This past December, one of New York’s buzziest acts took over Carnegie Hall: Cameron Winter, the front man of Geese. The sold-out show quickly gained “You had to be there” virality, attracting comparisons to Bob Dylan’s classic 1963 performance at the hall. Just ahead of his Oscar wins for ‘One Battle After Another,’ director Paul Thomas Anderson was on hand to capture the 24-year-old’s grand debut at the venue, which has been immortalized in the concert documentary ‘Cameron Winter at Carnegie Hall.’ “When the camera was on me, I was careful to suck in my gut, straighten my posture, and sing like an angel," Winter says. Anderson, who estimates Winter is “eight feet tall,” didn’t overthink his decision to shoot the concert during a harried Oscar season. “I did it for the money,” he jokes. “I was told it was only going to be released in Japan and no one would find out.” Read more about the filming of the movie and see exclusive backstage photos from photographer Lewis Evans: nymag.visitlink.me/p8f1UI

Todd Rundgren’s Midas touch is that everything he works on turns into Technicolor. It’s been like this his whole life — as a singer-songwriter, multi-instrumentalist, producer, and the recipient of ‘30 Rock’’s best joke. For six decades, Rundgren has sought comfort in being a self-governing cult figure in an industry that often values conformity above all else, a position he was able to carve out in the 1970s thanks to a studio system that doesn’t quite exist anymore: He would engineer albums in exchange for being left alone to release his own stuff, such as the era-defining ‘Something/Anything?’ and ‘A Wizard, a True Star.’ Rundgren could write commercial hits all day if he wanted to, but his most fulfilling work came from weird sonic experiments and an enthusiastic acceptance of everything technology had to offer, a calling that persists to this day and inspired myriad artists with this DIY approach. “It’s because I have that freedom that I can do things that other artists can’t do or won’t do. I’m sort of obligated to do it,” he says. “I’m obligated to go places where other artists wouldn’t go. Otherwise, I’m just going over the same territory that everyone else is and not taking advantage of that freedom.” Rundgren speaks with Devon Ivie about his upcoming tour and storied career: nymag.visitlink.me/uqO2dr