All of the Music from Martin Scorsese’s Movies: Listen to a 326-Track, 20-Hour Playlist

Mar­tin Scors­ese’s cin­e­mat­ic real­i­ty, pop­u­lat­ed by hus­tlers, wise guys, prize fight­ers, vig­i­lantes, law­men, mad­men, and moguls, demands set­tings as vivid as its char­ac­ters. His movies, often peri­od pieces root­ed in par­tic­u­lar parts of 20th-cen­tu­ry Amer­i­ca (and increas­ing­ly, ear­li­er eras and far­ther-flung lands), evoke their times and places most notably with songs. Among their twen­ty great­est musi­cal moments Indiewire lists War­ren Zevon’s “Were­wolves of Lon­don” in The Col­or of Mon­ey, The Clash’s “Janie Jones” in Bring­ing out the Dead, Mick­ey & Sylvi­a’s “Love Is Strange” in Casi­no, and the Rolling Stones’ “Gimme Shel­ter” in The Depart­ed (one of its three uses so far in Scors­ese’s fil­mog­ra­phy).

But Scors­ese’s involve­ment with music goes far beyond lay­er­ing it below, or indeed above, the scenes he shoots. In addi­tion to direct­ing his wide­ly acclaimed fea­tures from the “New Hol­ly­wood” 1970s to the present day, he’s also led some­thing of a par­al­lel career mak­ing films whol­ly ded­i­cat­ed to music and musi­cians, includ­ing 1978’s The Last Waltz, which cap­tured The Band’s “farewell con­cert appear­ance”; the 2003 mul­ti-direc­tor doc­u­men­tary series The Blues on that ven­er­a­ble Amer­i­can musi­cal tra­di­tion; 2005’s No Direc­tion Home on Bob Dylan, 2008’s Rolling Stones bio­graph­i­cal con­cert film Shine a Light, and 2011’s Liv­ing in the Mate­r­i­al World on George Har­ri­son.

Some of the pow­er of Scors­ese’s musi­cal selec­tions owes to his long friend­ship with The Band’s gui­tarist Rob­bie Robert­son, which began with The Last Waltz and con­tin­ues to this day. “We’ve always had this rela­tion­ship going back and forth,” a Telegram arti­cle on their qua­si-col­lab­o­ra­tion quotes the direc­tor as say­ing. “We start­ed a kind of rela­tion­ship in which we’d touch base as to every film I was doing and the type of music I was using.”

In his new mem­oir Tes­ti­mo­ny, Robert­son touch­es on a par­tic­u­lar­ly impor­tant job in Scors­ese’s career that sure­ly did some­thing to shape his friend’s musi­cal-cin­e­mat­ic con­scious­ness: assis­tant-direct­ing and par­tial­ly edit­ing his NYU film school class­mate Michael Wadleigh’s Wood­stock. “We were all, nat­u­ral­ly, pas­sion­ate about film-mak­ing, but Wad­leigh and I were equal­ly pas­sion­ate about rock music,” Scors­ese writes in the fore­word to Wood­stock: Three Days that Rocked the World. “I thought then, and I still think, that it formed the score for many of our lives; we moved through the days to its swag­ger­ing rhythms.”

Now you can move to all the rhythms of Scors­ese’s days, and there­fore of his fil­mog­ra­phy to date, in a 326-Track, 20-Hour Spo­ti­fy playlist. (If you don’t have Spo­ti­fy’s free soft­ware, you can down­load it here.) It comes assem­bled by Thril­list, whose Anna Sil­man writes that, “as might be expect­ed, The Rolling Stones take the crown for most fea­tured artist with a total of 14 appear­ances,” but “Ray Charles, Eric Clap­ton, and Louis Pri­ma all put up some decent num­bers, too.” She sug­gests you enjoy it “on shuf­fle with some egg noo­dles and ketchup,” and if you get the ref­er­ence right away, the playlist will cer­tain­ly bring back some of your most vivid cin­e­mat­ic mem­o­ries — and maybe even a few his­tor­i­cal ones.

Relat­ed Con­tent:

Mavis Sta­ples and The Band Sing “The Weight” In Mar­tin Scorsese’s The Last Waltz (1978)

The Film­mak­ing of Mar­tin Scors­ese Demys­ti­fied in 6 Video Essays

Mar­tin Scors­ese Reveals His 12 Favorite Movies (and Writes a New Essay on Film Preser­va­tion)

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Sinclair Lewis’ Chilling Play, It Can’t Happen Here: A Read-Through by the Berkeley Repertory Theatre

As a num­ber of com­men­ta­tors have not­ed, it has already hap­pened here in the past—that is, the fer­vid nativism, immi­gra­tion bans, and mass depor­ta­tions, the nation­al­ist, fanat­i­cal­ly reli­gious, anti-demo­c­ra­t­ic mil­i­tan­cy… many of the char­ac­ter­is­tics of Amer­i­can author­i­tar­i­an­ism, in oth­er words. In the polit­i­cal cli­mate we face today, these strains have come togeth­er in some very overt ways, under the lead­er­ship of a pur­port­ed­ly charis­mat­ic leader who swayed mil­lions of fol­low­ers with the promise of renewed “great­ness.”

The ques­tions that now arise are those once asked by It Can’t Hap­pen Here, the 1935 nov­el by Sin­clair Lewis that imag­ined the elec­tion of a charis­mat­ic leader who promis­es great­ness, “then quick­ly becomes a dic­ta­tor,” writes the Amer­i­can Library Association’s Pub­lic Pro­grams Office, “enact­ing mar­tial law and throw­ing dis­senters into labor camps.” The nov­el res­onat­ed with a pub­lic increas­ing­ly con­cerned about ris­ing dic­ta­tor­ships in Europe, as well as the grow­ing pow­er of the pres­i­den­cy at home. “Short­ly after it was pub­lished,” the ALA notes, “the nov­el was recre­at­ed as a play and opened in 21 cities nation­wide on Octo­ber 27, 1936.”

You can see some still images of an orig­i­nal It Can’t Hap­pen Here pro­duc­tion in the video above about the Fed­er­al The­ater Project. Last year—almost eighty years after the play’s debut and just days before the pres­i­den­tial election—several dozen the­aters, uni­ver­si­ties, and libraries across the coun­try held read­ings of Lewis’ the­atri­cal adap­ta­tion. See one such read­ing at the top of the post, per­formed on Octo­ber 24 at the Yolo Coun­ty Library in North­ern Cal­i­for­nia by the Berke­ley Reper­to­ry The­atre, who at the time also staged a full, two part pro­duc­tion of It Can’t Hap­pen Here that was both “thrilling and grim,” as Alexan­der Nazaryan writes at The New York­er. (See a trail­er below)

The Berke­ley Rep’s pro­duc­tion sig­nif­i­cant­ly rewrote Lewis’ adap­ta­tion, which they decid­ed was “ter­ri­ble.” But the nov­el itself is not quite a lit­er­ary mas­ter­piece. “Lewis was nev­er much of an artist,” Nanaryan notes, “but what he lacked in style he made up for with social obser­va­tion.” While his skills as a close observ­er of Amer­i­can polit­i­cal ten­den­cies may still be unmatched, the pre­science of his nov­el in imag­in­ing the sit­u­a­tion we find our­selves in today may have as much to do with Lewis’ abil­i­ties as with the recur­rence of cer­tain depress­ing themes in Amer­i­can polit­i­cal life. As Alex Wag­n­er writes at The Atlantic, the mass depor­ta­tions and raids on immi­grant pop­u­la­tions that have now increased in cities nation­wide saw a chill­ing prece­dent in the 1920s and 30s, “a time of eco­nom­ic strug­gle, racial resent­ment and increas­ing xeno­pho­bia.”

Then, Her­bert Hoover, “promised jobs for Americans—and made good on that promise by slash­ing immi­gra­tion by near­ly 90 per­cent” and deport­ing as many as “1.8 mil­lion men, women and chil­dren” of Mex­i­can descent or with “a Mex­i­can-sound­ing name.” As many as six­ty per­cent of those deport­ed were U.S. cit­i­zens. We’ve seen in recent months numer­ous com­par­isons of our cur­rent polit­i­cal sit­u­a­tion to Nazi Ger­many and Fas­cist Italy. While these may be war­rant­ed in many respects, they may also be super­flu­ous. To under­stand the ori­gins of racist author­i­tar­i­an­ism in Amer­i­ca, we need only look back to sev­er­al moments in our own his­to­ry, those that Lewis close­ly observed and sat­i­rized in a nov­el that once again shows us an image of the coun­try that many peo­ple have cho­sen not to see.

This read­ing will be added to our list, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

How to Rec­og­nize a Dystopia: Watch an Ani­mat­ed Intro­duc­tion to Dystopi­an Fic­tion

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

Philoso­pher Richard Rorty Chill­ing­ly Pre­dicts the Results of the 2016 Elec­tion … Back in 1998

1,000 Free Audio Books: Down­load Great Books for Free

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

Free Download: The Book Lover’s Guide to Coffee

FYI: Cour­tesy of Pen­guin Ran­dom House, you can down­load The Book Lover’s Guide to Cof­fee. This free guide–a “cel­e­bra­tion of ideas that make cof­fee and lit­er­a­ture inseparable”–features:

  • 6 authors on cof­fee’s cul­tur­al sig­nif­i­cance ;
  • The rit­u­als of 7 famous cof­fee-obsessed authors;
  • Info­graph­ics rich with caf­feinat­ed, book­ish data;
  • Tips on tak­ing the per­fect cof­fee;
  • Brew­ing guides from Birch Cof­fee.

You can down­load the cof­fee guide here. (They do require an email address.) Mean­while, find more good cof­fee items in the Relat­eds below.

Relat­ed Con­tent:

A Rol­lick­ing French Ani­ma­tion on the Per­ils of Drink­ing a Lit­tle Too Much Cof­fee

Hon­oré de Balzac Writes About “The Plea­sures and Pains of Cof­fee,” and His Epic Cof­fee Addic­tion

Philoso­phers Drink­ing Cof­fee: The Exces­sive Habits of Kant, Voltaire & Kierkegaard

David Lynch Directs a Mini-Sea­son of Twin Peaks in the Form of Japan­ese Cof­fee Com­mer­cials

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

“The Virtues of Cof­fee” Explained in 1690 Ad: The Cure for Lethar­gy, Scurvy, Drop­sy, Gout & More

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

10 Essen­tial Tips for Mak­ing Great Cof­fee at Home

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

1,000 Free Audio Books: Down­load Great Books for Free

Enchanting Video Shows How Globes Were Made by Hand in 1955: The End of a 500-Year Tradition

The first globe–a spher­i­cal rep­re­sen­ta­tion of our plan­et Earth–dates back to the Age of Dis­cov­ery. Or 1492, to be more pre­cise, when Mar­tin Behaim and painter Georg Glock­endon cre­at­ed the “Nürn­berg Ter­res­tri­al Globe,” oth­er­wise known as the “Erdapfel.” It was made by hand. And that tra­di­tion con­tin­ued straight through the 20th cen­tu­ry, until machines even­tu­al­ly took over.

Above, you can watch the tail end of a 500-year tra­di­tion. Some­where in North Lon­don, in 1955, “a woman takes one of the moulds from a shelf and takes it over to a work­bench. She fix­es it to a device which holds it steady whilst still allow­ing it to spin.” “Anoth­er girl,” notes British Pathe, “is stick­ing red strips onto a larg­er sphere.” After that, “coloured print­ed sec­tions show­ing the map of the world are cut to shape then past­ed onto the sur­face of the globes.” Through that “skilled oper­a­tion,” the Lon­don-based firm pro­duced some 60,000 globes each year.

Here, you can also watch anoth­er globe-mak­ing mini-doc­u­men­tary, this one in black & white, from 1949. It gives you a glimpse of a process that takes 15 hours, from start to fin­ish.

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.

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:

Buck­min­ster Fuller’s Map of the World: The Inno­va­tion that Rev­o­lu­tion­ized Map Design (1943)

Japan­ese Design­ers May Have Cre­at­ed the Most Accu­rate Map of Our World: See the Autha­Graph

How Vinyl Records Are Made: A Primer from 1956

How Ani­mat­ed Car­toons Are Made: A Vin­tage Primer Filmed Way Back in 1919

The Mak­ing of Japan­ese Hand­made Paper: A Short Film Doc­u­ments an 800-Year-Old Tra­di­tion

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How Mindfulness Makes Us Happier & Better Able to Meet Life’s Challenges: Two Animated Primers Explain

The West has very rich con­tem­pla­tive tra­di­tion. Monas­tics of the ear­ly Chris­t­ian church prac­ticed forms of med­i­ta­tion that have been adopt­ed by many peo­ple seek­ing a deep­er, more serene expe­ri­ence of life. Giv­en the wealth of con­tem­pla­tive lit­er­a­ture and prac­tice in Euro­pean his­to­ry, why have so many West­ern peo­ple turned to the East, and toward Bud­dhist con­tem­pla­tive forms in par­tic­u­lar?

The answer is com­pli­cat­ed and involves many strains of philo­soph­i­cal and coun­ter­cul­tur­al his­to­ry. Some of the great­est influ­ence in the U.S. has come from Tibetan monks like the Dalai Lama and Chö­gyam Trung­pa Rin­poche, one­time teacher of Allen Gins­berg, and founder of Naropa Uni­ver­si­ty and the ecu­meni­cal Shamb­ha­la school of Bud­dhism. Trung­pa Rin­poche con­trast­ed the­is­tic forms of med­i­ta­tion, both Hin­du and Chris­t­ian, with the mind­ful­ness and con­cen­tra­tion prac­tices of Bud­dhism, writ­ing that the first one, focused on a “high­er being” or beings, is “inward or intro­vert­ed” and dual­is­tic.

Bud­dhist mind­ful­ness med­i­ta­tion, on the oth­er hand, is “what one might call ‘work­ing med­i­ta­tion’ or extro­vert­ed med­i­ta­tion. This is not a ques­tion of try­ing to retreat from the world.” Mind­ful­ness  “is con­cerned with try­ing to see what is,” he writes, and to do so with­out prej­u­dice: “there is no belief in high­er and low­er; the idea of dif­fer­ent lev­els, or of being in an under­de­vel­oped state, does not arise.” In oth­er words, all of the import­ed con­cepts that push us one way or anoth­er, dri­ve our rigid opin­ions about our­selves and oth­ers, and make us feel supe­ri­or or infe­ri­or, become irrel­e­vant. We take own­er­ship of the con­tents of our own minds.

How is this rel­e­vant for the mod­ern per­son? Con­sid­er the videos here. These explain­ers,  like many oth­er con­tem­po­rary uses of the word “mind­ful­ness,” peel the con­cept away from its Bud­dhist ori­gins. But sec­u­lar and Bud­dhist ideas of mind­ful­ness are not as dif­fer­ent as some might think. “Mind­ful­ness,” says Dan Har­ris in the video at the top, “is the abil­i­ty to know what’s hap­pen­ing in your head at any giv­en moment with­out get­ting car­ried away by it.” (Some might pre­fer the more suc­cinct Vipas­sana def­i­n­i­tion “non­judg­men­tal aware­ness.”) With­out mind­ful­ness, “there’s no buffer between the stim­u­lus and your reac­tion.” With it, how­ev­er, we “learn to respond wise­ly” to what hap­pens to us instead of being pushed and pulled around by habit­u­al reac­tiv­i­ty.

As the video above has it—using the Chero­kee para­ble of the two wolves—mind­ful­ness pro­vides us with the space we need to observe our sen­sa­tions, emo­tions, and ideas. From a crit­i­cal dis­tance, we can see caus­es and effects, and cre­ate dif­fer­ent con­di­tions. We can learn, in short, to be hap­py, even in dif­fi­cult cir­cum­stances, with­out deny­ing or fight­ing with real­i­ty. The Dalai Lama refers to this as observ­ing “the prin­ci­ple of causal­i­ty… a nat­ur­al law.” “In deal­ing with real­i­ty,” he says, “you have to take that law into account…. If you desire hap­pi­ness, you should seek the caus­es that give rise to it.” Like­wise, we must under­stand the men­tal caus­es of our suf­fer­ing if we want to pre­vent it.

How do we do that? Is there an app for it? Well, yes, and no. One app is Hap­pi­fy—who pro­duced these videos with ani­ma­tor Katy Davis, med­i­ta­tion instruc­tor Sharon Salzberg, and Har­ris, cre­ator of the mind­ful­ness course (and app) 10% Hap­pi­er. Hap­pi­fy offers “Sci­ence-based Activ­i­ties and Games, and “a high­ly sec­u­lar­ized, some might say decon­tex­tu­al­ized, form of mind­ful­ness training—including the “Med­i­ta­tion 101” primer video above. For those who reject every­thing that smacks of reli­gion, sec­u­lar mind­ful­ness prac­tices have been rig­or­ous­ly put to many a peer-reviewed test. They are wide­ly accept­ed as evi­dence-based ways to reduce anx­i­ety and depres­sion, improve focus and con­cen­tra­tion, and man­age pain. These prac­tices have been used in hos­pi­tals, med­ical schools, and even pub­lic ele­men­tary schools for many years.

But whether we are Bud­dhists or oth­er reli­gious peo­ple prac­tic­ing mind­ful­ness med­i­ta­tion, or sec­u­lar human­ists and athe­ists using mod­i­fied, “science-based”—or app-based—techniques, the fact remains that we have to build the dis­ci­pline into our dai­ly life in order for it to work. No app will do that for us, any more than a fit­ness app will make us toned and healthy. Nor will read­ing books or arti­cles about med­i­ta­tion make us med­i­ta­tors. (To para­phrase Augus­tine, we might say that end­less read­ing or star­ing at screens amounts to an atti­tude of “give me mind­ful­ness, but not yet.”)

Har­ris, in char­ac­ter as a mouse in a V‑neck sweater, says in the video above that med­i­ta­tion is “exer­cise for your brain.” And like exer­cise, Trung­pa Rin­poche writes, med­i­ta­tion can be “painful in the begin­ning.” We may not always like what we find knock­ing around in our heads. And yet with­out acknowl­edg­ing, and even befriend­ing, the feel­ings and thoughts that make us feel ter­ri­ble, we can’t learn to nur­ture and “feed” those that make us feel good. If you’re inspired to get start­ed, you’ll find sev­er­al free online guid­ed med­i­ta­tions at the links below.

Relat­ed Con­tent:

Philoso­pher Sam Har­ris Leads You Through a 26-Minute Guid­ed Med­i­ta­tion

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

Stream 18 Hours of Free Guid­ed Med­i­ta­tions

Dai­ly Med­i­ta­tion Boosts & Revi­tal­izes the Brain and Reduces Stress, Har­vard Study Finds

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

Talking Heads Featured on The South Bank Show in 1979: How the Groundbreaking New Wave Band Made Normality Strange Again

“I think sub­ur­ban life is some­thing that almost any Amer­i­can can under­stand,” says Talk­ing Heads drum­mer Chris Frantz near the begin­ning of The South Bank Show’s 1979 episode on the band. “They might dis­like or like it, but they can relate to it. It’s a nice metaphor, or what­ev­er, for mod­ern life.” That obser­va­tion func­tions as well as any as an intro­duc­tion to the band who, after hav­ing debuted as open­ers for the Ramones just four years ear­li­er at CBGB, went on to build a world­wide fan base enthralled with the way their music, their per­for­mances, and even their self-pre­sen­ta­tion ren­dered Amer­i­can nor­mal­i­ty and banal­i­ty new and strange.

Orig­i­nal­ly called “The Artis­tics,” the band found its true name through a dis­so­lu­tion, ref­or­ma­tion, and glance at the pages of TV Guide. “All of us could imme­di­ate­ly relate to that name,” says bassist Tina Wey­mouth. “We also thought it could have many con­no­ta­tions, the most impor­tant of which was that it had no con­no­ta­tion with any exist­ing music form. It’s TV, video — sup­pos­ed­ly the most bor­ing for­mat.” This ethos extend­ed to the song­writ­ing pro­ce­dure of lead vocal­ist and gui­tarist David Byrne, who delib­er­ate­ly used lan­guage and ref­er­ences “that were no more inter­est­ing than nor­mal speech and no more dra­mat­ic and yet some­how, in the song con­text, might become more inter­est­ing.”

The result: albums like 1978’s More Songs About Build­ings and Food. From a dis­tance of near­ly forty years, the Talk­ing Heads of those days look a bit like pio­neers of “norm­core,” the fash­ion, much dis­cussed in recent years, of delib­er­ate­ly look­ing as aes­thet­i­cal­ly aver­age as pos­si­ble. “I’m glad we don’t have to dress up in uni­forms every day,” says Frantz of their refusal of the duel­ing “punk” and “glam” modes of dress sport­ed by so many rock­ers at the time. Byrne speaks of orig­i­nal­ly want­i­ng to wear the most nor­mal out­fits pos­si­ble, as deter­mined by observ­ing peo­ple out on the street, but it turned out that “a lot of aver­age clothes require more upkeep than I’m will­ing to do. Like, they need iron­ing and things like that.”

The idea of norm­core draws its pow­er from the con­tra­dic­tion at its core, and Talk­ing Heads nev­er feared con­tra­dic­tion. “We write songs that have a par­tic­u­lar point of view, and we’re not wor­ried if the next song has the oppo­site point of view,” says key­board and gui­tar play­er Jer­ry Har­ri­son. “We feel that peo­ple have dif­fer­ent ideas, feel dif­fer­ent at dif­fer­ent times of the day as well as at dif­fer­ent times of their life, and we don’t real­ly want to have a man­i­festo or, you know, an ide­ol­o­gy.” (“We’ve gone through so many ide­olo­gies late­ly,” he adds.)

Despite that, Talk­ing Heads always seemed to adhere to cer­tain prin­ci­ples: “I believe a lot of those moral clich­es,” admits Byrne, “like ‘Two wrongs don’t make a right’ or ‘There’s no free lunch’ or ‘If you do bad things it’ll come back to you,’ and all those sort of stu­pid things.” But they nev­er real­ly inhab­it­ed main­stream Amer­i­ca; cul­tur­al­ly hyper-aware urban­ites made up much of their audi­ence, and the band mem­bers them­selves — play­ers, one says, of quin­tes­sen­tial­ly “city music” — were very much denizens of pre-gen­tri­fi­ca­tion Man­hat­tan. “It’s stim­u­lat­ing to go out and see dirt every­where and peo­ple falling over,” says Byrne. “I lived out in the sub­urbs and had a nice place with a big lawn or what­ev­er — although I can’t afford that — if I did live some­where like that, I would be afraid that I would get too com­fort­able and would­n’t work.”

But work they did, so dili­gent­ly and whol­ly with­out the extrav­a­gances of the rock star lifestyle that Frantz, after describ­ing his ear­ly-to-rise lifestyle, says he some­times con­sid­ers him­self “just a glo­ri­fied man­u­al labor­er, and that if any­body it’s the oth­er mem­bers of the band that are that artists. Anoth­er day I’ll think, wow, these peo­ple, the Talk­ing Heads, work­ing togeth­er — some day it’s going to be remem­bered in music his­to­ry, and I think it’s a very artis­tic thing we’re doing. I’m not try­ing to sound high­fa­lutin’, but this is the way I real­ly feel some­times.”

Relat­ed Con­tent:

Talk­ing Heads’ First TV Appear­ance Was on Amer­i­can Band­stand, and It Was Pret­ty Awk­ward (1979)

Watch Talk­ing Heads Play Live in Dort­mund, Ger­many Dur­ing Their Hey­day (1980)

Watch Talk­ing Heads Play a Vin­tage Con­cert in Syra­cuse (1978)

Hear the Ear­li­est Known Talk­ing Heads Record­ings (1975)

Talk­ing Heads Live in Rome, 1980: The Con­cert Film You Haven’t Seen

Talk­ing Heads Play CBGB, the New York Club that Shaped Their Sound (1975)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Banksy Opens a Hotel with the Worst View in the World: Visit the Walled Off Hotel in Bethlehem

Quirky, artist-cus­tomized guest rooms equipped with wifi, fridge, and safes…

Leather couch­es and “an air of unde­served author­i­ty” in the com­mu­nal areas…

VIPs who spring for the Pres­i­den­tial suite will enjoy access to a tiki bar, library, and Dead Sea min­er­als for use in a plunge bath spa­cious enough for four…

Sounds like the sort of hotel cater­ing to well-heeled hip­sters in San Fran­cis­co, Brook­lyn, or Shored­itch…

…but Beth­le­hem?

The artist Banksy’s lat­est mas­sive-scale project may nev­er find its way onto Palestine’s offi­cial tourism site, but it’s no joke. The ful­ly func­tion­ing hotel is set to open for online book­ings on March 11.

Vis­i­tors should be pre­pared to put a $1000 deposit on their cred­it cards at check in, a secu­ri­ty mea­sure aimed at those who might be tempt­ed to walk off with art­work by Sami Musa, Dominique Petrin, or the hotel’s famous founder.

Guests are also cau­tioned to con­tain their excite­ment about their upcom­ing stay when pass­ing through cus­toms at Tel Aviv air­port, where trav­el­ers who blab about their inten­tions to vis­it the West Bank are often sub­ject­ed to extra scruti­ny. One won­ders how many Tel Aviv TSA offi­cers would get the appeal of stay­ing in a hotel that boasts of its ter­ri­ble views of the wall divid­ing Pales­tine from Israel.

The hotel’s prox­im­i­ty to the wall pro­vides both its name and its raison‑d’etre. Banksy is mark­ing the cen­te­nary of British con­trol of Pales­tine by entic­ing vis­i­tors to edu­cate them­selves, using his cus­tom­ary humor and lack of polemic as the launch­ing pad.

To that end, a muse­um and gallery on the premis­es will be open to the pub­lic, offer­ing “a warm wel­come to peo­ple from all sides of the con­flict and across the world.” (The hotel’s FAQ coun­ters the notion that the project is an anti-Semit­ic state­ment, issu­ing a zero-tol­er­ance pol­i­cy where fanati­cism is con­cerned.)

One of the hotel’s most orig­i­nal ameni­ties is its in-house graf­fi­ti sup­plies store, staffed by experts ready to dis­pense “local advice and guid­ance” to vis­i­tors eager to con­tribute to the Wall’s pro­lif­er­at­ing street art. (For inspi­ra­tion, refer to Banky’s work from a 2015 trip to Gaza, below.)

Arm­chair trav­el­ers can check out Banksy’s Walled Off Hotel here.

The online reser­va­tions desk will open for busi­ness on March 11, the same day the gallery and muse­um open to the pub­lic.

Relat­ed Con­tent:

The Always Bank­able Banksy

Watch Dis­ma­land — The Offi­cial Unof­fi­cial Film, A Cin­e­mat­ic Jour­ney Through Banksy’s Apoc­a­lyp­tic Theme Park

Banksy Cre­ates a Tiny Repli­ca of The Great Sphinx Of Giza In Queens

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er.  Her play Zam­boni Godot is now play­ing in New York City. Fol­low her @AyunHalliday.

42 Hours of Ambient Sounds from Blade Runner, Alien, Star Trek and Doctor Who Will Help You Relax & Sleep

Back in 2009, the musi­cian who goes by the name “Cheesy Nir­vosa” began exper­i­ment­ing with ambi­ent music, before even­tu­al­ly launch­ing a YouTube chan­nel where he “com­pos­es long­form space and sci­fi ambi­ence.” Or what he oth­er­wise calls “ambi­ent geek sleep aids.” Click on the video above, and you can get lulled to sleep lis­ten­ing to the ambi­ent dron­ing sound–get ready Blade Run­ner fans!– heard in Rich Deckard’s apart­ment. It runs a good con­tin­u­ous 12 hours.

You’re more a Star Trek fan? Ok, try nod­ding off to the idling engine noise of a ship fea­tured in Star Trek: The Next Gen­er­a­tion. Mr. Nir­vosa cleaned up a sam­ple from the show and then looped it for 24 hours. That makes for one long sleep.

Or how about 12 hours of ambi­ent engine noise gen­er­at­ed by the USCSS Nos­tro­mo in Alien?

Final­ly, and per­haps my favorite, Cheesy cre­at­ed a 12 hour clip of the ambi­ent sounds made by the Tardis, the time machine made famous by the British sci-fi TV show, Doc­tor Who. But watch out. You might wake up liv­ing in a dif­fer­ent time and place.

For lots more ambi­ent sci-fi sounds (Star Wars, The Matrix, Bat­tlestar Galac­ti­ca, etc. ) check out this super long playlist here.

via Dan­ger­ous Minds

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Relat­ed Con­tent:

10 Hours of Ambi­ent Arc­tic Sounds Will Help You Relax, Med­i­tate, Study & Sleep

Moby Lets You Down­load 4 Hours of Ambi­ent Music to Help You Sleep, Med­i­tate, Do Yoga & Not Pan­ic

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

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