By Richard Bach
ISBN 13: 978-1-61664-366-9
Publication Year: 2009
Tags: New Age, Philosophical, Metaphor
Jamie Forbes, flying his own small plane, hears a cry for help over the private pilots’ com channel — a woman in another small plane whose pilot husband has collapsed. Jamie talks her down to a safe landing, where she tells reporters that he “hypnotized” her into believing that she could land the plane on her own. Considering this idea later, Jamie recalls a time when he was hypnotized by a stage performer, and he begins to discover that hypnotism is a form of believing that what is suggested to you as real… and that perhaps all of life is the same. Are we, he wonders, “hypnotized” into accepting this world as real… and is it, in fact, as real as we believe it to be? Continue reading “Hypnotizing Maria”
Arnold Schoenberg (composer)
Tracks: 1—Mondestrunken; 2—Columbine; 3—Der Dandy; 4—Eine Blasse Wäscherin; 5—Valse de Chopin; 6—Madonna; 7—Der Tranke Mond; 8—Nacht; 9—Gebtet an Pierrot; 10—Raub; 11—Rote Messe; 12—Galgenleid; 13—Enthauptung; 14—Die Kruze; 15—Heimweh; 16—Gemeinehiet; 17—Parodie; 18—Der Mondfleck; 19—Serenade; 20—Heimfahrt; 21—O Alter Duft.
Tags: Atonal, Unlistenable
Composed: October 16, 1912
Arnold Schoenberg selected and set to music 21 of the 50 poems in the lyric cycle of the same name, written and published in 1884 by Belgian poet Albert Giraud. The work comes from Schoenberg’s “atonal” period and features a vocal part accompanied by a five-person ensemble — flute (doubling on piccolo), clarinet, violin, cello, and piano. The work is generally hailed as a masterwork of musical expressionism; Schoenberg stated that the greatest goal of the artist is “to express himself.” In the cycles, Pierrot — the archetypical white-faced clown known as “Punchinello” in Italian and “Punch” in English — is represented (in some fashion) by a seven-note motive most easily heard at the very beginning of the first selection, “Moondrunk.” The work is effectively subdivided into three seven-poem segments. In the first, Pierrot sings of love, sex, and religion; in the second, of violence, crime, and blasphemy; and in the third, of his return home, haunted by his past.
None of this explanation saves this work from sounding like crap. Continue reading “Pierrot Lunaire, Op. 21”
(2012, R) Noomi Rapace (Elizabeth Shaw), Michael Fassbender (David), Charlize Theron (Meredith Vickers), Idris Elba (Janek), Guy Pearce (Peter Weyland), Logan Marshall-Green (Charlie Holloway), Sean Harris (Fifield), Rafe Spall (Milburn), Emun Elliott (Chance). Music: Mark Streuitenfeld. Screenplay: Jon Spaihts and Damon Lindelof. Director: Ridley Scott. 123 minutes.
Tags: Sci-Fi, Prequel, Big-Budget Waste
Notable: Someone spent a small country’s GNP to make this horrifyingly bad pile of poo
Adapted from the Wikipedia description: In the late 21st century, the crew of the spaceship Prometheus follows a star map discovered among the artifacts of several ancient Earth cultures. Seeking the origins of humanity, the crew arrives on a distant world and discovers a threat that could cause the extinction of the human species. Continue reading “Prometheus”
By P. D. James
(Large Print edition)
Publication Year: 2005
Tags: Mystery, Suspense, Procedural
This thirteenth in the Adam Dalgliesh mystery series find the poet-detective on Combe Island, an isolated and exclusive place of rest and respite limited to certain governmental VIPs and those whose island trust have deemed to have rights of residence (occasional or permanent) due to their ancestral relationship to the island. When the somewhat infamous writer Nathan Oliver tries to throw about his self-perceived weight with islanders and guests alike, he becomes quite soundly disliked by one and all. Then, when he is found hanging by the neck from the gallery railing of the island’s famous lighthouse, the age-old question rears its head: Suicide or murder? Continue reading “The Lighthouse”
(1973, not rated) Chuck Connors (Cpt. Ernie Slade), Buddy Ebsen (Glen Farley), Tammy Grimes (Mrs. Pinder), Lyn Loring (Manya), Jane Merrow (Sheila O’Neill), France Nuyen (Annalique), William Shatner (Paul Kovalik), Roy Thinnes (Alan O’Neill), Paul Winfield (Dr. Enkala), Russell Johnson (Jim Hawley, flight engineer), Will Hutchins (Steve Holcomb), Darleen Carr (Margot), Brende Benet (Sally), H. M. Wynant (Frank Driscoll, co-pilot). Music: Morton Stevens. Screenplay: Ron Austin & James Bucchanan (story by V. X. Appleton). Director: David Lowell Rich. 76 minutes.
Tags: Horror, Made-For-TV, Druids
Notable: Music by The Man From U.N.C.L.E. and Hawaii Five-O’s Morton Stevens
A chartered 747 jet departs Heathrow airport bearing ten passengers, a crew of five, and 11,000 pounds of “architectural features” — part of an English abbey being transported back to the U.S. Small mysteries grow larger as the plane appears to be facing a 600mph headwind, stuck in mid-air as if held there, and the passengers and crew are struck by invisible tormentors. It is the night of the summer solstice, the altar stone of the abbey was once part of a site where Drudic ritual sacrifices were held… and the ancient spirits are demanding their due. Continue reading “The Horror at 37,000 Feet”