David Bowie Launches His Acting Career in the Avant-Garde Play Pierrot in Turquoise (1967)

in Music, Theatre | June 2nd, 2015

We’ve post­ed plen­ty here from David Bowie the singer, which stands to rea­son, giv­en his promi­nence in the set of all pos­si­ble David Bowies. But rock-and-rol­l’s best-known shapeshifter has worked in oth­er fields as well: a huge num­ber of peo­ple love Bowie the singer, of course, but Bowie the actor has also accrued devot­ed fans of his own. Many con­tin­ue to dis­cov­er him through such “cult clas­sic” films as Nico­las Roeg’s The Man Who Fell to Earth and Nag­isa Oshi­ma’s Mer­ry Christ­mas, Mr. Lawrence. Here, we’ve pre­vi­ous­ly fea­tured his turns along­side Ricky Ger­vais and as Bertolt Brecht’s Baal. Plen­ty of suc­cess­ful musi­cians start up high-pro­file side careers as actors, but Bowie the actor got his break before Bowie the singer did.

“With hind­sight, you can see where his career was going,” writes Dan­ger­ous Minds’ Paul Gal­lagher, “but by 1967, the teenager’s first record­ing career had come to a halt after the release of his odd­ment Laugh­ing Gnome after which, Bowie didn’t release a record for anoth­er two years.” Hav­ing stud­ied under Lind­say Kemp, Bowie placed him­self well to appear in the famed Eng­lish mime’s 1967 pro­duc­tion of Pier­rot in Turquoise or, The Look­ing Glass Mur­ders. Bowie did­n’t just act in it, but also wrote and per­formed its music. You can watch sev­er­al clips of a 1969 pro­duc­tion of the show cap­tured by Scot­tish tele­vi­sion, includ­ing the songs “Columbine,” “The Mir­ror,” and “Three­pen­ny Pier­rot.” (This Youtube playlist rounds up all the Bowie music from the show avail­able.)

As much work as the young Bowie took on for Pier­rot in Turquoise, he did­n’t star in it. The title role of the Com­me­dia del­l’Arte’s beloved sad clown went to Kemp him­self, though in 1976, Bowie declared him­self as play­ing it in his career as a whole, through all his var­i­ous per­son­ae: “I’m Pier­rot. I’m Every­man. What I’m doing is the­atre, and only the­atre. What you see on stage isn’t sin­is­ter. It’s pure clown. I’m using myself as a can­vas and try­ing to paint the truth of our time.” So we per­haps can’t speak of “Bowie the singer” and “Bowie the actor” after all — if they were insep­a­ra­ble back then, sure­ly they’ve always been. And if Zig­gy Star­dust (in whose con­certs Kemp per­formed) does­n’t count as the­atre, what does?

via Dan­ger­ous Minds

Relat­ed Con­tent:

Ricky Ger­vais Cre­ates Out­landish Com­e­dy with David Bowie

David Bowie Stars in a Clas­sic Per­for­mance of Bertolt Brecht’s Baal (1982)

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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The Well-Tempered Clavier: Download an Open Version of J.S. Bach’s Masterpiece

in Music | June 2nd, 2015

In 2012, the Japan­ese-Ger­man clas­si­cal musi­cian Kimiko Ishiza­ka made avail­able to the world an open ver­sion of J.S. Bach’s Gold­berg Vari­a­tions per­formed on a Bösendor­fer 290 Impe­r­i­al piano in Berlin. Fund­ed by a Kick­starter cam­paign, the record­ing was released under a Cre­ative Com­mons Zero license, which essen­tial­ly put the music straight into the pub­lic domain.

Yes­ter­day we dis­cov­ered, thanks to one of our read­ers, Ishiza­ka’s fol­low-up to The Open Gold­berg Vari­a­tions — The Open Well-Tem­pered Clavier, Book 1.  Also Kick­starter-fund­ed and released under a Cre­ative Com­mons license, her new pro­duc­tion puts 48 Pre­ludes and Fugues into the com­mons. Explain­ing the impor­tance of The Well-Tem­pered Clavier, Alexan­dre Prok­ou­dine writes over at Libre Graph­ics World:

Among clas­si­cal music con­nois­seurs, the Well-Tem­pered Clavier Book 1 (WTC, or “the 48” for short) is wide­ly regard­ed as one of the most influ­en­tial works by J.S. Bach. Here is why.

For a long time instru­ments used to be tuned in such inter­vals between notes that trans­po­si­tion (play­ing a melody in a key dif­fer­ent from the orig­i­nal­ly intend­ed one) usu­al­ly pro­duced a melody that was clear­ly out of tune. Find­ing the right inter­vals was an inter­est­ing math­e­mat­i­cal prob­lem to solve, and it was done in the 17th cen­tu­ry by Andreas Wer­ck­meis­ter.

So while J.S. Bach did­n’t invent well-tem­pered tun­ing, the 48 was his major, if not defin­ing con­tri­bu­tion to mak­ing it pop­u­lar, as the 48 was pret­ty much The Music The­o­ry Bible for gen­er­a­tions of com­posers…

His­tor­i­cal val­ue aside, the 48 is sim­ply beau­ti­ful and ele­gant­ly sophis­ti­cat­ed music (with score laid out in up to four voic­es, yet played by a sin­gle musi­cian). If this is the first time you are lis­ten­ing to WTC, I offi­cial­ly envy you, because are about to dis­cov­er some­thing very spe­cial.

You can get the Open Well-Tem­pered Clavier as a free down­load here (please read the instruc­tions on the page), or stream it above. You can also sup­port the artist and pur­chase the down­load for a fee of your choice, or buy a CD ver­sion over on Ama­zon.

As for what you can expect from Kimiko Ishiza­ka next, look out for a record­ing of the Chopin Préludes on a Pleyel piano — the same piano Chopin played him­self all those years ago.

Relat­ed Con­tent:

Down­load the Com­plete Organ Works of J.S. Bach for Free

The Open Gold­berg Vari­a­tions: J.S. Bach’s Mas­ter­piece Free to Down­load

Glenn Gould Explains the Genius of Johann Sebas­t­ian Bach (1962)

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

JS Bach’s The Well-Tem­pered Clavier Artis­ti­cal­ly Ani­mat­ed with Puls­ing Neon Lights

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David Bowie Paper Dolls Recreate Some of the Style Icon’s Most Famous Looks

in Design, Magazines, Music | June 1st, 2015

thinwhitepaperdoll

Per­form an inter­net search on the phrase “David Bowie Paper Doll” and what do you get? Hint: it’s not a cov­er of the Mills Broth­ers hit. David Bowie paper dolls are pro­lif­er­at­ing in aston­ish­ing num­bers.

Sharp­en your scis­sors and behold!

The most com­pre­hen­sive career rep­re­sen­ta­tion is the Thin White Paper Doll Cutout Heather Col­lett designed for the Cana­di­an Broad­cast­ing Cor­po­ra­tion (above). There’s even a print­er friend­ly ver­sion for those who are seri­ous about play­ing with Aladdin Sane, Zig­gy Star­dust, Labyrinth’s Gob­lin King, and oth­er Bowie alter egos.

But wait! There’s more…

DavidBowie70sPaperDollVodkaCaramel.com_

Elu­sive design­er Vod­ka Caramel’s Amaz­ing 70’s Bowie Paper Doll cel­e­brates some of our hero’s most glam­orous looks, but sad­dles him with the crotch of a Ken doll and no few­er than four inter­change­able heads! And we thought the Thin White Paper Doll’s crew socks were an indig­ni­ty.

bowie paper doll

A Span­ish fan observed Bowie’s 65th birth­day by updat­ing the abbre­vi­at­ed tighty whities of a noto­ri­ous 1973 pho­to shoot to a mod­est pair of stan­dard issue Y‑fronts. Inter­est­ing­ly, this paper dol­l’s sus­pendered Hal­loween Jack suit arrives with bulge intact.

bowie_031813

Points to Serge Baeken above for rec­og­niz­ing the paper doll pos­si­bil­i­ties in the Pier­rot cos­tume Bowie sport­ed in the video for 1980’s “Ash­es to Ash­es.” (Fun fact: Bowie made his the­atri­cal debut—and wrote the music for—a bizarre 1968 pan­tomime about Pier­rot.… His char­ac­ter’s name was “Cloud”)

etsybowie2

Artist Clau­dia Varo­sio’s entry in the Bowie paper doll stakes could pass as illus­tra­tions for a 1970’s children’s book. Title? Boys Keep Swing­ing, after a cut from Bowie’s 1979 Lodger album. Chaste young girls would love the t‑shirted, non-threat­en­ing Bowie.

2527937388_31e26dedac_o

The com­par­a­tive­ly con­ser­v­a­tive, full-faced Bowie above comes to us via Swedish fam­i­ly mag­a­zine Året Runt. I may nev­er learn anoth­er word of Swedish, but thanks to David Bowie, I can now say paper doll (klip­p­dock­or). In appre­ci­a­tion, allow me to share anoth­er exam­ple of David Bowie klip­p­dock­or…

dress-up-paper-doll-pop-star-5

If it all starts seem­ing a bit rote, mix things up by hav­ing artist Mel Elliot’s paper doll Bowie swap  duds with fel­low pop star / style icon paper dolls, Bey­once, Deb­bie Har­ry, and Rihan­na.

David_Bowie_Paper_Doll_by_electricsorbet

(image by Elec­tric Sor­bet)

There is only one David Bowie, but there can nev­er be too many David Bowie paper dolls. Make your own today!

Relat­ed Con­tent:

96 Draw­ings of David Bowie by the “World’s Best Com­ic Artists”: Michel Gondry, Kate Beat­on & More

50 Years of Chang­ing David Bowie Hair Styles in One Ani­mat­ed GIF

The Musi­cal Career of David Bowie in One Minute … and One Con­tin­u­ous Take

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

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Download the Complete Organ Works of J.S. Bach for Free

in Music | June 1st, 2015

“The best proof we have that life is good is that to each of us, on the day we are born, comes the music of Johann Sebas­t­ian Bach,” writes J.M. Coet­zee in Diary of a Bad Year. “It comes as a gift, unearned, unmer­it­ed, for free.” While the respect­ed nov­el­ist voiced that thought, as he often does, through a high­ly opin­ion­at­ed pro­tag­o­nist, I can’t help but sus­pect that author and char­ac­ter to some extent agree on this. Some of us dis­cov­er Bach right away, in child­hood; oth­ers do it much lat­er. And whether or not we’ve earned or mer­it­ed his music, it now comes to us more freely than ever.

Take, for exam­ple, Bach’s com­plete organ works, which you can down­load at no cost from Block M Records. Per­form­ing them all, we have Uni­ver­si­ty of Michi­gan’s Dr. James Kib­bie — “on orig­i­nal baroque organs in Ger­many,” no less.

They’ve orga­nized the col­lec­tions, released under a Cre­ative Com­mons license, into a com­plete cat­a­log (that you can also search)—with down­load­able groups (from trio sonatas and con­cer­ti to the Schübler Chorales and the Orgel­büch­lein), as well as a list of ever­green famil­iar mas­ter­works (such as the Toc­ca­ta and Fugue in D Minor and the Pas­sacaglia in C Minor). They’ve made it easy to access and enjoy an impor­tant part of Bach’s wide, huge­ly influ­en­tial, and end­less­ly endur­ing body of work. The ques­tion of whether life is ulti­mate­ly good you’ll have to set­tle for your­self, but you can eas­i­ly start gath­er­ing the evi­dence right here.

Relat­ed Con­tent:

The Open Gold­berg Vari­a­tions: J.S. Bach’s Mas­ter­piece Free to Down­load

Glenn Gould Explains the Genius of Johann Sebas­t­ian Bach (1962)

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

Beethoven’s “Ode to Joy” Mov­ing­ly Flash­mobbed in Spain

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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JS Bach’s The Well-Tempered Clavier Artistically Animated with Pulsing Neon Lights

in Animation, Music | May 29th, 2015

The Well-Tem­pered Clavier, com­posed by JS Bach between 1722 and 1742, remains one of the most inno­v­a­tive and influ­en­tial works in the his­to­ry of West­ern clas­si­cal music. A web­site from North­ern Ari­zona State U. sums up what essen­tial­ly made Bach’s com­po­si­tion — a col­lec­tion of 48 pre­ludes and fugues spread across two vol­umes — so inno­v­a­tive, so influ­en­tial.

One of Bach’s pri­ma­ry pur­pos­es in com­pos­ing these cycles was to demon­strate the fea­si­bil­i­ty of the “well tem­pered” tun­ing sys­tem that would allow for com­po­si­tion in every key.

Anoth­er pur­pose of the Well-Tem­pered Clavier was to reveal how mod­ern and pro­gres­sive com­po­si­tion could be informed by con­ser­v­a­tive ideas. The Well-Tem­pered Clavier is an ency­clo­pe­dia of nation­al and his­tor­i­cal styles and idioms. Its influ­ences range from the white-note style of the Renais­sance motet to the French manier. Iron­i­cal­ly, half of this styl­is­tic smor­gas­bord is expressed in fugue, a form that was out of date upon the cycle’s com­ple­tion. Bach was of course aware of this. His hope was to defend the ven­er­a­ble form by demon­strat­ing how it could absorb con­tem­po­rary fla­vors.

If you’ve nev­er expe­ri­enced Bach’s piece, then I’d encour­age you to lis­ten to the 1960s record­ing by Glenn Gould. Or watch a sec­tion of the piece being per­formed on the All of Bach web­site — a site that will even­tu­al­ly put 1080 Bach per­for­mances online, for free.

Above, we have some­thing a lit­tle dif­fer­ent. Cre­at­ed by direc­tor and visu­al artist Alan War­bur­ton, this new­ly-released video takes a famous sec­tion of Bach’s com­po­si­tion and ani­mates it with puls­ing neon lights. Describ­ing what went into mak­ing this video, the Sin­fi­ni Music web­site writes:

Alan’s incred­i­ble design incor­po­rat­ed many thou­sands of sep­a­rate CGI lights, every one of which had to be tai­lored to the pre­cise dura­tion of Pierre-Lau­rent Aimard’s note strikes. ‘I need­ed to find a way of automat­ing the process of these turn­ing on and off in time with the music,’ says Alan. With no midi file of the per­for­mance avail­able, he was faced with the seem­ing­ly impos­si­ble task of match­ing every note of a stand-in midi file to the record­ing, by ear alone…

Then it was a ques­tion of ren­der­ing the ani­mat­ed data in CGI with­in the vir­tu­al space cre­at­ed espe­cial­ly for the ani­ma­tion. This too, was no mean feat, even for the army of cloud-based com­put­ers that had a hand in the task. Each frame took 15 min­utes to ren­der because of the thou­sands of cal­cu­la­tions involved in acti­vat­ing each light as well as the shad­ows, glows and reflec­tions required to make the scene look tru­ly life-like.

Sin­fi­ni Music, which com­mis­sioned this project, has more on War­bur­ton’s cre­ation here.

Hope this gets your week­end start­ed on the right, er, note.

via The Kids Should See This

Relat­ed Con­tent:

All of Bach Is Putting Videos of 1,080 Bach Per­for­mances Online

A Big Bach Down­load: All of Bach’s Organ Works for Free

The Genius of J.S. Bach’s “Crab Canon” Visu­al­ized on a Möbius Strip

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Joni Mitchell Talks About Life as a Reluctant Star in a New Animated Interview

in Music | May 27th, 2015

Yes­ter­day, Blank on Blank dropped its lat­est ani­mat­ed video — this one fea­tur­ing Joni Mitchell in con­ver­sa­tion with record exec­u­tive Joe Smith. In the inter­view orig­i­nal­ly record­ed in 1986, Mitchell declares her­self a reluc­tant star — some­one who loved mak­ing music, but nev­er want­ed fame, and all the lost pri­va­cy and nor­mal­cy that comes along with it. Smith talked with Joni and count­less oth­er musi­cians while research­ing and writ­ing his book Off the Record. You can still stream many of those inter­views (for free) on iTunes and the Library of Con­gress web­site. We have more on that here.

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:

Vin­tage Video of Joni Mitchell Per­form­ing in 1965 — Before She Was Even Named Joni Mitchell

James Tay­lor and Joni Mitchell, Live and Togeth­er (1970)

The Music, Art, and Life of Joni Mitchell Pre­sent­ed in a Superb 2003 Doc­u­men­tary

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Hear Sun Ra’s 1971 UC Berkeley Lecture “The Power of Words”

in Music, UC Berkeley | May 27th, 2015

Read­ing David Byrne’s How Music Works the oth­er day, I came across a pas­sage where the Talk­ing Heads front­man recalls his for­ma­tive ear­ly expo­sure to the dis­tinc­tive com­po­si­tions and per­sona (not that you can real­ly sep­a­rate the two) of Sun Ra. “When I first moved to New York, I caught Sun Ra and his Arkestra at the 5 Spot, a jazz venue that used to be at St. Mark’s Place and Bow­ery,” Byrne writes. “He moved from instru­ment to instru­ment. At one point there was a bizarre solo on a Moog syn­the­siz­er, an instru­ment not often asso­ci­at­ed with jazz. Here was elec­tron­ic noise sud­den­ly reimag­ined as enter­tain­ment!”

Some might have writ­ten off Sun Ra and his Arkestra as indulging in form­less artis­tic flail­ing, but in these shows, “as if to prove to skep­tics that he and the band real­ly could play, that they real­ly had chops no mat­ter how far out they some­times got, they would occa­sion­al­ly do a tra­di­tion­al big band tune. Then it would be back to out­er space.” As in Sun Ra’s music, so in Sun Ra’s words: as the jazz com­pos­er born Her­man Poole Blount got increas­ing­ly exper­i­men­tal in his com­po­si­tion, the details of his “cos­mic phi­los­o­phy” under­ly­ing it, a kind of sci­ence-fic­tion-inflect­ed Afro-mys­ti­cism, mul­ti­plied.

While many of Sun Ra’s pro­nounce­ments struck (and still strike) lis­ten­ers as a bit odd, he could nev­er­the­less ground them in a vari­ety of intel­lec­tu­al con­texts as a seri­ous thinker. We offered evi­dence of this last year when we post­ed the full lec­ture and read­ing list from the course he taught at UC Berke­ley in 1971, “The Black Man in the Cos­mos.” Now you can hear it straight from the man him­self in the playlist at the top of the post, which con­tains his lec­ture “The Pow­er of Words,” also deliv­ered at Berke­ley in 1971, as part of the school’s Pan-African Stud­ies cur­ricu­lum.

But do heed the warn­ing includ­ed with the videos: “Remem­ber, Sun Ra was a ‘UNIVERSAL BEING’ not of this dimen­sion or of a race cat­e­go­ry. With all his infor­ma­tive author­i­ty, in some cas­es dur­ing these lec­tures, the con­tent will be shock­ing to hear.” Shocked or not, you may well come away from the expe­ri­ence con­vinced that not only did Sun Ra the musi­cian under­stand the pow­er of music, exe­cut­ed cre­ative­ly, to take us to new aes­thet­ic realms, he also under­stood the pow­er of words to take us to new intel­lec­tu­al ones. But you’ve got to be will­ing to take the ride into out­er space with him.

Relat­ed Con­tent:

Sun Ra’s Full Lec­ture & Read­ing List From His 1971 UC Berke­ley Course, “The Black Man in the Cos­mos”

A Sun Ra Christ­mas: Hear His 1976 Radio Broad­cast of Poet­ry and Music

The Cry of Jazz: 1958’s High­ly Con­tro­ver­sial Film on Jazz & Race in Amer­i­ca (With Music by Sun Ra)

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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The Music of Avant-Garde Composer John Cage Now Available in a Free Online Archive

in Music | May 21st, 2015

JohnCageArchive

You don’t know avant-garde music unless you know John Cage. And now we have anoth­er rich, eas­i­ly acces­si­ble online resource that can help us get to know John Cage bet­ter. The new site is called Mak­ing the Right Choic­es: A John Cage Cel­e­bra­tion, and it has its ori­gins in the cel­e­bra­tion of Cage’s 100th birth­day put on by con­duc­tor Michael Tilson Thomas and the New World Sym­pho­ny in Feb­ru­ary 2013.

This Cage-devot­ed, Knight Foun­da­tion-fund­ed site, in the words of Hyper­al­ler­gic’s Alli­son Meier, “presents a com­pre­hen­sive overview of his career, from a water­ing can poured on nation­al tele­vi­sion to a rhyth­mic solo piano per­for­mance inspired by lost love,” mate­r­i­al from Cage’s life and career as well as mate­r­i­al inspired by it, and of course “video and audio from the 2013 per­for­mances in Mia­mi Beach, includ­ing some famil­iar and some obscure pieces from [Cage’s] influ­en­tial and exper­i­men­tal career of both music and staged silence.”

You may remem­ber when we fea­tured Cage’s 1960 per­for­mance of Water Walk on I’ve Got a Secret. The site does­n’t fail to include that clas­sic tele­vi­sion clip, but it also offers videos on the stag­ing of Water Walk today, from its direc­tion and back­ground to its rehearsal to the the­atri­cal­i­ty of its per­for­mance to the place­ment of the cam­eras film­ing it. You can find these and many oth­er audio­vi­su­al explo­rations of the nuts and bolts of Cage’s work at Mak­ing the Right Choic­es’ cat­a­log of videos.

“John Cage gen­uine­ly want­ed to open up the beau­teous expe­ri­ence of sound for every­one,” writes Tilson Thomas in a piece on the com­pos­er. “Much of his work could be described as kits to be used in the cre­ation of a per­for­mance that relies on the per­cep­tions, imag­i­na­tions and choic­es of the musi­cians. It was a spir­i­tu­al mis­sion for him to cre­ate the oppor­tu­ni­ty for the per­for­mance to exist while at the same time to inter­fere with it as lit­tle or as sub­tly as pos­si­ble.” That chal­lenge Cage set for him­self keeps his work fas­ci­nat­ing to us to this day — and as Tilson Thomas and the New World Sym­pho­ny sure­ly found out, it remains as much of a chal­lenge as ever for those who pick it up today.

Vis­it Mak­ing the Right Choic­es: A John Cage Cel­e­bra­tion .

via Hyper­al­ler­gic

Relat­ed Con­tent:

John Cage Per­forms Water Walk on US Game Show I’ve Got a Secret (1960)

10 Rules for Stu­dents and Teach­ers Pop­u­lar­ized by John Cage

Lis­ten to John Cage’s 5 Hour Art Piece: Diary: How To Improve The World (You Will Only Make Mat­ters Worse)

Hear Joey Ramone Sing a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake

Watch a Sur­pris­ing­ly Mov­ing Per­for­mance of John Cage’s 1948 “Suite for Toy Piano”

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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