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princesssarisa · 11 months

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The Top 40 Most Popular Operas, Part 3 (#21 through #30)

A quick guide for newcomers to the genre, with links to online video recordings of complete performances, with English subtitles whenever possible.

Verdi's Il Trovatore

The second of Verdi's three great "middle period" tragedies (the other two being Rigoletto and La Traviata): a grand melodrama filled with famous melodies.

Studio film, 1957 (Mario del Monaco, Leyla Gencer, Ettore Bastianini, Fedora Barbieri; conducted by Fernando Previtali) (no subtitles; read the libretto in English translation here)

Donizetti's Lucia di Lammermoor

The most famous tragic opera in the bel canto style, based on Sir Walter Scott's novel The Bride of Lammermoor, and featuring opera's most famous "mad scene."

Studio film, 1971 (Anna Moffo, Lajos Kozma, Giulio Fioravanti, Paolo Washington; conducted by Carlo Felice Cillario)

Leoncavallo's Pagliacci

The most famous example of verismo opera: brutal Italian realism from the turn of the 20th century. Jealousy, adultery, and violence among a troupe of traveling clowns.

Feature film, 1983 (Plácido Domingo, Teresa Stratas, Juan Pons, Alberto Rinaldi; conducted by Georges Prêtre)

Part I, Part II, Part III, Part IV, Part V, Part VI

Mozart's Die Entführung aus dem Serail (The Abduction from the Seraglio)

Mozart's comic Singspiel (German opera with spoken dialogue) set amid a Turkish harem. What it lacks in political correctness it makes up for in outstanding music.

Royal Opera House, Covent Garden, 1988 (Deon van der Walt, Inga Nielsen, Lillian Watson, Lars Magnusson, Kurt Moll, Oliver Tobias; conducted by Georg Solti) (click CC for subtitles)

Verdi's Un Ballo in Maschera

A Verdi tragedy of forbidden love and political intrigue, inspired by the assassination of King Gustav III of Sweden.

Leipzig Opera House, 2006 (Massimiliano Pisapia, Chiara Taigi, Franco Vassallo, Annamaria Chiuri, Eun Yee You; conducted by Riccardo Chailly) (click CC for subtitles)

Part I, Part II

Offenbach's Les Contes d'Hoffmann (The Tales of Hoffmann)

A half-comic, half-tragic fantasy opera based on the writings of E.T.A. Hoffmann, in which the author becomes the protagonist of his own stories of ill-fated love.

Opéra de Monte-Carlo, 2018 (Juan Diego Flórez, Olga Peretyatko, Nicolas Courjal, Sophie Marilley; conducted by Jacques Lacombe) (click CC and choose English in "Auto-translate" under "Settings" for subtitles)

Wagner's Der Fliegende Holländer (The Flying Dutchman)

An early and particularly accessible work of Wagner, based on the legend of a phantom ship doomed to sail the seas until its captain finds a faithful bride.

Savolinna Opera, 1989 (Franz Grundheber, Hildegard Behrens, Ramiro Sirkiä, Matti Salminen; conducted by Leif Segerstam) (click CC for subtitles)

Mascagni's Cavalleria Rusticana

A one-act drama of adultery and scorned love among Sicilian peasants, second only to Pagliacci (with which it's often paired in a double bill) as the most famous verismo opera.

St. Petersburg Opera, 2012 (Fyodor Ataskevich, Iréne Theorin, Nikolay Kopylov, Ekaterina Egorova, Nina Romanova; conducted by Mikhail Tatarnikov)

Verdi's Falstaff

Verdi's final opera, a "mighty burst of laughter" based on Shakespeare's comedy The Merry Wives of Windsor.

Studio film, 1979 (Gabriel Bacquier, Karan Armstrong, Richard Stilwell, Marta Szirmay, Jutta Renate Ihloff, Max René Cosotti; conducted by Georg Solti) (click CC for subtitles)

Verdi's Otello (Othello)

Verdi's second-to-last great Shakespearean opera, based on the tragedy of the Moor of Venice.

Teatro alla Scala, 2001 (Plácido Domingo, Leo Nucci, Barbara Frittoli; conducted by Riccardo Muti)

#opera #top 40 #21 through 30 #video #complete performances #english subtitles #il trovatore #lucia di lammermoor #pagliacci #die entfuhrung aus dem serail #the abduction from the seraglio #un ballo in maschera #les contes d'hoffmann #the tales of hoffmann #der fliegende holländer #the flying dutchman #cavalleria rusticana #falstaff #otello

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ageneraltheoryoflove · 4 years

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Modern critics of The Arnolfini Portrait painted by Jan van Eyck are baffled by some of its symbolism, and have engaged in debate about the symbols and meanings behind the double portrait for some time. Many have attempted to analyze these symbols in the context of societal norms of the time, and yet the controversy continues. I propose that there is another, most obvious, though scandalous, and even heretical viewpoint that could settle the debate once and for all.

Erwin Panofsky views the painting as a record of a "marriage by a marital oath, more particularly by joining hands," as the two figures in this double portrait are indeed touching hands in the very center of the image. He assumes the identity of the female figure to be that of Giovanna Cenami, whom a Giovanni Arnolfini living in Flanders at the time did not legally marry until 13 years after van Eyck's painting was completed (Chipps Smith, p. 102-103.) I believe this assumption to be a mistake, because it precludes other possibilities as to the identity of the female figure portrayed by the artist. I do believe that he is correct in the analysis that the painting is a record of some kind of societal contract, akin to a marriage, taking place in the private space of Arnolfini's domicile. I believe it to be more of an allegory to marriage, however, since the historical identity of this female figure remains a mystery, and for all of the historical evidence available, did not exist in live human form at the time that the portrait was painted, in 1434 AD.

Art historian Craig Harbison wrote about The Arnolfini Portrait that, as a wealthy merchant Giovanni Arnolfini was well known for a "pretension to noble status" and that "Arnolfini apparently spent much time courting the Flemish nobility." Harbison comments on the luxurious nature of the couple's dress to support this claim. He relays details of how their dress mimics that of Royalty when he writes, "The somber colors of the man's clothing, dark purple, brown, and black, appropriately mirror the taste of the duke of Burgundy. Cenami's pale complexion is no doubt due to heavily applied makeup favored by courtly women to give a refined impression. Her robe, while not made of particularly costly fabric, has an elegant white fur lining and enormous sleeves decorated with applied dagging." Harbison has overlooked, however, critical details of the female figure's dress that tell of how she is not merely attired luxuriously, but in the exact manner of the Burgundian courtly trends of the time. Isabeau of Bavaria, wife and Queen to Charles VI, was the first woman in recorded history to wear a linen petticoat, and this item was considered the ultimate symbol of luxury and status in her court. Burgundian Ladies, in an effort to display their status, would wear overcoats, the gender neutral houppelande, with cutouts and sleeves designed to give a glimpse of their luxurious linen undergarments. The truncated sleeve of the emerald green houppelande worn by the female figure in The Arnolfini Portrait performs this service perfectly. Yes, it is lined with white fur, as Harbison noted, but more importantly, it shows quite a good portion of the fine linen of her undergarment. Isabeau was also the Queen of wearing high headdresses, particularly heart in shape, and the architecture of palaces was altered to allow ladies of her court ease and comfort in traversing the walkways in their headgear. True to Royal form, the womanly figure that van Eyck portrays in this double portrait is adorned with an elaborate headdress, which accentuates her high forehead. The Burgundian courts valued high foreheads above all other adornments on a noble woman, and the feature was emphasized and valued in portraiture painting of the time. Like the symbol of fertility in gathering the houppelande skirts to one's waistline, the high forehead indicated survival of the plague that had wiped out viable brides of the Royal line. The combination of these details convey to the viewer that the female figure in this painting is of Royal descent, and is likely to continue the Royal bloodline. This figure was painted as if she were nobility, not merely imitating royal descent, and she is declared fertile by her dress. Harbison, like Panofsky, assumed her identity to be that of Arnolfini's future bride, Giovanna Cenami, but I do not believe that she would have worn these styles in exactly this way, having come from the burgher class herself. In fact, Wikipedia states that this marriage was assumed by art historians entirely, and that Arnolfini was never married a second time, as his first wife had deceased before this painting was commissioned.

Why would art historians assume a marriage? I believe it is because they are too literal. Of much debate and mystery is the inscription that the painter placed above the mirror, between the eyes of the two figures, and at eye level in the composition. The inscription reads, "Jan van Eyck was here." It is also situated between the chandelier, which critics claim to represent God, and the mirror, which has been painted in great detail with scenes from the Passion of Christ. Essentially, the artist has placed himself as an authority between the Heavenly and the Earthly realms. Most art historians agree that this inscription is some kind of witness statement, but they cannot agree on what exactly is being witnessed. When I consider that the female figure in this painting is an allegory, a symbol unto herself, of the Burgundian courts and Royalty, I begin to consider that the painter understood that he had been commissioned to document an unprecedented moment in History: the marriage of the burgher class and the nobility. He may have understood that this was a fantasy in Arnolfini's mind, but he also recognized that it was a powerful political statement, and he wanted recognition as offering support to his patron in making this statement. He was indeed an authority to validate the marriage, for as a member of the burgeoning Flemish society of the time, he witnessed the economic exchanges with Royalty and the growing power of the burgher class, quite literally, and on a daily basis.

I believe that it is not an accident that this particular Flemish portrait of the Renaissance has survived, while others have not, for it carries meaning and power of great significance to the evolution of European economics and society. In commissioning Jan van Eyck to paint a portrait of himself marrying Royalty, Giovanni Arnolfini was claiming that his wealth and status as a merchant afforded him the same amount of sovereignty and religiosity of the rulers of the time. This painting documents the beginnings of New Money, and the destruction of the old system, as we saw with the entrenne, where money could not buy power or recognition. The Arnolfini Portrait is so named because it is actually the portrait of one man taking a revolutionary stand in society. The second figure in the double portrait is that of an institution, not an individual person. The allegorical marriage in the painting was conducted in private chambers, an act of defiance in itself, and an official statement that a commoner was procreating with Royalty, with or without sanction. Jan van Eyck was there, and his legacy lives on because he dared to join a contemporary burgher in fighting the status quo. I mean, the strategically placed inscription, which art historians call "odd," rendered him infamous, for centuries, as World War II graffiti can attest. The religious symbols abundant in the painting hint that the commission of this work was indeed sanctioned by a higher authority, a Bishop perhaps, but we lack evidence of this detail, and so the debate continues.

I have no doubt in my mind, however, after reviewing the writings of the aforementioned authors, and others, that Jan van Eyck documented the conception of Modern Capitalism with The Arnolfini Portrait. To take a cue from Vicki Saxon, this painting was more like the Royal Wedding portrait of Harry and Meghan than a Kardashian family portrait. The artist threw in all of those debated symbols of wealth and fertility specifically to inform the audience that they were viewing the birth of a New Age, one resilient with prosperity for the common man, not born to nobility, but married into it by wealth. Jan van Eyck was a master of hyper realistic detail, which was highly valued then and is now, but his genius is in his apparent knowledge of his place in History, as the midwife, or St. Catherine, of the Art World. One need only look to the era of Kilroy to see how the portent of this masterpiece played out. With oil barons buying up noble estates, and the daughters of shipping magnates salvaging the old family name, the Merchant and his Royal Bride were more relevant in the 20th Century than they were in the 15th. Somehow painter and subject were both aware of this, because the state of solemnity that Jan van Eyck painted on Arnolfini's face is so priceless, as he was a visionary looking to a future, centuries and centuries beyond his Worldly grasp. Those unknown figures reflected in the mirror? That is you and me.

Rachel Schultz

Course ARH361U : The Northern Renaissance

Portland State University

Spring 2020

#dark acadamia aesthetic #art in the time of corona #art history #mine #late capitalism #academia aesthetics #chandelier

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dweemeister · 5 years

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NOTE: This review contains full spoilers.

Star Wars: The Rise of Skywalker (2019)

The ninth installment of the Skywalker saga is not only the conclusion to the Star Wars sequel trilogy, but to a decade where the Walt Disney Company has asserted itself as the most powerful entertainment company that has ever existed. The company, led by Chairman and CEO Bob Iger, is unrecognizable from where it was a decade ago, with Walt Disney Motion Pictures dominating, if not outright monopolizing, theater screens internationally. Unlike the movie moguls of yore such as Darryl F. Zanuck (20th Century Fox), Mack Sennett (Keystone Studios), David O. Selznick (Selznick International), or Jack Warner (Warner Bros.), Iger has a business background, not an artistic one. His respective $4 billion purchases of Lucasfilm and Marvel were decisions not made from cinematic considerations, but financial ones. The conservative artistry seen in Disney’s films in 2019 – including that other enormous blockbuster of the year, Avengers: Endgame – has evidenced where the company’s soul is. This is not the House of Mouse of Walt Disney, which ceased to be in 1968 after the final films Walt produced before his death were released to theaters.

Star Wars: The Rise of Skywalker is directed and co-written by J.J. Abrams (the other co-writer is Chris Terrio), who directed The Force Awakens (2015). The film goes out of its way to repudiate Rian Johnson’s The Last Jedi (2017), which – though valued more than its predecessor by yours truly – unleashed a torrent of intra-fandom acrimony rooted in racism; sexism; and an unhealthy, uncritical merger of personal identity and pop culture franchise. This is not to absolve The Last Jedi of its plentiful shortcomings, but to comment on where the Star Wars fandom is upon the release of The Rise of Skywalker. The Rise of Skywalker is more of a continuation of The Force Awakens, and this includes Abrams’ propensity to craft variations on existing material. Yet even the most creative decisions in this ninth Star Wars episode are hampered by poor filmmaking, two-and-a-half films worth of plot stuffed into one, dreadful writing resulting in thematic inconsistencies and canonical contradictions that will be explained away in some novel or video game, and an obvious lack of planning. The most concerning thing is that Star Wars’ reputation – despite my description of the series four years ago as, “a pastiche and always has been” – as an innovative force in cinema (even the prequels) has been lost. This is not the Star Wars of George Lucas, which ceased to be after Disney’s acquisition of Lucasfilm.

Without warning or foreshadowing, the opening crawl immediately states that Emperor Palpatine (Ian McDiarmid) – who appeared to have died in Return of the Jedi (1983) – has broadcasted an ominous message to the galaxy. This message, which you can hear exclusively on Fortnite (this is not a joke), has caused widespread anxiety but, most importantly, has led Kylo Ren (Adam Driver) to Palpatine’s whereabouts. Palpatine has been orchestrating everything to seduce Kylo to the dark side, also revealing to the erstwhile Ben Solo that he has commissioned a fleet that will bolster the First Order’s by ten thousand-fold – a fleet that will send shivers down the spines of accountants anywhere. Elsewhere, Leia Organa (Carrie Fisher posthumously) is finalizing Rey’s (Daisy Ridley) Jedi training as Finn (John Boyega) and Poe Dameron (Oscar Isaac; whose character is now Leia’s successor apparent) learn of the name of the planet where Palpatine is hiding, thanks to a well-placed spy. What follows is a series of fetch quests with the three central sequel trilogy heroes, accompanied by Chewbacca (Joonas Suotamo), BB-8 (operated by David Chapman and Brian Herring), and C-3PO (Anthony Daniels).

The film features many others, most notably Lando Calrissian (Billy Dee Williams), Resistance ally Jannah (Naomi Ackie), First Order General Hux (Domhnall Gleeson), Allegiant General Pride (Richard E. Grant doing his best Peter Cushing impression), Poe’s friend/acquaintance/Abrams and Terrio’s written excuse to make him straight Zorii Bliss (Keri Russell), and R2-D2 (Hassan Taj and Lee Towersey). Lupita Nyong’o’s Maz Kanata returns in a glorified cameo; a handful of deceased characters make postmortem appearances.

Rose Tico made Kelly Marie Tran the first (and only) non-white actress to play a lead role in a Star Wars film. The character, along with John Boyega’s Finn, was given a poorly-written C-plot in The Last Jedi – Tran (who was subjected to online abuse prior to and after The Last Jedi’s release) and Boyega did their damndest in some of the worst sequences Star Wars has. The filmmakers (it is not exactly clear who is responsible, whether it is the screenwriters or the producers) have capitulated to the online trolls who attacked Tran (and her character) for her appearance, gender, and race. Her exclusion and other decisions in this film dispose entirely The Last Jedi’s antithesis that one need not be from a hallowed bloodline or an exclusive order to exemplify the bravery, compassion, and service to others that is celebrated within and beyond Star Wars. Rose Tico, described as, “the heart of [The Last Jedi]”, is an embodiment of the idea that the consequences of the multigenerational violence initiated or inspired by the Skywalkers – and, by extension, the centuries-old conflict between the Jedi and the Sith – are felt most by those without Force capabilities, military or political power. The Rise of Skywalker, through its treatment of Rose Tico among other storytelling choices, openly rejects this commentary and opportunity to present an untold perspective in favor of dynastic interests and expositional excess.

For Finn and Poe, The Rise of Skywalker represents another missed opportunity for character development. Finn, from the moment he appears onscreen, is too busy speaking expository points. Poe is given a lady friend so that homophobic censors around the world do not give Disney’s distribution managers a difficult time. The interest surrounding Rey (whose arc, as a mythic hero finally realizing her horrible family history as a Palpatine, comes to a merely satisfactory conclusion in The Rise of Skywalker) and Kylo Ren/Ben Solo – and yes, that includes their bewildering relationship that Abrams himself cannot coherently explain – will be endlessly debated in greater detail by others with a greater emotional affinity for Star Wars.

As the embodiment for the First Order for almost all the sequel trilogy, Kylo Ren’s/Ben Solo’s about face to the light after being stabbed in the stomach by Rey is unconvincing. This is a character who has been presented with numerous opportunities to renounce the ways of the dark side of the Force and has spurned each opportunity – even after becoming Supreme Leader of the First Order in The Last Jedi, with no authority figure influencing his conduct, and fully understanding the difference between right and wrong. He has acted predatory towards Rey in the form of physical threats and has demonstrated no willingness to change. Abrams and Terrio’s solution is to have Kylo Ren hallucinate a forgiving Han Solo (Harrison Ford, uncredited) to inspire this change – they might as well have had an angel and devil on Kylo Ren’s opposing shoulders because it would have been just as believable.

Too many aspects of The Rise of Skywalker depend on fanservice. The appearances of individuals like Lando Calrissian and Luke Skywalker’s Force ghost (Mark Hamill) are welcome, but do not add enough to the film from what the filmmakers are intending. The introduction of new characters in the final film of a sequel trilogy is additional bloat that will be better developed in a future Star Wars book, television series, or video game. This is an irritating development, as ancillary Star Wars media is not guaranteed (okay, with Disney’s money it is probably a certainty) and probably will not be consumed by the masses (especially in several decades’ time) – these characters and other subplots should stand independently within the film they appear. Abrams and Terrio’s attempts to provide a morsel of character development to these secondary and tertiary characters should have occurred in earlier films or scaled back for The Rise of Skywalker. Death is apparently a reversible thing, robbing scenes of emotional power and exemplifying how gutless the screenplay is – certain developments in how the Force works have opened dangerous precedents for future Star Wars media, making it resemble more like superhero media (where only Bruce Wayne’s parents and Peter Parker’s Uncle Ben remain deceased). It is further evidence that, as has been widely speculated, that Abrams and Lucasfilm president Kathleen Kennedy approved this sequel trilogy without a comprehensible three-part story or, at the very least, a general idea of how to develop a logical story arc for this project.

Other questions raised but not developed across The Force Awakens and The Last Jedi linger. The sequel trilogy dispenses with the tried-and-tested theory of the three-act narrative structure if analyzed from the entirety of the Skywalker saga – a trilogy of trilogies. Films and cinematic trilogies do not always adhere to this paradigm, but given how the previous eight episodes are told and how rigidly J.J. Abrams has kept to this structure in his career, it is stunning how the ninth episode completes the sequel trilogy’s incongruence with all that has come before. Episodes I, II, and III (“Act 1″) are the catalyst: with his fear unchecked and exploited by Palpatine, Anakin Skywalker becomes Darth Vader and the Republic is overthrown by an authoritarian Galactic Empire. The Jedi Order is almost destroyed. Episodes IV, V, and VI (“Act 2″) sees the light confront the dark: Luke Skywalker becomes a Jedi and the Rebel Alliance lands a fatal, but not final, blow to the Galactic Empire. Anakin, “the Chosen One”, fulfills the prophecy of bringing balance to the Force.

Episodes VII, VIII, and IX (“Act 3″) – if we are assuming the traditional three-act structure that Star Wars has adopted in each of its films and the two preceding trilogies – should see how the protagonists create and maintain order leading up to and/or after the fall of the Galactic Empire. Thus, the sequel trilogy should see the reconstruction of the Galactic Republic and Jedi Order. More politics may not be what Star Wars fans want to see, but post-revolutionary/post-war states tend to be unstable politically and militarily. A post-Galactic Civil War period could easily see the violent death throes of Imperial and Sith-y remnants amid the restoration of the Republic. To quote from The Battle of Algiers (1966): “It’s hard to start a revolution. Even harder to continue it. And hardest of all to win it. But, it’s only afterwards... that the true difficulties begin.” Instead, this sequel trilogy is nothing more than a contemporary rehash of the second act. It is another dramatic second act confrontation, an escalation of the second act because we learn little about the post-Galactic Civil War period within the films. Palpatine’s zombified resurrection (Abrams’ responsibility) and defeat at the hands of Rey does not flow naturally from The Last Jedi and makes the final minutes of Return of the Jedi (which it partially copies in its climax) a lot less consequential than it should be. What should be the Skywalker saga’s third act is shoveled into the final ten or twenty minutes of The Rise of Skywalker.

The maximalism of The Rise of Skywalker requires it to juggle too many plotlines for an overlong fetch quest. It is not aided by the editing of Maryann Brandon (2009′s Star Trek, The Force Awakens) and Stefan Grube (The Force Awakens, 2016′s 10 Cloverfield Lane). In a series that has contained remarkable examples of film editing, The Rise of Skywalker is a franchise-worst – even the prequels had the decency to stay on certain shots for a few seconds to allow the audience to bask in the landscape, a certain character or creature, or a lightsaber duel. The film switches cameras too quickly, positioned too close to the characters. It occurs in the film’s quieter moments and during the climactic battles (the gold standard of editing in Star Wars battles is Qui-Gon Jinn and Obi-Wan Kenobi v. Darth Maul in 1999′s The Phantom Menace; note how few cuts there are compared to most of today’s action movies and how Lucas is not afraid to pull his camera to a wide shot to let the scene feel larger than life as well as making spatial sense).

The Rise of Skywalker still feels like a space opera epic, with exciting action sequences abound here and there. The “secret sauce of Star Wars”, George Lucas will tell you, is not in the new worlds and aliens and those who use the Force. It is composer John Williams; The Rise of Skywalker is his final Star Wars score. This is not Williams’ best Star Wars score, but it is a masterful capstone to forty-two years of work. The newest and most fascinating musical ideas are both contained in the cue “The Rise of Skywalker”. Williams, whose motivic-heavy scoring relates ideas and grows alongside characters, provides a general main theme (0:00-0:54) and a friendship motif (beginning at 0:54) appearing in scenes where the bonds between Rey, Finn, and Poe are depicted. These few minutes exemplify how wondrous Williams’ ability to add complex harmonies underneath his soaring melodies is. Few other film composers living, if any at all, can have these two new musical ideas (these motifs are abnormally, but welcomingly, longer than usual for Williams) intermingling and in contrapuntal conversation to such mesmeric heights.

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The Emperor’s theme, as first heard in Return of the Jedi, makes its predictable and always-unsettling return here. But the other major motif introduced for The Rise of Skywalker is “Anthem of Evil”. This, introduced by choir, is expanded upon in “Approaching the Throne” and is befitting a being neither fully alive nor dead. The unsettling bass notes and low choir seem more appropriate for a horror film, but is entirely deserved for this film. One can also find excellent cues online (a favorite is “Falcon Flight”, which demonstrates the best of Williams’ action scoring) as of the writing of this review that do not appear on the initial commercial release album, but an album provided to Hollywood insiders for awards consideration (that album contains the best statement of Kylo Ren’s motif). This is a valedictory score, yet contains some of the best film music work of the year. We will give John Williams a pass if he is in a celebratory mood.

Williams has completed something that, in film history, only one other composer has accomplished. He stands alone with Akira Ifukube. Where Ifukube composed for Toho Company’s kaiju films/Godzilla franchise (from 1952′s Godzilla to 1995′s Godzilla vs. Destoroyah), Williams has composed for a multipart cycle of films released over several decades (nine films, like the nine symphonies of many classical music composers). Williams’ Star Wars cycle is the most popular example of what grand orchestral film music can do – how it lends greater emotional heft to images onscreen, its dramatic versatility, why it deserves a place in the concert hall and classical music history – among today’s audiences. The nine scores will be his defining work, but hopefully posterity will remember and see the genius of his compositions like Close Encounters of the Third Kind (1977), Schindler’s List (1993), and even his strict classical music and jazz pieces.*

Kathleen Kennedy’s mismanagement of this sequel trilogy has been laid bare by The Rise of Skywalker. In four short years, Disney has somehow run one of its most prized IPs into the creative cinematic dirt by attempting to please as broad a base as possible in this ninth installment. The creative choices of the last several years and The Rise of Skywalker alone has made being a casual Star Wars fan exhausting. As someone who did not watch a Star Wars film all the way through until I was thirteen, has it always been this exhausting? One day that exhaustion will make way for relief, but that will be long after Bob Iger is hailed for his supposed moviemaking acumen with Star Wars and Marvel leading the way. Iger, as mentioned previously, has not been visionary but mercenary for the Walt Disney Company, with Kathleen Kennedy and Kevin Feige his enforcers. He will remain in charge of the Walt Disney Company until the end of 2021.

This Star Wars sequel trilogy, popular as it has been, has been an artistic misfire. J.J. Abrams, more of a hype man‡ than the B-director whose has never shaken off his television background, has somehow regressed from the ideologically bankrupt Star Trek Into Darkness (2013) – hey, Trekkies and Star Wars fans have something in common! The filmmakers chosen to bring The Rise of Skywalker and this sequel trilogy were baptized in waters created when George Lucas, Gary Kurtz, and others redirected the flow of film history with Star Wars. Star Wars may no longer be guided by Lucas’ vision, but the artistry that arrived in theaters in 1977 can never be washed away.

My rating: 5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

Also in this series: Star Wars: The Force Awakens (2015) and The Last Jedi (2017)

* These references to classical music history should not be construed as a claim that John Williams is an equal to Bach, Beethoven, Mozart, or Mahler - they are composing music in different artistic contexts (classical music for music’s sake is different from classical opera and both are contextually different compared to orchestral music written for a film). Instead, it is an acknowledgment that orchestral film music is gaining widespread acceptance as part of the classical music canon. Erich Wolfgang Korngold (1938′s The Adventures of Robin Hood), Alfred Newman (1962′s How the West Was Won), and Max Steiner (1939′s Gone with the Wind) created the vocabulary of film music in the early sound era and have - to varying degrees - been accepted into the classical music canon. The jury is out for the younger composers working in Hollywood in the twenty-first century.

‡ Abrams’ (and others as well) incessant teasing of LGBTQ+ representation resulted in a scene where two women we have no information about kiss in the background for a few moments after the Final Order’s defeat, surrounded by a bunch of Resistance soldiers also celebrating. Given the context, this kiss can be explained away as a moment of platonic affection that went further than it should (hypothetical: it’s nearing midnight at New Years’ Eve and folks are drunk everywhere... what do you think is going to happen?). Let’s not pat ourselves on the back now, filmmakers.

#Star Wars #The Rise of Skywalker #J.J. Abrams #Daisy Ridley #John Boyega #Oscar Isaac #Adam Driver #Carrie Fisher #Mark Hamill #Ian McDiarmid #Billy Dee Williams #Kelly Marie Tran #Chris Terrio #John Williams #Kathleen Kennedy #Bob Iger #My Movie Odyssey

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itastreamingdeadpool2 · 4 years

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Deadpool 2streaming hd gratuitamente - Altadefinizione

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Regista: David Leitch Genere: Azione, Avventura, Commedia Anno: 2018 Paese: USA Durata: 111 min Data di uscita: 15 maggio 2018 Distribuzione: 20th Century Fox

Deadpool 2 è un film di genere azione, avventura, commedia del 2018, diretto da David Leitch, con Ryan Reynolds e Josh Brolin. Uscita al cinema il 15 maggio 2018. Durata 111 minuti. Distribuito da 20th Century Fox.

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Film is a work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas. Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others. Definition and Definition of Film / Movie While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 2020 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.[citvatio””&n needed] In 2007, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2007, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thanks for everything and have fun watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.

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streamingitalianodeadpool2 · 4 years

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Deadpool 2Streaming (2019) Gratis in HD | Streaming ITA - Cineblog

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Distribuzione: 20th Century Fox

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streamingitadeadpool2italiano · 4 years

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Deadpool 2(2019) | CB01 | FILM STREAMING ITA GRATIS

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streamingitadeadpool2 · 4 years

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Deadpool 2― Film Completo Streaming HD

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Streaming Ita : https://zaymovi.com/it/movie/53780

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deadpool2streamingitaliano-blog · 4 years

Text

Deadpool 2 Film Completo Streaming - ITA

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youtube

Streaming Ita : https://zaymovi.com/it/movie/53780

Regista: David Leitch

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vf-les-nouveaux-mutants · 4 years

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Definition and definition of Film / film While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍

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azujmutansokmozi1080p · 4 years

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1080p !HU: Az új mutánsok [2020] Teljes Film Online~Magyarul

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Film is a work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinAz új mutánsoks. Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others. Image for post Definition and Definition of Film / Movie While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be dAz új mutánsoknded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful.

❍❍❍ TV MOVIE ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically rAz új mutánsokined static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.[citvatio””&n needed] In 2007, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2007, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. ❍❍❍ Thank’s For All And Happy Watching❍❍❍ Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.🙂

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feuillesmortes · 7 years

Photo

“Choosing the Red and White Roses in the Temple Garden” Henry Arthur Payne (1910)

This is the preliminary painting for a mural that currently hangs in the East Corridor of the Houses of Parliament in Westminster. The painting is a rendition of a scene from William Shakespeare’s play Henry VI, Part I (Act II, Scene 4). In this scene Richard Plantagenet, the Duke of York, challenges Edmund Beaufort, the Duke of Somerset, and urges his followers to declare their allegiance by picking different coloured roses: white for York, red for Lancaster.

PLANTAGENET

Let him that is a true-born gentleman And stands upon the honour of his birth, If he suppose that I have pleaded truth, From off this brier pluck a white rose with me.

SOMERSET

Let him that is no coward nor no flatterer, But dare maintain the party of the truth, Pluck a red rose from off this thorn with me.

WARWICK

And here I prophesy: this brawl to-day, Grown to this faction in the Temple-garden, Shall send between the red rose and the white A thousand souls to death and deadly night.

As legend has it, this confrontation was the spark of the 15th-century English conflict known as the Wars of the Roses. The historical basis for this event, however, has been severely questioned by late 20th-century scholars. The plucking of the red and white roses in the Inner Temple Garden, as presented by Shakespeare, is now widely regarded as a fabrication of Tudor propagandists to promote the birth of the new dynasty as the end of a tragical struggle between the houses of Lancaster and York.

Yet, if that confrontation indeed took place, it is only logical that it might have happened in late April or early May 1455, as the first actual battle between the two quarrelling sides took place on the 22nd of May that same year. Interestingly enough, the flower that comprised the Yorkist rose badge, a plant called Rosa Alba Semiplena, as all other medieval garden roses, only flowered during a short period of time in late spring and early summer. It would have been available for plucking at just the right time – a week or two before the fighting began.

(x)

#wars of the roses #shakespeare #house of lancaster #house of york #richard plantagenet #edmund beaufort #henry vi part i #art #paintings

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les-nouveaux-mutants-gratuit · 4 years

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Date de sortie: Aug 26, 2020 Dure: 98 minutes Genres: Action, Science-Fiction, Horreur, Aventure Avec: Blu Hunt, Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Henry Zaga, Alice Braga, Adam Beach, Happy Anderson, Thomas Kee, Mickey Gilmore, Jeffrey Corazzini Distributeur: Marvel Entertainment, 20th Century Studios, 20th Century Fox

Synopsis Dans les années 1990, un petit garçon vit au Burundi avec son père, un entrepreneur français, sa mère rwandaise et sa petite soeur. Il passe son temps à faire les quatre cents coups avec ses copains de classe jusqu'à ce que la guerre civile éclate mettant une fin à l'innocence de son enfance.

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The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful. ❍❍❍ TV MOVIE ❍❍❍ The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1935 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 2020 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1955, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. ❍❍❍ Formats and Genres ❍❍❍ See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). 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If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.

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tinymixtapes · 6 years

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Music Review: die Reihe - Vocoder

die Reihe Vocoder [anòmia; 2018] Rating: 4.5/5 Vocoders are conventionally categorized as a type of voice codec that analyzes and synthesizes the human voice signal for audio data compression, multiplexing, voice encryption, transmission over long distances, simple voice transformation, and more. A portmanteau of “voice” and “encoder,” the technology converts an acoustic signal into a coded form, the complexities and processes of which are articulated by composer Jack Callahan (die Reihe) in his new piece and 12-inch record Vocoder. An “exercise in creating as self-contained a piece as possible, using as little material as possible,” the piece asserts a necessary compositional process through the use of the vocoder, gaining further nuance through the technology’s spectral presence and recognizable sound as it has been heard in the electronic music of the 20th and 21st centuries. If the simple act of hearing implies a medium for sound, Vocoder succeeds in positing the ever-contemporary project of demonstrating how the use of a medium, a technology, and, more generally, the use of text all reflexively suggest a fundamentality of sound as well. These two poles — that of a text and that of a sound — indeed inform the basis for the project of composition and the role of the composer, as Callahan is keenly aware of. Callahan performs under the moniker “die Reihe,” named after Stockhausen’s mid-century composition journal published between 1955 and 1962 devoted to contemporary music, a context I described when reviewing Luke Moldof and Peter Ablinger’s split LP, released by Callahan’s label Bánh Mì Verlag in 2017. Perhaps more readily than any of the releases he has put out on his label, Callahan’s own music under die Reihe exaggerates a precise execution of a compositional approach or technique, which is employed in Vocoder as Callahan speaking through a phase vocoder created in Max/MSP (and Shure SM57 microphone) that is altered in different ways across seven discrete sections. In reviewing Vocoder, I’ll write a bit about the context and conceptual background of Callahan’s project and discuss briefly some of the techniques involved throughout the seven discrete sections of the piece. I’m hesitant to call Callahan a minimalist, despite the fact that he works with simple forms, limited scales, and generally reduced materials. Instead, I’ve started referring to him as “the turnt formalist of Ridgewood, Queens” — his work is turnt, as in it is often being “turned” away from staid notions of the forms they employ (Trap Studies, Housed, Music Demonstration); they are turnt in a fashion that is excessively excited or prepared for the “current event,” that event being the production of new music. Callahan’s work is formalist purely by way of how it is often preoccupied in discussing its form as an implicit aspect of the piece; and, as a result, his work proceeds in a more apparently logical way than most minimalists, often using formulas, permutations, and predictable sequences that allow his work to be defined by their method, a tactic recalling the work of composer Tom Johnson (e.g., “An Hour For Piano,” or “Triple Threat”), as well as his mentor, the Wandelweiser Group composer Jürg Frey. Indeed, in “Section III” of Vocoder, Callahan states “one of the most important aspects of this piece is how the text both explains how the piece functions and itself generates the piece.” As such, Vocoder sits within a canon of text-sound works and Fluxus word pieces, but not necessarily in the way these works led to developments in conceptual poetry (vis-à-vis Dick Higgins or Alison Knowles) or anti-art (Henry Flynt). Rather, the text of Vocoder functions more formally and paradigmatically in the way it has led to developments in music composition — more akin to Alvin Lucier’s I Am Sitting In A Room, where the composer records the sound of their speaking voice only to play it back into the room again and again until the resonant frequencies of the room eventually reinforce themselves as the original text. Whereas formally Vocoder contains more wayward text, humor, and altogether abandon than Lucier would ever have it, similar to Lucier, Vocoder would seem to be a piece that needs no further explanation. Both pieces begin by stating in plain English exactly what they are going to happen and why. In Lucier’s case, this was a radical notion at the time (1969) and one that spawned a whole school of compositional activity in the United States and England. Somehow, even still in 2018, this seems no less radical within the context of “experimental” electronic music as it exists in the emergent youth, noise, dance, and DIY scenes of America — as well as global SoundCloud culture — Callahan’s immediate contexts. Vocoder is the most clearly rendered version of Callahan’s formalism yet; it critiques and extends our contemporary infatuation with the devices and technologies of dance music, specifically how they are rendered in contemporary composition. The piece has an austerity of style and presentation that is a result of his preoccupation with the blurring of form and method — including the resultant manipulation of the conflict between these two terms within the objective use of language. Callahan uses this instructional language as the actual score of the piece. In this way, Vocoder recalls the work of John Baldessari, specifically his Text Paintings. The piece relates to how the conceptual artist decided the solution was to remove his own hand from the construction of the image and to employ a commercial, lifeless style so that the text would impact the viewer without distractions. The music of Vocoder, then, is the text of Vocoder, and the resultant sonic manipulations are a direct manifestation of the articulation of the text. This is the piece: “an exercise in creating as self-contained a piece as possible, using as little material as possible while still maintaining a certain level of interest and coherence.” Musically, it’s relatively pleasurable to listen to how each section errantly slips from the domain of language to that of harmony, specifically within the more complicated sections with more sonic density, such as “Section II” and “Section V,” which both feature a split vocal signal processed by two different vocoders hard panned left and right that randomly switch positions with each other, or the particularly harmonic four-note saw wave chords of “Section VI.” Despite the record’s immediate facticity and primacy of text, its overall sound is a deeply vibrant spectrum of the apparent tones the vocoder technology is capable of producing. Between Callahan’s jaunty deadpan and the various cybernetic manipulations of the discrete sections, there’s also the potential to “tune out” the actual words of the piece to arrive at an altogether psychedelic listening experience. In “Section I,” the repetitive gargle of the frequency-rich carrier signal saw wave at 52hz invites a trance-like, early minimalist drone — a tonality made even more listenable through the precision and clarity of the gesture at play. Likewise, the immediate humor of “Section IV” eventually gives way to pure enjoyment, as the oscillating, slewed pitches turn into acrobatic glissandos that leap and smooth out like smart riffs. The rich B minor pentatonic scale on display in “Section VI” is a clarion tonal voicing of the records overall sound palette — bright, resonant, expressive, yet controlled and carefully measured. The record’s Side B also contains two matter-of-fact dance remixes by DJ Swag and Morgan Jefferson, friends of Callahan that “apply” the raw sound at work on side A. Overall, the enthusiastic sparing of text and music on Vocoder is a brilliant display of their interdependency. The tension between the two also highlights the fraught role of the composer in rendering text as music or, conversely, music as a cultural, readable, or cogent text. Like the technology of the vocoder itself, a sound signal is often encoded as a cultural or readable signification of the original signal for ease of transmission and consumption in the listener. In lieu of hearing a sound “as is,” we often render the original sound as a representational textual image of the sound to consume it more efficiently, to consume it socially, relationally, and within a network of symbolism. As our listening has become encoded by the complex functions of sound in our daily lives — and the entangled webs of relevant meanings and metaphors sounds often contain — our listening is done in a highly accelerated manner mediated by newer technologies and expanded formats even still. Callahan’s Vocoder is a crucial document for how this is playing out in 2018’s cultural landscape, particularly as we witness established contexts for new music, noise music, and dance music collapse into immanent heaps of exhausted, but nonetheless deeply meaningful music. As a composer, Callahan’s work isolates, emphasizes, questions, and demonstrably attempts to surpass the problem of this collapse as a form of musical activism — returning to probe language and expression as sonic materials, and technology, in this case the vocoder, as a micropolitical technique for structural reform in our listening and in our composing of music. http://j.mp/2CTpiwi

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