I didn’t know (or had somehow forgotten) that Marlo Thomas’s seminal children’s album Free to Be… You and Me (Spotify, Apple Music) was turned into a TV special that aired in 1974.
The basic concept was to encourage post-1960s gender neutrality, saluting values such as individuality, tolerance, and comfort with one’s identity. A major thematic message is that anyone — whether a boy or a girl — can achieve anything.
The TV show starred Thomas, Mel Brooks, Harry Belefonte, Dionne Warwick, Carol Channing, Michael Jackson, Dustin Hoffman, and many others. You can watch the whole thing (commercials included) on YouTube:
The opening sketch features Thomas and Mel Brooks as cue-ball-headed puppet babies in a hospital nursery, daffily trying to work out which of them is a boy and which is a girl — the Brooks baby declares himself a girl because he wants to be “a cocktail waitress” — and setting up the bigger themes of the special: What is a boy and what is a girl?
As newborns, they’re indistinguishable, just base line people - eyes, ears, hands, mouth. They haven’t yet been programmed with all the lessons about boy things and girl things, boy colors and girl colors, boy games and girl games. The rest of the special gives its young viewers a decoder ring for those messages, and permission to disregard them.
Take “Parents Are People,” a duet with Thomas and Harry Belafonte, which remains one of the most innocently radical things I’ve ever seen on TV. The lyrics explain that your mom and dad are just “people with children,” who have their own lives and a wide range of careers open to both of them.
Mel Brooks’ session was more eventful. Thomas had written to him that the album “would benefit the Ms. Foundation,” and when he came in the morning of his recording, he told her that he thought the material Reiner and Stone had written was funny but that he didn’t know what it had to do with multiple sclerosis. Once set straight about the MS in question, Brooks joined Thomas in the recording booth, where they would both play babies for the album’s first sketch, “Boy Meets Girl.”
“When I directed,” Alda recalls, “I would be meticulous and relentless. I would do a lot of takes. But Mel is not a guy who’s used to doing a lot of takes. He’s not used to taking direction from anybody — you know, he gives direction.” Alda didn’t love the first few takes of “Boy Meets Girl”; in the end it took, Alda remembers, 10 or 15 tries, with Brooks improvising madly all along the way. Rodgers was there that day to record “Ladies First,” and she still remembers standing in the control room laughing harder with each take. “Mel was generous,” Alda allows, “and he let me egg him on.”
We listened to Free to Be… quite a bit in the car when the kids were younger. Nice to see it pop up again.
A couple weeks ago, music writer Hank Shteamer tweeted a link to Tracy Chapman’s 1988 song “Behind the Wall,” from her self-titled debut album, writing:
“Fast Car,” yes, for all eternity, but can we make some room for “Behind the Wall”? Made a huge impression back then and I’ve still never heard anything else like it. 110 seconds of unaccompanied voice. Spellbinding.
I hadn’t heard it in a while and was grateful for the reminder.
A recently resurfaced 2019 New Yorker story on Linda Ronstadt reminded me of this captivating video from her 1969 appearance on the Johnny Cash Show. Her 1977 version of the song, with Dolly Parton, is also great.
This video is 9 years old and has 169 million views so I’m possibly the last person on Earth to see it,1 but I ran across a clip of it on Instagram the other day and just had to share. Steve ‘n’ Seagulls is a country band from Finland that went viral for their covers of classic rock tunes, including AC/DC’s “Thunderstruck”:
I love the way this starts off — and it seems to have become somewhat of a bit in subsequent videos. Open Culture has more in a post from August 2014. Kottke.org: only the freshest viral content for you!
Ok, this video is targeted at a pretty small audience and is super goofy, but it hit me square in the forehead and so I can’t help but post it here: it’s footage from Rowan Atkinson’s Mr. Bean with Bush’s 1994 alternative rock hit Glycerine playing over it. And yes, there is a change of lyrics at a critical point. 100/100, no notes. (via @jamesjm)
I’ve probably listened to “Right Back to It,” the first single from indie folk-rock musician Waxahatchee’s forthcoming album Tigers Blood, at least 40 times since it came out a few weeks ago. The album’s second single, “Bored” (also good), came out last week, and the album itself is due out March 22. I haven’t been this excited for new music in as long as I can remember. I even ordered a t-shirt from the website (two, actually) — the first time I’ve ever done that in my life!
Brian Eno’s Turntable II is made up of a platter and base, which change colours independently, seamlessly phasing through combinations of generative ‘colourscapes’. The pattern of lights, the speed at which they change and how they change are programmed, but programmed to change randomly and slowly. It plays both 33 and 45rpm vinyl.
Only 150 will be sold and they’re £20,000 so hopefully you’ll see one in a museum someday. (via kevin kelly)
The cover is popular in a genre that has long been roiled by racial conflict. Over the past five years, artists and activists have tried to get mainstream Big Country to get with the multiracial program, but they have won little more than nominal, marginal inclusion rather than a reckoning with the industry’s soul. However lovely, Chapman’s and Combs’s performance ties too neat a bow on years of conflict within country music over who gets to play with the genre’s big boys.
The Los Angeles school district runs a shop that maintains and repairs the 80,000 musical instruments used by students in the district. Kris Bowers and Ben Proudfoot made this short documentary about the shop and the people who work there, some of whom have been broken and repaired themselves.
In making “The Last Repair Shop,” my directing partner Ben Proudfoot and I got the chance to tell the tale of four extraordinary master craftspeople who ensure, day in and day out, that L.A.’s schoolchildren have playable instruments in their hands. We were floored and proud to find out that our city, Los Angeles, was home to the last shop of this kind in the country.
Bowers and Proudfoot previously collaborated on A Concerto Is a Conversation, an Oscar-nominated short documentary about Bowers’ grandfather, who was part of the Great Migration.
One of the many reasons that Ferris Bueller’s Day Off works so well as a film is that the music kicks ass *and* it meshes so well with the action. In the heyday of MTV, this was no accident — parts of the movie function almost as elaborate music videos. No scene illustrates this more than when Ferris is hurrying across backyards and through homes to beat his parents & sister back to the house. As good as that scene is, I think Todd Vaziri improved it by re-cutting it to music from Inception. So good!
In 1966, electronic music pioneer Jean-Jacques Perrey was on the game show I’ve Got a Secret and (spoiler!) his secret was he could play a single musical instrument that sounded like a number of other instruments. Perrey’s instrument was called the Ondioline, which was first developed in 1939 and was a forerunner of the modern electronic synthesizer. Perrey was a leading practitioner of the Ondioline:
Thanks to the Ondioline, I could imitate instruments from around the world, such as bagpipes from Scotland, American banjo, Gypsy violin, soprano voice, Indian sitar, and so on. I made a world tour in music and finished it with a gag of whistling a tune. At the end, the whistling was still going on (thanks to the Ondioline), but I was drinking a glass of water. We all laughed.
In the video from the game show, Perrey imitates a bunch of instruments and then plays an original composition with his collaborator Gershon Kingsley, which sounds at once wildly futuristic and laughably dated.
P.S. I first heard of Jean-Jacques Perrey courtesy of his 1970 song E.V.A., which sounds just as modern today as it did when I heard it back in the late 90s remixed by Fatboy Slim.
I reckon most of us have certain books, movies, TV shows, music, podcasts, and other media that we turn to when we need some comfort. These are things we’ve seen, read, or heard before — often many times — and know exactly what we’re going to get from them.
What we reach for depends on our needs. When I just want something familiar on in the background while I’m doing something else, to provide a vibe and the barest hint of a plot to follow, I often turn on Star Trek: TNG or old episodes of Doctor Who on Pluto TV. A few years ago during a really tough period, I read several of Tom Clancy’s novels (The Hunt for Red October, Patriot Games, and Red Storm Rising) to keep my brain reliably engaged but also unfettered by challenging prose or the deep emotional lives of the characters. I rewatch Star Wars and Avengers movies for their reliable entertainment, characters I’m invested in, and predictable-but-satisfying outcomes — these are often good plane movies.
When I’m feeling a lot of relational feelings and need a bit of salt to make them feel even more intense (and punishing), I’ll watch season two of Fleabag or Midnight in Paris or even 50 First Dates (which is as close as I get to rom-coms). Radiohead is a great all-arounder for many situations — I’ve leaned on Everything In Its Right Place, True Love Waits, Videotape, and even Burn the Witch at various times in my life. The Great British Bake Off is reliably low stakes, entertaining, and nothing but good vibes.
I had no idea this existed: back in 2015, rapper Warren G and saxophonist Kenny G came together to perform Warren G’s Regulate. Now, I’m not sure the smooth jazz saxophone improves the song at all, but I love that some mad genius was like, we need to get the two Gs together and then made it happen.
Over the past few months, I’ve had some time away from the computer and have taken several very long plane trips and some shorter car rides, which means a bit more reading, TV & movie watching, and podcast listening than usual. Oh, and holiday movies.
Anyway, here’s my recent media diet — a roundup of what I’ve been reading, watching, listening to, and experiencing over the past few months.
The Killer. The excellent Michael Fassbender portrays a solitary, bored, and comfortable killer for hire who has a bit of a midlife crisis in fast forward when a job goes wrong. (A-)
Fortnite OG. I started playing Fortnite in earnest during Chapter 3, so it was fun to go back to Chapter 1 to see how the game worked back then. (B+)
Edge of Tomorrow. Speaking of video games… Still love this under-appreciated film, despite a third act that falls a tiny bit flat. (A)
The Vaster Wilds by Lauren Groff. I did not enjoy this quite as much as Matrix — especially the last third — but Groff is one hell of a writer. (B+)
New Blue Sun. Good on André 3000 for not doing the expected thing and instead releasing an instrumental album on which he plays the flute. (A-)
Songs of Silence. I can’t remember who clued me into this lovely instrumental album by Vince Clarke (Erasure, Depeche Mode), but it’s been heavily in the rotation lately. (B+)
Trifecta. A.L.I.S.O.N.’s Deep Space Archives is a favorite chill work album for me and this one is nearly as good. (B+)
Shoulda Been Dead. I had no idea that Kevin Kelly appeared on an early episode of This American Life until someone mentioned it offhand on our Thailand walk. What a story…listen all the way to the end. (A)
Train Dreams by Denis Johnson. Oh the writing here is exquisite. (A)
The Mountain in the Sea by Ray Nayler. Are AGI robots intelligent? Are octopuses? Are humans? This novel plays entertainingly with these ideas. (A-)
Myeongdong Kyoja. I stumbled upon this place, extremely cold and hungry, and after a brief wait in line, I was conducted to an open seat by the no-nonsense hostess running the dining room. The menu only has four items, conveniently pictured on the wall — I got the kalguksu and mandu. The hostess took my order and then, glancing at my frozen hands, reached down and briefly gave one of them a squeeze, accompanied by a concerned look that lasted barely half a second before she returned to bustling around the room. A delicious meal and a welcome moment of humanity in an unfamiliar land. (A)
Barbie. Second viewing. Entertaining and funny, but this is a movie that has Something To Say and I still can’t figure out what that is. (B+)
Emily the Criminal. There were a few hiccups here and there, but I largely enjoyed this Aubrey Plaza vehicle. (A-)
Midnight in Paris. Not going to recommend a Woody Allen movie these days, but this is one of my comfort movies — I watch it every few months and love every second of it. (A)
Gran Turismo. Extremely predictable; they could have done more with this. (B)
The Rey/Ren Star Wars trilogy. I have lost any ability to determine if any of these movies are actually good — I just like them. 🤷♂️ (B+)
Loki (season two). This was kind of all over the place for me but finished pretty strong. Glorious purpose indeed. (B)
Home Alone. First time rewatching this in at least a decade? This movie would have worked just as well if Kevin were 15% less annoying. (B+)
The Grinch. My original review stands: “I wasn’t expecting to sympathize so much with The Grinch here. The social safety net constructed by the upper middle class Whos totally failed the most vulnerable member of their society in a particularly heartless way. Those Whos kinda had it coming.” (B+)
Past installments of my media diet are available here. What good things have you watched, read, or listened to lately?
“SpiderHarp started as a large-scale model of an orb spider’s web, with the aim of uncovering the mystery of how spiders sense … vibrations and how it translates into information the spider uses to localize activity on its web.” A recent Oregon Public Broadcasting story [via mefi] led me to this cool video of the SpiderHarp in action. More SpiderHarp here.
And I grew up going to the yearly Christmas Revels concert/play in Cambridge, MA, and while nothing beats the live shows, I also love their albums, especially this spirited 1978 one: The Christmas Revels: In Celebration of the Winter Solstice [spotify]. The Revels also feature the “Abbots Bromley Horn Dance” in every show, and seeing it live usually sends chills up my spine:
One of the weirder holiday songs I like is “Maybe This Christmas,” by musician Graham Smith, a.k.a. Kleenex Girl Wonder. It has some profanities at the beginning, but by the end it does really get me into the spirit.
(Please let me know if the Bandcamp embed is giving anyone grief.)
At first I didn’t like Smith’s music, which my husband plays in the car constantly, but then something clicked. I also like the video he and his band made for their 2016 song “Plight.” (It’s a shot-by-shot remake of Rihanna’s “Stay” and is probably NSFW but not intensely.)
Kleenex Girl Wonder has tons more music on Bandcamp. It’s kind of confusing, honestly. But my husband recommends their 2015 “Getting Started” album as a good entry point, if you’re feeling the holiday song.
Last night my family listened to “The Wexford Carol” after my husband asked if I knew about its backstory. I didn’t, but I learned that while the song is centuries old, it was only relatively recently transcribed.
There’s an affecting version of that story in a recent post on America: The Jesuit Review, by Maggi Van Dorn. “I have learned to take Christmas carols seriously,” she writes, “and to anticipate the epiphanies they may bear in my spiritual life as I contemplate them anew. […] As for ‘The Wexford Carol,’ it quietly survived over 400 years of British colonial suppression and was first put to paper in the small Irish village of Enniscorthy,” where she traveled to ask locals about the song.
The above Alison Krauss and Yo-Yo Ma rendition appears on Ma’s 2008 holiday album, Songs of Joy & Peace. Loreena McKennitt also has a beautiful version, as does the Mormon Tabernacle Choir, which made a cheesy music video that also made me cry.
Cool “old” songs, part two? This 2021 jam was used as background music in a TikTok or Instagram reel I came across last year, and it stopped me in my tracks. I looked it up immediately and don’t understand why it hasn’t become a worldwide hit: “Mind My Business,” by Trinidadian singer Patrice Roberts. I think about it all the time. There’s also a funny music video, but I kind of prefer just imagining. [Patrice Roberts on wikipedia/instagram]
Lots of Kottke readers probably know about the band Pere Ubu, but I only learned about them a couple years ago, through my husband. Their song “Breath” totally rules, as does their legendary 1989 performance of it (above) on the live-music show “Sunday Night,” hosted by David Sanborn (and Jools Holland — although now I’m just quoting from Wikipedia). May I someday tap into whatever he’s tapping into if I haven’t already.
If you want more, I highly recommend the musician Cat Popper’s 2021 cover of “Breath.” (“I really like that version of ‘Breath,’” said Pere Ubu’s own David Thomas. “I like it better than mine.”)
“Breath” comes from the album Cloudland, which also contains the excellent song “Waiting for Mary,” which Pere Ubu performed on that same “Sunday Night” show. And here’s the studio version of “Breath” [spotify link] if you want a cleaner listen.
I listened to Ministry of Sound’s The Annual - Millennium Edition on heavy repeat in my mid 20s. What a treat it is to rediscover it on Soundcloud:
It’s an unofficial upload so who knows how long it will last. The three song mix by Judge Jules at the beginning of the first disc is still one of my all-time favorite mixes — I’m dancing in my chair to it right now.
The Ministry of Sound did a show back in September at the Royal Albert Hall where they re-imagined classic 90s dance music (Fatboy Slim, Chemical Brothers, etc.) backed by a 50-piece orchestra and vocalists. I found out about this via organist Anna Lapwood’s Instagram, where she posted a clip of her participation in the show: playing Bach’s Toccata and Fugue in D minor as a lead-in to Insomnia by Faithless. I enjoyed the captions but the sound on her video is not great; I found this video on YouTube with much better sound (relevant part starts at the 4:15 mark):
I would love to have seen this live…I’d have lost my mind at this part. Sometimes I think I love remixes, mashups, and covers more than the original versions.
I linked to this in the recent David Bowie post, but it’s worth pulling out separately: the 100 greatest BBC musical performances. This is an incredible trove of late 20th and early 21st century musical greatness. Some selections just off the top of my head:
Blondie – Atomic/Heart of Glass (The Old Grey Whistle Test, 1979):
Talking Heads – Psycho Killer (OGWT, 1978):
Daft Punk – Essential Mix (Radio 1, 1997):
Hole – Doll Parts/He Hit Me (And It Felt Like A Kiss)/Violet (Later, 1995):
Joy Division – Transmission (Something Else, 1979):
The performance launched Bowie to stardom. Thursday 6th July, 1972, is said to be ‘the day that invented the 80’s’ as so many musicians who went on to be household names saw the performance and it changed their lives. Those watching that night included U2’s Bono, The Cure’s Robert Smith, Boy George, Adam Ant, Mick Jones of the Clash, Gary Kemp of Spandau Ballet, Morrissey and Johnny Marr of the Smiths, Siouxsie Sioux, Toyah Willcox, John Taylor and Nick Rhodes of Duran Duran, Dave Gahan of Depeche Mode and many more.
“It’s deceptively easy to forget that in the summer of 1972 David Bowie was still yesterday’s news to the average Top of the Pops viewer, a one-hit wonder who’d had a novelty single about an astronaut at the end of the previous decade,” writes Nicholas Pegg in The Complete David Bowie. But his taking the stage of that BBC pop-musical institution “in a rainbow jumpsuit and shocking red hair put paid to that forever. Having made no commercial impact in the two months since its release, ‘Starman’ stormed up the chart.” As with “Space Oddity,” “the subtext is all: this is less a science-fiction story than a self-aggrandizing announcement that there’s a new star in town.”
Philip Glass is coming out with a new album early next year called Philip Glass Solo. It was recorded during the early days of the pandemic at Glass’s home on his piano.
This is my piano, the instrument on which most of the music was written. It’s also the same room where I have worked for decades in the middle of the energy which New York City itself has brought to me. The listener may hear the quiet hum of New York in the background or feel the influence of time and memory that this space affords. To the degree possible, I made this record to invite the listener in.
The video above is a lovely clip of him, in his home, playing one of the songs off the album.
Before the iPod, before the Walkman, there was the Mikiphone, a portable record player that folded up into a case that you could fit in your pocket. Invented circa 1924, this portable phonograph was powered by a hand-crank and could play 10-inch records.
At first glance, the closed Mikiphone appears quite compact, easily fitting inside a purse.
However, it requires some assembly, with its components stored within the case, which, when shut, measures just 11.5 cm in diameter and 4.7 cm in thickness.
The recording head and a two-piece Bakelite resonator had to be connected to the foldout tone arm before the shellac disc could be placed on the turntable’s central pin.
This precision engineering feat was awarded first prize at an international music exhibition in Geneva in 1927.
Courtesy of the Stanford Archive of Recorded Sound, a demonstration of how to assemble the Mikiphone and play records on it:
The four members of the Beatles, assisted by machine learning technology, come together one last time to record a song together, working off of a demo tape recorded by John Lennon in the 70s.
The long mythologised John Lennon demo was first worked on in February 1995 by Paul, George and Ringo as part of The Beatles Anthology project but it remained unfinished, partly because of the impossible technological challenges involved in working with the vocal John had recorded on tape in the 1970s. For years it looked like the song could never be completed.
But in 2022 there was a stroke of serendipity. A software system developed by Peter Jackson and his team, used throughout the production of the documentary series Get Back, finally opened the way for the uncoupling of John’s vocal from his piano part. As a result, the original recording could be brought to life and worked on anew with contributions from all four Beatles.
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