The Bill Evans Trio in London, 1965: Two Sets by the Legendary Combo

On March 19, 1965, the Bill Evans Trio stopped by the BBC stu­dios in Lon­don to play a pair of sets on Jazz 625, the now-leg­endary pro­gram host­ed by the British trum­peter Humphrey Lyt­tel­ton. The combo–which fea­tured Evans on piano, Chuck Israels on bass and Lar­ry Bunker on drums–played two sets, includ­ing most of the songs from their just-com­plet­ed album, Trio ’65. The two 35-minute pro­grams (shown con­sec­u­tive­ly in the video above) take us back in time to see and hear one of the most bril­liant and influ­en­tial jazz pianists of all time, at work in a tight­ly inte­grat­ed trio.

Set One:

  1. “Five,” by Bill Evans
  2. “Elsa,” by Earl Zin­dars
  3. “Sum­mer­time,” by George Gersh­win
  4. “Come Rain or Come Shine,” by Harold Arlen
  5. “My Fool­ish Heart,” by Vic­tor Young
  6. “Re: Per­son I Knew,” by Bill Evans
  7. “Israel,” by John­ny Carisi
  8. “Five,” by Bill Evans (reprise)

Set Two:

  1. “Five,” by Bill Evans
  2. “How My Heart Sings,” by Earl Zin­dars
  3. “Nardis,” by Miles Davis
  4. “Who Can I Turn To?” by Antho­ny New­ley and Leslie Bricusse
  5. “Some­day My Prince Will Come,” by Frank Churchill
  6. “How Deep is the Ocean?” by Bill Evans
  7. “Five,” by Bill Evans (reprise)

Relat­ed con­tent:

The Uni­ver­sal Mind of Bill Evans: Advice on Learn­ing to Play Jazz

Thelo­nious Monk, Bill Evans and More on the Clas­sic Jazz 625 Show

“Good Chemistry” Explains Chemical Bonds with Cutout Animation and Teenage Romance

Love, or the promise of it, sells clothes, cologne and many a com­pact disc—but who’d think love could sell chem­istry? Six­teen-year-old Eli Ciri­no did, and was he ever right. The tenth grad­er sub­mit­ted an extra cred­it video for his chem­istry class and what he got was prob­a­bly way more than he bar­gained for. Good Chem­istry explains chem­i­cal bonds using con­struc­tion paper ani­ma­tion of pos­i­tive and neg­a­tive ions and cova­lent bonds set against an orig­i­nal song sung by Ciri­no. It’s all edit­ed togeth­er with images of a cute cou­ple reach­ing out and clasp­ing hands. A sam­ple of Cirino’s lyrics: “We always on the look­out for a part­ner­ship, pos­i­tive and neg­a­tive you get the drift.” It’s catchy and sweet, to the tune of more than 290,000 views on YouTube by the end of the day Wednes­day. Extra cred­it for Ciri­no for bring­ing the video in at pi-time: three min­utes, four­teen sec­onds.

Kate Rix is an Oak­land-based free­lancer. Find more of her work at .

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Entitled Opinions, the “Life and Literature” Podcast That Refuses to Dumb Things Down

Proust. Mimet­ic desire. The infla­tion­ary uni­verse. 1910, Amer­i­can writ­ers in Paris. The his­to­ry of the book. These top­ics may sound unusu­al enough to pique your inter­est. They may float through your mind once in a while, cap­tur­ing an hour or two of your curios­i­ty. They may peri­od­i­cal­ly send you to the library on read­ing binges. But for KZSU-FM’s Enti­tled Opin­ions, they are meat and drink. Since 2005, pro­fes­sor-broad­cast­er Robert Har­ri­son has explored these top­ics and many more besides in the intel­lec­tu­al­ly expan­sive long-form con­ver­sa­tions he con­ducts on Stan­ford Uni­ver­si­ty’s radio sta­tion. Always begin­ning with a mono­logue, Har­ri­son spends the bulk of his broad­casts think­ing aloud about these rich top­ics with philoso­phers like Richard Rorty, nov­el­ists like Orhan Pamuk, many a fel­low aca­d­e­m­ic, lis­ten­ers, and his own broth­er. (Some­times he up and con­ducts the entire show in French.) Each and every one of these he makes avail­able as a pod­cast, on the show’s site and on iTunes.

“These are not like Stan­ford cours­es online,” said Har­ri­son in a Stan­ford Uni­ver­si­ty News pro­file. “These are pro­grams where intel­lec­tu­als speak to each oth­er at a high lev­el of intel­lec­tu­al exchange—no one is exclud­ed per se, but you do have to have intel­lec­tu­al curios­i­ty. We refuse to dumb it down.” Hav­ing recent­ly returned from a pro­longed hia­tus, Enti­tled Opin­ions has kept not dumb­ing it down with con­ver­sa­tions on geog­ra­phy, her­maph­ro­ditism, polit­i­cal philoso­pher John Rawls, and Petrar­ch and Petrar­chism. I myself engaged Har­ri­son in a long-form inter­view on my pre­vi­ous pod­cast, The Mar­ket­place of Ideas, in which we dis­cussed the evo­lu­tion of his show; his books on forests, gar­dens, and the dead;  his life as a rock musi­cian (so that explains those episodes on Pink Floyd, The Doors, and Jimi Hen­drix); and get­ting called “the most pre­ten­tious man in the world” over e‑mail. We die-hard Enti­tled Opin­ions fans demand to know these things.

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

The Art of Making a Flamenco Guitar: 299 Hours of Blood, Sweat & Tears Experienced in 3 Minutes

The Fla­men­co gui­tar grew up in Andalu­sia, the major province in south­ern Spain, where it became inte­gral to the cul­ture dur­ing the 19th cen­tu­ry. The mod­ern fla­men­co gui­tar (a first cousin of the mod­ern clas­si­cal gui­tar) is typ­i­cal­ly made with two of three woods — spruce on the top, and cypress or sycamore on the back and sides. When put in the hands of the right luthi­er, the gui­tar can become a thing of beau­ty. Case in point: This art­ful video by Greek film­mak­er Dim­itris Ladopou­los brings you inside the work­shop of Vasilis Lazarides, who spe­cial­izes in mak­ing high qual­i­ty fla­men­co gui­tars by hand. (Vis­it his gui­tars online here.) 299 hours of blood, sweat, tears and love go into mak­ing each fine gui­tar. But you can watch it all hap­pen in a mat­ter of three min­utes, with the music of Edsart Udo de Haes pro­vid­ing the sound­track.

If elec­tric gui­tars hap­pen to be your thing, you can also watch Fend­ers being made in 1959 and 2012.

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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!

Relat­ed Con­tent:

Watch FLAMENCO AT 5:15, a Life-Affirm­ing, Oscar-Win­ning Doc­u­men­tary About a Fla­men­co Dance Class

Hear Metallica’s “Noth­ing Else Mat­ters” Cov­ered in Unex­pect­ed Styles: Gre­go­ri­an Choir, Cel­lo Ensem­ble, Finnish Blue­grass, Jazz Vocal & More

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Building the Golden Gate Bridge: A Retro Film Featuring Original Archival Footage

This past week­end, San Fran­cis­co cel­e­brat­ed the 75th anniver­sary of the Gold­en Gate Bridge. And if Beth­le­hem Steel were still around, it would have been cel­e­brat­ing too. Once Amer­i­ca’s sec­ond-largest steel pro­duc­er, the now bank­rupt com­pa­ny fab­ri­cat­ed the steel used in the con­struc­tion of the icon­ic bridge — all 68,000 tons of it. Some­where dur­ing the 1950s, the Penn­syl­va­nia-based firm revis­it­ed the mak­ing of the Gold­en Gate Bridge, pro­duc­ing a 26 minute film that incor­po­rat­ed some amaz­ing archival footage. Every phase of con­struc­tion gets cov­ered, and the film ends with the bridge’s big open­ing day in 1937. It’s not to be missed.

via The Atlantic

Download David Hockney’s Playful Drawings for the iPhone and iPad

Last year, the Roy­al Ontario Muse­um (ROM) in Toron­to staged an exhib­it of David Hock­ney’s play­ful draw­ings pro­duced with/for the iPhone and iPad. Hock­ney became an ear­ly adopter of Apple’s pop­u­lar devices and start­ed cre­at­ing fin­ger-drawn images (using the Brush­es app) in 2008. Ini­tial­ly, the Eng­lish painter only shared his dig­i­tal draw­ings with a small cir­cle of friends. Then he decid­ed to make them avail­able to the larg­er world, pre­sent­ing them first in Paris in 2010, and then lat­er in Toron­to. Here, Hock­ney explains the basic think­ing behind his Fresh Flow­ers exhi­bi­tions.

Through­out the Cana­di­an exhi­bi­tion, the ROM invit­ed the pub­lic to down­load a series of free images by Hock­ney. They’re all still online, and we’ve gath­ered them below. What will you do with them? Put them on your iPhone or iPad, of course. (Find instruc­tions here and here.) Or what­ev­er oth­er device you please.



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Flannery O’Connor Reads ‘A Good Man is Hard to Find’ in Rare 1959 Audio

Flan­nery O’Con­nor was a South­ern writer who, as Joyce Car­ol Oates once said, had less in com­mon with Faulkn­er than with Kaf­ka and Kierkegaard. Iso­lat­ed by poor health and con­sumed by her fer­vent Catholic faith, O’Con­nor cre­at­ed works of moral fic­tion that, accord­ing to Oates, “were not refined New York­er sto­ries of the era in which noth­ing hap­pens except inside the char­ac­ters’ minds, but sto­ries in which some­thing hap­pens of irre­versible mag­ni­tude, often death by vio­lent means.”

In imag­in­ing those events of irre­versible mag­ni­tude, O’Con­nor could some­times seem outlandish–even cartoonish–but she strong­ly reject­ed the notion that her per­cep­tions of 20th cen­tu­ry life were dis­tort­ed. “Writ­ers who see by the light of their Chris­t­ian faith will have, in these times, the sharpest eye for the grotesque, for the per­verse, and for the unac­cept­able,” O’Con­nor said. “To the hard of hear­ing you shout, and for the almost-blind you draw large and star­tling fig­ures.”

In April of 1959–five years before her death at the age of 39 from lupus–O’Connor ven­tured away from her seclud­ed fam­i­ly farm in Milledgeville, Geor­gia, to give a read­ing at Van­der­bilt Uni­ver­si­ty. She read one of her most famous and unset­tling sto­ries, “A Good Man is Hard to Find.” The audio, acces­si­ble above, is one of two known record­ings of the author read­ing that sto­ry. (The oth­er, from a 1957 appear­ance at Notre Dame Uni­ver­si­ty, can be heard here.) In her dis­tinc­tive Geor­gian drawl, O’Con­nor tells the sto­ry of a fate­ful fam­i­ly trip:

The grand­moth­er did­n’t want to go to Flori­da. She want­ed to vis­it some of her con­nec­tions in east Ten­nessee and she was seiz­ing at every chance to change Bai­ley’s mind. Bai­ley was the son she lived with, her only boy. He was sit­ting on the edge of his chair at the table, bent over the orange sports sec­tion of the Jour­nal. “Now look here, Bai­ley,” she said, “see here, read this,” and she stood with one hand on her thin hip and the oth­er rat­tling the news­pa­per at his bald head. “Here this fel­low that calls him­self The Mis­fit is aloose from the Fed­er­al Pen and head­ed toward Flori­da and you read here what it says he did to these peo­ple. Just you read it. I would­n’t take my chil­dren in any direc­tion with a crim­i­nal like that aloose in it. I could­n’t answer to my con­science if I did.”

To con­tin­ue read­ing the full text while you lis­ten, open this page in a new win­dow. And after­ward, you can fol­low this link to a record­ing of O’Con­nor read­ing her 1960 essay, “Some Aspects of the Grotesque in South­ern Fic­tion,” in which she writes: “I have found that any­thing that comes out of the South is going to be called grotesque by the North­ern read­er, unless it is grotesque, in which case it is going to be called real­is­tic.”

You will find O’Con­nor’s read­ing of “A Good Man is Hard to Find” housed in our col­lec­tion of Free Audio Books.

Relat­ed Con­tent:

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

When Respected Authors, from Goethe to Henry Miller, Try Their Hand at Painting

Fresh­ly post­ed on pub­lish­er Melville House’s blog, you’ll find exam­ples of visu­al art by tex­tu­al artists; draw­ings and paint­ings, in oth­er words, drawn and paint­ed by peo­ple who have gone down in his­to­ry for their way with sen­tences. This could eas­i­ly turn into a les­son about not quit­ting one’s day job. But, as you can see from the work above, Maria Nys Hux­ley at Sies­ta, Melville House blog­ger Kevin Mur­phy has­n’t put togeth­er a study in the incom­pe­tence of the dilet­tante. You’ve sure­ly already guessed the lit­er­ary con­nec­tion: the paint­ing came from the hand of Brave New World author Aldous Hux­ley, who put his wife Maria Nys to can­vas in 1920, when both were still in their twen­ties.

The post fea­tures more paint­ings from the late eigh­teenth cen­tu­ry to the mid-twen­ti­eth by Johann Wolf­gang von Goethe, Vic­tor Hugo, Mar­cel Proust, Her­mann Hesse, e.e. cum­mings, Zel­da Fitzger­ald, Jack Ker­ouac, Flan­nery O’Con­nor, and Hen­ry Miller. Each one reflects  some­thing famil­iar about the painter’s main line of work: Goethe’s, bucol­ic rever­ie; Proust’s, the sketch­i­ness of fad­ing mem­o­ry enriched by a scat­ter­ing of bold details; Hes­se’s, a stare of unbro­ken inten­si­ty. One par­tic­u­lar out­lier, with its sim­ple pen-and-ink com­po­si­tion as well as its overt humor, express­es the lit­er­ary per­son­al­i­ty of its cre­ator more strong­ly than all the oth­ers put togeth­er:

Can you guess the author — er, artist?

Find the full col­lec­tion here.

via @KirstinButler

Relat­ed con­tent:

Pho­tos of Famous Writ­ers (and Rock­ers) with their Dogs

The Writ­ing Rooms of Famous Writ­ers

Famous Authors Read Oth­er Famous Authors

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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