Beatboxing Bach’s Goldberg Variations

It might not sur­pass Glenn Gould’s record­ing of Bach’s Gold­berg Vari­a­tions from 1981. (Watch him per­form it here). But this clip, fea­tur­ing teenage pianist Kadar Qian and beat­box extra­or­di­naire Kevin Olu­so­la of Pen­ta­tonix, has a charm of its own. The clip comes from From the Top, a non-prof­it whose YouTube chan­nel presents out­stand­ing per­for­mances from the coun­try’s best young clas­si­cal musi­cians.

If you want your own copy of the Gold­berg Vari­a­tions, you can instant­ly down­load The Open Gold­berg Vari­a­tions, the first Kick­starter-fund­ed, open source record­ing of Bach’s mas­ter­piece. It’s avail­able entire­ly for free. Also don’t miss the Com­plete Organ Works of J.S. Bach. They’re free too!

via Boing­Bo­ing

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12.12.12 Concert For Sandy Relief. It’s Streaming Live!

The relief con­cert is stream­ing live from New York City. Artists on the line­up include Bon Jovi, Eric Clap­ton, Dave Grohl, Bil­ly Joel, Ali­cia Keys, Chris Mar­tin, The Rolling Stones, Bruce Spring­steen & the E Street Band, Eddie Ved­der, Roger Waters, Kanye West, The Who, Paul McCart­ney and oth­ers. You can make your dona­tions to the relief effort right here.

Ravi Shankar Gives George Harrison a Sitar Lesson … and Other Vintage Footage

Ravi Shankar, the Indi­an sitarist (and father of Norah Jones) known for his col­lab­o­ra­tion with the Bea­t­les and oth­er west­ern musi­cians, died Tues­day in South­ern Cal­i­for­nia. He was 92 years old. Born in India in 1920, Shankar began play­ing the sitar dur­ing the late 1930s, and, by the 1940s, he start­ed think­ing about how to bring east­ern music to west­ern audi­ences. Tours brought him to the Sovi­et Union, West­ern Europe and the Unit­ed States dur­ing the 50s. But every­thing changed when he crossed paths in 1966 with a rock star devel­op­ing his own inter­est in the sitar.

George Har­ri­son taught him­self enough to play the sitar on “Nor­we­gian Wood,” the east­ern-inflect­ed song writ­ten by Lennon and McCart­ney in 1965. Shankar and Har­ri­son met the next year in Lon­don, mark­ing the begin­ning of an impor­tant musi­cal part­ner­ship. Soon enough, Har­ri­son trav­eled to India — to a remote region in the Himalayas — to study the sitar and read spir­i­tu­al texts with Shankar. Return­ing the favor, Har­ri­son saw to it that Shankar per­formed at the Mon­terey Pop Fes­ti­val in June 1967. Lat­er, the two orga­nized the influ­en­tial Con­cert for Bangladesh, which brought them togeth­er with Bob Dylan, Eric Clap­ton, and Bil­ly Pre­ston.

Above, we have doc­u­men­tary footage fea­tur­ing Shankar and Har­ri­son togeth­er in a sitar les­son. Below, we present oth­er clips from that fer­tile peri­od.

Ravi Shankar’s Appear­ance with Har­ri­son on the Dick Cavett Show (1971)

Shankar at Mon­terey Pop (1967)

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!

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The “Priest” They Called Him: A Dark Collaboration Between Kurt Cobain & William S. Burroughs

It was a dark col­lab­o­ra­tion folks. There’s no deny­ing it. In Sep­tem­ber of 1992, the Beat writer William S. Bur­roughs entered a stu­dio in Lawrence, Kansas and record­ed a nar­ra­tion of “The “Priest” They Called Him,” a short sto­ry orig­i­nal­ly pub­lished in his 1973 col­lec­tion The Exter­mi­na­tor. It’s a grim tale about hero­in, addic­tion, with­draw­al, and the “immac­u­late fix.” Two months lat­er, the read­ing was giv­en a sound­track when Kurt Cobain, then the front­man for Nir­vana, stepped into a Seat­tle stu­dio and gave Bur­rough’s read­ing a sound­track full of harsh, dis­so­nant gui­tar riffs that cap­tured the spir­it of the sto­ry. Mixed togeth­er  by E. J. Rose and James Grauer­holz, the col­lab­o­ra­tive record­ing was released as a lim­it­ed edi­tion vinyl pic­ture disc in 1993, and then again on CD and 10-inch vinyl.

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:

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

William S. Bur­roughs Explains What Artists & Cre­ative Thinkers Do for Human­i­ty: From Galileo to Cézanne and James Joyce

William S. Bur­roughs Reads His First Nov­el, Junky

William S. Bur­roughs on Sat­ur­day Night Live, 1981

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Dave Brubeck’s Surprise Duet: A Magical Moment at the Moscow Conservatory (1997)

Sor­ry to bring you the sad news.  This morn­ing, the great jazz musi­cian Dave Brubeck died in Con­necti­cut, just a day short of his 92nd birth­day. He’s, of course, best remem­bered for his jazz stan­dard “Take Five,” record­ed and per­formed first in 1959. Below, you can watch a vin­tage per­for­mance from the Jazz Casu­al TV show in 1961.

Above, we’re bring­ing you a reprise of our favorite moment with Brubeck. The footage you’re watch­ing was record­ed in Decem­ber 1997, when the pianist paid a vis­it to the Moscow Con­ser­va­to­ry. Dur­ing his con­cert, an audi­ence mem­ber asked him to impro­vise on the old Russ­ian sea shan­ty “Ej, Uhnem.” About two min­utes into the impro­vi­sa­tion, a young vio­lin­ist rose from his seat and start­ed to play along. You just have to love Dav­e’s sur­prised look at 2:09. The young man turned out to be a stu­dent at the con­ser­va­to­ry. His name is Denis Kolobov and he is now a vio­lin­ist of inter­na­tion­al renown. We will sore­ly miss you Dave.…

Mate­r­i­al for this post was con­tributed by @MatthiasRascher

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A Colorfully Animated Biography of Bluesman Skip Pitts

Ear­li­er this year, the blues gui­tarist Charles ‘Skip’ Pitts passed away after a bout of lung can­cer. He had a musi­cal career that spanned many decades. But, he’s best remem­bered for his riffs on one song — Isaac Hayes’ theme song for the 1971 film Shaft. (Catch it below.) Pitts’ licks have been sam­pled by count­less younger musi­cians, every­one from Snoop Dogg and the Beast­ie Boys to Dr. Dre and Mas­sive Attack. Start­ing in the late 90s, the blues­man began play­ing with a band called The Bo-Keys, which became the sub­ject of a mini doc­u­men­tary in 2011. The short film yield­ed some insight­ful inter­views with Pitts. And, once he depart­ed from our world, the con­ver­sa­tions became the basis for the “ani­mat­ed inter­pre­ta­tion” you’re hope­ful­ly now watch­ing above. It’s the work of Loaded Pic­tures, a stu­dio based in Seat­tle, Wash­ing­ton.

Relat­ed Con­tent:

The Leg­end of Blues­man Robert John­son Ani­mat­ed

President Obama Pays Tribute to Led Zeppelin in Washington D.C.

Led Zep­pelin — they start­ed off mak­ing a mess of bour­geois house­holds; now, like many of their 60s coun­ter­parts, they’re get­ting hon­ored by the pow­ers that be. This week­end, the band’s three sur­viv­ing mem­bers — Robert Plant, John Paul Jones and Jim­my Page — were hon­ored for their cul­tur­al achieve­ments at a fes­tive cer­e­mo­ny in Wash­ing­ton D.C.. Look­ing very at ease with things, Pres­i­dent Oba­ma remind­ed us that, 30 years after the band’s last album, the “Led Zep­pelin lega­cy lives on.” Some­where Paul Ryan is eat­ing his heart out.

Below we have footage of Led Zep dur­ing their hey­day — a full con­cert record­ed Live at the Roy­al Albert Hall in 1970.

Artist Ken Butler Turns One Man’s Trash Into Another Man’s Quirky Stringed Instrument

Hey, hoard­ers, think you’re the only ones who see poten­tial in a sin­gle crutch, an emp­ty Scotch bot­tle, the jagged remains of a skate­board?  Not so. Musi­cian, artist, and all-around vision­ary Ken But­ler has been turn­ing such trash into trea­sure since 1978, when he fit­ted an ax with a tail piece, fin­ger­board and con­tact mic and snug­gled it inside a 3/4 size vio­lin case. Chop a cher­ry tree with it, or play it just like Bud­dy Guy plays his ax. Like most of the hybrids But­ler cre­ates in his Brook­lyn stu­dio, it’s a func­tion­ing musi­cal instru­ment, though he’s quick to point out that for him, the sound is imma­te­r­i­al. What real­ly counts is the poet­ic cou­pling of unlike­ly mate­ri­als.

Things real­ly get cookin’ at the 4:20 mark, when But­ler plays a few licks on a three-stringed shov­el before mov­ing on to a bow­able, elec­tri­fied ten­nis rack­et. The results are far love­li­er than the mas­ter would lead you to believe.

- Ayun Hal­l­i­day can stum­ble her way through the Enter­tain­er if there’s a piano handy.

Relat­ed Con­tent:

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

Mak­ing Fend­er Gui­tars, Then (1959) and Now (2012)

The Joy of Mak­ing Artis­tic Home­made Gui­tars

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