Lin-Manuel Miranda Breaks Down How He Wrote Hamilton’s Big Hit, “My Shot”

The cur­rent moment has forced the orig­i­nal cast and crew of Lin-Manuel Miranda’s mas­sive hit musi­cal Hamil­ton to revis­it and reeval­u­ate the sto­ry it tells about America’s found­ing. As Miran­da him­self told The Root’s Ton­ja Renée Stid­hum, “All of these guys are com­plic­it in the bru­tal prac­tice of slav­ery, slav­ery is the third line of our show… that is just a pre­req­ui­site for the sto­ry we’re telling.” But he didn’t first set out to write his­to­ry. “Orig­i­nal­ly, this was a con­cept album. I want­ed to write a hip hop album, so I was nev­er pic­tur­ing the guys on the stat­ues that are being torn down right now. I was pic­tur­ing, ‘What are the voic­es that are best suit­ed to tell the sto­ry.’”

Debut­ing in more opti­mistic times, when the coun­try had its first Black pres­i­dent, Hamil­ton declared, says Leslie Odom, Jr. (who played Aaron Burr) that “if this his­to­ry belongs to all of us… then we’re going to take it and we’re going to say it and use our own words to tell it!” Con­tro­ver­sy and cri­tique aside, there’s no deny­ing Miranda’s tremen­dous gifts as a drama­tist and song­writer, on dis­play not only in Hamil­ton but in the Moana sound­track.

How does he do it? Rid­ing the wave of renewed Hamil­ton fan­dom after the Dis­ney release of the orig­i­nal cast film, Miran­da recent­ly sat down with Rot­ten Toma­toes to dis­cuss his process. When he gets to Hamil­ton, he gives us a detailed break­down of “My Shot,” which, he says, took him a year to write.

“It was not only writ­ing Hamil­ton’s ‘I want’ song,” says Miran­da, “although it cer­tain­ly is that. It was also prov­ing my the­sis that Hamilton’s intel­lect is what allows him to pro­pel through the nar­ra­tive of the sto­ry.” The play’s pro­tag­o­nist proves his intel­lec­tu­al wor­thi­ness by mas­ter­ing and mak­ing his own the styles of Miranda’s favorite rap­pers, from Big Pun to Jay Z to Big­gie to Mobb Deep. “I’m grab­bing from the influ­ences and pay­ing homage to those influ­ences. …I’m lit­er­al­ly call­ing on the ances­tors of this flow. …The ‘Whoah’ sec­tion, I’ll just say, is based on the AOL start­up sound because I want­ed it to feel like …his words are con­nect­ing with the world.”

Whether or not any of Hamil­ton’s younger view­ers have ever heard the AOL start­up sound, the detail reveals how Miranda’s mind works. His cre­ations emerge from a matrix of ref­er­ences and allu­sions, each one cho­sen for its spe­cif­ic rela­tion to the sto­ry. Many of these call­backs go over the audience’s heads, but they still have their intend­ed effect, cre­at­ing ten­sion in “the dens­est cou­plets that I could write,” Miran­da says. The mes­sage in “My Shot,” with­in the con­text of the musi­cal itself, is that “Hamil­ton is the future with­in this group of friends.” But the mes­sage of Hamil­ton has noth­ing to do with the 18th cen­tu­ry and every­thing to do with the 21st. Per­haps its most sub­ver­sive idea is that the high­est lead­er­ship in the U.S. might just as well look like Hamil­ton as Hamil­ton. See Miran­da and the Hamil­ton cast per­form “My Shot” at the White House just below.

via Laugh­ing Squid

Relat­ed Con­tent:

Watch Lin-Manuel Miran­da Per­form the Ear­li­est Ver­sion of Hamil­ton at the White House, Six Years Before the Play Hit the Broad­way Stage (2009)

A Whiskey-Fueled Lin-Manuel Miran­da Reimag­ines Hamil­ton as a Girl on Drunk His­to­ry

The Mup­pets Sing the First Act of Hamil­ton

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

A Beatboxing Buddhist Monk Creates Music for Meditation

Most of us assume Japan­ese Bud­dhist monks to be silent types. In their per­son­al lives they may well be, but if they want to go viral, they’ve got to log onto the inter­net and make some noise. This is the les­son one draws from some of the Bud­dhist fig­ures pre­vi­ous­ly fea­tured here on Open Cul­ture: Kos­san, he of the Bea­t­les and Ramones cov­ers, or Gyōsen Asaku­ra, the priest who per­forms psy­che­del­ic ser­vices sound­tracked with elec­tron­ic dance music. Depend­ing on your taste in music, their per­for­mances may or may not induce the men­tal qui­et one asso­ciates with Bud­dhist prac­tice, and the music of Yoget­su Akasa­ka, the lat­est Japan­ese Bud­dhist monk to attain inter­net fame, may at first sound equal­ly untra­di­tion­al. But lis­ten and you may well find your­self in a med­i­ta­tive state with­out even try­ing.

“The 37-year-old went viral in May, after post­ing his ‘Heart Sutra Live Loop­ing Remix,’ a video that’s relax­ing like ASMR, and engross­ing like a DJ set,” writes Vice’s Miran Miyano. “With the loop machine, he lay­ers sounds and chants all com­ing from one instru­ment — his voice.” A musi­cian since his teens and a beat­box­er since his ear­ly twen­ties, the Tokyo-based Akasa­ka became a monk five years ago, fol­low­ing the path tak­en by his father, an abbott at a tem­ple in rur­al Iwate Pre­fec­ture.

“Before he was ordained in 2015, he belonged to a the­atre com­pa­ny formed in Fukushi­ma pre­fec­ture, north­east Japan, after the region was dev­as­tat­ed by the 2011 Tohoku earth­quake and tsuna­mi,” writes Richard Lord in the South Chi­na Morn­ing Post. “He has also been a full-time busker in coun­tries includ­ing the Unit­ed States and Aus­tralia.”

A busker Akasa­ka remains, in a sense, albeit one who, from the cor­ner of YouTube he’s made his own, can be heard across the globe. In addi­tion to record­ings like his hit ver­sion of the Heart Sutra, he’s also been live stream­ing per­for­mances for the past two months. Last­ing up to near­ly two hours, these streams pro­vide Akasa­ka an oppor­tu­ni­ty to vary his musi­cal as well as spir­i­tu­al themes, bring dif­fer­ent instru­ments into the mix, and respond to fans who send him mes­sages from all over the world, most­ly out­side his home­land. “I think in Japan, peo­ple often asso­ciate Bud­dhism with funer­als, and the sutra has a lit­tle bit of a neg­a­tive and sad image,” he says to Vice. Indeed, as the say­ing goes, the mod­ern Japan­ese is born Shin­to, mar­ries Chris­t­ian, and dies Bud­dhist. But as Akasa­ka shows us, his tra­di­tion has some­thing to offer all of us, no mat­ter our nation­al­i­ty, in life as well.

via Metafil­ter

Relat­ed Con­tent:

Japan­ese Bud­dhist Monk Cov­ers Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” Bea­t­les’ “Yel­low Sub­ma­rine” & More

Bud­dhist Monk Cov­ers Judas Priest’s “Break­ing the Law,” Then Breaks Into Med­i­ta­tion

Japan­ese Priest Tries to Revive Bud­dhism by Bring­ing Tech­no Music into the Tem­ple: Attend a Psy­che­del­ic 23-Minute Ser­vice

Beat­box­ing Bach’s Gold­berg Vari­a­tions

What Beat­box­ing and Opera Singing Look Like Inside an MRI Machine

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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, on Face­book, or on Insta­gram.

Modern English Performs Their 1982 Hit, “I Melt With You,” in Quarantine

Near­ly 40 years after they released their New Wave clas­sic, Mod­ern Eng­lish is back, per­form­ing togeth­er in iso­la­tion, to get us through the pan­dem­ic. Find more social­ly-dis­tanced per­for­mances by Roger Waters, the Rolling Stones and the Doo­bie Broth­ers below.

Relat­ed Con­tent:

The Doo­bie Broth­ers Sing Their 1974 Clas­sic, “Black Water,” Live, in Iso­la­tion

Watch the Rolling Stones Play “You Can’t Always Get What You Want” While Social Dis­tanc­ing in Quar­an­tine

Roger Waters Per­forms a Social­ly-Dis­tanced Ver­sion of Pink Floyd’s “Moth­er”

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Hear an Enchanted Medieval Cover of Dolly Parton’s Classic Ode to Jealousy, “Jolene”

Dol­ly Parton’s “Jolene” is an end­less­ly renew­able resource of beau­ti­ful sad­ness, and many a mod­ern-day bard has a “Jolene” in their quiver. The White Stripes turned it into garage rock, Olivia New­ton John did it as dis­co, and Norah Jones as cabaret jazz. There is the oblig­a­tory house remix. Slow it down to 33rpm and Dolly’s gen­der begins to blur, while her voice los­es none of its plain­tive mys­tique. “Jolene” set a stan­dard for melan­choly few, if any, tunes can meet. So, you know, there’s a bard­core cov­er of “Jolene.”

Bard­core (also called “tav­ern­wave”), has “tak­en over pop music,” kind of, as you might have learned from Ayun Halliday’s post on bard­core artist Hilde­gard von Blin­gin’ here a few weeks back. The short version—bardcore artists make cov­ers of pop songs with medieval instru­men­ta­tion and vocal stylings. Lyrics are rewrit­ten with archaisms like “I want thine ugly, I want thy disease/Take aught from thee shall I if it can be free,” which are not lyrics to “Jolene,” let’s move on.

What does “Jolene” sound like as bard­core? In a word, spell­bind­ing. And I don’t mean to be cheeky—this is enchant­i­ng, not least because, medieval­ized, the song sounds at times like it could be com­ing from a tor­tured nun on the edge of leav­ing the clois­ter in the dead of night to run off with a woman named Jolene, whose attrib­ut­es she lov­ing­ly, poet­i­cal­ly lays out.

Jolene, Jolene, Jolene, Jolene
I beg of thee, pray take not my lord
Jolene, Jolene, Jolene, Jolene
I fear, from thee, ‘twould take naught but a word

Thy beau­ty is beyond com­pare
With flam­ing locks of auburn hair
With ivory skin and eyes of emer­ald green
Thy smile is like a breath of Spring
Thy voice is soft like Sum­mer rain
And I can­not com­pete with thee
Jolene

An ode to jeal­ousy hints at a poten­tial­ly spicy tale of for­bid­den romance and bro­ken vows, fur­ther trib­ute to Parton’s skill as a song­writer (and the sex­u­al ambi­gu­i­ty inher­ent in the song). Hilde­gard von Blin­gin’ is not jok­ing, nov­el­ty names aside. She has a love­ly voice and has invest­ed her medieval cov­ers with high pro­duc­tion val­ues and peri­od-cor­rect illu­mi­nat­ed music videos.

Every­one lis­tens to house music in Hol­ly­wood sci-fi futures, but maybe it’s bard­core they’ll play on the inter­stel­lar cruise ships. “’Tis a ver­i­ta­ble phe­nom­e­non on t’internet,” says bard­core cre­ator Cor­nelius Link (which means it could go the way of vapor­wave). For years, medieval memes have been hot online cur­ren­cy, for rea­sons we need not get too pop-soci­o­log­i­cal about. They’re fun and weird and alien and WTF and remind us that it could be worse, I guess. They appeal to Gen Z’s “exis­ten­tial humour.” They were Games of Thrones-y. They’re cool­er than Har­ry Pot­ter.

For most of medieval times, plague was on everyone’s mind. “The pan­dem­ic is thought to be sig­nif­i­cant,” says Link, “with a new Black Death hov­er­ing over us all.” But if we’re talk­ing about “Jolene,” we’re talk­ing about a song that “reg­is­ters with the basest of bit­ter­ness we’ve all felt,” hith­er and thith­er, shut up in con­vents or locked down in our hous­es. Explore more not-“Jolene” bard­core jams here.

via Boing Boing

Relat­ed Con­tent:

Lis­ten to Medieval Cov­ers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hilde­gard von Blin­gin’

Dol­ly Parton’s “Jolene” Slowed Down to 33RPM Sounds Great and Takes on New, Unex­pect­ed Mean­ings

With Medieval Instru­ments, Band Per­forms Clas­sic Songs by The Bea­t­les, Red Hot Chili Pep­pers, Metal­li­ca & Deep Pur­ple

Pink Floyd’s “Anoth­er Brick in the Wall” Played with Medieval Instru­ments, and Kick­start More Medieval Cov­ers

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

How Cannonball Adderley Shared the Joy of Jazz

Jazz has always had big per­son­al­i­ties. In the mid-20th cen­tu­ry, an explo­sion of major play­ers became as well known for their per­son­al quirks as for their rev­o­lu­tion­ary tech­niques and com­po­si­tions. Monk’s endear­ing odd­ness, Miles Davis’ brood­ing bad tem­per, Charles Min­gus’ exu­ber­ant shouts and rages, Ornette Coleman’s cryp­tic phi­los­o­phiz­ing, Coltrane’s gen­tle mys­ti­cism…. These were not only the jazz world’s great­est play­ers; they were also some of the century’s most inter­est­ing peo­ple.

The same can be said for Julian Edwin “Can­non­ball” Adder­ley, sax­o­phon­ist and band­leader who was her­ald­ed as a new Char­lie Park­er on arrival in the New York scene from Ft. Laud­erdale, Flori­da, where he had worked as a pop­u­lar high school band direc­tor and local musi­cian before decid­ing to pur­sue grad­u­ate stud­ies. Music had oth­er plans for him. Instead of going back to school when he arrived in Man­hat­tan in 1955, he fell in with the right crowd and became an instant crit­i­cal sen­sa­tion.

Adder­ley end­ed up play­ing onstage and record­ing with greats like Davis, Coltrane, Art Blakey, Bill Evans, and his broth­er, Nat Adder­ley, who joined him to play in his Quin­tet, com­plet­ed the Can­non­ball Adder­ley Sex­tet in the six­ties with Yusef Lateef, and helped him make some of the best music of his career. Adder­ley joined Miles Davis’s band when Coltrane left and played on Kind of Blue and Mile­stones, leav­ing “a deep impres­sion on Davis and his sex­tet,” notes one biog­ra­phy.

Unlike some of his famous peers, Adder­ley had none of the traits of the dif­fi­cult or enig­mat­ic artiste. Where most jazz musi­cians remained silent and mys­te­ri­ous onstage, Adder­ley engaged bois­ter­ous­ly with his audi­ence, in mono­logues one can imag­ine him shout­ing gre­gar­i­ous­ly over a band room full of stu­dents warm­ing up. With his irre­press­ible charm, he estab­lished an “amus­ing and edu­ca­tion­al rap­port with his audi­ence, often-times explain­ing what he and his musi­cians were about to play” (hear him do so before launch­ing into his pop­u­lar 1966 soul jazz sin­gle “Mer­cy, Mer­cy, Mer­cy,” below.)

Adderley’s per­son­al­i­ty helped put jazz new­com­ers at ease, but he didn’t teach from the text­book, exper­i­ment­ing broad­ly with sev­er­al gen­res and incor­po­rat­ing elec­tron­ic ele­ments and African polyrhythms in the 60s and 70s, when he also became “a jazz spokesman. Whether it was tele­vi­sion, res­i­den­cies at sev­er­al col­leges, or film appear­ances.” Adder­ley helped pio­neer soul jazz, post-bop, and oth­er exper­i­men­tal sub­gen­res, many of which crossed over into the pop charts. “Two words best encap­su­late the music of alto sax­o­phon­ist Julian “Can­non­ball” Adder­ley,” writes Nick Mor­ri­son at NPR: “’joy’ and ‘soul.’”

The Poly­phon­ic video at the top focus­es on the role of joy in Adderley’s music, mak­ing the case that he “exem­pli­fies joy more than any­one else in jazz.” His vora­cious appetite for life—reflected in his high school nick­name “Can­ni­bal,” which mor­phed into “Cannonball”—propelled him into the “cen­ter of the jazz uni­verse.” It also led him to devour influ­ences oth­er jazz musi­cians avoid­ed. He had no pre­ten­sions to jazz as high art, though he was him­self a high artist, and he joy­ful­ly embraced pop music at a time when it was scorned by the jazz elite.

“Adderley’s great ambi­tion was to share the joy of jazz with the world, and he knew that no mat­ter how tech­ni­cal­ly impres­sive a piece of music was, peo­ple wouldn’t lis­ten to it if it wasn’t fun, so Can­non­ball made his music fun and acces­si­ble.” Records like The Can­non­ball Adder­ley Sex­tet in New York sound like “a par­ty,” writes CJ Hurtt at Vinyl Me, Please: “a par­ty with some far-out near­ly free jazz post-bop ele­ments to it” but no short­age of straight-ahead grooves. The album kicks off with Can­non­ball “telling the audi­ence that they are actu­al­ly hip and not mere­ly pre­tend­ing to be.” It’s tongue-in-cheek, of course; Adder­ley nev­er pre­tend­ed to be any­one but his own out­go­ing self. But his unre­lent­ing cheer­ful­ness, even when he played the blues, also made him one of the hippest cats around.

Relat­ed Con­tent:

How Jazz Helped Fuel the 1960s Civ­il Rights Move­ment

Miles Davis Icon­ic 1959 Album Kind of Blue Turns 60: Revis­it the Album That Changed Amer­i­can Music

Her­bie Hancock’s Joy­ous Sound­track for the Orig­i­nal Fat Albert TV Spe­cial (1969)

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

Nursing Home Residents Replace Famous Rock Stars on Iconic Album Covers

Deserved­ly or not, British care homes have acquired a rep­u­ta­tion as espe­cial­ly drea­ry places, from Vic­to­ri­an nov­els to dystopi­an fic­tion to the flat affect of BBC doc­u­men­taries. Mar­tin Parr gave the world an espe­cial­ly mov­ing exam­ple of the care home doc­u­men­tary in his 1972 pho­to series on Prest­wich Asy­lum, out­side Man­ches­ter. The com­pelling por­traits human­ize peo­ple who were neglect­ed and ignored, yet their lives still look bleak in that aus­tere­ly post-war British insti­tu­tion kind of way.

One can­not say any­thing of the kind of the pho­to series rep­re­sent­ed here, which casts res­i­dents of Syd­mar Lodge Care Home in Edge­ware, Eng­land as rock stars, dig­i­tal­ly recre­at­ing some of the most famous album cov­ers of all time. This is not, obvi­ous­ly, a can­did look at res­i­dents’ day-to-day exis­tence. But it sug­gests a pret­ty cheer­ful place. “The main aim was to show that care homes need not be a sad envi­ron­ment, even dur­ing this pan­dem­ic,” says the pho­tos’ cre­ator Robert Speker, the home’s activ­i­ties man­ag­er.

“Speker tweet­ed side-by-side pho­tos of the orig­i­nal cov­ers and the Syd­mar Lodge res­i­dents’ new takes, and the tweets quick­ly took off,” NPR’s Lau­rel Wams­ley writes. He’s made it clear that the pri­ma­ry audi­ence for the recre­at­ed cov­ers is the res­i­dents them­selves: Iso­lat­ed in lock­down for the past four months; cut off from vis­its and out­ings; suf­fer­ing from an indef­i­nite sus­pen­sion of famil­iar rou­tines.

Speker does not deny the grim real­i­ty behind the inspir­ing images. “Elder­ly peo­ple will remain in lock­down for a long time,” he writes on a GoFundMe page he cre­at­ed to help sup­port the home. “It could be months before the sit­u­a­tion changes for them.”

But he is opti­mistic about his abil­i­ties to “make their time as hap­py and full of enjoy­ment and inter­est as pos­si­ble.” Would that all nurs­ing homes had such a ded­i­cat­ed, award-win­ning coor­di­na­tor. Res­i­dents them­selves, he wrote on Twit­ter, were “enthused and per­haps a bit bemused by the idea, but hap­py to par­tic­i­pate.” When they saw the results—stunning Roma Cohen as Aladdin Sane, defi­ant Sheila Solomons as Elvis and The Clash’s Paul Simenon, casu­al Mar­tin Stein­berg as a “Born in Eng­land” Springsteen—they were delight­ed. Four of the home­’s car­ers got their own cov­er, too, posed as Queen.

Res­i­dents, Speker said, were real­ly “hav­ing a good gig­gle about it.” And we can too, as we bear in mind the many elder­ly peo­ple around us who have been locked in for months, with maybe many more months of iso­la­tion ahead. Not every­one is as tal­ent­ed as Robert Speker, who did the mod­els’ make­up and tat­toos him­self (with hair by a care home man­ag­er), as well as tak­ing all the pho­tographs and edit­ing the images to con­vinc­ing­ly mim­ic the pos­es, com­po­si­tion, light­ing, font, and col­or schemes of the orig­i­nals. But let’s hope his work is a spark that lights up nurs­ing homes and care facil­i­ties with all sorts of cre­ative ideas to keep spir­its up. See sev­er­al more cov­ers below and the rest on Twit­ter.

via the BBC/NPR

Relat­ed Con­tent:

Peo­ple Pose in Uncan­ny Align­ment with Icon­ic Album Cov­ers: Dis­cov­er The Sleeve­face Project

The His­to­ry of the Fish­eye Pho­to Album Cov­er

Dyson Cre­ates 44 Free Engi­neer­ing & Sci­ence Chal­lenges for Kids Quar­an­tined Dur­ing COVID-19

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

The Muppets Sing the First & Second Acts of Hamilton

Or, at least it’s one fine impres­sion of the Mup­pets.

Here’s the cast and find Act II down below:

Alexan­der Hamil­ton — Ker­mit the Frog
Aaron Burr — The Great Gonzo
Eliza Schuyler — Miss Pig­gy
Mar­quis de LaFozette — Fozzie Bear
George Wash­ing­ton — Sam the Eagle
Angel­i­ca Schuyler — Camil­la the Chick­en
John Lau­rens — Beaker
Her­cules Mul­li­gan — Rowlf the Dog
King George III — Ani­mal
Peg­gy Schuyler — Jan­ice
Samuel Seabury — The Swedish Chef
Charles Lee — Elmo
Con­gres­sion­al Del­e­gates — Floyd and Zoot
Crazy Patri­ot — Crazy Har­ry
Statler and Wal­dorf — Them­selves

via Boing­Bo­ing

Relat­ed Con­tent:

Hamil­ton Mania Inspires the Library of Con­gress to Put 12,000 Alexan­der Hamil­ton Doc­u­ments Online

Watch Lin-Manuel Miran­da Per­form the Ear­li­est Ver­sion of Hamil­ton at the White House, Six Years Before the Play Hit the Broad­way Stage (2009)

Lin-Manuel Miran­da & Emi­ly Blunt Take You Through 22 Clas­sic Musi­cals in 12 Min­utes

A Whiskey-Fueled Lin-Manuel Miran­da Reimag­ines Hamil­ton as a Girl on Drunk His­to­ry

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Buddhist Monk Covers Judas Priest’s “Breaking the Law,” Then Breaks Into Meditation

Back in April, we intro­duced you to Kos­san, a Japan­ese Bud­dhist monk who has a pen­chant for per­form­ing cov­ers of rock anthems–everything from The Ramones’ “Teenage Lobot­o­my,” to “Queen’s “We Will Rock You” and The Bea­t­les’ “Yel­low Sub­ma­rine.” Now he returns with Judas Priest’s “Break­ing the Law.” It’s a curi­ous cov­er, not least because he ends the song and breaks seam­less­ly into med­i­ta­tion. Met­al? Med­i­ta­tion? Sure, why not.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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via Laugh­ing Squid

Relat­ed Con­tent:

Japan­ese Bud­dhist Monk Cov­ers Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” Bea­t­les’ “Yel­low Sub­ma­rine” & More

Japan­ese Priest Tries to Revive Bud­dhism by Bring­ing Tech­no Music into the Tem­ple: Attend a Psy­che­del­ic 23-Minute Ser­vice

Med­i­ta­tion for Begin­ners: Bud­dhist Monks & Teach­ers Explain the Basics

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