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The New York Phil­har­mon­ic recent­ly unveiled its dig­i­tal archives to the pub­lic. They haven’t fin­ished the archive quite yet, but they have com­plet­ed the Leonard Bern­stein years, also known as the  “Inter­na­tion­al Era.” You can find busi­ness cor­re­spon­dence, hand­writ­ten notes, 3,200 pro­grams, and gems like this Mahler score, full of nota­tions and com­ments in Bern­stein’s hand. As a recent New York Times arti­cle points out, the Bern­stein years (1942–70) saw some of the most tumul­tuous events in Amer­i­can his­to­ry, and in no way was the Phil­har­mon­ic immune from its upheavals.

In the archives, one finds the orches­tra hir­ing women for the first time, scout­ing for African-Amer­i­can musi­cians (in 1969 they had just one), and even doing its bit to man­age U.S.-Soviet rela­tions with sev­er­al attempts to invite Shostakovich – unsuc­cess­ful­ly. Fans of Glenn Gould might par­tic­u­lar­ly enjoy read­ing the min­utes of a meet­ing in which mem­bers of the board, out­raged over Gould’s famous­ly con­tro­ver­sial Brahms per­for­mance just one month ear­li­er, argued to release him from his con­tract. Bern­stein him­self also hat­ed Gould’s inter­pre­ta­tion, but had nonethe­less defend­ed it before the audi­ence in an his­toric speech about the pianist’s artis­tic integri­ty and judge­ment. (The video above is of a hap­pi­er col­lab­o­ra­tion between the two mas­ters just two years ear­li­er.)

Also: On March 17, the NYPhil post­ed this video of a per­for­mance of Toru Takemit­su’s “Requiem for Strings,” to raise aware­ness of the plight in Japan and encour­age dona­tions.

Sheer­ly Avni is a San Fran­cis­co-based arts and cul­ture writer. Her work has appeared in Salon, LA Week­ly, Moth­er Jones, and many oth­er pub­li­ca­tions. You can fol­low her on twit­ter at @sheerly.

In case you missed it, this New York Times Sun­day Mag­a­zine sto­ry offers a great exam­ple of How We Live/­Dance/­Film/­Self-Finance these days.

What we have here is a sev­en minute col­lab­o­ra­tion between direc­tor Jacob Krup­nick and clas­si­cal­ly-trained bal­let refugee Anne Marsen. Shot gueril­la-style on the Stat­en Island Fer­ry, the video fea­tures Marsen’s gid­dy pas­tiche of hip hop, bal­let, mod­ern and jazz dance. The sound­track is also a pas­tiche of sorts, an excerpt from mashup DJ Girl Talk’s new album, “All Day.”

Grup­nick post­ed the clip above as a teas­er on the crowd­fund­ing site Kick­starter in Jan­u­ary, hop­ing to raise enough mon­ey to make it into a full-length dance film. He met his fundrais­ing goal with­in 6 days, and the team starts shoot­ing in April.

A note: It takes about two min­utes for the action to real­ly kick in, and if you’re lis­ten­ing to it from an office, be sure to turn the vol­ume down first.

Sheer­ly Avni is a San Fran­cis­co-based arts and cul­ture writer. Her work has appeared in Salon, LA Week­ly, Vari­ety, Moth­er Jones, and many oth­er pub­li­ca­tions. You can fol­low her on twit­ter at @sheerly.

Nigel Tufnel, lead gui­tarist for Spinal Tap (wink, wink) sets the stage for you. This after­noon (March 3), Berklee Music will hold what it hopes will be the largest online gui­tar les­son ever. It all starts at 1:30 EST. Get details and join in here.

Some­how this flew below my radar. Back in Novem­ber, James Wood, the Har­vard lit pro­fes­sor and New York­er staff writer, revis­it­ed his child­hood idol — Kei­th Moon, the long­time (though now depart­ed) drum­mer for The Who. In “The New York­er Out Loud” pod­cast, Wood demon­strates – using his fin­gers – what makes Moon’s style so dis­tinc­tive. (Lis­ten here.) And, as an added bonus, we give you Wood fin­ger drum­ming on his kitchen table at home. At least one of these clips will make your day…