Name: Orson Welles reads Walt Whitman by brainpicker in Spoken word
Duration: 3 min 28 s
Description: Background, context, and poem text: https://www.brainpickings.org/2016/09/28/orson-welles-reads-walt-whitman-song-of-myself/

Spoken word

Discussion and poem text: https://www.brainpickings.org/2016/03/22/billy-collins-reads-aristotle/

POEM TEXT

Billy Collins reads "Aristotle"

Background, context, and poem text: https://www.brainpickings.org/2016/09/28/orson-welles-reads-walt-whitman-song-of-myself/

CONTEXT / POEM TEXT

Orson Welles reads Walt Whitman

Solo

Chant

Poem text and context: https://www.brainpickings.org/2018/04/23/ursula-k-le-guin-hymn-to-time-janna-levin/

POEM TEXT / CONTEXT

Astrophysicist Janna Levin reads "Hymn to Time" by Ursula K. Le Guin

Artist: Nick Zammuto
Title: Tonight We'll Go For A Ride
Album: We The Animals: An Original Motion Picture Soundtrack
Release Date: November 9, 2018 Digital / February 8, 2019 Physical

Pre-Order: www.temporaryresidence.com/products/trr308

We The Animals is the award-winning new film from Jeremiah Zagar (In A Dream). Based on the best-selling novel by Justin Torres, We The Animals is Zagar’s first narrative feature. It reunites Zagar with Nick Zammuto, the renowned composer and co-founder of beloved collage-pop pioneers, the Books. Inspired by the film’s setting in rural upstate New York – and influenced by the early ambient electronic music that galvanized the Books two decades ago – Zammuto pairs that earthen, wooded isolation with dynamic pulses of customized electronics and sparse, crystalline layers of melodic soft synths. The juxtaposition is arresting, and gives the soundtrack a unique heft befitting of its subject matter – and betraying of its minimal instrumentation. Beautifully edited and sequenced to act as both a companion to the film and a standalone album, We The Animals: An Original Motion Picture Soundtrack is as subtle as it is startling, and succeeds in making even the heaviest emotions feel momentarily weightless.

We The Animals: An Official Motion Picture Soundtrack

Nick Zammuto - Tonight We'll Go For A Ride

Distant Fires Burning (a.k.a. Gert De Meester) : Bass guitars, Electronics, Treatments 
Seigo Aoyama : Ac. Piano, Stylophone, Synthesizers, Sample

© 2019 by Distant Fires Burning, Seigo Aoyama.  All rights reserved.

Distant Fires Burning + Seigo Aoyama - Monostone

A wonderfully immersive suite of five stunning new tracks, ‘Shifts’ expands upon Swedish-Iranian pianist / composer Shida Shahabi’s debut album and confirms her as a genuine new force in contemporary piano music.

Without radically departing from the ‘Homes’ blueprint, this time around her pallette is expanded, with the opening three tracks seeing the prominent addition of cello, intertwining with piano to provide a powerfully emotive sweep and drone. These parts were provided by Linnea Olsson, who Shida calls "an old musician friend of mine and without a doubt the best cellist I know in Sweden.”

Recorded by Shida and Elias Krantz, the record was mixed by Hampus Norén and mastered at Calyx by Francesco Donadello (Jóhann Jóhannsson, Modeselektor & Thom Yorke, A winged Victory for the Sullen, Dustin O'Halloran, Lubomyr Melnyk, Hauchka, etc).

Shifts

Sea Ear

Poem text and context: https://www.brainpickings.org/2020/05/31/spell-to-be-said-against-hatred-jane-hirshfield

Amanda Palmer reads “Spell to Be Said against Hatred” by Jane Hirshfield

James Joyce reads from the Aeolus episode of Ulysses, the only passage he found to be “declamatory” and thus suitable for recital.

Background and context: http://exp.lore.com/post/53132569188/as-open-culture-explains-this-rare-1924-recording

James Joyce reads from Ulysses

In 1968, Dr. Bernie Krause was leading a booming music career. A prodigiously talented musician and early master of the electronic synthesizer, Krause was busy working with artists like the Doors and the Beach Boys and performing iconic effects for blockbuster films. Then Warner Brothers commissioned him to create an album incorporating the sounds of wild habitats, so he headed into Muir Woods with his recording equipment. What he heard changed his life and triggered a fifty-year odyssey.

Then and there, Krause decided that he wanted spend the rest of his life recording and archiving the music of wild animals and wild places. He quit Hollywood and began traveling the world. The soundscapes he recorded were full of epiphanies about the origin of our own culture and music, about the profound connectedness of creatures, and about the unseen tolls of human activity. Previous wildlife recordings isolated the calls of individual creatures, but Krause recorded habitats as a whole. He soon proposed a new theory of ecosystem functioning: that each species produces unique acoustic signatures, partitioning and occupying sonic niches such that the singing of all of the creatures in a healthy ecosystem can be heard, organized like players in an orchestra. 

Today, Krause’s astonishing archive contains sounds made by more than 15,000 species. It is, as The New Yorker aptly put it, “an auditory Library of Alexandria for everything non-human." Fifty percent of the recorded habitats no longer exist due to habitat destruction, climate change, and human din. We spoke with Krause about the beauty of and perils facing wild music, the extraordinary science of soundscape ecology, and how sound impacts the welfare of animals. The music in this episode is from Wild Sanctuary (www.wildsanctuary.com).

Orson Welles reads Walt Whitman

brainpicker

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