Uploaded December 2022 | Updated September 2026, 2 days ago
Mary Lattimore’s harp isn’t just her instrument, it’s her friend, also dubbed her “giant 85-pound sculpture.” But, Lattimore’s harp doesn’t belong in museums, or as a relic of the Renaissance—after all, the first concert of her prolific career was in an Arby’s parking lot. Soak up the music at Garfield Park Conservatory with Lattimore, who brings us a contemporary take on this classical instrument.
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Mary Lattimore’s harp isn’t just her instrument, it’s her friend, also dubbed her “giant 85-pound sculpture.” But, Lattimore’s harp doesn’t belong in museums, or as a relic of the Renaissance—after all, the first concert of her prolific career was in an Arby’s parking lot. Soak up the music at Garfield Park Conservatory with Lattimore, who brings us a contemporary take on this classical instrument.
Donate now to support programs like this: chicagohumanities.org/donate
Explore upcoming events: chicagohumanities.org
Connect on Twitter: twitter.com/ChiHumanities
Connect on Facebook: facebook.com/chicagohumanities
Connect on Instagram: instagram.com/chihumanities
![Kim Gordon, Sinéad Gleeson & Laurie Anderson on Women in Music [CC]](https://i.ytimg.com/vi/sqPT8UZ_gWY/mqdefault.jpg "Kim Gordon, Sinéad Gleeson & Laurie Anderson on Women in Music [CC]
Here’s to the women in music who kick in doors, who break genres, who are repeatedly asked: “What’s it like to be a girl in a band?” Sonic Youth’s Kim Gordon doesn’t like the question, but her new anthology This Woman’s Work, edited with former music journalist Sinéad Gleeson, gives us multitudes of answers on their own terms. Youre invited to join Gordon, Gleeson, and the subject of the anthologys lead essay, Laurie Anderson, for a riotous time spotlighting womens work in the music industry, which includes claiming their stories (and songs), while simultaneously smashing the patriarchy. This conversation is moderated by Pitchforks Editor in Chief, Puja Patel.
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