As part of the One World: Together at Home fundraiser organized by the WHO, Global Citizen, and Lady Gaga that raised $127.9 million for Covid-19 relief efforts, the members of the Rolling Stones, each in their own home, got together via video to perform You Can’t Always Get What You Want. It’s a lovely messy & spare performance and the choice of song is timely — plenty of people around the world are definitely not getting what they want right now, but hopefully we will eventually end up getting what we need.
With the help of Billie Eilish, Finneas O’Connell, the Jonas Brothers, and Chance the Rapper, John Krasinski threw a virtual prom for the nation’s high school students who are stuck at home because of the pandemic. This show is such a gift. Don’t miss Brad Pitt doing the weather report and a brief segment from the International Space Station.
A disease that killed tens of millions of people, more than the number who died in World War I, might not seem like a promising subject for a song, but the legendary Texas bluesman Blind Willie Johnson didn’t see it that way. In Dallas in 1928, Johnson recorded “Jesus Is Coming Soon,” an intense chronicle of the ravaging influenza pandemic of 1918-1919. In a growl that conveyed the horror of the illness, as well as its scarifying ubiquity, Johnson declared that the “great disease was mighty and the people were sick everywhere / It was an epidemic, it floated through the air.”
Other lines seem as if they could have been written yesterday: “Well, the nobles said to the people, ‘You better close your public schools / Until the events of death has ended, you better close your churches, too.’”
Yet another gem from the Kid Should See This: a performance of Sergei Prokofiev’s Peter and the Wolf that combines live action, animation, and creative typography.
Starting today and continuing weekly, a little musical band you have never heard of called Radiohead is putting classic live shows up on YouTube. First up and embedded above is a concert they performed in Ireland in October 2000. Here’s the setlist in case you want to skip around a little. The band says they’ll be putting shows up every week until “either the restrictions resulting from [the] current situation are eased, or we run out of shows”.
I went to a show of theirs in Oxford in 2001 and I would love to see it again. They played Creep for the first time in ages after an equipment failure 86’d whatever song they were supposed to play — and the crowd went fricking bananas.
As someone who a) thinks Dr. Dre was an amazing producer, and b) read Dr. Seuss’s Fox in Socks to his children roughly 1 million times (enough to be able to, eventually, get through the entire book at a comically high rate of speed w/o any tongue twisting slip-ups), I thought Wes Tank’s video of himself rapping Fox in Socks over Dre’s beats was really fun and surprisingly well done.
This is fantastic: former beatboxing world champion Butterscotch explains the 13 levels of complexity involved in beatboxing, from the simple “bass drum” to how to breathe while beatboxing to singing to emulating real instruments.
Expert beatboxers go so fast that it’s amazing to see someone with Butterscotch’s skill level break this down — like watching a water balloon bursting in slow motion. Her short explanation & demonstration of “breathing within the beat” bleeeewww my tiny little mind. Also, she is soooo good — what a treat to watch.
Update: Phil Guillory is a speech-language pathologist and he wrote up a technical analysis of Butterscotch’s explanation of beatboxing. It is gloriously nerdy and I love it.
Humming adds a really interesting layer to this. The act of humming itself is a natural nasal sound. The soft palate, or velum, is relaxed, allowing airflow into the nasal passages. Humming requires glottic closure in order to vibrate vocal folds, and those vibrations resonate up the oropharynx and, because the lips are closed, the air then has to travel into the nasopharynx to be released. When Butterscotch adds percussive beats on top of the hum, if there truly is nasal airflow, that would mean that her velum isn’t fully contacting the pharyngeal wall, and there would be a combination of nasal and pharyngeal air flow. Obviously, a video like this won’t allow us to visualize, so we’ll have to make a couple of assumptions here: a combination of oral and nasal airflow would (1) reduce the loudness of the beats while (2) also reducing the loudness of the hum itself. This is because air would be traveling in two directions, so there would be less pressure for both, and thus, less loudness and resonance. Given that the hum sounds pretty consistent, I think it’s safe to guess that Butterscotch is able to relax her velum to allow for nasal airflow voluntarily, which is indeed a very challenging thing to do given that velar movement is largely automatic. Super cool.
To cut a record, you simply play audio through an aux cable and lift the cutting arm onto a blank disc. Once the record is cut, you can instantly play back your recording through the tone arm and the in built speaker!
More like cute your own records — look at how wee this thing is:
Maybe I’m gonna get some guff for this, but I believe that Coldplay is an underrated band. Oh sure they’re popular, but they are also good, better than their reputation suggests. Brian Eno doesn’t work with just anyone after all. Their recent Tiny Desk Concert at NPR bears this out. Backed by a fantastic nine-person choir (who previously performed with the band at a prison-reform benefit), Coldplay frontman Chris Martin and guitarist Jonny Buckland joyously perform a few of their songs (like Viva La Vida and Champion Of The World) as well as a rousing cover of Prince’s 1999.
While it predates the COVID-19 pandemic and its accompanying social distancing by several years, José Manuel Ballester’s Concealed Spaces project reimagines iconic works of art without the people in them (like what’s happening to our public spaces right now). No one showed up for Leonardo’s Last Supper:
Hieronymus Bosch’s The Garden of Earthly Delights is perhaps just as delightful without people:
And Botticelli’s The Birth of Venus has been rescheduled:
People under quarantine lockdown in Italy due to the country’s COVID-19 outbreak have been singing and playing music out their windows and on their balconies to keep their spirits up while social distancing.
No matter how much fear and panic and anxiety and negativity are on display during a crisis, it also brings out the best in people. Humans are social animals and we can’t help sharing with our neighbors, comforting one another, and coming together even when we’re physically apart.
A message from Wu Tang Clan on Instagram about what to do about the COVID-19 pandemic. This is better guidance than we’re getting from the executive branch of our government. (via maria konnikova)
Lather your hands by rubbing them together with the soap. Be sure to lather the backs of your hands, between your fingers, and under your nails. Scrub your hands for at least 20 seconds. Need a timer? Hum the “Happy Birthday” song from beginning to end twice.
This is an oldie but a goodie. Watch as a single busking bass player grows into the Vallès Symphony Orchestra and a pair of choirs to perform a rousing rendition of Beethoven’s Symphony No. 9 (Ode to Joy) in front of a delighted crowd. (via @victoriamia)
British rapper and actor Riz Ahmed released an album last week called The Long Goodbye. It’s a breakup album with a twist — Ahmed is not breaking up with a partner but with a racist, post-Brexit Britain. A Guardian review describes it as “a conceptual work based around the idea that British Asians are locked in an abusive relationship with the UK and that the rising tide of racism spawned by Brexit might represent the moment at which they’ve finally been dumped”.
To accompany the album, Ahmed collaborated with director Aneil Karia to make a short film (embedded above). It starts out with a typical British domestic scene but after a few minutes, it becomes something else entirely. Be warned: this film is quite intense & dystopian. (via dunstan)
When the Ottomans invaded and conquered Constantinople in 1453, the Orthodox Christian church Hagia Sophia was converted into a mosque. As a result, the Christian choral music that had reverberated in this acoustical masterpiece for centuries was not allowed. But thanks to a digital filter developed by a pair of Stanford researchers, one an art historian (Bissera Pentcheva) and the other an acoustics expert (Jonathan Abel), we are now able to hear what a choir might have sounded like in the Hagia Sophia before the mid 15th century.
When they met, Pentcheva started telling Abel about the Hagia Sophia — how we couldn’t really understand the experience of worshipers there unless we could hear the music the way they did. And as she talked, Abel started to feel a prickling of excitement. They could recreate what that music would sound like. If only they could get in the Hagia Sophia and pop a balloon.
When a balloon pops, it makes an impulse, a sharp, quick sound that takes on the character of whatever space it’s in. So when a balloon pops, you’re really hearing the acoustics of the space itself, says Abel.
In this clip from 2013, the Cappella Romana choir sings a hymn passed through an early version of the Hagia Sophia filter:
The marble interior of Hagia Sophia was 70 meters long, while in height it reached 56 meters at the apex of the great dome. The vast chamber and its reflective surfaces of marble and gold resulted in unprecedented acoustics of over ten seconds reverberation time. As a museum Hagia Sophia today has lost its voice, no performances could take place in it. Using new digital technology developed at CCRMA, the second portion of Cappella Romana’s concert at Bing aims to recreate sound of what singing in Hagia Sophia must have been like. Each singer caries a microphone that records the sound transforming it into a digital signal, which is then imprinted with the reverberant response of Hagia Sophia. What you hear as a wet sound is the product of a digitally produced signal transmitted through loudspeakers placed strategically to create an enveloping soundfield. This digital signal may shock you with the way it relativizes speech, transforming its content into a chiaroscuro of indistinct but immersive sound. For the Byzantines, this sonic experience was associated with the water: the waves of the sea.
Last year, the Cappella Romana released an entire album of choral music recorded with the filter — you can listen on Spotify, Apple Music, Amazon, Tidal, or Pandora.
Needless to say, the album sounds better with the best pair of headphones you can muster. You can find out more information about the filter and the acoustics of the Hagia Sophia at Icons of Sound.
This is lovely: composer Max Richter, accompanied by a string quintet, plays a Tiny Desk Concert at NPR.
Half way through this performance of Max Richter’s achingly beautiful On The Nature Of Daylight, I looked around our NPR Music office and saw trembling chins and tearful eyes. Rarely have I seen so many Tiny Desk audience members moved in this way. There’s something about Max Richter’s music that triggers deep emotions.
Richter is one of my favorite composers, so this was really fun to watch.
My hit series of DJ videos exploring pairs of songs that aren’t direct covers or rip-offs, but have similar melodies, riffs, or chord progressions and just fit together nicely.
Each video is about a minute long and features him playfully mixing two or more songs together that sound very similar. Here’s one of the early episodes, featuring Hot Fun in the Summertime by Sly & the Family Stone and Misunderstanding by Genesis:
T.I.’s Whatever You Like and Zombie by The Cranberries:
Whomst among us wouldn’t go nuts if the DJ laid this down at the club — M83’s Midnight City & Rihanna’s Diamonds:
And this one made me LOL — Draggin’ the Line by Tommy James mixes really well with the Baby Back Ribs song from the Chili’s commercial:
What a great combination of creativity and craft. Watching stuff like this always makes this non-musical person want to make some music. (via @hoodinternet)
This is the most metal shit ever: the doctors removing violinist Dagmar Turner’s brain tumor woke her up during the procedure to play the violin to make sure that she didn’t lose any parts of her brain vital to her playing.
After explaining concerns she had over losing the ability to play the violin, Prof Ashkan and the neurosurgical team at King’s devised a plan. Prior to Dagmar’s operation they spent two hours carefully mapping her brain to identify areas that were active when she played the violin and those responsible for controlling language and movement. They also discussed with Dagmar the idea of waking her mid-procedure so she could play. This would ensure the surgeons did not damage any crucial areas of the brain that controlled Dagmar’s delicate hand movements specifically when playing the instrument. With her agreement, a team of surgeons, anaesthetists and therapists went on to meticulously plan the procedure.
During the operation Prof Ashkan and the team performed a craniotomy (an opening in the skull) and Dagmar was brought round from the anaesthetic. She played violin while her tumour was removed, while closely monitored by the anaesthetists and a therapist.
In this recent TED Talk, lawyer, musician, and technologist Damien Riehl talks about the rapidly diminishing number of melodies available to songwriters under the current system of copyright. In order to help songwriters avoid these melodic legal landmines (some of which are documented here), Riehl and his pal Noah Rubin designed and wrote a program to record every possible 8-note, 12-beat melody and released the results — all 68+ billion melodies, 2.6 terabytes of data — into the public domain.
It’s interesting that the litigious nature of the music business and the finite number of melodies (and the even smaller number of pleasing melodies) has turned an artistic endeavor into a land-grab — whoever gets to a certain melody first owns it forever (or at least for dozens of years). (via @tedgioia)
Collaborating with the team at Conde Nast Entertainment and Vogue, my pal Nicole Hetrained an AI program to interview music superstar Billie Eilish. Here are a few of the questions:
Who consumed so much of your power in one go?
How much of the world is out of date?
Have you ever seen the ending?
This is a little bit brilliant. The questions are childlike in a way, like something a bright five-year-old would ask a grownup, perceptive and nonsensical (or even Dr. Seussical) at the same time. As He says:
What I really loved hearing Billie say was that human interviewers often ask the same questions over and over, and she appreciated that the AI questions don’t have an agenda in the same way, they’re not trying to get anything from her.
I wonder if there’s something that human interviewers can learn from AI-generated questions — maybe using them as a jumping off point for their own questions or asking more surprising or abstract questions or adapting the mentality of the childlike mind.
(Wait for it, wait for it…) One guy, singing Bon Jovi’s Livin’ On A Prayer, gets an entire park to sing along with him. I know this was a tough week for many, but if this doesn’t brighten your day, I do not know what will.
The Prelude in G Major to Johann Sebastian Bach’s Cello Suite No. 1 is one of the world’s most recognizable pieces of music. You’ve likely heard Yo-Yo Ma play it — he’s been trying to master it for almost 60 years now. In a new episode of Earworm, Estelle Caswell and cellist Alisa Weilersteinbreak the song down to see what makes it such an effective and interesting piece of music.
In the early 1700s, Johann Sebastian Bach did something few, if any, composers had ever done. He composed six suites for the cello — a four stringed instrument that, at the time, was relegated to the role of accompaniment in larger ensembles.
Each suite consists of movements named for various dances, and they all begin with a prelude — an improvisatory movement meant to establish the key of the suite, as well as reoccurring themes and motifs. These suites are all masterpieces in music and considered a rite of passage for cellists to study and master.
But there’s one movement in particular, the Prelude in G Major, that has taken on a life of its own in the minds of musicians and music lovers alike.
If you hear the first few measures you’ll likely recognize it. A simple G major arpeggiated chord played expressively on the cello opens a short, but harmonically and melodically rich, 42 measures of music. Bach makes a single instrument sound like a full ensemble. How does he do it?
I am always on the lookout for good music to write, design, and code to and video game music is definitely one of my go-to genres. Chris Gonzales wrote up a pair of guides to Mobile Games with Fantastic Soundtracks (part 2). Represented soundtracks include those from Monument Valley, Alto’s Odyssey, Gorogoa, and Stardew Valley.
In his new music video, My Vote Dont Count, rapper YelloPain provides an excellent 4-minute summary in the sprit of Schoolhouse Rock of the importance of voting, particularly in midterm elections and with a focus on Congress and state legislatures.
So you know how back in ‘08, when we all voted for Obama? We was all supposed to go back in 2010 and vote for the Congress. Cause they the ones that make child support laws. They the ones choose if your kids at school get to eat steak or corn dogs. The state house makes the courthouse. So if the country fail you can’t say it’s them, it’s your fault, cause ya ain’t know to vote for Congress members that was for y’all. And they don’t gotta leave after four years; we just let ‘em sit. See, they don’t want to tell you this, they just want you to focus on the President.
The video was co-produced by Desiree Tims, a Democrat who is running for the House in Dayton, YelloPain’s home town. Tims appears in the closing seconds of the video to deliver this message:
Every time you stay home, someone is making a decision about you. Making decisions about the air you breath, the water you drink, the food your kids eat, and how much money you bring home every two weeks. So every time you sit out an election, every time you don’t show up because you think it doesn’t matter, someone else is happy that you didn’t show up, so they can make that decision for you. Vote!
Even though it’s not explicitly labeled as such, this might be one of the best political advertisements I’ve ever seen. It’s entertaining, informative, and authentic.
One of my favorite video series is Estelle Caswell’s Earworm for Vox — you can check out my posts about it here. It had been a few months since the last episode, so I went to see if she’d made any other videos in the meantime and, lo, Caswell produced a video about the Metropolitan Opera’s production of the opera Akhnaten by Philip Glass, one of my favorite composers.
The video above gives a behind-the-scenes look at the Metropolitan Opera’s production of Akhnaten. We follow Anthony Roth Costanzo, who plays Akhnaten, through the various phases of rehearsal, from working with his vocal coach in a Manhattan apartment to taking the stage for a dress rehearsal in a costume covered in doll heads.
I’ve only seen one opera at the Met (years ago) and was blown away by the production. I remember walking out of there thinking, “Do people know how good this is? Why isn’t opera a massive thing?” (Although I guess I answered my own question by not ever going back?)
Let’s be generous and say that over the years, Radiohead’s web presence has been eccentric. Disorganized and scattershot maybe. In order to remedy that, the band have launched a massive online archive of stuff called the Radiohead Public Library. Stereogum has a nice rundown, including some rare stuff the band has uploaded to streaming services to celebrate the library’s opening.
Dubbed the Radiohead Public Library, the band’s official website Radiohead.com now contains comprehensive materials organized by album, starting with the A Moon Shaped Pool era and working backward. Among the treasure in this chest: high-quality concert and TV footage, B-sides and rarities, music videos, artwork, out-of-print merchandise, and playlists the band members shared during their recording sessions.
If you click on the ID card in the site’s nav bar, you can even download and print out your very own Radiohead Public Library card. It is still Radiohead though, so the library isn’t super easy to navigate — there’s a lot of clicking random images to see what’s hiding behind them — but it’s a start!
Christoph Niemann with a clever take on the Beethoven composition for piano, Für Elise. He’s offering it as a letterpress print — but supplies are low so order quick if you want one.
Including special shows, Mister Rogers’ Neighborhood ran for 912 episodes and at the beginning of each one, Rogers sang “Won’t You Be My Neighbor?” while putting his sweater on and changing his shoes. In the video above, you can compare his rendition of the song from the first episode (February 19, 1968) and the final episode (August 31, 2001). It would take a significant effort (and might actually be impossible because he sings the song at a different pace each time), but I’d love to see someone cut together a version of this that features all 912 openings strung together chronologically, so you can see Rogers get older as he sings (a la Noah Kalina’s Everyday).
The same YouTube channel also edited together the first and last times Rogers sang “Good Feeling”:
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