Willie Nelson Auditions for The Hobbit Film Sequel, Turns 80 Today

Willie Nel­son, Amer­i­ca’s icon­ic coun­try music singer, has logged lots of miles. And, today, he turns 80, with more than 60 stu­dio albums, 10 live albums, and 27 col­lab­o­ra­tions to his cred­it. Recent­ly, Nel­son showed that he has a lit­tle more tread on his tires when, while vis­it­ing Conan O’Brien’s show, he shot a short audi­tion reel for Peter Jack­son, hop­ing to land the role of Gan­dalf in The Hob­bit sequel. It’s doubt­ful that, wher­ev­er he is, Ian McKel­lan is break­ing a sweat.

For more Tolkien trea­sures don’t miss:

Lis­ten to J.R.R. Tolkien Read a Lengthy Excerpt from The Hob­bit (1952)

Down­load Eight Free Lec­tures on The Hob­bit by “The Tolkien Pro­fes­sor,” Corey Olsen

Dis­cov­er J.R.R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Andrés Segovia: Song of the Guitar, Beautifully Filmed at the Alhambra

Not long ago we post­ed a beau­ti­ful scene fea­tur­ing the leg­endary gui­tarist Andrés Segovia play­ing Johann Sebas­t­ian Bach at the Alham­bra, the sto­ried 14th cen­tu­ry Moor­ish palace in Grana­da, Spain. Today we’re pleased to bring you the entire 50-minute film from which it came, Andrés Segovia: The Song of the Gui­tar.

The doc­u­men­tary was made in 1976 by the South African-born film­mak­er Christo­pher Nupen. Segovia was 84 years old at the time. When he was a child liv­ing in Grana­da, Segovia loved to bring his gui­tar to the Alham­bra and play for friends. “It was here,” he says in the film, “that I opened my eyes to the beau­ty of nature and art. To be here is to feel one­self to be near, very near, par­adise.” Segovia is often described as the father of mod­ern clas­si­cal gui­tar. In the lin­er notes to the film, which is avail­able on DVD along with anoth­er film on Segovia by Nupen, it says:

As an instru­men­tal­ist, Segovia did for the gui­tar what Casals did for the cel­lo, but he did it with an instru­ment that had nev­er before been tak­en seri­ous­ly as a con­cert instru­ment. With­in his own life­time, Segovia taught him­self the instru­ment, rev­o­lu­tionised the tech­nique and ele­vat­ed a folk instru­ment to the high­est lev­els of the inter­na­tion­al con­cert plat­form. As a musi­cian, he has come to be recog­nised as one of the most refined and pro­found of his time.

In the film, Segovia rem­i­nisces about his ear­ly days in Grena­da and his hap­py dis­cov­ery of the gui­tar. He plays ten pieces, all beau­ti­ful­ly filmed in the court­yards of the Alham­bra:

  1. “Capri­cho Catalán” by Isaac Albéniz
  2. “La Maja de Goya” by Enrique Grana­dos
  3. “Torre Berme­ja” by Isaac Albéniz
  4. “Sonata in E Minor” by Domeni­co Scar­lat­ti
  5. “Min­uet” by Jean-Philippe Rameau
  6. “Min­uet” by Fer­nan­do Sor
  7. “Bal­let and Alle­gret­to” by Manuel Ponce
  8. “Gavotte I & II” by Johann Sebas­t­ian Bach
  9. “Leyen­da” by Isaac Albéniz
  10. “El Noi de la Mare” a Cata­lan folk song

Relat­ed Con­tent:

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

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

The Gui­tar Prodi­gy from Karachi

Tilda Swinton and Barry White Lead 1500 People in Dance-Along to Honor Roger Ebert

The rela­tion­ship of movie star to crit­ic isn’t always as par­a­sitic and fraught as you might imag­ine. Wit­ness Til­da Swin­ton bounc­ing around the Vir­ginia The­ater in Cham­paign Illi­nois, urg­ing audi­ence mem­bers to get up and dance in hon­or of the late Roger Ebert. (He gave high praise to Swin­ton’s 2009 film Julia, one of the offer­ings in this year’s Ebert­fest.)

Pri­or to leap­ing into the audi­ence to the strains of Bar­ry White’s “You’re the First, the Last, My Every­thing”, the actress decreed par­tic­i­pa­tion was manda­to­ry, no voyeurism allowed. With Ebert’s wid­ow, Chaz, bust­ing some seri­ous moves in sup­port, most of the 1500 atten­dees seemed con­tent to split the dif­fer­ence, cheer­ful­ly clap­ping along in their seats (though check out the grim “how long ’til we’re released from this hell” faces of the cou­ple in the bal­cony at the 4:10 mark).

Remem­ber White Men Can’t Jump? One is tempt­ed to tack on “or dance,” watch­ing the few game souls who tru­ly threw them­selves into the spir­it of the thing. No shame in that. It was, in Swin­ton’s words, a “spir­i­tu­al ser­vice”, not a tal­ent con­test. Sure­ly the biggest win­ners are the ones beam­ing breath­less­ly from the stage at song’s end. (Hon­or­able men­tion to any­one who’s inspired to nev­er again let a fear of embar­rass­ment lead to inac­tion.)

Life is beau­ti­ful. Life is short.

- Ayun Hal­l­i­day wish­es she had been there, for sure. Fol­low her @AyunHalliday

John Belushi and Dan Aykroyd Get Brian Wilson Out of Bed and Force Him to Go Surfing, 1976

There are cer­tain leg­ends sur­round­ing Bri­an Wil­son, the trou­bled genius behind the Beach Boys. One is that he hates going to the beach. He nev­er went surf­ing, even though he wrote clas­sic songs like “Surfer Girl,” “Surfin’ Safari,” and “Surfin’ USA.” Anoth­er is that he basi­cal­ly stayed in bed for two or three years in the ear­ly 1970s, weight­ed down by drugs and depres­sion.

In this clas­sic com­e­dy sketch from the sum­mer of 1976, John Belushi and Dan Aykroyd play a pair of Cal­i­for­nia High­way Patrol offi­cers who burst into the bed­room of Wilson’s Bel Air home and force the reclu­sive musi­cian to get up and go surf­ing. “Bri­an,” says Aykroyd, “we have a cita­tion here for you sir under Sec­tion 936A of the Cal­i­for­nia Catch a Wave Statute. Bri­an, you’re in vio­la­tion of Para­graph 12: fail­ing to surf, neglect­ing to use a state beach for surf­ing pur­pos­es, and oth­er­wise avoid­ing surf­boards, surf­ing and surf.”

The scene is from the NBC tele­vi­sion spe­cial It’s OK, which was pro­duced by Sat­ur­day Night Live cre­ator Lorne Michaels dur­ing the break between SNL’s first and sec­ond sea­sons. It was direct­ed by the show’s res­i­dent flm­mak­er Gary Weis. The one-hour spe­cial was orga­nized to cel­e­brate the Beach Boys’ 15th anniver­sary and to pro­mote their album, 15 Big Ones. Wil­son had just rejoined the group, and the spe­cial was part of the “Bri­an’s Back” pub­lic­i­ty cam­paign. The pro­gram, which is cur­rent­ly avail­able on Euro­pean-for­mat­ted DVD as The Beach Boys: Good Vibra­tions Tour,  includes an inter­view of Wil­son in bed, comedic scenes of band mem­bers doing off­beat things, and live footage from a July 3, 1976 Beach Boys con­cert at Ana­heim Sta­di­um. In the two inter­cut scenes above, Mike Love leads the Beach Boys onstage in a per­for­mance of “Surfin’ USA” as Wil­son is forced into the ocean in his bath robe. “Okay, Mr. Wil­son,” says Aykroyd. “Here’s your wave.”

via Dan­ger­ous Minds

Relat­ed Con­tent:

The Mak­ing of The Beach Boys’ Pet Sounds: A Video Break­down

Leonard Bern­stein Demys­ti­fies the Rock Rev­o­lu­tion for Curi­ous (if Square) Grown-Ups in 1967

John Belushi’s Impro­vised Screen Test for Sat­ur­day Night Live (1975)

The Mak­ing of The Blues Broth­ers: When Belushi and Aykroyd Went on a Mis­sion for Com­e­dy & Music

Listen to Iggy & The Stooges’ New Album Ready to Die — Online For a Limited Time

It’s prob­a­bly fair to say that Iggy Pop is the Kei­th Richards of punk. He’d prob­a­bly hate the com­par­i­son, but giv­en his super­hu­man sur­vival skills in an are­na that turns less­er mor­tals to mush, it seems apt. And now, at 66 years old, Pop and the remain­ing Stooges—James Williamson, Scott Asheton, and the great Mike Watt (replac­ing Ron Asheton)—have released a new album, their first since 2007’s The Weird­ness.

Unlike the Stones, The Stooges don’t rest on their lau­rels. Lis­ten to “Burn” above and tell me this isn’t as raw pow­er as Raw Pow­er. Pop’s voice has deep­ened con­sid­er­ably, his youth­ful machis­mo tem­pered into apoc­a­lyp­tic doom­say­ing. But he’s still got the cocked-hip grav­i­tas and full-frontal gri­mace that car­ried him through well over three decades of boom-bust-boom rock swag­ger. Wan­na hear more? Lucky for you, NPR streams the full album, Ready to Die, this week. Lis­ten to it below and be awed.

Relat­ed Con­tent: 

From The Stooges to Iggy Pop: 1986 Doc­u­men­tary Charts the Rise of Punk’s God­fa­ther

Cre­ative Uses of the Fax Machine: From Iggy Pop’s Bile to Stephen Hawking’s Snark

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

A Middle-Eastern Version of Radiohead’s 1997 Hit “Karma Police”

We’ve shown you Pak­istani musi­cians play­ing an amaz­ing ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”; also Jimi Hendrix’s ‘Voodoo Chile’ per­formed on a Gayageum (a tra­di­tion­al Kore­an instru­ment); and then the Talk­ing Heads’ “This Must Be the Place (Naive Melody)” played with  tra­di­tion­al Chi­nese instru­ments. There’s noth­ing bet­ter than these felic­i­tous meet­ings of east and west. So, today we present a Mid­dle-East­ern fla­vored ver­sion of Radio­head­’s 1997 hit “Kar­ma Police,” which orig­i­nal­ly appeared on the album OK Com­put­er. The video above fea­tures Tel Aviv-based singer Rotem She­fy on vocals, Leat Sab­bah on cel­lo, Yaniv Taich­man on the oud, and Ori Dekel on per­cus­sion. This video emerged from a Kick­starter cam­paign that was suc­cess­ful­ly fund­ed at the end of 2012.

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:

Radio­head-Approved, Fan-Made Film of the Band at Rose­land for 2011′s The King of Limbs Tour

Radiohead’s Thom Yorke Gives Teenage Girls Endear­ing Advice About Boys (And Much More)

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

Here’s a great record of what Led Zep­pelin looked and sound­ed like in the first year of the band’s exis­tence. The date was March 17, 1969. The group’s debut album, Led Zep­pelin, had been out in Amer­i­ca for almost three months but would not be released in the UK for a cou­ple more weeks. Led Zep­pelin was on a tour of the UK and Scan­di­navia when they stopped by the TV-Byen stu­dios in Glad­saxe, Den­mark, a sub­urb of Copen­hagen, to play four songs from the new album:

  1. “Com­mu­ni­ca­tion Break­down”
  2. “Dazed and Con­fused”
  3. “Babe I’m Gonna Leave You”
  4. “How Many More Times”

Zep­pelin had only been togeth­er a lit­tle more than half a year when the TV show was record­ed (the band’s first gig, on Sep­tem­ber 7, 1968, also hap­pened to have been in Glad­saxe) but they sound tight. Some of the band’s trade­mark the­atrics are already in place, includ­ing Jim­my Page’s ethe­re­al vio­lin-bow gui­tar solo. Page is play­ing his clas­sic 1959 Fend­er Tele­cast­er, a gift from Jeff Beck that Page had paint­ed a drag­on on and used as his main gui­tar dur­ing his days with the Yard­birds. Only a month before this broad­cast, dur­ing Zep­pelin’s kick­off tour of Amer­i­ca, Joe Walsh had giv­en Page a Gib­son Les Paul. By the time Led Zep­pelin II was fin­ished, Page had switched to the Les Paul and basi­cal­ly retired the Tele­cast­er, though he played it on his famous 1971 solo in “Stair­way to Heav­en.”

Relat­ed Con­tent:

Jim­my Page, 13, Plays Gui­tar on BBC Tal­ent Show (1957)

‘Stair­way to Heav­en’: Watch a Mov­ing Trib­ute to Led Zep­pelin at The Kennedy Cen­ter

John Bonham’s Iso­lat­ed Drum Track For Led Zeppelin’s ‘Fool in the Rain’

Jim­my Page Tells the Sto­ry of Kash­mir

Kurt Cobain’s Isolated Vocal Track From ‘Smells Like Teen Spirit,’ 1991

In 1991, Nir­vana’s Nev­er­mind album explod­ed into main­stream pop­u­lar cul­ture like–as one writer describes it– “a grenade det­o­nat­ing in your car radio.” The album, and the Seat­tle-based grunge rock move­ment it emerged from, was like a boost­er shot of 70s punk atti­tude into heavy met­al, sweep­ing away the hedo­nism and van­i­ty of 80s bands like Qui­et Riot and Möt­ley Crüe. The song that epit­o­mized the new atti­tude, for many, was the open­ing track of Nev­er­mind, “Smells Like Teen Spir­it,” with its explo­sive expres­sion of youth­ful alien­ation:

With the lights out, it’s less dan­ger­ous
Here we are now, enter­tain us
I feel stu­pid and con­ta­gious
Here we are now, enter­tain us

The line “Here we are now, enter­tain us” was a joke Nir­vana’s gui­tarist and singer Kurt Cobain liked to call out to break the ice when­ev­er he would arrive at a par­ty. “A lot of times,” Cobain told Rolling Stone in a 1994 inter­view, “when you’re stand­ing around with peo­ple in a room, it’s real­ly bor­ing and uncom­fort­able. So it was ‘Well, here we are, enter­tain us.’ ”

The title of the song was tak­en from some­thing his friend Kath­leen Han­na, lead singer of Biki­ni Kill, had spray paint­ed across his wall: “Kurt Smells Like Teen Spir­it.” Han­na meant that Cobain smelled like Teen Spir­it, a brand of deodor­ant worn by his girl­friend, but Cobain claimed not to know that until much lat­er. Instead, he saw irony and rebel­lion.

You can hear Cobain’s iso­lat­ed vocal track from “Smells Like Teen Spir­it” above.  The song was record­ed at Sound City stu­dios in Van Nuys, Cal­i­for­nia in May of 1991. The band report­ed­ly chose the sec­ond of three takes. The extreme dynam­ics of the performance–soft to loud, apa­thy to rage–were inspired by the music of the Pix­ies. To watch a video of Nir­vana try­ing out an ear­ly ver­sion of “Smells Like Teen Spir­it” before an audi­ence at Seat­tle’s OK Hotel a month before the song was record­ed, see Josh Jones’s Decem­ber post, “The First Live Per­for­mance of Nir­vana’s ‘Smells Like Teen Spir­it’ (1991).”

via That Eric Alper

Relat­ed Con­tent:

Pat­ti Smith’s Cov­er of Nirvana’s “Smells Like Teen Spir­it” Strips the Song Down to its Heart

Nirvana’s Home Videos: An Inti­mate Look at the Band’s Life Away From the Spot­light (1988)

The Pix­ies “Acoustic Ses­sions”: See the Alt-Rock Stars Rehearse for the 2005 New­port Folk Fes­ti­val

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