Though Gram Par­sons, with the band for the record­ing of this album, had his tra­di­tion­al lean­ings, his musi­cal reli­gion was more “Cos­mic Amer­i­can” than Chris­t­ian. But before Par­sons joined the band and turned ‘em full coun­try rock for a time, the Byrds record­ed anoth­er reli­gious song, one of their biggest hits—Pete Seeger’s “Turn, Turn, Turn” (below), which cribs all of its lyrics ver­ba­tim from Chap­ter 3 of the Book of Eccle­si­astes (eas­i­ly the non-reli­gious person’s favorite book of the Bible).

Oth­er Amer­i­can leg­ends have turned to faith in dra­mat­ic con­ver­sions and have writ­ten earnest, orig­i­nal reli­gious music. Most famous­ly, we have the case of Bob Dylan, whose con­ver­sion to evan­gel­i­cal Chris­tian­i­ty saw him pros­e­ly­tiz­ing from the stage. He also wrote some beau­ti­ful songs like “Pre­cious Angel,” at the top of the post, which he claimed was for the woman who brought him to Chris­tian­i­ty (and which sup­pos­ed­ly con­tains a dig at his ex-wife Sara for not con­vert­ing him). Though it fea­tures some of the more dis­turb­ing lyri­cal turns Dylan has tak­en in his career, it’s one of my favorite tunes of his from this strange peri­od, not least because of the bril­liant gui­tar work of Mark Knopfler.

What­ev­er beliefs he’s claimed over the decades, Dylan’s music has always been reli­gious in some sense, part­ly because of the Amer­i­can folk tra­di­tions he draws on. Almost all of the ear­ly R&B and rock and roll artists came from the folk gospel world, from Elvis to Lit­tle Richard to Jer­ry Lee Lewis. Notably, the gold­en-voiced Sam Cooke got his start as a gospel singer with sev­er­al vocal groups, includ­ing his own The Soul Stir­rers. The har­monies in their ren­di­tion of gospel clas­sic “Far­ther Along” (above) give me chills every time I hear it, even though I don’t cred­it the song’s beliefs.

It’s a com­mon feel­ing I get with Amer­i­can soul, blues, and coun­try singers who moved in and out of the pop­u­lar and gospel worlds. Then there are those artists who left gospel for out­law star­dom, then returned to the fold and embraced their church roots lat­er in life. A prime exam­ple of this kind of spir­i­tu­al, and musi­cal, renew­al is that of John­ny Cash. There are many sides of gospel Cash. Per­haps the most poignant of his reli­gious record­ings come from his final years. Though it suf­fers from some com­mer­cial overuse, Cash’s record­ing of blues clas­sic “God’s Gonna Cut You Down” (often titled “Run On”), above, is equal parts men­ac­ing and haunt­ing, a Chris­t­ian-themed memen­to mori that caught on big with lots of sec­u­lar music fans.

The list of reli­gious music that non-reli­gious peo­ple love could go on and on. Though the exam­ples here are explic­it­ly Chris­t­ian, they cer­tain­ly don’t have to be. There’s Yusef Islam, for­mer­ly Cat Stevens, who came back to record stir­ring orig­i­nal music after his con­ver­sion to Islam, and whose pow­er­ful “Morn­ing has Bro­ken” moves believ­ers and non-believ­ers alike. There’s Bob Mar­ley, or any num­ber of pop­u­lar Rasta­far­i­an reg­gae artists. Then there are more con­tem­po­rary artists mak­ing reli­gious music for large­ly sec­u­lar audi­ences. One could ref­er­ence indie dar­ling Suf­jan Stevens, whose reli­gious beliefs are cen­tral to his song­writ­ing. And there’s a favorite of mine, Mark Lane­gan, for­mer Scream­ing Trees singer and cur­rent rock and roll jour­ney­man who often works with reli­gious themes and imagery, most notably in the glo­ri­ous “Revival,” above, with the Soul­savers project.

The love many non-reli­gious peo­ple have for some reli­gious music often comes from a reli­gious upbring­ing, some­thing singer/songwriter Iris Dement dis­cussed in a recent inter­view on NPR’s Fresh Air. Dement has record­ed one of the most mov­ing ren­di­tions of a hymn I remem­ber fond­ly from child­hood church days: a pow­er­ful­ly spare ver­sion of “Lean­ing on the Ever­last­ing Arms” from the 2010 True Grit sound­track. She’s also writ­ten what may be one of the best reli­gious songs for sec­u­lar (or non-reli­gious, or post-reli­gious, what­ev­er…) peo­ple. In “Let the Mys­tery Be,” above, Demen­t’s agnos­tic refrain express­es a very sen­si­ble atti­tude, in my view: “But no one knows for cer­tain and so it’s all the same to me / I think I’ll just let the mys­tery be.”

These are but a few of the reli­gious songs that move this most­ly sec­u­lar per­son. Whether you’re reli­gious or not, what are some of your favorite reli­gious songs that have broad crossover appeal? Feel free to name your favorites in the com­ments below.

Relat­ed Con­tent:

The Reli­gions of Bob Dylan: From Deliv­er­ing Evan­gel­i­cal Ser­mons to Singing Hava Nag­i­la With Har­ry Dean Stan­ton

Gui­tar Sto­ries: Mark Knopfler on the Six Gui­tars That Shaped His Career

Athe­ist Ira Glass Believes Chris­tians Get the Short End of the Media Stick

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

Frank Zappa’s Experimental Advertisements For Luden’s Cough Drops, Remington Razors & Portland General Electric

Frank Zap­pa was kind of a con­trol freak. But the way he tells it in a 1968 Rolling Stone inter­view, if he hadn’t been, he wouldn’t have had much of a career. In the mid-six­ties, he took over the mer­chan­dis­ing and adver­tis­ing of his albums. “We wouldn’t have sold any records if we had left it up to the com­pa­ny,” he says, “They fig­ured we were odd-ball. One shot nov­el­ty a‑go-go. But we weren’t. We had to show them ways they could make mon­ey on the prod­uct.”

It’s that entre­pre­neur­ial atti­tude and abil­i­ty to take over that makes Zap­pa one of the most suc­cess­ful cap­i­tal­ists in exper­i­men­tal music. In 1967, he even found­ed his own ad agency, called Nifty Tough & Bitchin’, and made print and radio ads for Hagstrom Gui­tars, Pan­ther Com­bo Organs, and Rem­ing­ton Razor Blades. (He also record­ed a bizarre radio ad for Remington’s elec­tric razor with Lin­da Ronstadt—see a fan-made video below).

That same year, ani­ma­tor and film­mak­er Ed See­man hired Zap­pa to score an ad for Luden’s Cough Drops. You can see the pre­dictably weird results up top. Accord­ing to See­man, Zap­pa “request­ed $2,000 plus a stu­dio for a day with a wide vari­ety of instru­ments plus a guy to do cough sounds.” The ad went on to win a Clio award for “Best Use of Sound.”

After the ad wrapped, Zap­pa tapped See­man to shoot 14 hours of footage over two years for a film project Zap­pa intend­ed to pro­duce called Uncle Meat (not to be con­fused with the album of the same name). The film was nev­er com­plet­ed, and Zap­pa only released the footage on video in 1987 (it has yet to see a DVD release).

The growth of the award-win­ning ad into a rare cult film—that doesn’t real­ly exist in any final form—goes to show how Zappa’s musi­cal tal­ent for free asso­ci­a­tion extend­ed to all of his cre­ative endeav­ors. Every­thing he touched took root and grew into sev­er­al oth­er branch­ing projects, all of them fas­ci­nat­ing to vary­ing degrees. He joked that he was in it for the mon­ey, but the mon­ey he made in com­mer­cial ven­tures seem­ing­ly gave him the free­dom to pur­sue any idea that popped into his head.

See­man, who became a great Zap­pa admir­er, went on to edit footage from Uncle Meat into a “40 minute impres­sion­is­tic col­lage” set to Zappa’s “Who are The Brain Police” that Dan­ger­ous Minds describes as meld­ing “Zappa’s cyn­i­cal world view (per­haps prophet­ic) with a spook­i­ly psy­che­del­ic sound that cre­ates a per­fect para­noid whole” (see an excerpt above). Zap­pa didn’t do much more ad work after this com­mer­cial­ly cre­ative burst, out­side of the pro­mo­tion of his own records. That is, until two years before his death from can­cer. In 1991, Zap­pa appeared in the iron­ic anti-ad for Port­land Gen­er­al Elec­tric in which he says he told the com­pa­ny “I refuse to sell your prod­uct.” Four years lat­er, we saw the release of a posthu­mous Zap­pa best-of. Its title: Strict­ly Com­mer­cial.

Relat­ed Con­tent:

In One of his Final Inter­views, Frank Zap­pa Pro­nounces Him­self “Total­ly Unre­pen­tant”

Stream 82 Hours of Frank Zap­pa Music: Free Playlists of Songs He Com­posed & Per­formed

Frank Zap­pa Debates Cen­sor­ship on CNN’s Cross­fire (1986)

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

Hear Sun Ra, the Avant-Garde Jazz Legend, Play on a 1966 Batman and Robin Album for Kids

In the mid 1960s, when the Bat­man TV show was in full swing, a New Jer­sey toy com­pa­ny released a chil­dren’s record of Bat­man & Robin songs. Called The Sen­sa­tion­al Gui­tars Of Dan & Dale, Bat­man & Robin, the album fea­tured, as WFMU’s Beware of the Blog notes, “one of the great­est uncred­it­ed ses­sion com­bos of all time, includ­ing the core of Sun Ra’s Arkestra and Al Koop­er’s Blues Project.” Anony­mous­ly, Sun Ra played on organ, Jim­my Owens on trum­pet, Tom McIn­tosh on trom­bone & Dan­ny Kalb on gui­tar.

Oth­er than the well-known Bat­man and Robin themes (above), the kid’s album was cre­at­ed around music that had fall­en into the pub­lic domain–e.g. Chopin’s Polon­aise Op. 53, Tchaikovsky’s Fifth Sym­pho­ny and the love theme from Romeo and Juli­et. Over at WFMU, you can hear var­i­ous tracks, includ­ing Bat­man’s Bat­marangBat­man and Robin Over The RoofsFlight of the Bat­manThe Rid­dler’s RetreatJok­er is WildPen­guin’s Umbrel­la, and more. Enjoy.

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via WFMU

Relat­ed Con­tent:

Sun Ra’s Full Lec­ture & Read­ing List From His 1971 UC Berke­ley Course, “The Black Man in the Cos­mos”

Sun Ra Plays a Music Ther­a­py Gig at a Men­tal Hos­pi­tal; Inspires Patient to Talk for the First Time in Years

Hear Sun Ra’s 1971 UC Berke­ley Lec­ture “The Pow­er of Words”

A Sun Ra Christ­mas: Hear His 1976 Radio Broad­cast of Poet­ry and Music

The Evo­lu­tion of Bat­man in Cin­e­ma: From 1939 to Present

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Open Culture was founded by Dan Colman.