The Beatles: Get Back, Peter Jackson’s documentary about the making of Let It Be, was delayed by the pandemic, so he and the studio have released a montage of about four minutes of the film as a sneak peek. The film, constructed from 55+ hours of largely unseen footage and 140 hours of audio recordings, seeks to portray the making of the band’s final studio album in a better light than previous accounts. The project has the support of Paul McCartney, Ringo Starr, Yoko Ono, and Olivia Harrison and will out in August 2021. (via ted gioia)
The streamer explained that “because of the wealth of tremendous footage Jackson has reviewed, which he has spent the past three years restoring and editing, ‘The Beatles: Get Back’ will be presented as three separate episodes.” The installments will roll out November 25-27 and be approximately two hours in length each.
P.S. For the first couple of months of the pandemic, I shared what I was listening to during my workday in this thread (continued here). Check it out if you need some wordless music to beaver away to.
Same with Sally Rooney’s Normal People. The TV series could have been terrible but it very much was not.↩
I’ve featured the work of choreographer Yoann Bourgeois on kottke.org before — his work gets performers moving on rotating stages and dropping ontotrampolines. A 2019 performance choreographed by Bourgeois based on an unfinished Mozart piece sort of combines his previous performances, with dancers dropping into a slippery ramp that slides them onto a rotating platform.
As you might expect, getting gravity and centripetal force to play well together requires some experimentation — Bourgeois recently shared a rehearsal blooper where he catches one of his performers before they go whizzing off the stage into the orchestra.
For the past four years, Martin Molin of the “folktronica” band Wintergatan has been building a marble machine that the band can use to make music. He’s documenting the entire build on YouTube in a long series of videos (149 and counting). The most recent videos show Molin’s test of the machine with thousands of marbles and his tweaking to get things juuuust right. In the one above, he makes several adjustments from failures observed from his last test and then runs 30,000 marbles through the machine.
These videos are long, so you’d be forgiven for skipping to the end just to see the machine in action, but Molin is really enthusiastic — obsessed in the best way — and is great at showing his work. People really digging into things, especially tangible mechanical things, and bringing us along for the ride is always interesting. (thx, sippey)
Even if you’re not a total sucker for old episodes of Doctor Who like I am, The Definitive Guide to the Doctor Who Theme Music is worth checking out to see how a very early piece of electronic music was constructed.
Created in 1963, the Doctor Who theme was one of the first electronic signature tunes for television and after nearly five decades remains one of the most easily recognised. The original recording of the Doctor Who theme music is widely regarded as a significant and innovative piece of electronic music, recorded well before the availability of commercial synthesisers.
I found this via Boing Boing, where Clive Thompson writes of the site:
I wish I had an analysis like this for more and more pop songs. The specific, nuanced decisions of musicians, producers and sound engineers are incredibly interesting, but can be really hard to tease apart just by listening to the mixed song.
Pictured above is Delia Derbyshire who, along with Dick Mills, arranged the theme music based on Ron Grainer’s composition.
Like almost everything else these days, NPR’s Tiny Desk Concerts have gone remote. Their most recent play-from-home guest was Dua Lipa, who was the artist I listened to more than any other in 2020 (according to Spotify). Before playing a stripped-down acoustic version of Love Again with her band, Lipa said of the song: “It’s really about manifesting good things into your life when things aren’t quite going your way.” That’s a sentiment that a lot of us can relate to nowadays.
NPR has been tracking the 25-year-old singer/songwriter for a while now; she was featured in an episode of their Noteworthy series in August 2016, several months before the release of her debut album.
Dua Lipa walking unrecognized around NYC…won’t ever see that again.
Forgive me reader, for I have been lazy. It’s been 7 months since I’ve shared a list of the movies, books, music, TV, and podcasts that I’ve been watching/reading/listening to, uh, recently. But I’ve been diligently keeping track1 and so here’s everything I’ve consumed since early May. Warning: soooo much TV and soooo many movies (and bad ones at that) and very few books. At the end of most days — after work, parenting, cooking yet another meal I’m not actually in the mood for, and constantly refreshing Instagram — I just don’t have enough left in the tank for books. (Oh, and as usual, don’t pay too much attention to the letter grades!)
Winds of Change. A fun ride but ultimately kind of empty? (B)
How to Be an Antiracist by Ibram X. Kendi. Perhaps not what you’d expect going in — thought-provoking on almost every page. (A)
The Mirror & the Light by Hilary Mantel. I knew it was coming, Thomas Cromwell’s downfall; it’s historical fact after all. But somehow the actual moment shocked me, despite Mantel’s careful foreshadowing over hundreds of pages. (A)
Normal People. No way in hell was this going to be as good as the book, but they somehow did it. Stellar casting. (A-)
Fleabag Live. I wanted to love this like I loved the TV show but could not get into it. (C+)
Harry Potter at Home. My kids and I listened to this in the car and loved it. (A-)
Watchmen. After admitting I’d stopped watching after a few episodes, several of you urged me to keep going. I finished it but still was not as dazzled as everyone else seemed to be. Maybe if I’d read the graphic novel? (B+)
The Last Dance. I grew up watching and rooting for Jordan and the Bulls, so this was the perfect nostalgic entertainment. Jordan comes off as both more and less of a dick than I remember. (A-)
Beyond Meat. I snuck some of their ground “beef” into a casserole to try it out and see if the kids would notice. They didn’t at first, but once I told them, the three of us agreed that it was not that tasty — and definitely didn’t taste like beef. Plus I had an upset stomach until noon the next day. (C-)
Knives Out. I enjoyed this much more the second time. (A-)
Honeyland. A maddening microcosm of modernity. (A)
The Great. Super fun show from the screenwriter of The Favourite. (A-)
Hamilton. Obviously better in person (and 4 years ago), but the performances and music are so great it doesn’t matter. (A)
Slate Money — Modern Monetary Theory. Really interesting alternate way of thinking about the economy, federal debt, inflation, and taxes. They kinda jumped right into the middle of it though, leaving this interested MMT beginner a little baffled. (B)
12 Monkeys. So very 90s. Brad Pitt is great in this though. (B+)
The Old Guard. Engaging and built for a sequel. But what isn’t these days? (B+)
Cars 2. I’d only ever seen the first 2/3s of this because my then-4-year-old son was so upset that the onscreen baddies were going to kill Lightning McQueen that we had to leave the theater. (B-)
Nintendo Switch. Such a fun little console that doesn’t take itself too seriously. (A-)
Pluto TV. Am I the last person on Earth to find out about this app? Dozens of channels of reruns that you can’t pause and are interrupted by ads, just like old school TV. I’ve been watching far too much old Doctor Who on here. (B+)
Folklore. I don’t really get Taylor Swift and that’s ok. (C)
This Land. Excellent and infuriating — this had me yelling at my car radio. (A)
MASS MoCA. Took a day trip down here back in October. My first museum since Feb. Sol LeWitt, James Turrell, Jenny Holzer, great building, virtually no one here on a weekday — very much worth the 6-hour RT car ride. (A+)
Palm Springs. Groundhog Day + 50 First Dates. (A-)
Kona Honzo. After getting a taste of mountain biking on a borrowed bike, I upgraded to this hardtail. Had some really great rides on it but also stupidly crashed, landed on my face, had to go to the ER, and got 9 stitches on my chin. Would not recommend crashing (stupidly or otherwise, but especially stupidly), but I liked mountain biking enough to get back on the bike a couple of weeks later. (A-)
My Octopus Teacher. As I said previously: “It’s such a simple movie but it packs a surprising emotional wallop and is philosophically rich. Even (or perhaps especially) the bits that seem problematic are thought-provoking.” (A)
His Dark Materials. I like the show but the main character is so irritating that I don’t know if I can keep watching… (B+)
Zama. Maybe surrealist film is not my cup of tea. (B)
AlphaGo. I’d read a lot about the events in this film, but seeing it play out was still gripping and surprising. This and My Octopus Teacher would make a great double feature about the shifting definition of what makes humans human. (A)
The Way I See It. Pete Souza reflects on his proximity to power. (B+)
The Queen. Had to watch this after the Princess Di You’re Wrong About series. (B+)
Tenet. Primer + James Bond. Maybe the pandemic has made me dumber, but this totally confused me. In a bad way — it could/should have been simpler. (B)
Caste by Isabel Wilkerson. A masterful examination of the skin color-based caste system of the United States, compared and contrasted with the caste systems of India and Nazi Germany. (A)
I don’t think it’s much of a stretch to argue that much of the enduring success of Blade Runner comes down to how well the potent combination of the film’s score, created by electronic composer Vangelis, and the visuals instantly evoke, even in 2020, the future. Ok, a dystopian neo-noir future, but the future nonetheless. A YouTuber has reworked that score, along with ambient sounds and dialogue from the film, into a feature-length soundscape that, as Colin Marshall put it at Open Culture, “feels a great deal like watching Blade Runner without actually watching Blade Runner”. I think I’ll be listening to this as I work today. (via open culture)
As a ballerina in NYC during the 60s, Marta C. González undoubtably performed Tchaikovsky’s Swan Lake hundreds or even thousands of times. González passed away recently — perhaps from complications due to her Alzheimer’s, which can affect a person’s memory and movements in profound ways — but she had one last chance to revisit her ballet days before she died. In the video above, you can see how, as she starts to listen to Swan Lake in a pair of headphones, she reanimates and begins performing the dance choreography in her wheelchair. Clips from what I’m assuming is her past Swan Lake performance are interspersed throughout the video. What a lovely moment.
Under Pressure, the classic tune from David Bowie and Queen, seems like one of those songs you don’t want to mess with — we’re looking at you here, Vanilla Ice. But if someone is going to cover it, it might as well be Karen O from the Yeah Yeah Yeahs and Willie Nelson.
This album cover was tweeted out the other day by Philip Glass’s official account with no additional comment. What really makes it IMO is the song titles listed at the bottom of the cover: Those Speedy Clouds, Escalators of Death, Run For It…Rockets Are Exploding All Over the Place!
I tried to track down who made this, but the only other instance I could find online was on Philip Glass’s Instagram exactly one year ago. Koyaanisqatsi is a serious work of art — it’s refreshing to see how playful Glass is about its representation. You could imagine other artists/musicians not being so chill about it.
Early this year, Mr. Field and Ken Druker, a vice president at Verve — which survives today under the auspices of Universal Music Group — were digging through a rediscovered trove of live recordings that Granz had stashed away decades ago. They came across an apparently untouched reel-to-reel, with yellowed Scotch tape still holding the box shut, featuring a concert Fitzgerald had given in Berlin two years after that first famous outing.
Upon inspection, they found that recordings had been made in both mono and stereo — a rare stroke of luck. They listened, and the quality was excellent. Using a new engineering software that allowed him to more precisely isolate the instruments and Fitzgerald’s voice, Mr. Field filled out the low end and brought her singing to the front.
After creating a series of music video mixes for the entire decade of the 80s (and 1979), the Hood Internet is back to take us through the 90s. Their first video, on 1990, features 60 different songs in only 3.5 minutes and is embedded above.
1990 was my last year of high school, so this is a total memory bomb for me. I listened to a lot of C & C Music Factory, Divinyls, DJ Jazzy Jeff & The Fresh Prince, En Vogue, Madonna, Mariah Carey, MC Hammer, Roxette, Salt-n-Pepa, Sinéad O’Connor, Whitney Houston, and missed whole scores of much cooler music that was unavailable to me because I lived in the middle of nowhere where the listening choices were country, heavy metal, or top 40. It’s an understatement to say that college was very musically eye-opening for me.
Update: Here are the installments from 1991, 1992, and 1993. Right into my college years and so hugely nostalgic.
Update: Here’s their 34-minute megamix of 600 songs from 1990-1999.
This playlist on Soundcloud has each year’s mix from 1975-1999 and there are also yearly playlists of all the songs used for these mixes on Spotify (scroll down to “Artist Playlists”).
Alan Kahn, aka the Speed Bag King and author of The Speed Bag Bible, can seemingly do anything with a boxing speed bag…like make music. Just watch this 45-second video of him getting warmed up on the bag and then performing a tiny virtuoso concert for a small group of amazed onlookers.
I’ve said this before, but I could sit and listen to musicians talk about how they make their music all day long, particularly rap & hip hop producers because of all the history and context they are intentionally inserting into the music. In this video, 9th Wonder talks about DUCKWORTH., a song from Kendrick Lamar’s DAMN. that he created three beats for.
But it’s on album closer “DUCKWORTH.,” produced by 9th Wonder, that the elements of jazz, hip-hop and soul come into the sharpest focus. 9th has a history of blending records from all genres into kaleidoscopic sets of deep soul and hip-hop. Each track has its own distinctive flair, but you can still tell it’s a 9th Wonder beat — the drums lock into a hypnotic groove and the vocal samples crack with nostalgic beauty. “DUCKWORTH.” mashes three beats into a tight coil of repurposed folk, progressive rock and experimental soul, on which Kendrick details a chance encounter between his father, Kenny Duckworth, and his future label boss, Anthony “Top Dawg” Tiffith. Years before “Top Dawg” became a music mogul, he walked into a Kentucky Fried Chicken and saw Kendrick’s future father working there. “Top” was planning to rob the restaurant and stood in Kenny’s line to demand the cash. But Kenny had seen “Top” rob and shoot up the store before, so to spare his own life, he gave him free chicken and two extra biscuits to get on his good side. “You take two strangers and put ‘em in random predicaments,” Kendrick rapped. “Whoever thought the greatest rapper would be from coincidence?”
Watch all the way to the end of the video — you get the rare treat of watching someone realize something about their own work and their collaborating partner that they hadn’t before…
For a few months now, NPR has been broadcasting their Tiny Desk concert series from the homes and studios of the featured musicians. Tame Impala was a recent guest and Lenny Kravitz has played a home concert as well. Here’s Rodrigo y Gabriela, who are super good live:
But Billie Eilish and her brother Finneas recently did something unique: a Tiny Desk (Home) Concert that actually looks like they’re playing in the NPR office (even though they are not).
Watch through to the end to see how they pulled it off. (via waxy)
This is a short but mesmerizing clip of a performance of choreographer Yoann Bourgeois’ “Celui qui tombe” (He who falls) in which six performers move about a spinning platform. The spinning allows them to run without appearing to go anywhere and lean at seemingly impossible angles without Michael Jackson’s patented Smooth Criminal shoes. From a review in the Guardian:
Lowered into a horizontal position, this structure begins to revolve, slowly at first, then faster. Subjected to increasing centrifugal force, the dancers cluster together, their bodies inclining inwards at ever more acute angles. Individuals depart the group and make exploratory sorties, circling the platform as if battling against a great wind.
(Brief science interlude: my high school physics teacher told us never to use “centrifugal force” instead of “centripetal force” because it wasn’t actually a thing. More on that here.)
There are many notable archives doing similar work, yet it isn’t uncommon for some to have a limited view of Black music — one which fuels US-centrism and a preference for vernacular music traditions. This collection considers the term “Black music” more widely, as it aims to address any instances in which Black participation led to the creation or innovation of music across the diaspora. Plainly speaking, that means just about every genre will be included here.
Black artists have often been minimized or omitted entirely when it comes to the discussion, practice, and research of many forms of music. This library seeks to correct that. It is time to reframe Black music history as foundational to American music history, Latinx music history, and popular music history at large.
The library was created by music journalist Jenzia Burgos after her Instagram slideshow went viral back in June, demonstrating a need for a more comprehensive resource. In a thread announcing the site, Burgos envisions the site as a “living library” that will shift and grow with reader contributions — you can send in resources via this form. (via @tedgioia)
Ice cream maker Good Humor has teamed up with legendary rapper/musician RZA to produce a new ice cream truck jingle to replace the ubiquitous “Turkey in the Straw”, a tune that gained popularity as a minstrel song with racist lyrics.
“Turkey in the Straw” is one of the most iconic ice cream truck jingles today. However, many people don’t realize that this familiar tune has racist roots.
Turkey in the Straw’s melody originated from British and Irish folk songs, which had no racial connotations. But the song itself was first performed (and gained popularity) in American minstrel shows in the 1800s. Some songs using its same melody contained highly offensive, racist lyrics.
Throughout the 19th century, minstrel songs like Turkey in the Straw were commonly played in ice cream parlors, and later, adapted as ice cream truck jingles.
While these associations of “Turkey in the Straw” are not the only part of its legacy, it is undeniable that this melody conjures memories of its racist iterations.
To create an original jingle, The RZA drew inspiration from his own childhood memories of chasing after the ice cream truck in his neighborhood. The track borrows from traditional ice cream truck music and adds jazz and hip-hop elements. Expect trap drumbeats, some old-school bells that reference Good Humor’s original ice cream trucks, and a distinct RZA hook that you will not be able to get out of your head.
Here’s the full jingle:
Song of the Summer 2020? I could totally see Drake or whoever sampling this for an end-of-the-summer ice cream anthem.
I love things that sound like other things and this video of a kid crashing into some trash bins on his bike sounds a lot like the drums in Phil Collins’ “In the Air Tonight”. (If I may play spoiler for just a second though, capturing the sound of those bins going over so clearly from that far away seems a little suspect. But let’s assume it’s real and have our fun.) See also This Stumbling Deer’s Hooves Sound Like Phil Collins’ Drum Fill on “In the Air Tonight”. (thx to everyone who sent this in)
Donald Trump’s idiotic brag about how well he did on a cognitive test (“Person. Woman. Man. Camera. TV.”) set to Daft Punk’s Harder, Better, Faster, Stronger.
You just have to laugh because if you actually stop to think about how much harm this man has done and will continue to do in his remaining time in office, the incandescent rage might make you pass out.
In this video, Lin-Manuel Miranda shares how he came up with some of his most iconic songs from In the Heights, Hamilton, Moana, and even Star Wars (he wrote a cantina song for The Force Awakens). I can sit and listen to creators talking about how they came up with their best work pretty much forever. But honestly the reason I’m sharing this is this incredible detail about the “whoa whoa whoa” bit in “My Shot” (at ~7:35):
And then the “whoa” is based on the AOL startup dial sound, because I wanted it to feel like his words are connecting with the world and they’re reverberating out into the world. And I associate that with the first time I signed on to the internet and you hear [simulated modem noises]. It’s the AOL dialup octave.
Well, I’ll never listen to that song in the same way again. For spry minds, inspiration comes from everywhere. (via the spry minds at open culture)
My two favorite performances in the Disney+ version of Hamilton are Renée Goldsberry’s Angelica Schuyler and Daveed Diggs’ twin roles as Marquis de Lafayette and Thomas Jefferson. But perhaps a close third is Jonathan Groff’s turn as King George III. Ever since we watched the show a few weeks ago, my kids and I have been walking around the house breaking into song and talking a lot about what was so mesmerizing about Groff’s performance.
So, I was excited to run across this video of musical theatre coach Marc Daniel Patrick breaking down his performance of “You’ll Be Back”. Yes, he covered the spitting but I found the discussion of how he held specific members of the audience with his gaze for extended periods much more relevant in understanding what made that performance work. I particularly loved how still Groff held his body and the rest of his head as his lower jaw pistoned up and down like a ventriloquist dummy’s singing the “da da da dat” parts. The audio is funny enough, but his possessed mandible makes me laugh every time I see it.
With time to burn during ye olde pandemic, practitioners of a musical genre called bardcore have been taking pop songs and medieval-izing their lyrics and tunes. The three examples embedded above are Radiohead’s Creep, Jolene by Dolly Parton, and Paint It Black by the Rolling Stones. Here’s how Creep starts off:
When thou wert here before
I could not look thee in the eye
Thou art like an angel
Thy skin makes me cry
Thou float’st like a feather
In a beautiful world
I wish I was special
Thou’rt so very special
But I am a creep
I am a weirdo
What in hell am I doing here?
I do not belong here
This is a fan-made rendition of act 1 of the hit musical Hamilton sung by The Muppets.
The impressions of the Muppets aren’t bad and the “casting” is about what you’d expect:
Alexander Hamilton - Kermit the Frog
Aaron Burr - The Great Gonzo
Eliza Schuyler - Miss Piggy
Marquis de LaFozette - Fozzie Bear
George Washington - Sam the Eagle
I don’t know if listening to this all the way through is wise, but you should listen at least until Kermit/Hamilton makes his entrance at ~1:18. Oh, and skip ahead to 17:09 to hear The Swedish Chef do Samuel Seabury and to 19:01 to hear You’ll Be Back performed by Animal. (via open culture)
On September 16, 1991, about a week before the band’s breakthrough album Nevermind was released, Nirvana played a 45-minute in-store set at Beehive Records in Seattle. When I watch videos like this (here’s the Notorious BIG rapping on a street corner at 17 and a 17-year-old LL Cool J playing to a mostly empty gym1), I look at the crowd just as much or more than the performers. Do the people in that music shop audience know they’re witnessing an early performance of one of the last great consequential rock songs or do they only realize it later?
Hell, I suppose you could ask the same question of the performers: did Cobain or Biggie or LL Cool J know at the time that they were going to blow up in a matter of weeks and months? In Cobain’s case, he may have. From a biography called Heavier Than Heaven:
Two days later, Nirvana held an “in-store” at Beehive Records. DGC expected about 50 patrons, but when over 200 kids were lined up by two in the afternoon — for an event scheduled to start at seven — it began to dawn on them that perhaps the band’s popularity was greater than first thought. Kurt had decided that rather than simply sign albums and shake people’s hands — the usual business of an in-store — Nirvana would play. When he saw the line at the store that afternoon, it marked the first time he was heard to utter the words “holy shit” in response to his popularity. The band retreated to the Blue Moon Tavern and began drinking, but when they looked out the window and saw dozens of fans looking in, they felt like they were in the movie A Hard Day’s Night. When the show began, Beehive was so crowded that kids were standing on racks of albums and sawhorses had to be lined up in front of the store’s glass windows to protect them. Nirvana played a 45-minute set — performing on the store floor — until the crowd began smashing into the band like the pep rally in the “Smells Like Teen Spirit” video.
Kurt was bewildered by just how big a deal it had all become. Looking into the crowd, he saw half of the Seattle music scene and dozens of his friends. It was particularly unnerving for him to see two of his ex-girlfriends — Tobi and Tracy — there, bopping away to the songs. Even these intimates were now part of an audience he felt pressure to serve. The store was selling the first copies of Nevermind the public had a chance at, and they quickly sold out. “People were ripping posters off the wall,” remembered store manager Jamie Brown, “just so they’d have a piece of paper for Kurt to autograph.” Kurt kept shaking his head in amazement.
Kurt retreated to the parking lot for a smoke and some downtime. But there, the day became even more freakish when he saw two of his old Montesano schoolmates, Scott Cokely and Rick Miller, holding copies of “Sliver.” Though Kurt signed signed hundreds of autographs that day, none made him feel more surreal than putting his signature on a single about his grandparents for two guys from the town his grandparents lived in. They talked about their mutual friends from the harbor, but the conversation made Kurt wistful — Cokely and Miller were a reminder of a past Kurt thought he had left behind. “Do you get back to the harbor much?” Cokely asked. “Not very often,” Kurt replied. Both Cokely and Miller were confused when they looked at their singles and noticed Kurt had signed them “Kurdt.”
Kurt later cited this exchange as one of the first moments he realized he was famous. Yet rather than comfort him, this realization set off something just short of a panic. Though he had always wanted to be famous — and back when he was in school in Monte, he had promised his classmates one day he would be — the actual culmination of his dreams deeply unnerved him. Krist would recall this particular show — a free show in a record store a week before the album’s official release date — as a turning point in Kurt. “Things started to happen after that,” Krist said. “We weren’t the same old band. Kurt, he just kind of withdrew. There was a lot of personal stuff that was going on. It got complicated. It was more than we bargained for.”
This is delightful. Over the past few months of pandemic lockdown, the residents and staff of the Sydmar Lodge Care Home in Edgware, England have passed the time by recreatingfamous album covers.
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