We've been filming Tiny Desk concerts for more than 10 years. While revisiting our archives, we discovered that some of our earliest concerts never made it to YouTube!
Stephen Thompson | June 28, 2010
If you watch this video and don't get to the part where Eugene Hutz is dancing on the desks, then you've missed the most rollicking and insane Tiny Desk Concert of all time.
I've seen Gogol Bordello at a nightclub, and its live show is a gypsy punk circus, complete with a high-wire act. So when the band arrived at the modest NPR Music offices, I wanted to make sure we were covered technically; I figured they'd move around and wind up singing far away from our microphones. I asked Sergey Ryabtsev — Gogol Bordello's Russian-born violinist — if he thought bandleader Eugene Hutz might wind up dancing on my desk. With a huge smile and a large shot glass of vodka in hand, he said, "Don't worry about it!"
By the third song, Hutz was sitting with the NPR crew in an office chair, singing his ode to alcohol. By the fourth, he was jumping from desktop to desktop, singing and dancing.
Gogol Bordello is based in New York City, and has been performing its theatrical concoction of accordion, violin and guitar since the late '90s. The band writes songs about immigration and the celebration of cultural differences. Now, for 2010, Gogol Bordello has its fifth album out — its first on a major label. Producer Rick Rubin, known for his Johnny Cash production and for co-founding Def Jam Records, helped make Trans-Continental Hustle. It's an album with more range than sheer thrust, and though the band played a few songs from that album at the desk, when Gogol Bordello is in front of a crowd, it's in full-throttle mode. No complaints there.
Artemisia Lomi or Artemisia Gentileschi (July 8, 1593 – c. 1656) was an Italian Baroque painter, now considered one of the most accomplished seventeenth-century artists working in the style of Caravaggio. In an era when women had few opportunities to pursue artistic training or work as professional artists, Artemisia was the first woman to become a member of the Accademia di Arte del Disegno in Florence and had an international clientele.
Taken from the Eutopia EP Featuring Young Fathers, Algiers and Saul Williams Written and produced by Robert Del Naja and Euan Dickinson. Additional production by Joe Goddard
Film Written and produced by Robert Del Naja and Mark Donne Generative visuals by Mario Klingemann Editing and title animations by Anthony Tombling JR Constructed at Unit 3 Films 2020
My photography is an expression of my curiosity for people and the places they inhabit. I am particularly drawn by interactions between people and with the structures that surround them in the urban landscape.
When not working to a project my photography is generally unplanned, always candid and in public. All images derive from single shots. I delight in capturing the spontaneous events and occurrences that unfold before the camera’s lens transforming otherwise mundane scenes into moments of theatre
I work in both digital and analogue formats; processing my work in Lightroom and the darkroom.
Only recently have I opened up my street work to public view.
I hope you enjoy some of the images you find here.
Director - Ivar Wigan Produced by: EVERYBODYNEEDSUS Executive Producer: Maria Rubin and Cathleen Cher Line Producer: Sally Oh Production Manager: Dannah Gottlieb Director of photography: Jamie Korn Gaffer: Hayden Mason Key Grip: Bryce Milburn Swing: RJ Cassavitis Sound: Gabe Valduri Choreographer: Kelly Yvonne PAs: Chris Tevebaugh, Ozzie Bunbury, Jeremy Baiden Editor: Ruth Hegarty Grade: Luke Morrison
Special Thanks To: Queen Afua Kharisma, Shaeyonce & the dancers Brenda at Blue Flame Atlanta Jocelyn and Matthew at Afropunk Festival
Creative and film direction: I COULD NEVER BE A DANCER Dancer: Nicolas Huchard DP: Stanislas Engammare Edit: Mark Whelan Colour grading: Vic Parker
I can tell we’ve got potential, Is this love too hot to handle? Make a wish, blow out my candle, Make a wish for me.
Show me you can listen closely, Tell me you can take it slowly, That’s the way to get to know me, Get to know me.
I know the way to make you happy, I give you love, you give it back to me. Who can deny this perfect symmetry, Just what I need, just what I need.
Come on now.
Push. Press. More. Less. Here together, what’s your pleasure? Stop. Go. Fast. Slow. Here together, what’s your pleasure? Here together, what’s your pleasure? Look so pretty dancing sideways, On the floor, your clockwork timing, Spin me round so I’m unwinding, Can you tell it’s real?
I know the way to make you happy, I give you love, you give it back to me. Who can deny this perfect symmetry, Just what I need, just what I need.
Come on now.
Push. Press. More. Less. Here together, what’s your pleasure? Stop. Go. Fast. Slow. Here together, what’s your pleasure? Here together, what’s your pleasure?
Antigone, 2018 - 2 synchronized 35mm anamorphic color films, optical sound, with a running time of exactly 1 hour, continuous loop synced to start on the hour Edition of 4 plus 1 artist's proof
My English breath in foreign clouds, 2016 - Spray chalk, gouache and charcoal pencil on slate (121.4 x 151.8 x .9 cm)
Fatigues E, 2012 - Chalk on blackboard (229.8 x 556 cm)
Urdolmen II, 2009 - Blackboard paint on black and white fibre-based photograph mounted on paper (224 x 446 cm)
Tacita Charlotte DeanCBE, RA (born 1965) is a British visual artist who works primarily in film. She was a nominee for the Turner Prize in 1998, won the Hugo Boss Prize in 2006, and was elected to the Royal Academy of Arts in 2008. She lives and works in Berlin, Germany, and Los Angeles, California.
Kevin Fletcher is an internationally recognized cinematographer and photographer.
All of these photographs were taken on a single street in Portland, Oregon - a heavily travelled route that thousands of people navigate every day. Often derided and by some even considered ugly, it is not known for its ease or hospitality, but nonetheless, it is a necessary and functional part of the city. Like many photographers before me (Robert Adams, Stephen Shore, Narelle Autio, and William Eggleston, to name just a few), I am drawn to the sublime beauty and stories that exist in places like this; places so normal, so daily, and so banal that we tend to overlook them.
The Avenue of Roses is less than a mile from my house; its title is far prettier than its reputation. It is the northern end of the Cascade Highway, and also carries the less poetic name of 82nd Ave. It used to be the rural outer edge of the city. However, consistent urban growth has tsunamied right up to and over it creating a taught rope of pavement compressed on both sides by gentrification and increased housing prices. It has also become a socio-political line that divides the inner portions of the city, epitomized by ‘green’ modernization and increasing wealth, from the perimeter neighborhoods that don’t benefit in the same way.
This project is a look into my backyard – a look at my city. A documentary about 82nd Avenue against the backdrop of Portland’s rampant urban growth and a look at how we, as denizens, have at times prospered, but have also suffered from it. Every city in the world has an “avenue of roses”: a place depicting the multi-layered relationships humans have with their constructed environments and urban landscapes. A place reflecting the socioeconomic strata of the broader city, and a place that speaks not only to isolation and disenfranchisement, but also speaks to how communities come together within these complex spaces. Welcome to the Avenue of Roses
Further is the seventh studio album by The Chemical Brothers, released on 14 June 2010. All 8 tracks from the album are accompanied by unique corresponding films made by longtime collaborator Adam Smith and Marcus Lyal.
