As he approached his 75th birthday, beloved avant-garde composer Philip Glass, a champion of transformation as creative authorship, reached out to Beck and asked him to enlist some of his favorite contemporary musicians in remixing Glass’s most iconic pieces. The result, out today, is Rework: Philip Glass Remixed — a spellbinding two-disc collection curated by Beck and featuring remixes by a dozen celebrated artists, including Amon Tobin (“Warda’s Whorehouse Inside Out Version”), Tyondai Braxton (“Rubric”), Memory Tapes (“Floe ’87”), and Beck himself (“NYC: 73-78”).
My indisputable favorites: Johann Johannsson’s remix of “Protest” and Peter Broderick’s “Island”.
Beck has kindly offered up his contribution to the album, a 20-minute masterwork woven of snippets from more than 20 Glass tracks, on SoundCloud:
Our most important institutions, our schools and our workplaces, they are designed mostly for extroverts and for extroverts’ need for lots of stimulation. And also we have this belief system right now that I call the new groupthink, which holds that all creativity and all productivity comes from a very oddly gregarious place.
There’s zero correlation between being the best talker and having the best ideas.
At seventy-two, already admired far and wide for her extraordinary story of unhinging disability from destiny, Keller meets the Grand Dame of modern dance. Brown writes:
Graham is immediately taken by what she calls Helen’s ‘gracious embrace of life’, and is impressed by what appears to be her photographic memory. They become friends. Before long, Helen starts paying regular visits to the dance studio. She seems to focus on the dancers’ feet, and can somehow tell the direction in which they are moving. Martha Graham is intrigued. ‘She could not see the dance but was able to allow its vibrations to leave the floor and enter her body.’
On one of her visits, Helen says, ‘Martha, what is jumping? I don’t understand.’
Graham is touched by this simple question. She asks a member of her company, Merce Cunningham, to stand at the barre. She approaches him from behind, says, ‘Merce, be very careful, I’m putting Helen’s hands on your body,’ and places Helen Keller’s hands on his waist.
Cunningham cannot see Keller, but feels her two hands around his waist, ‘like bird wings, so soft’. Everyone in the studio stands quite still, focusing on what is happening. Cunningham jumps in the air while Keller’s hands rise up with his body. ‘Her hands rose and fell as Merce did,’ recalls Martha Graham, in extreme old age.
‘Her expression changed from curiosity to one of joy. You could see the enthusiasm rise in her face as she threw her arms in the air.’
Cunningham continues to perform small leaps, with very straight legs. He suddenly feels Keller’s fingers, still touching his waist, begin to move slightly, ‘as though fluttering’. For the first time in her life, she is experiencing dance. ‘Oh, how wonderful! How like thought! How like the mind it is!’ she exclaims when he stops.
The rest of Hello Goodbye Hello, a kind of real-life Circles of Influence culled from diaries, personal correspondence, and various other historical ephemera, strings together similar vignettes of little-known true encounters between cultural icons — from Freud to Tchaikovsky to Hitchcock to Hitchens — spanning science, literature, art, music, film, politics, and more.
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