The Speech Accent Archive: The English Accents of People Who Speak 341 Different Languages

Over the years, I’ve met with sev­er­al for­eign speak­ing part­ners. Through con­ver­sa­tion, I learn their lan­guage — Span­ish, Kore­an, Japan­ese — and they learn mine — Eng­lish. Many of them first got seri­ous about their study of that more-or-less-inter­na­tion­al tongue with the goal of com­plete­ly elim­i­nat­ing their native accent which, while demon­stra­bly pos­si­ble, takes so much addi­tion­al effort as an adult that I’ve always advised them to just spend that time learn­ing anoth­er lan­guage (or two) instead. Many, of course, come to that con­clu­sion them­selves, real­iz­ing that Eng­lish speak­ers all over the world have cre­at­ed a legit­i­mate cul­ture of speak­ing Eng­lish in all kinds of dif­fer­ent ways, with all kinds of dif­fer­ent accents, whether or not they learned the lan­guage from child­hood. But it still makes one won­der: how many dif­fer­ent accents do peo­ple speak it in? And what do they all sound like? Won­der no longer, for we have The Speech Accent Archive, cre­at­ed by Steven H. Wein­berg­er of George Mason Uni­ver­si­ty’s Lin­guis­tics depart­ment, who intro­duces it in the video above.

The site, “estab­lished to uni­form­ly exhib­it a large set of speech accents from a vari­ety of lan­guage back­grounds,” col­lects audio sam­ples of native and non-Native Eng­lish speak­ers all read­ing the same para­graph. This lets the user “com­pare the demo­graph­ic and lin­guis­tic back­grounds of the speak­ers in order to deter­mine which vari­ables are key pre­dic­tors of each accent,” demon­strat­ing that “accents are sys­tem­at­ic rather than mere­ly mis­tak­en speech.” You can browse by the speak­er’s native lan­guage, by their region, or (pre­sum­ably excit­ing for the lin­guists) by their “native pho­net­ic inven­to­ry.” You’ll find Eng­lish as spo­ken by native speak­ers of every­thing from French and Chi­nese to Urdu and Chaldean Neo Ara­ma­ic. Here in Seoul, South Korea, where I write this post, I cer­tain­ly do meet peo­ple who sound just like this sam­ple speak­er, a 19-year-old woman from the city who began learn­ing Eng­lish at 17 and spent a few months study­ing in Amer­i­ca. The page describes her accent as char­ac­ter­ized by, among oth­er things, “final obstru­ent devoic­ing,” “vow­el short­en­ing,” and “obstru­ent dele­tion.” But don’t let the site’s lin­guis­tics jar­gon deter you; the salute to the Speech Accent Archive just above will give you an idea of just how much fun you can have there. You can enter the The Speech Accent Archive here.

Relat­ed Con­tent:

Learn 45+ Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More

A Brief Tour of British Accents: 14 Ways to Speak Eng­lish in 84 Sec­onds

Peter Sell­ers Presents The Com­plete Guide To Accents of The British Isles

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Peter Sell­ers Reads The Bea­t­les’ “She Loves You” in Four Dif­fer­ent Accents

Free Eng­lish Lessons

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch 1990s Video of Sacha Baron Cohen Playing Christo, the Proto Borat (NSFW)

In 2005, a hir­sute Kaza­kh jour­nal­ist named Borat Sagdiyev ven­tured to Amer­i­ca to make a doc­u­men­tary about “the Great­est Coun­try in the World.” Along the way, he had extreme­ly awk­ward con­ver­sa­tions with politi­cians Bob Barr and Alan Keyes, unwit­ting­ly par­tic­i­pat­ed in a Gay Pride parade, and acci­den­tal­ly destroyed a gift shop filled with Con­fed­er­a­cy mem­o­ra­bil­ia. When he vis­it­ed a Vir­ginia rodeo, he near­ly caused a riot. Pri­or to the event, he praised the War on Ter­ror — which got cheers — and then wished that “George W. Bush will drink the blood of every man, woman and child in Iraq,” which got few­er cheers. He then sang the lyrics of the Kaza­kh nation­al anthem to the tune of the “Star Span­gle Ban­ner.” That got boos.

Borat is, of course, a fic­tion­al char­ac­ter played by British come­di­an Sacha Baron Cohen, made famous in his huge­ly suc­cess­ful 2006 movie Borat: Cul­tur­al Learn­ings of Amer­i­ca for Make Ben­e­fit Glo­ri­ous Nation of Kaza­khstan. While his brand of gonzo com­e­dy might not be everybody’s cup of tea, you have to admit he’s brave and weird­ly ded­i­cat­ed to his craft. The cops were called over 90 times dur­ing the pro­duc­tion of Borat and Baron Cohen nev­er broke char­ac­ter once.

Of all of Baron Cohen’s char­ac­ters – the dim-wit­ted wannabe gang­ster Ali G and the equal­ly obliv­i­ous gay fash­ion­ista Bruno, Borat is per­haps his most like­able, and there­fore his most dan­ger­ous, char­ac­ter. He’s so naive­ly igno­rant, so benight­ed by provin­cial prej­u­dices that he evokes a tone of kind­ly con­de­scen­sion from just about every­one he encoun­ters – at least before they call the cops on him. And that con­de­scen­sion can prove to be a trap. Borat’s casu­al, jar­ring­ly overt homo­pho­bia, sex­ism and anti-Semi­tism can often lead inter­vie­wees to say things out loud that they wouldn’t nor­mal­ly say in front of a cam­era. When Borat stat­ed, “We hang homo­sex­u­als in my coun­try!” Bob­by Rowe, the pro­duc­er of that rodeo quipped: “That’s what we’re try­ing to do here.”

The first incar­na­tion of Borat was a Mol­da­vian jour­nal­ist named Alexi who appeared on the Grana­da TV show F2F in the mid-90s. For the BBC Two show Com­e­dy Nation, Baron Cohen turned Alexi into Chris­to from Alba­nia. You can see a cou­ple of his ear­ly skits as Chris­to. In the one up top, he tries the patience of famed socialite Lady Col­in Camp­bell by insist­ing on car­ry­ing the train of her haute cou­ture dress. Below that, Chris­to stum­bles uncom­pre­hend­ing­ly into the world of S&M. Both videos, as you might expect, are NSFW.

Relat­ed Con­tent:

Ali G at Har­vard; or How Sacha Baron Cohen Got Blessed by America’s Cul­tur­al Estab­lish­ment

George Car­lin Per­forms His “Sev­en Dirty Words” Rou­tine: His­toric and Com­plete­ly NSFW

Lenny Bruce Riffs and Rants on Injus­tice and Hypocrisy in One of His Final Per­for­mances (NSFW)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

Caffeinated: How Our Daily Habit Helps, Hurts, and Hooks Us

Caffeinated-cover

Jour­nal­ist Mur­ray Car­pen­ter has writ­ten a new book about the world’s most pop­u­lar drug — caf­feine. And it answers ques­tions that many cof­fee drinkers sure­ly won­der about: Is caf­feine addic­tive? What exact­ly does it do to our bio­chem­istry? How does it gives us a jolt? And what health con­se­quences does it have (or not have)? These ques­tions all get answered in the book, Caf­feinat­ed: How Our Dai­ly Habit Helps, Hurts, and Hooks Us. And much of them were dis­cussed when Car­pen­ter recent­ly vis­it­ed my favorite radio pro­gram in San Fran­cis­co, KQED’s Forum. You can lis­ten to the inter­view below:

Relat­ed Con­tent:

J.S. Bach’s Com­ic Opera, “The Cof­fee Can­ta­ta,” Sings the Prais­es of the Great Stim­u­lat­ing Drink (1735)

“The Vertue of the COFFEE Drink”: London’s First Cafe Cre­ates Ad for Cof­fee in the 1650s

The His­to­ry of Cof­fee and How It Trans­formed Our World

How Cli­mate Change Is Threat­en­ing Your Dai­ly Cup of Cof­fee

A Short, Ani­mat­ed Look at What’s Inside Your Aver­age Cup of Cof­fee

Black Cof­fee: Doc­u­men­tary Cov­ers the His­to­ry, Pol­i­tics & Eco­nom­ics of the “Most Wide­ly Tak­en Legal Drug”

Digital Dubliners: Free, 21st Century Ways to Read Joyce’s Great Story Collection on its 100th Anniversary


Read near­ly any crit­i­cal com­men­tary on James Joyce’s Dublin­ers, his 1914 col­lec­tion of short sto­ries that chron­i­cle the lives of ordi­nary Irish res­i­dents of the title city, and you’re sure to come across the word “epiphany.” This is not some aca­d­e­m­ic jar­gon, but the word Joyce him­self used to describe the way that each sto­ry builds to a shock of recognition—often in the form of painful self-awareness—for key char­ac­ters. Short-cir­cuit­ing the typ­i­cal cli­max-res­o­lu­tion-dénoue­ment of con­ven­tion­al nar­ra­tive, Joyce’s epipha­nies give his sto­ries a verisimil­i­tude that can still feel very unset­tling, giv­en our typ­i­cal expec­ta­tions that real­ist fic­tion still obey the rules of fic­tion. Dra­mat­ic moments in our lives rarely have neat and tidy end­ings. But in sto­ries like “Eve­line,” “Ara­by,” “A Lit­tle Cloud,” and the collection’s cap­stone piece, “The Dead,” the often feck­less char­ac­ters find them­selves par­a­lyzed in states of exis­ten­tial dread by sud­den flash­es of self-knowl­edge, unable to assim­i­late new and painful insights into their lim­it­ed per­spec­tives.

That final sto­ry (adapt­ed into John Huston’s final film) “ele­vates the book to the lev­el of the supreme art­works of the 20th cen­tu­ry,” writes Mark O’Connell in Slate. O’Connell’s essay com­mem­o­rates the cen­te­nary of Dublin­er’s pub­li­ca­tion this month. Dublin­ers remains, he writes, a book that “writ­ers of the short sto­ry form seem basi­cal­ly resigned to nev­er sur­pass­ing.” Writ­ten in the author’s ear­ly 20s, the sto­ries, as Ulysses would eight years lat­er, “reveal some­thing pro­found and essen­tial and unre­al­ized about the city and its peo­ple”: “Dublin can feel less like a place that James Joyce wrote about than a place that is about James Joyce’s writ­ing.” All of us non-Dublin­ers can enter the city through Joyce’s exquis­ite sto­ries, and in an increas­ing vari­ety of ways, thanks to dig­i­tal tech­nol­o­gy. At the top of the post, find a dig­i­tized first edi­tion of Dublin­ers. Just above, we have a read­ing of “Eve­line” by “vel­vet-voiced” Dublin­er Tad­hg Hynes, and below, hear Irish actor Jim Nor­ton read “The Sis­ters.”

You’ll find many more read­ings of Dublin­ers’ sto­ries online, such as this dead­pan read­ing of “Ara­by” from one of our favorites, Tom O’Bedlam, a Blooms­day read­ing of “Eve­line” by award-win­ning Irish play­wright Miri­am Gal­lagher, and this Lib­rivox col­lec­tion of read­ings from var­i­ous voic­es. I think Joyce would have very much appre­ci­at­ed the use of tech­nol­o­gy to keep his work alive into the 21st cen­tu­ry. Part of his lit­er­ary mission—certainly in many of Dublin­ers’ stories—was to illus­trate the stul­ti­fy­ing effects of cling­ing to the past. An eager adopter of new tech­nolo­gies, Joyce in fact brought the first cin­e­ma, The Vol­ta, to Dublin in 1909. So it seems fit­ting that 100 years after the pub­li­ca­tion of Dublin­ers, his book receive the mul­ti­me­dia app treat­ment in the form of Dig­i­tal Dublin­ers, a free, “engag­ing and author­i­ta­tive edi­tion” of the book designed by Boston Col­lege stu­dents and fea­tur­ing “three hun­dred-odd images, sev­en hun­dred or so notes and expla­na­tions, two dozen videos, crit­i­cal essays and hyper­links, inter­ac­tive maps sourced from con­tem­po­rary news­pa­per, sound, film and pho­to­graph­ic archives, with essays, film, record­ings, back­ground and expert dis­cus­sion.” Watch a short pro­mo video for Dig­i­tal Dublin­ers below, and down­load the book on iTunes here.

Final­ly, you may wish to read the text in a more late-20th-cen­tu­ry, and more open, for­mat with this ful­ly search­able “hyper­tex­tu­al, self-ref­er­en­tial edi­tion” pre­pared for Project Guten­berg. Whichev­er way you read Joyce’s Dublin­ers, you should, I pre­sume to sug­gest, read Joyce’s Dublin­ers. And if you have read these sto­ries before, even “some­where in the dou­ble fig­ures,” as Mark O’Connell has, then you’ll know how rich­ly they reward re-read­ing, or hear­ing, or study­ing along with oth­er read­ers and lovers of Joyce and a well-worn map of Dublin, or its shim­mer­ing touch-screen dig­i­tal equiv­a­lent.

Dublin­ers also appears in our two col­lec­tions, 1,000 Free Audio Books: Down­load Great Books for Free and 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

Relat­ed Con­tent:

James Joyce’s Ulysses: Down­load the Free Audio Book

James Joyce’s Dublin Cap­tured in Vin­tage Pho­tos from 1897 to 1904

A Free Playlist of Music From The Works Of James Joyce (Plus Songs Inspired by the Mod­ernist Author)

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

Led Zeppelin, Rolling Stones & The Beatles Played on a 3‑String Electric Mountain Dulcimer

My par­ents always seemed to me to rep­re­sent two very dif­fer­ent strains of six­ties coun­ter­cul­ture. My mom loved Peter, Paul and Mary, Appalachi­an folk and blue­grass, and played the dul­cimer and auto­harp. My dad loved psy­che­del­ic rock, and had an exten­sive col­lec­tion of Zep­pelin, Bea­t­les, Floyd, and Hen­drix records. It wasn’t a Dylan-goes-elec­tric-lev­el dis­agree­ment, but their fond rem­i­nisces of the glo­ry days could some­times get a lit­tle tense. But as we’ve seen in decades since, folkies, hip­pies, and psych-rock­ers can come togeth­er, and not only in 70s folk-rock bands from Cal­i­for­nia. Take Robert Plant and Alli­son Krauss’s fruit­ful and unlike­ly col­lab­o­ra­tion, for instance, or the dozens of Led Zep­pelin and Rolling Stones cov­ers by dozens of flan­nel-clad indie folk­ers.

In the past decade or so, it almost came to seem like psy­che­del­ic blues-rock and moun­tain folk music had always made com­fort­able bed­fel­lows, and maybe they had. (After all, Zep­pelin includ­ed folk instru­ments on sev­er­al of their clas­sic songs, like John Paul Jones’ man­dolin on “Going to Cal­i­for­nia.”) As fur­ther evi­dence we have 3‑string elec­tric moun­tain dul­cimer play­er Sam Edel­stein, who cov­ers clas­sic rock songs on an instru­ment usu­al­ly thought of as par­tic­u­lar­ly gen­tle, del­i­cate, and sweet, as its name implies. At the top, see Edel­stein rip through a sear­ing ver­sion of Zeppelin’s “Whole Lot­ta Love.” Just above, he does a killer take on the Rolling Stones’ “19th Ner­vous Break­down,” and below, Edel­stein plays an increas­ing­ly rock­ing cov­er of The Bea­t­les’ “Come Togeth­er” at the Nation­al Moun­tain Dul­cimer Com­pe­ti­tion. As uploader Con­tem­po­rary Dul­cimer states on Youtube, “the dulcimer’s roots may be in folk music, but it’s a nat­ur­al rock & roll instru­ment.” Indeed. Who knew?

via Ulti­mate Clas­sic Rock

Relat­ed Con­tent:

Watch Jimi Hendrix’s ‘Voodoo Chile’ Per­formed on a Gayageum, a Tra­di­tion­al Kore­an Instru­ment

Robert Plant and Ali­son Krauss Sing Coun­try Ver­sions of Zeppelin’s “Black Dog” & “When the Lev­ee Breaks”

Musi­cians Re-Imag­ine the Com­plete Song­book of the Bea­t­les on the Ukulele

Talk­ing Heads’ “This Must Be the Place (Naive Melody)” Per­formed on Tra­di­tion­al Chi­nese Instru­ments

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

Free Archive of Audio Interviews with Rock, Jazz & Folk Legends Now on iTunes

joe smith interviews

Back in 2012, we told you about how the Library of Con­gress launched the Joe Smith Col­lec­tion, an audio archive fea­tur­ing 200+ inter­views with leg­endary music artists, all record­ed dur­ing the 1980s by Joe Smith while research­ing and writ­ing his book Off the Record. The audio col­lec­tion, still avail­able on the web, has now been brought to iTune­sU. And the iTunes col­lec­tion has a virtue that the web archive does­n’t — it lets you down­load instead of stream the audio files.

If you’re a music junkie, you won’t want to miss the long­form inter­views with leg­endary fig­ures like Dave Brubeck, Lou Reed, Paul McCart­ney, Joan Baez, Her­bie Han­cock, David Bowie, George Har­ri­son, Yoko Ono, James Brown, Bo Did­dley, Jer­ry Gar­cia, Chris­tine McVie, Mick Jag­ger, Lin­da Ron­stadt and more. Each inter­view runs 30–60 good min­utes. You can enter the archive here.

Relat­ed Con­tent:

Library of Con­gress Releas­es Audio Archive of Inter­views with Rock ‘n’ Roll Icons

Two Leg­ends Togeth­er: A Young Bob Dylan Talks and Plays on The Studs Terkel Pro­gram, 1963

Watch John Lennon and Yoko Ono’s Two Appear­ances on The Dick Cavett Show in 1971 and 72

Hardware Wars: The Mother of All Star Wars Fan Films (and the Most Profitable Short Film Ever Made)

Back in 1977, San Fran­cis­co film­mak­er Ernie Fos­selius had the brain­wave to make a spoof of a movie that had just come out. It was a risky move. Nobody had any sense that Star Wars would become the world­wide cul­tur­al phe­nom­e­non that it did. And just as George Lucas’s space opera earned stag­ger­ing amounts of mon­ey, so did Fosselius’s par­o­dy, Hard­ware Wars. You can watch it above. Made for a mere eight grand, the 13-minute movie became a pre-inter­net viral hit and a sta­ple on the fes­ti­val cir­cuit, ulti­mate­ly earn­ing over $1,000,000 – an unheard of haul for a short film. In fact, in terms of mon­ey spent ver­sus mon­ey earned, Hard­ware Wars end­ed up being far more prof­itable than Star Wars. And it’s con­sid­ered the most prof­itable short film ever made.

“I think a lot of the charm of that movie is the fact that we didn’t real­ly know what we were doing,” said Scott Math­ews, who donned a blonde wig to play the movie’s lead, Fluke Star­buck­er. The movie’s pro­duc­tion is so glee­ful­ly cheap and half-assed that you can’t help but be charmed by it. Irons, toast­ers, and tape play­ers are used in place of space­ships.

A can­is­ter vac­u­um clean­er stands in for R2D2, and Chew­bac­ca appears to be a Cook­ie Mon­ster pup­pet dyed brown. At one point, while on a desert plan­et of Tatooine, you see a beach-goer saun­ter­ing in the back­ground. And Star Wars’s famous can­ti­na scene is in this movie sim­ply a stroll through a crowd­ed tav­ern. If you know any­thing about the bar scene in 1970s San Fran­cis­co, you know that it was at least as weird as any­thing George Lucas man­aged to put up on the screen.

The often liti­gious Lucas report­ed­ly real­ly liked the movie, called it “cute.” He even invit­ed Fos­selius to voice the incon­solable sobs of Jab­ba the Hut­t’s ani­mal train­er after his beloved Ran­cor gets killed by Luke Sky­walk­er in Return of the Jedi.

Hard­ware Wars end­ed up launch­ing an entire sub­genre of movie – the Star Wars fan film. And with the advent of Youtube and dig­i­tal film­mak­ing tech­nol­o­gy, the abil­i­ty of nerds and mavens to make increas­ing­ly sophis­ti­cat­ed takes on Lucas’s uni­verse became eas­i­er and eas­i­er. One of the bet­ter, and old­er, ones is Troops. A mash up of Star Wars and the real­i­ty TV series Cops, the short shows the chal­lenges and the strug­gles of being an Impe­r­i­al Stormtroop­er. Check it out below.

via Film­mak­erIQ

Relat­ed Con­tent: 

How Star Wars Bor­rowed From Aki­ra Kurosawa’s Great Samu­rai Films

Frei­heit, George Lucas’ Short Stu­dent Film About a Fatal Run from Com­mu­nism (1966)

Watch the Very First Trail­ers for Star Wars, The Empire Strikes Back & Return of the Jedi (1976–83)

Joseph Camp­bell and Bill Moy­ers Break Down Star Wars as an Epic, Uni­ver­sal Myth

Hun­dreds of Fans Col­lec­tive­ly Remade Star Wars; Now They Remake The Empire Strikes Back

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

 

Zeppelin Took My Blues Away: An Illustrated History of Zeppelin’s “Copyright Indiscretions”

11-RANDY-CALIFORNIA

Few have gone broke work­ing in copy­right law. Some, how­ev­er, have gone broke break­ing it. Oth­ers have built up enough of a rep­u­ta­tion and for­tune by bend­ing the rules just far enough, though they still run the risk of, if not going finan­cial­ly bank­rupt, then look­ing cre­ative­ly bank­rupt. The Eng­lish rock band Led Zep­pelin seems to have art­ful­ly walked just this line for decades, though their usage of the blues and folk songs that inspired them has more recent­ly under­gone some seri­ous­ly high-pro­file exam­i­na­tion in court. Even their sig­na­ture “Stair­way to Heav­en” had a suit filed against it in May, “brought by the estate of the late musi­cian Randy Cal­i­for­nia against the sur­viv­ing mem­bers of Led Zep­pelin and their record label. The copy­right infringe­ment case alleges that the Zep­pelin song was tak­en from the sin­gle ‘Tau­rus’ by the 1960s band Spir­it, for whom Cal­i­for­nia served as lead gui­tarist.

11.2-Stairway-To-Heaven

Those look­ing to make up their own minds about the rel­e­vant issues of musi­cal author­ship here can look to Zep­pelin Took My Blues Away, an “illus­trat­ed his­to­ry of copy­right indis­cre­tions,” cre­at­ed in trad­ing card for­mat, and fea­tur­ing clips for the pur­pos­es of com­par­i­son and con­trast. In this post, we have the card and clips doc­u­ment­ing the resem­blances between “Stair­way to Heav­en” and “Tau­rus,” Randy Cal­i­for­ni­a’s 1968 song. The series comes to 19 cards in total, includ­ing such per­haps exces­sive­ly Zep­pelin-bor­rowed tunes as Bert Jan­sch’s “Black­wa­ter­side,” Ritchie Valens’ “Ohh, My Head,” Willie Dixon’s “You Need Love,” and Jake Holmes’ “Dazed and Con­fused.” The ques­tion of whether we can call Jim­my Page and Robert Plant reck­less music thieves or sim­ply artists mak­ing use of what came before — as all artists must — has no easy answer. I, for my part, can’t even imag­ine the legal drudgery required for a ver­dict in cas­es like this. Some­thing tells me that noth­ing as fun as trad­ing cards ever gets admit­ted as evi­dence.

LED ZEPPELIN “Stair­way To Heav­en” 1971

SPIRIT “Tau­rus” 1968

Relat­ed Con­tent:

Led Zep­pelin Plays One of Its Ear­li­est Con­certs (Dan­ish TV, 1969)

Whole Lot­ta Led Zep­pelin: Live at the Roy­al Albert Hall and The Song Remains the Same–the Full Shows

Decon­struct­ing Led Zeppelin’s Clas­sic Song ‘Ram­ble On’ Track by Track: Gui­tars, Bass, Drums & Vocals

Hear Led Zeppelin’s Mind-Blow­ing First Record­ed Con­cert Ever (1968)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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