Hear J.S. Bach’s Music Performed on the Lautenwerck, Bach’s Favorite Lost Baroque Instrument

in History, Music | March 30th, 2021

If you want to hear the music of Johann Sebas­t­ian Bach played on the instru­ments that actu­al­ly exist­ed dur­ing the stretch of the 17th and 18th cen­turies in which he lived, there are ensem­bles spe­cial­iz­ing in just that. But a full musi­cal revival isn’t quite as sim­ple as that: while there are baroque cel­los, oboes, and vio­las around, not every instru­ment that Bach knew, played, and com­posed for has sur­vived. Take the laut­en­wer­ck, a cat­e­go­ry of “gut-stringed instru­ments that resem­ble the harp­si­chord and imi­tate the del­i­cate soft tim­bre of the lute,” accord­ing to Baroquemusic.org. Of the “lute-harp­si­chord” crafts­men in 18th-cen­tu­ry Ger­many remem­bered by his­to­ry, one name stands out: Johann Nico­laus Bach.

A sec­ond cousin of Johann Sebas­t­ian, he “built sev­er­al types of lute-harp­si­chord. The basic type close­ly resem­bled a small wing-shaped, one-man­u­al harp­si­chord of the usu­al kind. It only had a sin­gle (gut-stringed) stop, but this sound­ed a pair of strings tuned an octave apart in the low­er third of the com­pass and in uni­son in the mid­dle third, to approx­i­mate as far as pos­si­ble the impres­sion giv­en by a lute. The instru­ment had no met­al strings at all.”

This gave the laut­en­wer­ck a dis­tinc­tive sound, quite unlike the harp­si­chord as we know it today. You can hear it — or rather, a recon­struct­ed exam­ple — played in the video above, a short per­for­mance of Bach’s Pre­lude, Fugue, and Alle­gro in E‑flat, BWV 998 by ear­ly-music spe­cial­ist Dong­sok Shin.

“If he owned two of them, they could­n’t have been that off the wall,” Shin says of the com­pos­er and his rela­tion­ship to this now lit­tle-known instru­ment in a recent NPR seg­ment. “The gut has a dif­fer­ent kind of ring. It’s not as bright. The laut­en­wer­ck can pull cer­tain heart­strings.” Just as the sound of each laut­en­wer­ck must have had its own dis­tinc­tive char­ac­ter­is­tics in Bach’s day, so does each attempt to recre­ate it today. “The small hand­ful of arti­sans cur­rent­ly mak­ing laut­en­werks are basi­cal­ly foren­sic musi­col­o­gists,” notes NPR cor­re­spon­dent Neda Ula­by, “recon­struct­ing instru­ments based on research and what they think laut­en­wer­cks prob­a­bly sound­ed like.” As for the one man we can be sure knew them inti­mate­ly enough to tell the dif­fer­ence, he’d be turn­ing 336 years old right about now.

via NPR

Relat­ed Con­tent:

Hear 10 of Bach’s Pieces Played on Orig­i­nal Baroque Instru­ments

Watch J.S. Bach’s “Air on the G String” Played on the Actu­al Instru­ments from His Time

Musi­cians Play Bach on the Octo­bass, the Gar­gan­tu­an String Instru­ment Invent­ed in 1850

How the Clavi­chord & Harp­si­chord Became the Mod­ern Piano: The Evo­lu­tion of Key­board Instru­ments, Explained

What Gui­tars Were Like 400 Years Ago: An Intro­duc­tion to the 9 String Baroque Gui­tar

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How Bob Marley Came to Make Exodus, His Transcendent Album, After Surviving an Assassination Attempt in 1976

in Music | March 30th, 2021

“The peo­ple who are try­ing to make this world worse aren’t tak­ing a day off. How can I?,” said Bob Mar­ley after a 1976 assas­si­na­tion attempt at his home in Jamaica in which Mar­ley, his wife Rita, man­ag­er Don Tay­lor, and employ­ee Louis Grif­fiths were all shot and, incred­i­bly, all sur­vived. Which peo­ple, exact­ly, did he mean? Was it Edward Seaga’s Jamaican Labour Par­ty, whose hired gun­men sup­pos­ed­ly car­ried out the attack? Was it, as some even con­spir­a­to­ri­al­ly alleged, Michael Man­ley’s People’s Nation­al Par­ty, attempt­ing to turn Mar­ley into a mar­tyr?

Mar­ley had, despite his efforts to the con­trary, been close­ly iden­ti­fied with the PNP, and his per­for­mance at the Smile Jamaica Con­cert, sched­uled for two days lat­er, was wide­ly seen as an endorse­ment of Manley’s pol­i­tics. When he made his now-famous­ly defi­ant state­ment from Island Records’ chief Chris Blackwell’s heav­i­ly guard­ed home, he had just decid­ed to play the concert–this despite the con­tin­ued risk of being gunned down in front of 80,000 peo­ple by the still-at-large killers, or some­one else paid by the CIA, whom Tay­lor and Mar­ley biog­ra­ph­er Tim­o­thy White claim were ulti­mate­ly behind the attack.

Mar­ley doesn’t just show up at the con­cert, he “gives the per­for­mance of his life­time,” notes a brief his­to­ry of the event, and “clos­es the show by lift­ing his shirt, expos­ing his ban­daged bul­let wounds to the crowd.” Erro­neous­ly report­ed dead in the press after the shoot­ing, Mar­ley emerged Lazarus-like, a Rasta­far­i­an folk-hero. Then he left Jamaica to make his career state­ment, Exo­dus, in Lon­don — as much a fusion of his right­eous polit­i­cal fury, reli­gious devo­tion, erot­ic cel­e­bra­tion, and peace, love & uni­ty vibes as it is a fusion of blues, rock, soul, funk, and even punk.

It’s a very dif­fer­ent album than what had come before in 1976’s Ras­ta­man Vibra­tions, which was an album of “hard, direct pol­i­tics” and right­eous, “macho” anger, wrote Vivien Gold­man, “with sur­pris­ing specifics like ‘Ras­ta don’t work for no C.I.A.’” The apoth­e­o­sis that was 1977’s Exo­dus begins, how­ev­er, not with Mar­ley’s pre­vi­ous album but with the Smile Jamaica con­cert. What was meant to be a brief, one-song, non-aligned appear­ance became after the shoot­ing “a tran­scen­den­tal 90-minute set for a coun­try being torn apart by inter­nal strife and exter­nal med­dling,” says Noah Lefevre in the Poly­phon­ic video his­to­ry at the top. “It was the last show Bob Mar­ley would play in Jamaica for more than a year.”

See the full Smile Jamaica con­cert above and learn in the Poly­phon­ic video how “six months to the day” lat­er, on June 3, 1977, Mar­ley left on his own exo­dus and came to record and release what Time mag­a­zine named the “album of the cen­tu­ry” — the record that would “trans­form him from a nation­al icon to a glob­al prophet.” On Exo­dus, he achieves a syn­the­sis of glob­al sounds in a defin­ing cre­ative state­ment of his major themes. Mar­ley was “real­ly try­ing to give the African Dias­po­ra a sense of its strength and… uni­ty,” Gold­man told NPR on the album’s 30th anniver­sary, while at the same time, “real­ly embrac­ing, you know, white peo­ple, to an extent; doing his best to make a mul­ti­cul­tur­al world work.”

Relat­ed Con­tent: 

Bob Marley’s Redemp­tion Song Final­ly Gets an Offi­cial Video: Watch the Ani­mat­ed Video Made Up of 2747 Draw­ings

Watch a Young Bob Mar­ley and The Wail­ers Per­form Live in Eng­land (1973): For His 70th Birth­day Today

30 Fans Joy­ous­ly Sing the Entire­ty of Bob Marley’s Leg­end Album in Uni­son

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

BirdCast: You Can Now Forecast the Migration of Birds Across the U.S. Just Like the Weather

in Maps, Nature | March 26th, 2021

We talk about the weath­er more often than we talk about most things, oth­er nat­ur­al phe­nom­e­na includ­ed. We cer­tain­ly talk about the weath­er more often than we talk about birds, much to the dis­ap­point­ment of ornitho­log­i­cal enthu­si­asts. This could be down to the com­par­a­tive robust­ness of weath­er pre­dic­tion, both as a tra­di­tion and as a dai­ly tech­no­log­i­cal pres­ence in our lives. We can hard­ly avoid see­ing the weath­er fore­cast, but when was the last time you checked the bird fore­cast? Such a thing does, in fact, exist, though it’s only come into exis­tence recent­ly, in the form of Bird­cast, which pro­vides “real-time pre­dic­tions of bird migra­tions: when they migrate, where they migrate, and how far they will be fly­ing.”

Devel­oped by Col­orado State Uni­ver­si­ty and the Cor­nell Lab of Ornithol­o­gy, Bird­Cast offers both live bird migra­tion maps and bird fore­cast migra­tion maps for the Unit­ed States. “These fore­casts come from mod­els trained on the last 23 years of bird move­ments in the atmos­phere as detect­ed by the US NEXRAD weath­er sur­veil­lance radar net­work,” says Bird­Cast’s web site.

Unprece­dent­ed in both the kind of infor­ma­tion they pro­vide and the detail in which they pro­vide it, “these bird migra­tion maps rep­re­sent­ed the cul­mi­na­tion of a 20-year long vision, so too the begin­nings of new inspi­ra­tion for the next gen­er­a­tion of bird migra­tion research, out­reach and edu­ca­tion, and appli­ca­tion.”

You can learn more about the devel­op­ment and work­ings of Bird­Cast in the record­ed webi­nar below, fea­tur­ing research asso­ciate Adri­aan Dok­ter and Julia Wang, leader of the Lights Out project, which aims to get Amer­i­cans spend­ing more time in just such a state. “Every spring and fall, bil­lions of birds migrate through the US, most­ly under the cov­er of dark­ness,” says its sec­tion of Bird­Cast’s site. “This mass move­ment of birds must con­tend with a dra­mat­i­cal­ly increas­ing but still large­ly unrec­og­nized threat: light pol­lu­tion.” The goal is “turn­ing off unnec­es­sary light­ing dur­ing crit­i­cal migra­tion peri­ods,” and with spring hav­ing begun last week­end, we now find our­selves in just such a peri­od. Luck­i­ly, our fine feath­ered friends should­n’t be dis­turbed by the glow of the Bird­Cast map on your screen. View live Bird­Cast maps here.

via Kot­tke

Relat­ed Con­tent:

Explore an Inter­ac­tive Ver­sion of The Wall of Birds, a 2,500 Square-Foot Mur­al That Doc­u­ments the Evo­lu­tion of Birds Over 375 Mil­lion Years

What Kind of Bird Is That?: A Free App From Cor­nell Will Give You the Answer

Cor­nell Launch­es Archive of 150,000 Bird Calls and Ani­mal Sounds, with Record­ings Going Back to 1929

Watch “The “Art of Fly­ing,” a Short Film Cap­tur­ing the Won­drous Mur­mu­ra­tions of the Com­mon Star­ling

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Marianne Faithfull’s Three Versions of “As Tears Go By,” Each Recorded at a Different Stage of Life (1965, 1987 & 2018)

in Music | March 26th, 2021

When a 17-year-old Mar­i­anne Faith­full fin­ished the final take of her 1965 hit “As Tears Go By” — penned by a young duo of Mick Jag­ger and Kei­th Richards as one of their first orig­i­nal songs — Rolling Stones man­ag­er Andrew Loog Old­ham “came and gave me a big hug,” she recalled “‘Con­grat­u­la­tions dar­ling. You’ve got your­self a num­ber six,’ he said.”

Richards remem­bered the song in his auto­bi­og­ra­phy as “a ter­ri­ble piece of tripe” and “mon­ey for old rope,” but it actu­al­ly peaked at num­ber 22 on the Bill­board Hot 100, where it stayed for nine weeks, no small thing. So pop­u­lar was “As Tears Go By” that the Stones them­selves record­ed a ver­sion the fol­low­ing year. Their take also entered the Hot 100, where it peaked at num­ber six.

The sto­ry of the song rep­re­sents in brief the evo­lu­tion of its orig­i­nal singer. Fat­ed in her ear­ly years to be known as lit­tle more than Jagger’s muse, an image she grew to hate, Faith­full went from hang­er-on in the six­ties, “an essen­tial com­po­nent of the Swing­ing Lon­don scene,” writes review­er alrockchick; to a home­less hero­in addict; to a leg­end revived, her “whiskey-soaked” croak of a voice the per­fect vehi­cle for deliv­er­ing smoke-filled tales of weari­ness and betray­al.

Along the way, there was “As Tears Go By,” a song Faith­full came to embody, though she didn’t think much of it as a teenag­er. (See Bri­an Epstein intro­duce her on Hula­baloo, above, in 1965.)

She was “nev­er that crazy” about it, she said. “God knows how Mick and Kei­th wrote it or where it came from…. In any case, it’s an absolute­ly aston­ish­ing thing for a boy of 20 to have writ­ten a song about a woman look­ing back nos­tal­gi­cal­ly on her life.”

The “boys” had help — at first they cribbed the title “As Time Goes By” from the famous tear­jerk­er in Casablan­ca. Accord­ing to Loog Old­ham, he locked the two Stones in a room togeth­er and said, “I want a song with brick walls all around it, high win­dows and no sex.” How that became a Mar­i­anne Faith­full sig­na­ture is some­thing of a mys­tery. At times she claimed Jag­ger wrote the song for her; at oth­ers, she emphat­i­cal­ly denied it. But as the con­trast between her voice and the song’s sac­cha­rine, maudlin nature changed, so too did the pow­er of her deliv­ery, which is not to say her first record­ing didn’t war­rant the atten­tion.

“The voice on ‘As Tears Go By’ and ‘Sum­mer Nights,’” altrockchick writes, “has an airy, sur­re­al qual­i­ty; the voice on Bro­ken Eng­lish,” her 1979 come­back (which does not include “As Tears Go By”), “is as real as it gets” and only got more real with time. In a Nico-esque monot­o­ne drone, she revis­it­ed the song she made famous in the mid-six­ties in the 1987 take above for the album Strange Weath­er. She had just recent­ly got­ten clean and lost a lover to sui­cide.

The weath­ered vul­ner­a­bil­i­ty she projects is worlds away from the dreamy melan­choly of the past, her voice “a far cry from the 60s sweet­ness,” The Music Afi­ciona­do blog notes. “Years of sub­stance abuse and con­stant smok­ing dropped her pitch and made it raspy.” These qual­i­ties are even more pro­nounced in a 2018 ver­sion of the song from the album Neg­a­tive Capa­bil­i­ty. It func­tions almost as a coda for a career as an inter­preter of the songs of oth­ers, though she’s writ­ten no few of her own (and may yet release anoth­er ver­sion of “As Time Goes By.”)

She is remem­bered for much more than her first hit, but Faithfull’s revis­i­ta­tion of “As Tears Go By” over the years seems to speak to an ambiva­lent accep­tance of Mick Jagger’s con­stant pres­ence in her sto­ry — and a grace­ful, if not exact­ly uplift­ing, accep­tance of the inevitable rav­ages of age and fame.

You can hear her very recent inter­view on the Bro­ken Record pod­cast below:

Relat­ed Con­tent: 

Jean-Luc Godard Shoots Mar­i­anne Faith­full Singing “As Tears Go By” (1966)

David Bowie Sings ‘I Got You Babe’ with Mar­i­anne Faith­full in His Very Last Per­for­mance As Zig­gy Star­dust (1973)

Watch the Rolling Stones Write “Sym­pa­thy for the Dev­il”: Scenes from Jean-Luc Godard’s ’68 Film One Plus One

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Four Cellists Play Ravel’s “Bolero” on One Cello

in Music | March 24th, 2021

And now for some­thing com­plete­ly dif­fer­ent…

Above, the Wiener Cel­loensem­ble 5 + 1–“an untra­di­tion­al cel­lo ensem­ble” found­ed by the Vien­na Phil­har­mon­ic’s Ger­hard Kaufmann–presents an uncon­ven­tion­al per­for­mance of Ravel’s “Bolero.” It’s min­i­mal­ist, in a cer­tain way. Four musi­cians. One instru­ment. And noth­ing more…

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!

via Clas­sicFM/MyModernMet

Relat­ed Con­tent:

Hear a 1930 Record­ing of Boléro, Con­duct­ed by Rav­el Him­self

Juil­liard Stu­dents & the New York Phil­har­mon­ic Per­form Ravel’s Bolero While Social Dis­tanc­ing in Quar­an­tine

Copen­hagen Phil­har­mon­ic Plays Ravel’s Bolero at Train Sta­tion

Women Street Photographers: The Web Site, Instragram Account & Book That Amplify the Work of Women Artists Worldwide

in Books, Photography | March 24th, 2021

It’s almost impos­si­ble not to won­der how reclu­sive artists of the past — like anony­mous street pho­tog­ra­ph­er and Chica­go nan­ny Vivian Maier — would fare in the age of Tum­blr and Insta­gram. Would Maier have become inter­net famous? Would she have post­ed any of her pho­tographs? The lit­tle we know about her makes it hard to answer the ques­tion. Maier lived a life of abstemious self-nega­tion. “She nev­er exhib­it­ed her work,” Alex Kot­lowitz writes at Moth­er Jones, “she didn’t share her pho­tos with any­one, except some of the chil­dren in her care.”

And yet, Maier was known to enjoy con­ver­sa­tions about film and the­ater with knowl­edge­able peo­ple. One sus­pects that if she had been able to stay in touch with like minds, she might have been encour­aged by a sup­port­ive com­mu­ni­ty she couldn’t find any­where else. We might imag­ine her, for exam­ple, sub­mit­ting a select few pho­tographs to Women Street Pho­tog­ra­phers, a project that began in 2017 as an Insta­gram account and has since “bur­geoned into a web­site, artist res­i­den­cy, series of exhi­bi­tions, film series, and now a book pub­lished this month by Pres­tel,” Grace Ebert writes at Colos­sal.

For women street pho­tog­ra­phers liv­ing and work­ing today, the project offers what founder Gul­nara Samoilo­va says she need­ed and couldn’t find: “I soon began to real­ize that with this plat­form, I could cre­ate every­thing I had always want­ed to receive as a pho­tog­ra­ph­er: the kinds of sup­port and oppor­tu­ni­ties that would have helped me grow dur­ing those for­ma­tive and piv­otal points on my jour­ney.” The project is inter­na­tion­al in scope, bring­ing togeth­er the work of 100 women from 31 coun­tries, “a tiny sam­pling of what’s out there.”

In her intro­duc­tion to the 224-page book, Samoilo­va describes the impor­tance of such a col­lec­tion:

Street pho­tog­ra­phy is both a record of the world and a state­ment of the artist them­selves: it is how they see the world, who they are, what cap­tures their atten­tion, and fas­ci­nates them. There’s a won­der­ful mix­ture of art and arti­fact, poet­ry and tes­ti­mo­ny that makes street pho­tog­ra­phy so appeal­ing. It’s both doc­u­men­tary and fine art at the same time, yet high­ly acces­si­ble to peo­ple out­side the pho­tog­ra­phy world.

There are Vivian Maiers around the world dri­ven to doc­u­ment their sur­round­ings, whether any­one ever sees their work or not. Maier made her pho­tographs “for all the right rea­sons,” says Chica­go artist Tony Fitz­patrick. “She made them because to not make them was impos­si­ble. She had no choice.” But per­haps she might have cho­sen to show her work if she had access to plat­forms like Women Street Pho­tog­ra­phers. We can be grate­ful for such out­lets now: they offer per­spec­tives that we can find nowhere else. Women Street Pho­tog­ra­phers will announce the win­ners of its inau­gur­al vir­tu­al exhi­bi­tion “on or around April 1.”

via Colos­sal

Relat­ed Con­tent: 

Meet Ger­da Taro, the First Female Pho­to­jour­nal­ist to Die on the Front Lines

Take a Visu­al Jour­ney Through 181 Years of Street Pho­tog­ra­phy (1838–2019)

Vivian Maier, Street Pho­tog­ra­ph­er, Dis­cov­ered

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Online Degrees & Mini Degrees: Explore Masters, Mini Masters, Bachelors & Mini Bachelors from Top Universities

in | March 21st, 2021

Explore a col­lec­tion of online Degree and Mini Degree Pro­grams from major uni­ver­si­ties, includ­ing MIT, Har­vard, UC Berke­ley & more.

The lists below include Online Mini Mas­ter’s Degrees, Online Mas­ter’s Degrees, Online Mini Bach­e­lor’s Degrees, and final­ly Online Bach­e­lor’s Degrees.

Many of these pro­grams are offered at a sig­nif­i­cant­ly low­er price than tra­di­tion­al degree pro­grams.

Mini Mas­ter’s Pro­grams

To learn more about the val­ue of Micro­Mas­ters pro­grams from edX, and Mas­ter­Track Cer­tifi­cate pro­grams from Cours­era, read this arti­cle from Busi­ness Insid­er.

Busi­ness

• Account­ing — Indi­ana Uni­ver­si­ty via edX
• Busi­ness Lead­er­ship — The Uni­ver­si­ty of Queens­land via edX
• Busi­ness Man­age­ment — Indi­an Insti­tute of Man­age­ment Ban­ga­lore via edX
• Busi­ness and Oper­a­tions for a Cir­cu­lar Bio-Econ­o­my — Wagenin­gen Uni­ver­si­ty & Research via edX
• Cer­ti­fied Lifestyle Med­i­cine Exec­u­tive — Doane Uni­ver­si­ty via edX
• Cor­po­rate Inno­va­tion — The Uni­ver­si­ty of Queens­land via edX
• Design Think­ing - Rochester Insti­tute of Tech­nol­o­gy via edX
• Dig­i­tal Lead­er­ship — Boston Uni­ver­si­ty via edX
• Dig­i­tal Prod­uct Man­age­ment — Boston Uni­ver­si­ty via edX
• Entre­pre­neur­ship — Indi­an Insti­tute of Man­age­ment Ban­ga­lore via edX
• Finance — MIT via edX
• Finance, Analy­sis and Mod­el­ing — Mac­quar­ie via Cours­era
• Glob­al Busi­ness Lead­er­ship and Man­age­ment — Ari­zona State via edX
• Glob­al Lead­er­ship and Human Resource Man­age­ment - Mac­quar­ie Busi­ness School via Cours­era
• Health­care Admin­is­tra­tion — Doane Uni­ver­si­ty via edX
• Inno­va­tion & Entre­pre­neur­ship — Tec­nológi­co de Mon­ter­rey via edX
• Inno­va­tion Man­age­ment & Entre­pre­neur­ship  — HEC via Cours­era
• Inter­na­tion­al Hos­pi­tal­i­ty Man­age­ment — The Hong Kong Poly­tech­nic Uni­ver­si­ty via edX
• Lead­er­ship in Glob­al Devel­op­ment — The Uni­ver­si­ty of Queens­land via edX
• MBA Core Cur­ricu­lum — Uni­ver­si­ty of Mary­land via edX
• Man­ag­ing Tech­nol­o­gy & Inno­va­tion: How to deal with dis­rup­tive change — RWTH Aachen Uni­ver­si­ty via edX
• Mar­ket­ing Ana­lyt­ics — UC Berke­ley via edX
• Mar­ket­ing in a Dig­i­tal World — Curtin Uni­ver­si­ty via edX
• Prin­ci­ples of Man­u­fac­tur­ing — MIT via edX
• Project Man­age­ment — Rochester Insti­tute of Tech­nol­o­gy via edX

Com­put­er Sci­ence

• AI and Machine Learn­ing — Ari­zona State Uni­ver­si­ty via Cours­era
• Blockchain Appli­ca­tions — Duke Uni­ver­si­ty via Cours­era
• Cloud Com­put­ing — Uni­ver­si­ty of Mary­land via edX
• Cyber­se­cu­ri­ty — Rochester Insti­tute of Tech­nol­o­gy via edX
• Cyber­se­cu­ri­ty- Ari­zona State Uni­ver­si­ty via Cours­era
• Indus­tri­al Inter­net of Things — UC Boul­der via Cours­era
• Infor­ma­tion Sys­tems — Indi­ana Uni­ver­si­ty via edX
• Inter­net of Things (IoT) — Curtin Uni­ver­si­ty via edX
• Machine Learn­ing for Ana­lyt­ics- U Chica­go via edX
• Nanoscience and Tech­nol­o­gy — Pur­due Uni­ver­si­ty via edX
• Pre­dic­tive Ana­lyt­ics using Python — The Uni­ver­si­ty of Edin­burgh via edX
• Quan­tum Tech­nol­o­gy: Com­put­ing — Pur­due Uni­ver­si­ty via edX
• Quan­tum Tech­nol­o­gy: Detec­tors and Net­work­ing — Pur­due Uni­ver­si­ty via edX
• Soft­ware Devel­op­ment — The Uni­ver­si­ty of British Colum­bia via edX
• Soft­ware Engi­neer­ing - Ari­zona State Uni­ver­si­ty via Cours­era
• Sup­ply Chain Man­age­ment — MIT via edX
• Sup­ply Chain Excel­lence  — Rut­gers Uni­ver­si­ty via Cours­era

Data Sci­ence

• Algo­rithms and Data Struc­tures — UC San Diego via edX
• Ana­lyt­ics: Essen­tial Tools and Meth­ods — Geor­gia Tech via edX
• Big Data — Uni­ver­si­ty of Ade­laide via edX
• Big Data — Ari­zona State Uni­ver­si­ty via Cours­era
• Data Ana­lyt­ics for Man­agers — Tufts Uni­ver­si­ty via Cours­era
• Data Sci­ence — UC San Diego via edX
• Sta­tis­tics and Data Sci­ence — MIT via edX

Edu­ca­tion

• Instruc­tion­al Design- Uni­ver­si­ty of Illi­nois via Cours­era
• Instruc­tion­al Design and Tech­nol­o­gy — Uni­ver­si­ty of Mary­land via edX
• Lead­ing Edu­ca­tion­al Inno­va­tion and Improve­ment — Uni­ver­si­ty of Michi­gan via edX

Engi­neer­ing

• Con­struc­tion Engi­neer­ing and Man­age­ment — Uni­ver­si­ty of Michi­gan via Cours­era
• Reli­a­bil­i­ty and Deci­sion Mak­ing in Engi­neer­ing Design — Pur­due Uni­ver­si­ty via edX
• Solar Ener­gy Engi­neer­ing - Delft Uni­ver­si­ty of Tech­nol­o­gy via edX
• Struc­tur­al Design — Pur­due Uni­ver­si­ty via edX

Health

• Health Infor­mat­ics - Yale Uni­ver­si­ty via Cours­era
• Water and Glob­al Human Health — Queen’s Uni­ver­si­ty via edX

Humanities/Arts & Cul­ture

• Human­i­ties & Soft Skills — Tec­nológi­co de Mon­ter­rey via edX
• Inte­grat­ed Dig­i­tal Media — NYU via edX
• Eng­lish Pro­fi­cien­cy for Grad­u­ate Stud­ies Cer­tifi­cate — Ari­zona State Uni­ver­si­ty via Cours­era
• Writ­ing for Per­for­mance and the Enter­tain­ment Indus­tries - Cam­bridge Uni­ver­si­ty via edX

Sus­tain­abil­i­ty

• Eco­nom­ics and Poli­cies for a Cir­cu­lar Bio-Econ­o­my — Wagenin­gen Uni­ver­si­ty & Research via edX
• Emerg­ing Auto­mo­tive Tech­nolo­gies — Chalmers Uni­ver­si­ty via edX
• Sus­tain­able Agribusi­ness — Doane Uni­ver­si­ty via edX
• Sus­tain­able Ener­gy — The Uni­ver­si­ty of Queens­land via edX
• Sus­tain­abil­i­ty and Devel­op­ment — Uni­ver­si­ty of Michi­gan via Cours­era

UX Design

• UX Design — Uni­ver­si­ty of Min­neso­ta via Cours­era
• UX Design and Eval­u­a­tion — HEC Mon­tréal via edX

Sundry

• Chem­istry and Tech­nol­o­gy for Sus­tain­abil­i­ty — Wagenin­gen Uni­ver­si­ty & Research via edX
• Inter­na­tion­al Law - Uni­ver­sité catholique de Lou­vain via edX
• Social Work: Prac­tice, Pol­i­cy and Research — Uni­ver­si­ty of Michi­gan via Cours­era

Online Mas­ter’s Degrees

Busi­ness

• Online Mas­ter’s of Account­ing (iMSA) — Uni­ver­si­ty of Illi­nois via Cours­era
• Master’s Degree in Account­ing — Indi­ana Uni­ver­si­ty via edX
• Mas­ter of Busi­ness Admin­is­tra­tion (iMBA) — Uni­ver­si­ty of Illi­nois via Cours­era
• Online MBA Degree: Mas­ter of Busi­ness Admin­is­tra­tion — Boston Uni­ver­si­ty via edX
• Glob­al Mas­ter of Busi­ness Admin­is­tra­tion (GMBA) — Mac­quar­ie Uni­ver­si­ty via Cours­era

• MSc in Inno­va­tion and Entre­pre­neur­ship — HEC via Cours­era
• Master’s Degree in Lead­er­ship: Ser­vice Inno­va­tion — The Uni­ver­si­ty of Queens­land via edX
• Mas­ter of Sci­ence in Man­age­ment — Uni­ver­si­ty of Illi­nois via Cours­era
• Master’s Degree in Sup­ply Chain Man­age­ment — Ari­zona State via edX

Com­put­er Sci­ence & Elec­tri­cal Engi­neer­ing

• Master’s Degree in Ana­lyt­ics — Geor­gia Tech via edX
• Master’s Degree in Com­put­er Sci­ence - UT Austin via edX
• Mas­ter of Com­put­er and Infor­ma­tion Tech­nol­o­gy — Uni­ver­si­ty of Penn­syl­va­nia
• Mas­ter of Com­put­er Sci­ence — Ari­zona State via Cours­era
• Mas­ter of Com­put­er Sci­ence (Fea­tur­ing Data Sci­ence Track) — Uni­ver­si­ty of Illi­nois via Cours­era
• Master’s Degree in Cyber­se­cu­ri­ty — Geor­gia Tech via edX
• Master’s Degree in IT Man­age­ment — Indi­ana Uni­ver­si­ty via edX
• Mas­ter of Sci­ence in Elec­tri­cal Engi­neer­ing — UC Boul­der via Cours­era
• Master’s Degree in Elec­tri­cal and Com­put­er Engi­neer­ing — Pur­due Uni­ver­si­ty via edX
• Mas­ter of Machine Learn­ing and Data Sci­ence - Impe­r­i­al Col­lege Lon­don via Cours­era

Data Sci­ence

• Mas­ter of Applied Data Sci­ence — Uni­ver­si­ty of Michi­gan via Cours­era
• Master’s Degree in Data Sci­ence — UT-Austin via edX
• Mas­ter of Sci­ence in Data Sci­ence — UC Boul­der via Cours­era

Pub­lic Health

• Mas­ter of Pub­lic Health — Uni­ver­si­ty of Michi­gan via Cours­era
• Glob­al Mas­ter of Pub­lic Health (GMPH) — Impe­r­i­al Col­lege Lon­don via Cours­era
• Mas­ter of Sci­ence in Pop­u­la­tion and Health Sci­ences — Uni­ver­si­ty of Michi­gan via Cours­era

Sundry

• Mas­ter’s Degree in Civ­il Engi­neer­ing — Pur­due Uni­ver­si­ty via edX
• Master’s Degree in Nutri­tion­al Sci­ences — UT-Austin via edX
• Master’s Degree in Mechan­i­cal Engi­neer­ing — Pur­due Uni­ver­si­ty via edX

Micro Bach­e­lor’s Degrees

• Busi­ness Ana­lyt­ics Foun­da­tions - South­ern New Hamp­shire Uni­ver­si­ty via edX
• Busi­ness and Pro­fes­sion­al Com­mu­ni­ca­tion for Suc­cess — Doane Uni­ver­si­ty via edX
• Com­put­er Sci­ence Fun­da­men­tals — NYU via edX
• Cyber­se­cu­ri­ty Fun­da­men­tals — NYU via edX
• Data Man­age­ment with Python and SQL - South­ern New Hamp­shire Uni­ver­si­ty via edX
• Ele­ments of Data Sci­ence — Rice Uni­ver­si­ty via edX
• Intro­duc­tion to Data­bas­es — NYU via edX
• Intro­duc­tion to Infor­ma­tion Tech­nol­o­gy — West­ern Gov­er­nors Uni­ver­si­ty via edX
• Mar­ket­ing Essen­tials — Doane Uni­ver­si­ty via edX
• Pro­fes­sion­al Writ­ing — Ari­zona State via edX
• Pro­gram­ming & Data Struc­tures — NYU via edX

Bach­e­lor’s Degrees

• Bach­e­lor of Applied Arts and Sci­ences — Uni­ver­si­ty of North Texas via Cours­era

To explore a list of free cours­es, see our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Michael Winslow, the “Man of 10,000 Sound Effects”, Impersonates the Sounds of Jimi Hendrix’s and Led Zeppelin’s Electric Guitars with His Voice

in Comedy | March 18th, 2021

Even if you weren’t a huge fan of the Police Acad­e­my movies, there was one char­ac­ter that made them watch­able: Larvell Jones, played by Michael Winslow, “The Man of a 10,000 Sound Effects.” His char­ac­ter is a sort of odd­ball pres­ence through­out the series, whose abil­i­ty to sound like a siren, a machine gun, a guard dog, or any num­ber of things, invari­ably helps his team save the day. He’s been the only con­sis­tent char­ac­ter through all eight entries of the movie series, a brief tele­vi­sion spin-off, and an ani­mat­ed car­toon series. And I dare say he’s the fran­chise’s rea­son to exist, as a Police Acad­e­my with­out Larvell Jones would be…what? A bunch of crap­py cops?

And while you might think of him as a mas­ter of machine nois­es, Winslow is actu­al­ly a very musi­cal per­former, as his above impres­sion of Jimi Hen­drix, both vocals and gui­tar, proves. Winslow was an army brat, moved all over the place, and his imi­ta­tion skills devel­oped at an ear­ly age, a cop­ing mech­a­nism for a lone­ly child­hood. He kept at it, and made it onto The Gong Show in 1978. The prize mon­ey allowed him to stay in Los Ange­les and start mak­ing the club rounds. He got scout­ed for Police Acad­e­my while open­ing for the Count Basie Orches­tra, per­form­ing “some fusion jazz sounds,” as he described it in an inter­view. For­tu­nate­ly, the film­mak­ers let him impro­vise through his scenes and his career took off from there.

As the clips here show, Winslow can jam hard. His Hen­drix impres­sion is a lit­tle bit stoned, and he gets the voice right. With a back­ing band on tape, he goes on to pro­vide the vocals and the dis­tort­ed, flanged gui­tar. You can see that lit­tle has changed from the ver­sion from the ‘80s at the Just for Laughs Com­e­dy Fes­ti­val in Mon­tre­al, Cana­da, and a 2011 per­for­mance from the Dubom­e­dy Inter­na­tion­al Per­form­ing Arts Fes­ti­val in Dubai. The lat­ter has bet­ter sound qual­i­ty and sep­a­ra­tion so you can hear Winslow’s work.

His Led Zep­pelin impres­sion com­bines both Robert Plant and Jim­my Page, and I won’t spoil the joke, but Winslow explains how Plant came up with “Immi­grant Song.”

And there’s no sound effects involved in his Tina Turn­er impres­sion, but a good wig, and an impres­sive set of pipes that only get wob­bly a few times. But then again, so do his legs.

Side note: Before Winslow there was a come­di­an called Wes Har­ri­son, who had a sim­i­lar tal­ent and a sim­i­lar rise to star­dom: from tal­ent show win­ner to a reg­u­lar guest on late night shows in the 1960s to a steady stream of night­club appear­ances.

In 1988, the two men, sep­a­rat­ed by 35 years, per­formed togeth­er on a Dick Clark vari­ety show. It is per­haps the only time the two shared a stage.

via Metafil­ter

Relat­ed Con­tent:

Down­load an Archive of 16,000 Sound Effects from the BBC: A Fas­ci­nat­ing His­to­ry of the 20th Cen­tu­ry in Sound

The Sounds of Blade Run­ner: How Music & Sound Effects Became Part of the DNA of Rid­ley Scott’s Futur­is­tic World

How the Sound Effects on 1930s Radio Shows Were Made: An Inside Look

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

Watch the Trippy 1970s Animated Film Quasi at the Quackadero: Voted One of the 50 Greatest Cartoons of All Time

in Animation | March 16th, 2021

There cer­tain­ly are a lot of weirdos out today. —Qua­si at the Quack­adero

Ani­ma­tion is a pro­fes­sion where­in child­hood influ­ences hold vis­i­ble sway.

Today’s young ani­ma­tors are like­ly to cite the for­ma­tive pow­ers of Sponge­bob Squarepants, Avatar: The Last Air­ben­der, The Ren & Stimpy Show, and the films of Japan­ese mas­ter, Hayao Miyaza­ki.

As a child of the 50s, Sal­ly Cruik­shank, cre­ator of cult favorite Qua­si at the Quack­adero, above, mar­i­nat­ed in Carl Barks’ Don­ald Duck comics. In The Ani­ma­tors, an early-80’s PBS doc­u­men­tary cen­tered on the San Fran­cis­co Bay Area scene, she mused that “the images of the mon­ey bin and Don­ald Duck and the nephews and Uncle Scrooge all sunk into my sub­con­scious and came out lat­er, not real­ly look­ing like ducks to any­one but me, but in my mind they are ducks—Quasi, Snozzy, and Ani­ta.”

Qua­si at the Quack­adero places two of those odd ducks, con­tent­ed loafer Qua­si and his con­trol­ling, lisp­ing ladyfriend, Ani­ta, in a bizarre amuse­ment park where the attrac­tions include oppor­tu­ni­ties to “Relive One of the Shin­ing Moments of Your Life” and “See Last Night’s Dreams Today.”

The fun house mir­rors in the 3:10 mark’s Hall of Time are a par­tic­u­lar treat, con­tribut­ing to a car­ni­val of sen­so­ry over­load that’s as old timey as it is trip­py.

“You don’t need to take acid to have weird thoughts and imag­ine weird things,” Cruik­shank, whose oth­er favorites, telling­ly, include Win­sor McCay, Max Fleis­ch­er, and Yel­low Sub­ma­rine, replied to an admir­er on YouTube.

In 2009, Cruikshank’s dement­ed vision found its way into the Library of Con­gress’ Nation­al Film Reg­istry, an hon­or she cel­e­brat­ed with a blog post toast­ing her late boss, E.E. Gregg Snazelle of Snazelle Films:

The job was to exper­i­ment with ani­ma­tion, and do com­mer­cials for him when the jobs came in. He also hoped I’d fig­ure out how to solve 3‑d with­out glass­es.

Need­less to say I did­n’t solve 3‑d. I did­n’t even do very many com­mer­cials over ten years, but I showed up at 8:30, took an hour off for lunch and worked till 5:30. I was paid $350 a month, and I could live on that then.

He encour­aged me gen­er­ous­ly with­out ever pay­ing much atten­tion to me. These days if an oppor­tu­ni­ty like that even exist­ed, you’d be forced to sign all kinds of rights state­ments for char­ac­ters and con­tent cre­at­ed, but this was before “Star Wars” and he just seemed to be hap­py to have me around. We were nev­er par­tic­u­lar­ly close. It spoiled me for any job after that.

I made all my “Qua­si” films while I was work­ing at Snazelle. Unfor­tu­nate­ly he’s no longer alive, but here’s to you, Gregg, with a big heart and much thanks.

Cruik­shank was indeed lucky to have secured a day job in her cho­sen field, pro­vid­ing her with access to pro­hib­i­tive­ly expen­sive equip­ment.

Remem­ber that her 1975 short pre­dates per­son­al com­put­ers, afford­able ani­ma­tion soft­ware, and a pletho­ra of free shar­ing plat­forms. Cruik­shank says that Qua­si at the Quack­adero required two years of near dai­ly work, liken­ing its ani­ma­tion process to “some­thing from the Mid­dle Ages.”

Of course, 1975 was also a peak year for under­ground comix, anoth­er tra­di­tion from which Qua­si sprung, right into the arms of a recep­tive audi­ence. Ani­ta and Qua­si also appear in Cruikshank’s one and only com­ic, Mag­ic Clams. In addi­tion to her work at Snazelle Stu­dios, Cruik­shank cock­tail wait­ressed in a hang­out for San Francisco’s under­ground car­toon­ists, includ­ing then-boyfriend Kim Deitch, Quasi’s “Spe­cial Art Assis­tant.” Bob Arm­strong and Al Dodge of R. Crumb and his Cheap Suit Ser­e­naders con­tributed the short’s score. Oth­er friends from the indie comix scene were enlist­ed to paint cells at 50 cents per.

Quasi’s inclu­sion in the Nation­al Film Reg­istry not only car­ries the impri­matur of cul­tur­al, his­toric, and aes­thet­ic sig­nif­i­cance, it sug­gests the psy­che­del­ic short is a sem­i­nal influ­ence in its own right.

We agree with KQED’s Sarah Hotchkiss that “the sat­u­rat­ed col­ors, hard edges, and con­stant move­ment of Cruik­shank’s ani­ma­tion could be source mate­r­i­al for the future real­iza­tion of Pee-wee’s Play­house.”

Both deliv­er us from real­i­ty into the lim­it­less pos­si­bil­i­ties of an anthro­po­mor­phic uni­verse.

Explore more of Sal­ly Cruickshank’s ani­ma­tions on her You Tube chan­nel, includ­ing her  car­toons for Sesame Street. Some of her ani­ma­tion cels, includ­ing ones from Qua­si at the Quack­adero are for sale in her Etsy shop.

Qua­si at the Quack­adero–vot­ed one of the 50 Great­est Car­toons, in a poll of 1,000 Ani­ma­tion Pro­fes­sion­als–will be added to our list of ani­ma­tions, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Relat­ed Con­tent:

The Ani­ma­tions That Changed Cin­e­ma: The Ground­break­ing Lega­cies of Prince Achmed, Aki­ra, The Iron Giant & More

The Ori­gins of Ani­me: Watch Free Online 64 Ani­ma­tions That Launched the Japan­ese Ani­me Tra­di­tion

Bam­bi Meets Godzil­la: #38 on the List of The 50 Great­est Car­toons of All Time

Free Ani­mat­ed Films: From Clas­sic to Mod­ern 

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She most recent­ly appeared as a French Cana­di­an bear who trav­els to New York City in search of food and mean­ing in Greg Kotis’ short film, L’Ourse.  Fol­low her @AyunHalliday.

All Praise Lou Ottens: The Inventor of the Cassette Tape Dies at Age 94

in History, Music | March 12th, 2021

The cas­sette tape is so ubiq­ui­tous, so much a part of my life since I can even remem­ber music as a thing, that it was a shock to find out that the man who invent­ed it, Lou Ottens, passed away at the age of 94. Of course, some­body did have to invent the cas­sette tape, but in all these years I nev­er thought to look the per­son up. Such an inven­tion first makes you think of the world before it: records (dear­ly beloved, still around), and reel-to-reel tape (not so dear­ly beloved). The for­mer was a fixed object, an art object, immutable (until turntab­lists came along). The lat­ter was a way to record our­selves, but so much more was involved in the act. Peo­ple had to wind the spin­dle, to thread the tape through the cap­stan and heads, and record usu­al­ly in mono. You can see an overview of a mod­el from the 1950s here.

Ottens was a Dutch engi­neer work­ing at Philips who became head of new prod­uct devel­op­ment in Has­selt, Bel­gium. His assign­ment was to shrink the reel-to-reel and, like the radio, make it more portable. And here is the most impor­tant deci­sion: Ottens want­ed the for­mat to be licensed to oth­er man­u­fac­tur­ers for free, so every­body could par­take. Con­sid­er­ing the end­less for­mat bat­tles that we fight every day, this deci­sion was as mon­u­men­tal as it was human­ist.

He designed his pro­to­type out of wood and sized it to fit into a pock­et for true porta­bil­i­ty. (This pro­to­type, by the way, dis­ap­peared from his­to­ry after he used it to prop up a jack when fix­ing a flat tire.) The actu­al com­pact cas­sette, pro­mot­ed as a cheap­er and small­er for­mat for major label releas­es, imme­di­ate­ly gained a sec­ond life as an artis­tic tool: a way for reg­u­lar folk to record what­ev­er they want­ed. Kei­th Richards report­ed­ly record­ed the riff for “Sat­is­fac­tion” on the portable cas­sette play­er near his bed. Peo­ple record­ed lec­tures, the tele­vi­sion, the radio, their rel­a­tives, their friends, the ran­dom sound of life. Peo­ple start­ed to curate: their favorite music, their favorite peo­ple, their favorite sounds. Peo­ple pre­tend­ed to be DJs, pre­tend­ed to be artists, pre­tend­ed to be tele­vi­sion hosts, pre­tend­ed to be authors, pre­tend­ed to be crit­ics. And some through pre­tend­ing became the things they want­ed to be.

Peo­ple made mix­tapes for friends and for lovers. They looked at the remain­ing tape on the spin­dle and won­dered if the song they had to end side two would fit. Peo­ple real­ized that cas­sette tape could be a col­lage of sounds, cut up by the pause but­ton.

Ottens may not have real­ized it, but he had cre­at­ed a com­plete­ly demo­c­ra­t­ic for­mat. In the 1980s, the back pages of music mag­a­zines flour­ished with the cat­a­logs of cas­sette-only album releas­es. If you had a Walk­man and a friend with a halfway decent tape recorder, you could car­ry around your favorite music and lis­ten to it when­ev­er you want­ed.

The record indus­try rebelled (for a while). They want­ed you to know that “home tap­ing is killing music” but did so with a skull and bones graph­ic that made it that much cool­er. In the end it didn’t real­ly mat­ter. The music fans repur­chased every­thing on CD any­way. (Apart from the peo­ple who taped CDs and even then after that *those* peo­ple down­loaded the mp3s.)

And here’s the thing. Ottens wasn’t pre­cious about any of it. He was part of the devel­op­ment of the Com­pact Disc. The cas­sette was just anoth­er step­ping stone.

But despite the numer­ous arti­cles that cas­settes were a dead medi­um, they kept com­ing back. Mix­tapes, the lifeblood of hip hop cul­ture con­tin­ued to thrive, even if by the end of the cen­tu­ry the idea was more of a con­cept. And then in the mid­dle of the 2010s cas­settes came roar­ing back after the vinyl resur­gence. For bands it was a cheap way to pro­vide a phys­i­cal prod­uct, what with vinyl still being very expen­sive to pro­duce. Band­camp, the place to go for cas­sette-only releas­es, offers artis­tic tapes for the same price as a dig­i­tal down­load. So why not get both and start your library again?

Ottens nev­er fore­saw any of this hap­pen­ing, but it speaks to some­thing very human: we want con­trol of our music, and dig­i­tal music, espe­cial­ly in the cloud, ain’t cut­ting it. We want to hold some­thing in our hands and claim it as our own.

So pour one out for Lou Ottens, who start­ed a rev­o­lu­tion that hasn’t fin­ished. Do *not* press pause.

Relat­ed Con­tent:

Home Tap­ing Is Killing Music: When the Music Indus­try Waged War on the Cas­sette Tape in the 1980s, and Punk Bands Fought Back

2,000+ Cas­settes from the Allen Gins­berg Audio Col­lec­tion Now Stream­ing Online

Lis­ten to Audio Arts: The 1970s Tape Cas­sette Arts Mag­a­zine Fea­tur­ing Andy Warhol, Mar­cel Duchamp & Many Oth­ers

Stream a Mas­sive Col­lec­tion of Indie, Noise Indus­tri­al Mix­tapes from the 80s and 90s

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.