David Bowie Talks and Sings on The Dick Cavett Show (1974)

in Music, Television | March 25th, 2014

I can think of very few tasteful phenomena to have come to prominence in the seventies, but David Bowie’s albums and Dick Cavett’s talk shows both make the short list. In the middle of that decade, Bowie certainly made the television rounds; we previously featured his 1975 appearance opposite Cher, and today we have his appearance opposite Cavett from the previous year. “David Bowie is a superstar in a category that has never actually been defined,” says the host about the rocker, to audience cheers, “because as soon as a critic tries to say what he is, he changes, like a chameleon.” It seems that Bowie, then at the height of his self-transformative tendencies, could reduce even the most eloquent man on television to that not-quite-accurate cliché. As the former host told Esquire thirty years after this broadcast, “Doesn’t a chameleon exert tremendous energy to become indistinguishable from its environment?”

Yet Cavett ultimately holds his own with Bowie, a feat I doubt many of the rest of us could pull off then or now. The appearance involves more than just music; while Bowie does perform, he also sits down to talk, something that his fans hadn’t yet seen him do in 1974. To many of them, he remained for the most part a mystery, albeit an astutely rocking one. “Who is he? What is he?” Cavett rhetorically asks the crowd. “Man? Woman? Robot?” In the event, they discuss his school days, his ride on the Trans-Siberian Railway, the unforgettable Diamond Dogs cover art, his step back from “glitter,” why other people would have feared interviewing him, and whether he pictures himself at sixty (in the far-flung year of 2007). How easy to forget, in this age when we can often converse with our idols by merely sending them an @ reply on Twitter, how much a showman like Bowie could leave to our imaginations. He remains admirably secretive by today’s standards, but back in the seventies, anything he said would have come as a revelation — especially if prompted by no less artful a conversationalist.

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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

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Billy Joel & Vanderbilt Student Perform Impromptu Duet of “New York State of Mind”

in Music | March 25th, 2014

During a visit to Vanderbilt University last year, Billy Joel fielded a question from a freshman, Michel Pollack. To paraphrase: “My favorite song of yours is New York State of Mind. Can I play it for you on the piano while you sing?” To which Joel replied, “Ok.” And off they went. It’s a lovely impromptu moment. But it was a little too much for Pollack. A little overwhelmed by the whole experience, he got a 69 on his calculus exam the next day. But who could blame him. We have more impromptu musical moments below.

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Michel Foucault and Alain Badiou Discuss “Philosophy and Psychology” on French TV (1965)

in Philosophy, Psychology | March 25th, 2014

If subtitles don’t play automatically, please click the “CC” button at the bottom of each video.

When Sigmund Freud died in 1939, the year Hitler invaded Poland, W.H. Auden wrote a eulogy in verse and remarked “We are all Freudians now.” One might have said something similar of Michel Foucault after his death in 1984. Foucault became a fiercely political philosopher after the May 1968 Paris student uprising and in a year that saw the Tet Offensive in Vietnam and the assassinations of Martin Luther King Jr. and Robert Kennedy. In the following year—after the Manson murders and the grim events at Altamont—the sixties effectively came to an end as its utopian projects flared up and fizzled.

In the next repressive decade, Foucault published Discipline and Punish (1974) and his History of Sexuality (1976). Even as he used Freudian concepts, he declared Freudian psychoanalysis complicit in what he called “disciplinary society,” another method, like prisons, schools, and hospitals, of keeping masses of people under constant surveillance and in states of submission. It is this post-‘68 Foucault many of us came to know—an anti-philosopher whose deep distrust of all institutional forms of power seemed the perfect ally for post-adolescent college students in comfortable rebellion. This is why it is a little surprising to see the Foucault above, in a 1965 conversation with philosopher Alain Badiou, ensconced in the bourgeois world of a French philosophical culture, with its lineages and ordinary citizens browsing paperback copies of Marx and Hegel, instead of staging Situationist actions to disrupt the social order.

But of course, it’s only logical to infer that the one culture led directly to the other. For all his rhetorical theatrics, Foucault never gave up on the humanist institution of the university, but always made his home in classrooms, lecture halls, and yes, even TV interviews. His topic in conversation with Badiou is “Philosophy and Psychology” and they came together on the educational television program L’enseignement de la philosophie—another testament, like the well-stocked bookstores and cultural landmarks, to a sixties French culture steeped in philosophical attitudes. Unfortunately we have only the first two parts of the interview, above, with English subtitles (the third and final part is still waiting to be translated). You can, however, see the full interview in French below.

The interview opens with the question “What is psychology?” Foucault’s answer, which he would revise many times in the coming decades, along with his terminology, begins by asking that we “interrogate” the discipline of Psychology “like any other type of culture.” Prodded by Badiou, he elaborates: Psychology is yet another institutionalized “form of knowing” that makes up a disciplinary society, the core concept of his philosophy. Foucault’s interviewer Badiou is now an elder statesman of French philosophy, its “greatest living exponent,” writes his publisher. His most recent book documents forty years of what he calls the “’French moment’ in contemporary thought”—one greatly inspired by Michel Foucault.

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

by Josh Jones | Permalink | Make a Comment ( None ) |

Watch Episode #3 of Cosmos with Neil deGrasse Tyson: “When Knowledge Conquered Fear” (US Viewers)

in Physics, Television | March 25th, 2014

Last week’s episode of the Cosmos reboot saw Neil deGrasse Tyson giving Fox viewers a lesson in evolution, a lesson that ended with the quiet but emphatic declaration: “The theory of evolution, like the theory of gravity, is a scientific fact. Evolution really happened.” This week Tyson, the astrophysicist who directs the Hayden Planetarium, introduced viewers to some subjects he holds near and dear: comets and gravity, the work of Edmond Halley and Isaac Newton, and how they changed our understanding of the world.

Episode #2 of Neil deGrasse Tyson’s Cosmos: Explains the Reality of Evolution (US Viewers)

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by OC | Permalink | Make a Comment ( None ) |

Revered Poet Alexander Pushkin Draws Sketches of Nikolai Gogol and Other Russian Artists

in Literature | March 24th, 2014

Ask an American or an Englishman who the best Russian poet is, and they’ll genuinely consider the question. The same query, when posed to a Russian, invariably yields a single answer: Alexander Pushkin. While his reputation possesses a certain renown amid some rarefied literary circles in the West, in Russia, Pushkin is worshipped: elementary school students memorize his verses, and one would be hard pressed to find a person ignorant of Eugene Onegin’s plot.

By extension, Pushkin’s sketches — so beloved in Russia that they’ve been compiled and published numerous times — remain almost unheard of elsewhere. Above we’ve included a simple drawing that the poet sketched of the great Russian writer, Nikolai Gogol. In the following image, below, Pushkin depicted another authorial contemporary: Aleksander Griboedov, whose Woe from Wit remains a Russian classic.

Further down is the poet himself, all curls and sideburns, in a self-portrait that dates from somewhere between 1827 and 1830.

Pushkin would frequently jot down these charming black and white sketches both in his personal writings, and in the margins of his manuscripts. The final image, a page from Eugene Onegin, is a terrific example of his notebooks. Alongside the text, Pushkin included a sketch of a well-known Russian painter and aristocrat, with whom the author was certainly acquainted: Count Fyodor Petrovich Tolstoy (not to be confused with the Leo Tolstoy).

Ilia Blinderman is a Montreal-based culture and science writer. Follow him at @iliablinderman, or read more of his writing at the Huffington Post.

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by Ilia Blinderman | Permalink | Make a Comment ( 1 ) |

The Chorus Project Features Teenagers Performing Hits by the Kinks, David Byrne, the Jackson 5 & More

in K-12, Music | March 24th, 2014

The Chorus Project is the sort of opportunity parents dream about—talent-based, high profile, and helmed by visionary adults in tune with teenagers’ emotional and pre-professional needs. The select few—there are 39, leading one to wonder what happened to number 40—range in age from 14–18. They hail from a variety of backgrounds, coming together after school and over the summer to sing, and ultimately record, choral arrangements of rock and pop hits, orchestrated by well known musicians. The 1970s Langley Schools Music Project is a big influence, as is the television show Glee.

Their fresh-faced, orthodontia-enhanced take on the David Byrne / St.Vincent collaboration “Who,” above, embodies the Chorus Project approach, garnering St. Vincent’s stamp, or rather, Tweet, of approval.

Byrne recently advised young musicans to expect that retaining freedom and creative control means taking a financial hit. How comforting to find Chorus Project founder Lauren Bromley Hodge ennumerating that path’s alternate rewards:

Music is a universal language, crossing cultural and income barriers. Singing in a chorus creates community, friendship and trust. In a society where arts based educational opportunities are drastically reduced and threatened, this music project gives young singers the chance to learn about singing, performing and recording from musicians and teachers.

Cultural and income barriers aren’t the only boundaries music transcends. As one Metafilter user remarked after viewing the Chorus Project’s spin on The Kinks’ “Waterloo Sunset,” arranged by the dBs’ Chris Stamey:

Can someone let that adolescent boy singing lead on “Waterloo Sunset” know that my sixteen year-old self called and his heart is broken from the crush he’ll never be able to say hello to?

Because sob.

See, kids? You don’t need leather pants or facial hair to be cool!

My favorite Chorus Project performance thusfar is their cover of the Jackson 5’s “I Want You Back.” The purity of those opening bars reminded me of high school and “You Can’t Always Get What You Want” in equal parts. I dug the cinder blocks in the background. I appreciated the deep look of concentration upon soloist Presyce Baez’s face, as well as the catlike, canary-stuffed expression of his partner, Ally Copenhaver, biding her time until the one-and-a-half minute mark when… leapin’ lizards! That kid’s got an impressive set of pipes, making it all the more gratifying to see her showing up in a supporting capacity elsewhere in her chorus’s oeuvre.

You can enjoy more of the Chorus Project’s videos here, after which you can move to Raleigh-Durham, where project Seamus Kenney, leads a weekly, drop-in Popup Chorus for adults.

Elementary School Kids Sing David Bowie’s “Space Oddity” & Other Rock Hits: A Cult Classic Recorded in 1976

Ayun Halliday can’t sing, but she can crank out the zines like nobody’s business. Follow her @AyunHalliday

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

Titanic: The Nazis Create a Mega-Budget Propaganda Film About the Ill-Fated Ship … and Then Banned It (1943)

in Film, History | March 24th, 2014

James Cameron’s Titanic appeared in 1997 as the most expensive film ever made. Werner Klingler and Herbert Selpin’s Titanic appeared in 1943 as the most expensive German film ever made. And the two share even more than their budgets’ record-breaking status, their famously “unsinkable” subject, and their title in common: both endured troubled productions, both feature a late scene where their male hero convinces his lover to just get on a lifeboat already, and both set out to make strong statements indeed. The later, American Titanic has much to say about the cinematic triumph of late-20th-century visual effects, whereas the earlier, German Titanic takes a more negative tack, mounting an indictment of the supposedly savage avarice and thorough corruption of that country’s bitter wartime enemy, Great Britain. In its ill-fated titular ship, the huge-scale propaganda film found what must have seemed like the perfectly opulent illustration of its argument.

But things worked out no better for this Titanic than for the actual Titanic — and indeed, for Germany in the Second World War. “Never shown in Nazi Germany, its director was found hanged by his own braces and is suspected of having been murdered by the Gestapo,” writes David Gerrie in the Daily Mail. “And the ship that took the role of the Titanic, the Cap Arcona, was later sunk with 5,000 concentration camp prisoners on board, a vastly greater loss of life than the 1,517 who died in the Titanic disaster.” For all the time, energy, and money the regime piled into it, the film turned out “far from the masterpiece [Nazi Minister of Propaganda Joseph] Goebbels had waited two years to see. Fearing Nazi citizens under attack by Allied bombers would be frightened by the sinking, he banned its release in Germany.” Just as Cameron’s Titanic shocked the industry-watchers who had solemnly predicted a megaflop by creating one of the most successful movies of all time, Klingler and Selpin’s Titanic must have given the Nazis quite a start when it emerged as a testament not to Britain’s hubris, but, inadvertently, to their own.

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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 3 ) |

Herbie Hancock Presents the Prestigious Norton Lectures at Harvard University: Watch Online

in Harvard, Music, Philosophy | March 24th, 2014

There may be no more distinguished lecture series in the arts than Harvard’s Norton lectures, named for celebrated professor, president, and editor of the Harvard Classics, Charles Eliot Norton. Since 1925, the Norton Professorship in Poetry—taken broadly to mean “poetic expression in language, music, or fine arts”—has gone to one respected artist per year, who then delivers a series of six talks during their tenure. We’ve previously featured Norton lectures from 1967–68 by Jorge Luis Borges and 1972–73 by Leonard Bernstein. Today we bring you the first three lectures from this year’s Norton Professor of Poetry, Herbie Hancock. Hancock delivers his fifth lecture today (perhaps even as you read this) and his sixth and final on Monday, March 31. The glories of Youtube mean we don’t have to wait around for transcript publication or DVDs, though perhaps they’re on the way as well.

The choice of Herbie Hancock as this year’s Norton Professor of Poetry seems an overdue affirmation of one of the country’s greatest artistic innovators of its most unique of cultural forms. The first jazz composer and musician—and the first African American—to hold the professorship, Hancock brings an eclectic perspective to the post. His topic: “The Ethics of Jazz.” Given his emergence on the world stage as part of Miles Davis’ 1964–68 Second Great Quartet, his first lecture (top) is aptly titled “The Wisdom of Miles Davis.” Given his swerve into jazz fusion, synth-jazz and electro in the 70s and 80s, following Davis’ Bitches Brew revolution, his second (below) is called “Breaking the Rules.”

Notoriously wordy cultural critic Homi Bhabha, a Norton committee member, introduces Hancock in the first lecture. If you’d rather skip his speech, Hancock begins at 9:10 with his own introduction of himself, as a “musician, spouse, father, teacher, friend, Buddhist, American, World Citizen, Peace Advocate, UNESCO Goodwill Ambassador, Chairman of the Thelonious Monk Institute of Jazz” and, centrally, “a human being.” Hancock’s mention of his global peace advocacy is significant, given the subject of his third talk, “Cultural Diplomacy and the Voice of Freedom” (below). His mention of the role of teacher is timely, since he joined UCLA’s music department as a professor in jazz last year (along with fellow Davis Quintet alumnus Wayne Shorter). Always an early adopter, pushing music in new directions, Hancock calls his fourth talk “Innovation and New Technologies” (who can forget his embrace of the keytar?). His identity as a Buddhist is central to his talk today, “Buddhism and Creativity,” and his final talk is enigmatically titled “Once Upon a Time….” Find all of the lectures on this page.

Hancock’s last identification in his intro—“human being”—“may seem obvious,” he says, but it’s “all-encompassing.” He invokes his own multiple identities to begin a discussion on the “one-dimensional” self-presentations we’re each encouraged to adopt—defining ourselves in one or two restrictive ways and not “being open to the myriad opportunities that are available on the other side of the fortress.” Hancock, a warm, friendly communicator and a proponent of “multidimensional thinking,” frames his “ethics of jazz” as spilling over the fortress walls of his identity as a musician and becoming part of his broadly humanist views on universal problems of violence, apathy, cruelty, and environmental degradation. He calls each of his lectures a “set,” and his first two are carefully prepared talks in which his life in jazz provides a backdrop for his wide-ranging philosophy. So far, there’s nary a keytar in sight.

Related Content:

Herbie Hancock: All That’s Jazz!

Miles Davis and His ‘Second Great Quintet,’ Filmed Live in Europe, 1967

Jorge Luis Borges’ 1967–8 Norton Lectures On Poetry (And Everything Else Literary)

Leonard Bernstein’s Masterful Lectures on Music (11+ Hours of Video Recorded in 1973)

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

by Josh Jones | Permalink | Make a Comment ( 2 ) |

How the Ancient Greeks Shaped Modern Mathematics: A Short, Animated Introduction

in Animation, Math | March 24th, 2014

If you think Ancient history doesn’t matter to your life today, think again. Created by The Royal Institution and the animation shop 12Foot6, this short animated video reminds us that the Greeks gave us some of the most basic concepts used in mathematics — concepts that we still use to navigate our modern world today. As with drama and philosophy, everything goes back to the Ancient Greeks.

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by OC | Permalink | Make a Comment ( None ) |

A Glimpse Into How Wes Anderson Creatively Remixes/Recycles Scenes in His Different Films

in Film | March 23rd, 2014

Wes Anderson’s movies always trigger a healthy buzz in the pop culture world, and his recently released Grand Budapest Hotel is no different. Already, the film has won the Silver Bear at the Berlin International Film Festival, and if IMDB ratings are anything to go by, it’s well on its way to becoming another Anderson classic.

Anderson’s cinematic style is one of the most distinctive in Hollywood today, and we’ve recently written about two video essays that highlight some of his favorite stylistic techniques. If you’ve ever seen The Royal Tenenbaums, you’ll immediately recognize his trademark visuals: the soft, surreal palette, the tightly framed centered shots, and the steady camerawork are among his favorite tools.

Above, we bring you yet another visual essay on Anderson’s filmmaking, courtesy of the Criterion Collection. This time, however, the focus is Anderson’s sole animated feature, Fantastic Mr. Fox. The clip, entitled The Fox & Mr. Anderson, is a split-screen short, which matches Mr. Fox to Anderson’s other films, shot for perfect shot. Here we see the Mr. Fox protagonists marching in step with the brothers of The Darjeeling Limited, and Steve Zissou, of The Life Aquatic With Steve Zissou fame, mirroring the scowl of Mr. Fox himself; here is Rat, Fox’s mortal enemy, lying wounded, opposite Rushmore’s injured Max Fischer. While brief, the collection is a beautiful anthology of Anderson’s work and some of the visuals that make encore performances.

via Biblioklept

Ilia Blinderman is a Montreal-based culture and science writer. Follow him at @iliablinderman, or read more of his writing at the Huffington Post.

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by Ilia Blinderman | Permalink | Make a Comment ( None ) |

Pink Floyd Plays With Their Brand New Singer & Guitarist David Gilmour on French TV (1968)

in Music | March 22nd, 2014

In 1968, Pink Floyd’s relationship with increasingly drug-addled lead singer/songwriter/guitarist Syd Barrett unraveled. Though Barrett’s departure wasn’t officially announced until April, that band had already begun, by necessity, performing and recording without him late the previous year, adding guitarist David Gilmour to the lineup to supplant Syd’s erratic performances. In February of ’68 the band appeared minus Syd on a French live-music program called Baton Rouge. Sixties music blog A Dandy in Aspic describes the show as capturing during its year-long run “some of the best British Mod/Psych bands at their peak,” including The Small Faces, The Moody Blues, and the Yardbirds, with Jimmy Page.

This Floyd footage, however, is especially significant for its portrait of the band finding its way through the trauma of its chief architect’s mental demise, with a seemingly awkward Gilmour taking over: “It still sounds great, but the band are visibly uncomfortable. Roger Waters’ dark psychedelic gem ‘Set The Controls For the Heart Of The Sun’ sounds amazing, and ‘Let there Be [More] Light’ is an indication of Pink Floyd’s new, post-Syd direction.”

In addition to those two songs from their upcoming second album A Saucerful of Secrets, the band plays two songs from their debut, Piper at the Gates of Dawn. The weird mystical chant “Astronomy Domine” doesn’t suffer at all, since keyboardist Richard Wright sang the lead vocals on the album version and does so again here. David Gilmour takes over the lead for Barrett’s “Flaming,” which is such a Syd song, with its disturbing and childlike lyrics and loopy vocal melody, that his absence becomes noticeable. But it comes off fine, if somewhat stiff, and the song remained in their set for years afterward.

For more classic psychedelic performances from the 1967–68 Baton Rouge, head over to A Dandy in Aspic.

via Kurt Loder/Dangerous Minds

Psychedelic Scenes of Pink Floyd’s Early Days with Syd Barrett, 1967

Syd Barrett: Under Review, a Full Documentary About Pink Floyd’s Brilliant and Troubled Founder

Pink Floyd’s David Gilmour Sings Shakespeare’s Sonnet 18

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

by Josh Jones | Permalink | Make a Comment ( 6 ) |

David Bowie Talks and Sings on The Dick Cavett Show (1974)

Billy Joel & Vanderbilt Student Perform Impromptu Duet of “New York State of Mind”

Michel Foucault and Alain Badiou Discuss “Philosophy and Psychology” on French TV (1965)

Watch Episode #3 of Cosmos with Neil deGrasse Tyson: “When Knowledge Conquered Fear” (US Viewers)

Revered Poet Alexander Pushkin Draws Sketches of Nikolai Gogol and Other Russian Artists

The Chorus Project Features Teenagers Performing Hits by the Kinks, David Byrne, the Jackson 5 & More

Titanic: The Nazis Create a Mega-Budget Propaganda Film About the Ill-Fated Ship … and Then Banned It (1943)

Herbie Hancock Presents the Prestigious Norton Lectures at Harvard University: Watch Online

How the Ancient Greeks Shaped Modern Mathematics: A Short, Animated Introduction

A Glimpse Into How Wes Anderson Creatively Remixes/Recycles Scenes in His Different Films

Pink Floyd Plays With Their Brand New Singer & Guitarist David Gilmour on French TV (1968)

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