I didn’t have the bandwidth to learn another piece of music, but my friend Loren did. Or perhaps I just felt shy about singing for a webcam and uploading it to Youtube. It consists of 3746 videos from 73 countries, and will be mastered for installations at venues across the world with HD video and surround sound to create an immersive and visceral audience experience.
More info about this piece:
An amazing performance of “Jesu, Joy of Man’s Desiring.” Sure it’s a commercial, but I’ve never seen anything this clever. WATCH THIS. (Thanks, Karen S!)
Via Boing Boing and my friend Wendy, this is a video remix of Lady Gaga’s “Poker Face” by the students and faculty of the University of Washington Information School, called “Catalog“:
Can use my
Can use my
Yeah you can use my catalog
Don’t forget the databases
(I say that last line all. the. time.) ;-D
Legendary jazz musician Herbie Hancock delivers a stunning performance alongside two old friends — past drummer for the Headhunters, Harvey Mason, and bassist Marcus Miller. Listen to the end to hear them sweeten the classic “Watermelon Man.”
If the embed doesn’t work, visit this link.
Celebrating Marian Anderson.
by Alex Ross
On Easter Sunday, 1939, the contralto Marian Anderson sang on the steps of the Lincoln Memorial. The Daughters of the American Revolution had refused to let her appear at Constitution Hall, Washington’s largest concert venue, because of the color of her skin. In response, Eleanor Roosevelt resigned from the D.A.R., and President Roosevelt gave permission for a concert on the Mall. Seventy-five thousand people gathered to watch Anderson perform. Harold Ickes, the Secretary of the Interior, introduced her with the words “In this great auditorium under the sky, all of us are free.”
The impact was immediate and immense; one newsreel carried the legend “Nation’s Capital Gets Lesson in Tolerance.” But Anderson herself made no obvious statement. She presented, as she had done countless times before, a mixture of classical selections—“O mio Fernando,” from Donizetti’s “La Favorita,” and Schubert’s “Ave Maria”—and African-American spirituals. Perhaps there was a hint of defiance in her rendition of “My Country, ’Tis of Thee”; perhaps a message of solidarity when she changed the line “Of thee I sing” to “Of thee we sing.” Principally, though, her protest came in the unfurling of her voice—that gently majestic instrument, vast in range and warm in tone. In her early years, Anderson was known as “the colored contralto,” but, by the late thirties, she was the contralto, the supreme representative of her voice category. Arturo Toscanini said that she was the kind of singer who comes along once every hundred years; Jean Sibelius welcomed her to his home saying, “My roof is too low for you.” There was no rational reason for a serious venue to refuse entry to such a phenomenon. No clearer demonstration of prejudice could be found.
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