#Kurt Masur

[churchofsatannews]

To a Vigilant New Year!

To a Vigilant New Year!

Tomorrow begins year LVIII, Anno Satanas. We live in a time of social upheaval. Global economies are in spasms, kept in drastic flux by an ongoing aggressive war which has again raised the specter of possible military nuclear detonations. This chaos has provided an open season for authoritarian power grabs. While Christianity had played the role of a domesticated belief system—their most…

[aschenblumen]

Giovanni Battista Pergolesi (atribuido), «Gli tre cicisberi ridicoli: Tre giorni son che Nina in letto senesta». Pese a la atribución canónica, actualmente se le atribuye a Vicenzo Legrenzo Ciampi. Kurt Masur, director Elly Ameling, soprano

[flammentanz]

“Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken Himmlische, dein Heiligtum. Deine Zauber binden wieder, Was der Mode Schwert geteilt; Bettler werden Fürstenbrüder, Wo dein sanfter Flügel weilt.” (Friedrich Schiller)

Am 31.12.1918 dirigierte Arthur Nikisch in der damaligen Alberthalle des Kristallpalastes unweit des Hauptbahnhofes in Leipzig die Neunte Sinfonie von Ludwig van Beethoven. Das Konzert begann um 23 Uhr, damit exakt zum Jahreswechsel Friedrich Schillers “Ode an die Freude” erklingen konnte. Nach Beendigung des Ersten Weltkrieges sollte Beethovens und Schillers bewegende Friedensbotschaft die Menschen mit Hoffnung erfüllen.

Dies begründete eine Tradition, alljährlich am Silvesterabend Beethovens Neunte Sinfonie in Leipzig aufzuführen, die nach Beendigung des Zweiten Weltkriegs fortgesetzt wurde und seit 1978 im Fernsehen übertragen wird.

Es kann keine schönere Botschaft zu Beginn eines neuen Jahres geben als Schillers “Alle Menschen werden Brüder” in Beethovens unsterblicher Komposition.

Der Dirigent dieser Aufführung ist Gewandhauskapellmeister Professor Kurt Masur (1927 - 2015), der am 09.10.1989 das durch die Niederschlagung der friedlichen Demonstration in Leipzig befürchtete Blutbad durch sein couragiertes Handeln und durch den ganz persönlichen Einsatz seines immensen Renommees, der in der Verlesung des “Aufrufs der Leipziger Sechs” (“Wir bitten Sie dringend um Besonnenheit, damit der friedliche Dialog möglich wird.”) über den Leipziger Stadtfunk gipfelte, verhinderte.

[sunset-supergirl]

Happy birthday Kurt Masur

[machazer]

Kurt Masur is from my hometown 🇵🇱

Ansichtskarte

Filmbühne Capitol Leipzig Filmbühne Capitol Leipzig Größtes Filmtheater der DDR - Festivaltheater der alljährlich im November stattfindenden Internationalen Leipziger Dokumentar- und Kurzfilmwoche

DTVL (III/18/197 L 24/67)

[moodypeacock]

The Music Tastes of US Outpost #31

R. J. MacReady: CHICAGO BLUES

Childs: HARD ROCK

Blair: BAROQUE-ERA CLASSICAL

Palmer: 70'S PUNK

Windows: ACID ROCK

Nauls: FUNK

Clark: COUNTRY

Dr. Copper: TRAD POP

Fuchs: ROMANTIC-ERA CLASSICAL

George Bennings: BOSSA NOVA

Norris: OLDIES RADIO FORMAT

M.T. Garry: Doesn't listen to music

[esqueletosgays]

THE THING (1982)

Director: John Carpenter Cinematography: Dean Cundey

[filmjunky-99]

t h e t h i n g, 1982 🎬 dir. john carpenter

'Was that dog, the Norwegian dog?' - blair

'I just can't comprehend any of this. It was just a dog.' - garry

'tweren't no dog, Bwana.' - childs

[damienkarras73]

This trailer idea has been knocking around my head for a couple years now, and now I have the means and skills to do so. I love The Thing to death, and while it's a paranoid, dread-inducing movie, it's also quite frequently a goofy one, and I wanted a trailer to reflect that beautiful paradox.

Made in Reaper

Film and song credits:

The Thing, dir. John Carpenter, 1982

"Superstition," Stevie Wonder, 1972

"Humanity, Pt. 2," Ennio Morricone, 1972

Freesound credits:

Ratachewy remix of strangehorizon's freesound #668381.flac by Timbre -- License Creative Commons 0

Squelching SFX [5] by SoundDesignForYou -- License: Creative Commons 0

walking and running through harsh snow 3 different speeds sound effect by Garuda1982 -- License: Attribution 4.0

Windy Window.wav by Pedaling Prince -- License: Attribution 3.0

A ruger 10/22LR rifle being shot further away w/ forest reverb by serøtōnin -- License: Creative Commons 0

[ruleof3bobby]

THE THING (1982) Grade: B

Loved the script. The special effects haven't aged well, but doesn't distract from the plot and characters. Great ending as well.

[horrorcrypt12]

Day 23 🎃:

The Thing (1982)

[cultfaction]

Cult Faction Podcast Ep. 123: The Thing

In this weeks episode we turn our spotlight on the John Carpenter horror/sci-fi classic The Thing! https://cultfaction.com/wp-content/uploads/2024/08/ep23.mp3  

[mrcowboysmovieroom]

The Mean Season (1985)

Directed by: Phillip Borsos Genre: Crime, thriller

CW: None

The Mean Season is a movie you've likely never seen personally (I mean especially in this day and age, good god) but you've definitely seen it somewhere else. Which is to say, you've probably seen a movie damn similar and likely better. What The Mean Season fails to give you in execution, it gives you in potential, which makes for a disappointing and rather lackluster watching experience.

So, to be transparent, I will admit right now that the reason I was watching this movie was entirely because it stars Kurt Russell. It also turns out I have already seen this film, which is not a promising revelation to have. You sort of want your thrilling crime drama to be memorable.

In any case the best way to illustrate the issues this movie has is to describe them in agonizing detail.

Kurt Russell plays Malcolm Anderson. He's a journalist who's feeling pretty burnt out by his job, but gets pulled into do one last big story when a serial killer who Malcolm recently reported on, contacts him about continuing to write about his future exploits.

So honestly, a promising start but I wouldn't call it groundbreaking. The dynamic is interesting though, and you can tell as the movie goes on that there was meant to be something more intriguing to their relationship.

See, the killer calls Malcolm after one of his murders so that Mal can get the scoop first. The killer likes his writing style, and in calling him, is giving him more veracity and also making the murders more sensational.

The killer's agenda, so far as we will ever understand, is to be the story. He gets mad later when more attention is on Malcolm's relationship to the case/killer later on in the film.

He also reportedly feels a certain sort of kinship with Malcolm, or feels as though Malcolm understands him and this is interesting in concept. Like obviously. The dichotomy between the killer and the journalist who writes for him is a great idea. Journalists in media have had a lot of varying stereotypes about them. At once they might be noble truth seekers, and then again, they are corruptible sensationalists who are motivated by a good story and nothing more. Think like Ace in the Hole (1951).

So it makes sense that a story would take advantage of those conflicting values.

Throughout the movie we get the impression that Malcolm's morals are supposed to be called into question. I mean characters do literally call them into question but it doesn't actually feel like anything about his character is really controversial or even slightly questionable.

His girlfriend, Christine (Mariel Hemingway), on a couple occasions talks as if he's becoming an entirely different person but we don't actually see any sort of transformation in his character so it makes her character feel weak as a result.

I should say now that acting wise, everyone does a good job. The issue isn't so much with any performance but with the story itself. It doesn't spend enough time exploring the character development of Malcolm and we don't really see his personal values get compromised.

Just that difference alone would have made this film significantly better than it is. The ending climax sees the killer, now known as Alan Delour (Richard Jordan), confronting Malcolm and accusing him of knowing him best. And even later Malcolm suggests that Alan can't kill him because who else gets him like he does?

And this scene falls flat because we keep getting told that something has happened with Malcolm, but we never see it. Despite the lack of character going on in the writing, Kurt Russell does a very good job playing a despondent man worried his girlfriend is dead. Of course, Kurt Russell is pretty good at this as Breakdown (1997) and Unlawful Entry (1992) will prove.

So all in all, is it worth watching? Uhhhhhhhhhhhh I mean it depends... If you're watching it so that you can see Kurt Russell- yes :) But also there are better movies with him in it playing a very similar character.

Do you just want to see a crime/mystery movie? Well, there are way more of those than there are Kurt Russell films so I won't say no, but there is less reason to see this if that's the case. It's not a horrible movie, but it's also not groundbreaking, and as I said before, you've likely seen a better version of this film already.

So given that, I'm feeling a 6/10.

[flammentanz]

Like every year since 1945 the Symphony No. 9 by Ludwig van Beethoven is performed by the Leipzig Gewandhaus Orchestra to celebrate the new year with Friedrich Schiller’s “Ode to Joy”: “Alle Menschen werden Brüder” (”All people become brothers”)

The idea to this concerts came from Arthur Nikisch, then conductor of the Leipzig Gewandhaus Orchestra, after the terror of the First World War. The first concert took place on New Year’s Eve in 1918. Later the concerts took place at irregular intervals. After the Second World War the tradition  was revived.

The concert is broadcast by television since 1978. Since 1981 the concert takes place at the Gewandhaus concert hall in Leipzig. It is broadcast every year and to watch it has become a New Year’s Eve tradition in Saxony.

The performance in the video took place in 1995. Gewandhaus Kapellmeister Professor Kurt Masur (1927 - 2015), who campaigned so courageously in 1989 for the peaceful course of the demonstrations in Leipzig against the tyranny of the GDR, conducted the Gewandhaus Orchestra.

[sidonius5]

𝒪𝓀𝒶𝓎, 𝓉𝒽𝒾𝓈 𝓃𝑒𝓍𝓉 𝒻𝒾𝓁𝓂 𝒾𝓈 𝒷𝑒𝓎𝑜𝓃𝒹 𝑒𝓅𝒾𝒸 𝒻𝑜𝓇 𝓂𝑒, 𝓂𝓎 𝒻𝒶𝓂𝒾𝓁𝓎 𝒶𝓃𝒹 𝒶𝓁𝓁 𝓈𝒸𝒾-𝒻𝒾 𝒻𝒶𝓃𝒶𝓉𝒾𝒸𝓈. 𝒪𝓃𝓁𝓎 𝐉𝐨𝐡𝐧 𝐂𝐚𝐫𝐩𝐞𝐧𝐭𝐞𝐫 𝒸𝒶𝓃 𝓂𝒶𝓀𝑒 𝓎𝑜𝓊 𝓇𝑒𝒶𝓁𝓁𝓎 𝓉𝒽𝒾𝓃𝓀 𝒻𝓊𝓁𝓁𝓎 𝓌𝒾𝓉𝒽 𝓈𝓊𝓈𝓅𝑒𝓃𝓈𝑒 𝒶𝒷𝑜𝓊𝓉 𝒶𝓃 𝓊𝓃𝓀𝓃𝑜𝓌𝓃 𝒶𝓁𝒾𝑒𝓃 𝓁𝒾𝒻𝑒𝒻𝑜𝓇𝓂 𝒶𝓈𝓈𝓊𝓂𝒾𝓃𝑔 𝒸𝑜𝓃𝓉𝓇𝑜𝓁 𝑜𝒻 𝑒𝓋𝑒𝓇𝓎 𝓈𝒾𝓃𝑔𝓁𝑒 𝒷𝑒𝒾𝓃𝑔 𝒾𝓉 𝑒𝓃𝒸𝑜𝓊𝓃𝓉𝑒𝓇𝓈 𝑜𝓃 𝓉𝒽𝒾𝓈 𝓅𝓁𝒶𝓃𝑒𝓉. 𝒯𝒽𝒶𝓉'𝓈 𝓌𝒽𝓎 𝐓𝐡𝐞 𝐓𝐡𝐢𝐧𝐠 𝓉𝒶𝓀𝑒𝓈 𝒾𝓉'𝓈 𝓈𝓅𝑜𝓉 𝑜𝓃 𝓂𝓎 𝒻𝒶𝓋𝑜𝓇𝒾𝓉𝑒 𝓂𝑜𝓋𝒾𝑒 𝓁𝒾𝓈𝓉. 𝒰𝓃𝒷𝑒𝓁𝒾𝑒𝓋𝒶𝒷𝓁𝑒 𝒸𝒶𝓈𝓉 𝓌𝒽𝒾𝒸𝒽 𝓌𝒶𝓈 𝒹𝒾𝒻𝒻𝑒𝓇𝑒𝓃𝓉 𝒻𝓇𝑜𝓂 𝒶𝓁𝓁 𝑜𝓉𝒽𝑒𝓇 𝒸𝒶𝓈𝓉𝑒𝒹 𝓂𝑜𝓋𝒾𝑒𝓈 𝒷𝑒𝒸𝒶𝓊𝓈𝑒 𝒾𝓉 𝒸𝑜𝓃𝓈𝒾𝓈𝓉 𝑜𝒻 𝑜𝓁𝒹𝑒𝓇 𝓉𝑜 𝓂𝓊𝒸𝒽 𝓎𝑜𝓊𝓃𝑔𝑒𝓇 𝑔𝑒𝓃𝑒𝓉𝓁𝑒𝓂𝒶𝓃 𝓈𝓊𝒸𝒽 𝒶𝓈 𝓉𝒽𝑒 𝓁𝒶𝓉𝑒 𝐃𝐨𝐧𝐚𝐥𝐝 𝐌𝐨𝐟𝐟𝐚𝐭 𝒶𝓃𝒹 𝐓𝐡𝐨𝐦𝐚𝐬 𝐆. 𝐖𝐚𝐢𝐭𝐞𝐬, 𝓅𝓁𝓊𝓈 𝓉𝒽𝑒 𝒻𝒾𝓁𝓂 𝓁𝑜𝒸𝒶𝓉𝒾𝑜𝓃 𝒷𝑒𝒾𝓃𝑔 𝓈𝒾𝓉𝓊𝒶𝓉𝑒𝒹 𝒾𝓃 𝒜𝓃𝓉𝒶𝓇𝒸𝓉𝒾𝒸𝒶, 𝓉𝒽𝑒 𝓂𝑜𝓈𝓉 𝒾𝓈𝑜𝓁𝒶𝓉𝑒𝒹 𝓅𝓁𝒶𝒸𝑒 𝑜𝓃 ℰ𝒶𝓇𝓉𝒽. 𝒩𝑜, 𝓉𝒽𝑒 𝒻𝒾𝓁𝓂 𝓌𝒶𝓈𝓃'𝓉 𝒶𝒸𝓉𝓊𝒶𝓁𝓁𝓎 𝓇𝑒𝒸𝑜𝓇𝒹𝑒𝒹 𝒾𝓃 𝒜𝓃𝓉𝒶𝓇𝒸𝓉𝒾𝒸𝒶 𝒷𝓊𝓉 𝒾𝓉 𝒹𝑜𝑒𝓈 𝑔𝒾𝓋𝑒 𝓎𝑜𝓊 𝓉𝒽𝑒 𝒻𝑒𝑒𝓁𝒾𝓃𝑔 𝑜𝒻 𝒶𝒷𝒶𝓃𝒹𝑜𝓃𝓂𝑒𝓃𝓉. 𝒩𝑜𝓌 𝓉𝒽𝒾𝓈 𝒻𝒾𝓁𝓂 𝒾𝓈𝓃'𝓉 𝓉𝒽𝑒 𝒻𝒾𝓇𝓈𝓉 𝓋𝑒𝓇𝓈𝒾𝑜𝓃 𝑜𝒻 𝓉𝒽𝑒 𝓈𝒸𝒾-𝒻𝒾, 𝒶𝒸𝓉𝓊𝒶𝓁𝓁𝓎 𝒶𝓃𝑜𝓉𝒽𝑒𝓇 𝒻𝒾𝓁𝓂 𝒻𝓇𝑜𝓂 1951 𝓉𝒾𝓉𝓁𝑒𝒹 𝒶𝓈 𝐓𝐡𝐞 𝐓𝐡𝐢𝐧𝐠 𝐅𝐫𝐨𝐦 𝐀𝐧𝐨𝐭𝐡𝐞𝐫 𝐖𝐨𝐫𝐥𝐝 𝓌𝒶𝓈 𝓉𝒽𝑒 𝒻𝒾𝓇𝓈𝓉 𝓉𝑜 𝒷𝑒 𝓂𝒶𝒹𝑒 𝒶𝓃𝒹 𝐉𝐨𝐡𝐧 𝐂𝐚𝐫𝐩𝐞𝐧𝐭𝐞𝐫 𝓅𝓊𝓉 𝒽𝒾𝓈 𝑜𝓌𝓃 𝓈𝓅𝒾𝓃 𝑜𝓃 𝒾𝓉. ℐ'𝓋𝑒 𝓈𝑒𝑒𝓃 𝒷𝑜𝓉𝒽 𝓅𝒾𝒸𝓉𝓊𝓇𝑒𝓈 𝒶𝓃𝒹 𝓉𝒽𝑒𝓎'𝓇𝑒 𝒷𝑜𝓉𝒽 𝓈𝒸𝒾-𝒻𝒾/𝒽𝑜𝓇𝓇𝑜𝓇 𝒻𝒾𝓁𝓂𝓈 𝓅𝒶𝒸𝓀𝑒𝒹 𝒻𝓊𝓁𝓁 𝑜𝒻 𝓈𝓊𝓈𝓅𝑒𝓃𝒸𝑒. ℐ 𝓁𝑜𝓋𝑒 𝓉𝒽𝑒 𝑒𝒻𝒻𝑒𝒸𝓉𝓈 𝒾𝓃 𝓉𝒽𝒾𝓈 𝒻𝒾𝓁𝓂, 𝓉𝒽𝑒 𝓅𝓊𝓅𝓅𝑒𝓉𝑒𝑒𝓇𝒾𝓃𝑔 𝒶𝓃𝒹 𝒶𝓃𝒾𝓂𝒶𝓉𝓇𝑜𝓃𝒾𝒸𝓈 𝓌𝑒𝓇𝑒 𝒶𝒷𝓈𝑜𝓁𝓊𝓉𝑒𝓁𝓎 𝒶𝓂𝒶𝓏𝒾𝓃𝑔 𝒶𝓃𝒹 𝓉𝒽𝒾𝓈 𝒾𝓈 𝓌𝒽𝓎 ℐ'𝓂 𝓅𝓇𝑜𝓃𝑒 𝓂𝑜𝓇𝑒 𝓉𝑜𝓌𝒶𝓇𝒹𝓈 80'𝓈 𝒻𝒾𝓁𝓂𝓈 𝒷𝑒𝒸𝒶𝓊𝓈𝑒 𝓉𝒽𝑒 𝓇𝑒𝓂𝒶𝓀𝑒𝓈 𝓈𝓊𝒸𝒽 𝒶𝓈 𝓉𝒽𝑒 2011 𝓅𝓇𝑒𝓆𝓊𝑒𝓁 𝑜𝒻 𝐓𝐡𝐞 𝐓𝐡𝐢𝐧𝐠 𝑜𝓋𝑒𝓇𝒹𝒾𝒹 𝒾𝓉 𝓌𝒾𝓉𝒽 𝓉𝒽𝑒 𝐂𝐆𝐈. 𝒢𝒾𝓋𝑒 𝒾𝓉 𝒶 𝓉𝓇𝓎 𝒾𝒻 𝓎𝑜𝓊'𝓋𝑒 𝓃𝑒𝓋𝑒𝓇 𝓈𝑒𝑒𝓃 𝓉𝒽𝑒 1982 𝓋𝑒𝓇𝓈𝒾𝑜𝓃, 𝒶𝓃𝒹 ���𝓁𝓈𝑜 𝓉𝒽𝑒 1951 𝓋𝑒𝓇𝓈𝒾𝑜𝓃. 𝒯𝒽𝑒𝓎'𝓇𝑒 𝒹𝑒𝒻𝒾𝓃𝒾𝓉𝑒𝓁𝓎 𝓉𝓌𝑜 𝒻𝒾𝓁𝓂𝓈 𝓉𝑜 𝒷𝑒𝒽𝑜𝓁𝒹.

[byneddiedingo]

Keith David, Richard Dysart, T.K. Carter, Richard Masur, Donald Moffat, and Kurt Russell in The Thing (John Carpenter, 1982)

Cast: Kurt Russell, Wilford Brimley, T.K. Carter, David Clennon, Keith David, Richard Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis, Thomas G. Waites. Screenplay: Bill Lancaster, based on a story by John W. Campbell Jr. Cinematography: Dean Cundey. Production design: John J. Lloyd. Creature design: Rob Bottin. Music: Ennio Morricone.

John Carpenter's The Thing is one of those movies that have undergone radical re-evaluation over the years since it was released to mediocre box office and mostly scathing reviews. In the New York Times, for example, Vincent Canby panned it as "foolish, depressing, overproduced" and "instant junk." Today, however, it's regarded as a classic of the horror sci-fi genre and has an 83% "fresh" ranking on Rotten Tomatoes, with a whopping 92% audience score. My own evaluation would fall somewhere in between: The Thing does what it sets out to, i.e. scare us, with efficiency, but unlike the films to which it is often compared -- the Howard Hawks-produced The Thing From Another World (Christian Nyby, 1951), which was based on the same short story, and the more recent predecessor in the genre, Alien (Ridley Scott, 1979) -- it lacks heart. The Thing doesn't give us characters to root for. When successive members of its all-male cast are gobbled up by the monster, we don't feel any sense of loss -- except perhaps for the dogs, there's no one we feel a connection with. Kurt Russell is a very good action hero, but Bill Lancaster's script gives him no wit, no memorable lines other than shouting, "Yeah, fuck you, too!" at the monster when it roars at him. The real star of the film is Rob Bottin's creature, all gooshy innards, tentacles, and crablike legs. But once the monster gets going, there's no let-up. In Alien, for example, Ridley Scott very smartly created pauses in the action to lull us into complacency before pulling another shocker. Carpenter, however, gives us no time to breathe, and the piling-on of attacks becomes tiresome. Ennio Morricone's score is skillfully laid on, but unless you're in the mood for a freakout, The Thing offers few other lasting rewards.