The Mother of All Funk Chords

Who said there’s not an art to remix­ing? The Israeli artist Ophir Kutiel, oth­er­wise known as Kuti­man, cre­at­ed this video by weav­ing togeth­er scenes and tracks from 22 sep­a­rate music videos, all found ran­dom­ly on YouTube. (Find the full list below the jump.) First he lay­ered in the drums, then the bass and the gui­tar. And it’s hard to argue that the total isn’t greater than the sum of the parts. The video fig­ures into Kuti­man’s larg­er remix project called ThruY­OU, which TIME called one of the 50 best inven­tions of last year. Vis­it the ThruY­OU site to watch more remix videos in Kuti­man’s trade­mark style.

Thanks Evan for flag­ging this for us…

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Neil Young’s Film “Le Noise” Debuts Online

It’s a dou­ble shot of Neil Young. This week, the Cana­di­an singer-song­writer released his lat­est album, Le Noise, along with an accom­pa­ny­ing 38 minute black & white film. Direct­ed by Adam Vol­lick, the movie fea­tures a live per­for­mance of the full album record­ed at the stu­dios of Daniel Lanois in Los Ange­les. The film offi­cial­ly debuts tonight, but you can catch it online right now. And please note: the album itself can be freely streamed online on NPR’s First Lis­ten site for a lim­it­ed amount of time.

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!

David Bowie Standup

For a brief moment yes­ter­day, the inter­net was abuzz. David Bowie? Now doing standup com­e­dy? Bowie him­self seemed to con­firm it on Twit­ter. But then the truth came out. It was all a hoax, the work of come­di­an Ed Schrad­er. Lis­ten below:

Relat­ed: Don’t miss lit­tle this video of a 3 year old hav­ing a “Want David Bowie” melt­down. Watch video here, and stay with it until the 1:30 mark…

Ok Go & the Open Video Conference

This week, OK Go released a new video sup­port­ing its lat­est sin­gle “White Knuck­les.” It’s the first since they released two viral videos (here and here) accom­pa­ny­ing “This Too Shall Pass.” Give the video a watch (above) and take into account these stats.

  • The video gen­er­at­ed more than 1 mil­lion views on Mon­day alone (its first day on the web),
  • It appar­ent­ly took 124 takes to make the video, and the video you see is actu­al­ly the 72nd take,
  • 4 lbs of dog treats were used each day dur­ing the mak­ing of the video,
  • There were 3–4 cof­fee runs per day for the humans involved, and
  • The video will gen­er­ate dona­tions for the ASPCA.

Now this very relat­ed plug: Ok Go’s lead singer, Dami­an Kulash, will be a head­line speak­er at the Open Video Con­fer­ence tak­ing place in New York City on Octo­ber 1st & 2nd. He’s just one of 100 speak­ers tak­ing part in the con­fer­ence, and tick­ets start at $35. For more infor­ma­tion, vis­it the Open Video Con­fer­ence web site.

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Everything is a Remix


“Remix­ing” has fig­ured cen­tral­ly in the Web 2.0 vocab­u­lary. But, remix­ing isn’t new. It has a long his­to­ry, going back as long as we’ve been mak­ing art. Artists have always been col­lect­ing mate­r­i­al, com­bin­ing it, and trans­form­ing it into some­thing new. Kir­by Fer­gu­son’s new video, Every­thing is a Remix, teas­es this apart as he brings you back to 1960s Paris and Lon­don – to the cut-up lit­er­a­ture of William S. Bur­roughs and the songs writ­ten by Led Zep­pelin with a lib­er­al amount of bor­row­ing. This video, the first in a series of four, appears on Fer­gu­son’s web site in a nice large for­mat. Have a look and con­sid­er donat­ing to his Every­thing is a Remix project.

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Gustavo Dudamel with the Vienna Philharmonic: A Free Live Webcast

Mark this on your cal­en­dar. This com­ing Sat­ur­day, at 7:30 a.m. Cal­i­for­nia time, Gus­ta­vo Dudamel (soon to open the 2010-11 sea­son of the Los Ange­les Phil­har­mon­ic) will con­duct a con­cert with the Vien­na Phil­har­mon­ic at the Lucerne Fes­ti­val in Switzer­land. As the LA Times reports, the con­cert will be web­cast live for free at www.medici.tv. It will also be avail­able for 90 days on demand. Pieces will include Rossini’s over­ture to “La gaz­za ladra,” Orbón’s “Tres ver­siones sin­fóni­cas,” Bern­stein’s “Diver­ti­men­to for Orches­tra” and Rav­el’s “Pavane pour une infante défunte” and “Boléro.”

via Cul­ture Mon­ster

William S. Burroughs Reviews a Led Zeppelin Concert for Crawdaddy! Magazine (1975)

jimmyandbill

Craw­dad­dy! It was the first US mag­a­zine of rock music crit­i­cism, pre­ced­ing both Rolling Stone and Creem. Paul Williams, then a stu­dent at Swarth­more Col­lege, first launched the mag­a­zine in 1966. And by the 1970s, Craw­dad­dy! hit its stride, pub­lish­ing exclu­sive con­tri­bu­tions by John Lennon, Joseph Heller, and Studs Terkel, to name a few. On one occa­sion, the self-described “first mag­a­zine to take rock and roll seri­ous­ly” sent William S. Bur­roughs, the great beat writer, to a Led Zep­pelin con­cert. He came back in June 1975 with a rather off­beat con­cert review. There’s a strange inno­cence, even naivete, to the whole piece (though we know bet­ter than to con­fuse Bur­roughs him­self with inno­cence). We give you an excerpt right below, and the rest here.

So there we sat, I decline earplugs; I am used to loud drum and horn music from Moroc­co, and it always has, if skill­ful­ly per­formed, an exhil­a­rat­ing and ener­giz­ing effect on me. As the per­for­mance got under­way I expe­ri­enced this musi­cal exhil­a­ra­tion, which was all the more pleas­ant for being eas­i­ly con­trolled, and I knew then that noth­ing bad was going to hap­pen. This was a safe and friend­ly area–but at the same time high­ly charged. There was a pal­pa­ble inter­change of ener­gy between the per­form­ers and the audi­ence which was nev­er fran­tic or jagged. The spe­cial effects were han­dled well and not over­done.

A few spe­cial effects are much bet­ter than too many. I can see the laser beams cut­ting dry ice smoke, which drew an appre­cia­tive cheer from the audi­ence. Jim­my Page’s num­ber with the bro­ken gui­tar strings came across with a real impact, as did John Bonham’s drum solo and the lyrics deliv­ered with unfail­ing vital­i­ty by Robert Plant. The per­form­ers were doing their best, and it was very good. The last num­ber, “Stair­way to Heav­en”, where the audi­ence lit match­es and there was a scat­ter­ing of sparklers here and there, found the audi­ence well-behaved and joy­ous, cre­at­ing the atmos­phere of a high school Christ­mas play. All in all a good show; nei­ther low nor insipid. Leav­ing the con­cert hall was like get­ting off a jet plane.

The Bur­roughs piece con­tin­ues here.

Relat­ed Con­tent:

Delet­ed Scene from Almost Famous: Mom, “Stair­way to Heav­en” is Based on the Lit­er­a­ture of Tolkien

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

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

Hear Led Zeppelin’s Mind-Blow­ing First Record­ed Con­cert Ever (1968)

Bob Dylan in a Google Instant

Google Instant rolled out this week, backed by a pro­mo­tion­al adver­tise­ment (right above). Fans of Bob Dylan will instant­ly rec­og­nize the footage: A young Dylan flip­ping hand-drawn cards to the tune of “Sub­ter­ranean Home­sick Blues,” an icon­ic scene from D.A. Pen­nebak­er’s 1967 doc­u­men­tary, Don’t Look Back. This isn’t the first time the famous scene (watch it here) has been used in a mar­ket­ing cam­paign. Just a few years ago, while pro­mot­ing his new great­est hits album, Dylan let fans rework their own ver­sions of the scene. The gim­mick is still avail­able online. So have some fun with it.

Final­ly, don’t miss the new book Bob Dylan in Amer­i­ca by Sean Wilentz, an emi­nent Amer­i­can his­to­ri­an at Prince­ton who is also the his­to­ri­an-in-res­i­dence for Dylan’s offi­cial Web site, bobdylan.com. The book is now out and reviewed by The New York Times.

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