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Puţini ştiu că în apropiere de Făgăraş există satul Bărcut, un loc de poveste, cu peisaje de vis | euzicasa
Puţini ştiu că în apropiere de Făgăraş există satul Bărcut, un loc de poveste, cu peisaje de vis: dealuri înverzite şi izvoare ce şi-au croit drum printre ele. Cel mai însemnat este izvorul din care s…
Un lunetist SAS a ucis trei jihadişti de la peste un kilometru, salvând sute de vieţi | euzicasa
Lunetistul a reuşit să-şi fixeze ţintele de la o distanţă de peste un kilometru şi să le elimine, distrugând aproape în totalitate unul dintre pereţii clădirii în care se aflau ele. Potrivit unor surs…
Thisdisambiguationpage lists articles associated with the titleAfternoon of a Faun.
If aninternal linkled you here, you may wish to change the link to point directly to the intended article.
Meiko Kaji(梶 芽衣子Kaji Meiko, born March 24, 1947)is a Japanese actress and singer. She has appeared in about 100 films,[3]with her most famous roles being outlaw characters in early 1970s films, such as the rebels of theStray Cat Rockseries, the assassinLady Snowblood, and the murderous Nami Matsushima from theFemale Prisoner 701: Scorpionseries.
Meiko Kaji was bornMasako Ohtain theKandaarea of Tokyo and graduated from the Yakumo Academy high school inMeguro, Tokyo. She began to work in the film industry under her real name, Masako Ota, atNikkatsustudio in 1965 after graduating from high school.[1]In 1969 she appeared inNihon Zankyoden, one of a series of films directed byMasahiro Makino, who recognized her acting ability and gave her the stage name of Meiko Kaji.[2]From 1970 to 1971 she appeared in theNoraneko Rokku(Stray cat/Alleycat Rock) series of films about delinquent young people.
Kaji is also a singer. She sang the theme song toLady Snowblood, “Shura no Hana” (修羅の花), and the theme song of theFemale Convict Scorpionseries, “Urami Bushi” (怨み節). When both these songs were used in the 2003Quentin TarantinofilmKill Bill,[1]there was a revival of interest in Kaji’s music that encouraged her to resume her musical career.[5]In 2009, she released a single,Onna wa yametai. In 2011, Kaji released her first new album in 31 years,Aitsu no suki-so-na burūsu(あいつの好きそなブルース)[6]with songs written byRyudo UzakiandYoko Aki.
Kaji received acting offers fromHollywoodbut refused them all, saying she could not give a good performance in a language other than Japanese.[7]
Apolystylist, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works. His music is characterized by sharp contrasts, elements of thegrotesque, andambivalenttonality; the composer was also heavily influenced by theneo-classicalstyle pioneered byIgor Stravinsky, and (especially in his symphonies) by the late Romanticism ofGustav Mahler.
Birthplace of Shostakovich (now School No. 267). Commemorative plaque at left
Born at Podolskaya Street inSaint Petersburg,Russia, Shostakovich was the second of three children of Dmitri Boleslavovich Shostakovich and Sofiya Vasilievna Kokoulina. Shostakovich’s paternal grandfather, originally surnamed Szostakowicz, was ofPolishRoman Catholicdescent (his family roots trace to the region of the town ofVileykain today’sBelarus), but his immediate forebears came fromSiberia.[3]A Polish revolutionary in theJanuary Uprisingof 1863–4, Bolesław Szostakowicz would be exiled toNarym(nearTomsk) in 1866 in the crackdown that followedDmitri Karakozov‘s assassination attempt onTsar Alexander II.[4]When his term of exile ended, Szostakowicz decided to remain in Siberia. He eventually became a successful banker inIrkutskand raised a large family. His son Dmitri Boleslavovich Shostakovich, the composer’s father, was born in exile in Narim in 1875 and studied physics and mathematics inSaint Petersburg University, graduating in 1899. He then went to work as an engineer underDmitri Mendeleevat the Bureau of Weights and Measures in Saint Petersburg. In 1903 he married another Siberian transplant to the capital, Sofiya Vasilievna Kokoulina, one of six children born to a RussianSiberiannative.[4]
Their son, Dmitri Dmitriyevich Shostakovich, displayed significant musical talent after he began piano lessons with his mother at the age of nine. On several occasions he displayed a remarkable ability to remember what his mother had played at the previous lesson, and would get “caught in the act” of playing the previous lesson’s music while pretending to read different music placed in front of him.[5]In 1918 he wrote a funeral march in memory of two leaders of theKadet party, murdered byBolsheviksailors.[6]
In 1919, at the age of 13, he was admitted to thePetrograd Conservatory, then headed byAlexander Glazunov, who monitored Shostakovich’s progress closely and promoted him.[7]Shostakovich studied piano withLeonid Nikolayevafter a year in the class of Elena Rozanova, composition withMaximilian Steinberg, andcounterpointandfuguewithNikolay Sokolov, with whom he became friends.[8]Shostakovich also attendedAlexander Ossovsky‘s music history classes.[9]Steinberg tried to guide Shostakovich on the path of the great Russian composers, but was disappointed to see him ‘wasting’ his talent and imitatingIgor StravinskyandSergei Prokofiev. Shostakovich also suffered for his perceived lack of political zeal, and initially failed his exam inMarxistmethodology in 1926. His first major musical achievement was theFirst Symphony(premiered 1926), written as his graduation piece at the age of 19. This work brought him to the attention ofMikhail Tukhachevsky, who helped Shostakovich find accommodation and work in Moscow, and sent a driver around in “a very stylish automobile” to take him to a concert.[10]
Early career
Shostakovich in 1925
After graduation, Shostakovich initially embarked on a dual career as concert pianist and composer, but his dry style of playing was often unappreciated (his American biographer, Laurel Fay, comments on his “emotional restraint” and “riveting rhythmic drive”). He nevertheless won an “honorable mention” at the FirstInternational Chopin Piano Competitionin Warsaw in 1927. He attributed the disappointment at the competition to suffering from appendicitis and the jury being all-Polish. He had his appendix removed in April 1927.[11]After the competition Shostakovich met the conductorBruno Walter, who was so impressed by the composer’sFirst Symphonythat he conducted it at its Berlin premiere later that year.Leopold Stokowskiwas equally impressed and gave the work its U.S. premiere the following year in Philadelphia and also made the work’s first recording.[citation needed]
Shostakovich concentrated on composition thereafter and soon limited his performances primarily to those of his own works. In 1927 he wrote hisSecond Symphony(subtitledTo October), a patriotic piece with a great pro-Soviet choral finale. Owing to itsexperimental nature, as with the subsequentThird Symphony, it was not critically acclaimed with the enthusiasm given to the First.[citation needed]
[Verse 1]
Walkin’ all day with my mouth on fire, tryin’ to get talkin’ to you
Walkin’ all day with my mouth on fire, that’s what I’ve gotta do
Tryin’ to get talkin’ to you
Walkin’ all day with my feet on fire, tryin’ to get closer to you
Walkin’ all day with my feet on fire, that’s what I’ve gotta do
Tryin’ to get closer to you
Walkin’ all day with my mind on fire, I can’t stop thinking of you
Walkin’ all day with my mind on fire, that’s what I’ve gotta do
I can’t stop thinkin’ of you
[Verse 2]
Walkin’ all day with my hands on fire, wanna get to touch you
Walkin’ all day with my hands on fire, that’s what I’ve gotta do
Wanna get to touch you
Walkin’ all day with my heart on fire, falling in love with you
Walkin’ all day with my heart on fire, that’s what I’ve gotta do
Falling in love with you
[Outro]
Murder me
Make me happy
Talk to me
It’s so crappy
Ignore me
I’m being sappy, over me
What’s this power?
Gonna tell you once more
Title The Man Who Would Be King
Episode # Season 6, Episode 20
First aired May 6, 2011
Directed by Ben Edlund
Written by Ben Edlund
On IMDB The Man Who Would Be King
Outline Castiel tells his story.
Monster Crowley
Castiel
Timeline
Location(s) Sioux Falls, South Dakota
« Previous Episode | Next Episode »
Promotional poster for “The Man Who Would Be King.”
Castiel prays to God for direction. He recalls many things – the beginning of man’s evolution, the Tower of Babel, Sodom and Gomorrah – but the thing that stands out the most in his mind is how he, Dean, Sam and Bobby averted the Apocalypse. They ripped up destiny, leaving freedom and choice, but after everything he’s done since then, Castiel doesn’t know if it was the right thing after all. He resolves to tell his story.
Dean is driving the Impala when Castiel appears next to him. He tells Dean that he’s looking for Crowley and isn’t sure how he’s still alive. Dean makes it clear that killing Crowley is their first priority, but tells Castiel that they haven’t found anything yet, either. Sam is tracking a djinn in Omaha, and so Dean is going there to meet him. Before Castiel leaves, Dean asks him to call if he gets into real trouble.
After Castiel leaves Dean, he meets with Crowley, who is busy experimenting on Eve’s body. Castiel reminds Crowley of their ultimate goal – opening the door to Purgatory – and Crowley gets angry. Eve could have opened the door to Purgatory, but Castiel let Dean and Sam kill her, and now he has to find another way in. He also accuses Castiel of being distracted because of the Winchesters – he can smell “the stench of the Impala” on him. Castiel tells Crowley that he had to check and see what they knew, and Crowley says that he knows they’re after him and he’s worried about Castiel’s conflict of interest.
Castiel admits to himself that he does have a conflict of interest. He still considers himself the Winchesters’ guardian because of everything they taught him and everything they accomplished together. After the Apocalypse was averted and Castiel resurrected, he healed Dean, resurrected Bobby, and then went to Hell to resurrect Sam. He thought he’d managed to bring back all of Sam, but he realizes now that he was being arrogant, and that he should have known something was wrong with Sam. So, when Crowley tells Castiel to kill the Winchesters, he refuses. Crowley says that he’ll kill them himself, but Castiel says he’ll just bring them back and that Crowley shouldn’t worry about them. Instead, Crowley needs to focus on finding Purgatory, or they will both “die again and again until the end of time.”
Meanwhile, Sam and Bobby are interrogating a demon named Redd about Crowley. Dean appears – he was lying when he told Castiel that Sam was in Omaha – and tells Sam that he wants to bring Castiel in the loop. Dean doesn’t believe that Castiel is working with Crowley, but Bobby and Sam aren’t so sure. As they discuss the possibility of a “Superman who’s gone dark side” and the need for kryptonite, Castiel watches them, unseen. He’s there when they torture the demon into revealing that he works for Crowley through a dispatcher named Ellsworth. Castiel is aware of Ellsworth, who he describes as the demon counterpart to Bobby, and because Castiel knows that they’re getting close, he preemptively kills Ellsworth and the other demons at his headquarters.
While Dean, Sam, and Bobby burst into Ellsworth’s headquarters and find nothing, Castiel watches, and remembers Heaven after stopping the Apocalypse. The other angels, including Rachel, believed that God resurrected Castiel so that he could lead them, but Castiel told them that they had free will and didn’t need a leader. They were lost without direction, however, and Raphael stepped in. He wanted Castiel to give him his allegiance and then help him to free Lucifer and Michael so they could restart the Apocalypse. When Castiel refused to join him, Raphael easily overpowered him.
Back in the present, Dean convinces Sam and Bobby to call Castiel, but Castiel doesn’t appear when Sam prays, too afraid of the questions they’ll have for him. Just as they turn to leave Ellsworth’s headquarters, though, more demons appear. They are assassins sent by Crowley, and Castiel appears and quickly dispatches them. Dean, Sam, and Bobby take this to mean that Castiel is on their side, and they apologize to Castiel for doubting him. He forgives them for thinking he was “Superman going to the dark side” and agrees with Dean when Dean says they can “put away the kryptonite.” He doesn’t realize it at the time, but because of what he says, Dean realizes that Castiel has been spying on them.
Castiel goes to confront Crowley, who he tells not to touch a hair on the heads of his friends. He then reveals the reason he partnered with Crowley: after Raphael beat him so easily, he considered going to Dean for help, but Crowley waylaid him and offered him a deal. Together, they would open Purgatory, and then they both would use the monster souls inside to grow more powerful. Castiel needed to be more powerful right away, however, so Crowley advanced him 50,000 souls, which Castiel used to overpower Raphael and then start his civil war in Heaven.
After threatening Crowley, Castiel answers another call from Dean, who is still at Ellsworth’s headquarters with Sam and Bobby. Sam tells Castiel that they’ve figured out a way to track Crowley, and Castiel walks straight into their trap. He is surrounded by a ring of burning holy oil, and they start questioning him about Crowley. He tells them that he is working with Crowley only because he needs to defeat Raphael, and that they need to trust him. He then reveals that he is the one who resurrected Sam, and Sam asks Castiel if he purposefully raised him without his soul. Castiel denies it, but it’s clear that Dean, Sam, and Bobby no longer trust him. They tell Castiel that working with Crowley is wrong, and he knows it, which is why he kept his actions a secret from them. Castiel seems repentant, but when a cloud of demons appears outside, he tells them that it’s too late to go back now. Dean, Sam, and Bobby flee the approaching demons, and Crowley soon appears to free Castiel from the burning holy oil.
Castiel goes to visit Dean at Bobby’s house. He tells Dean that he wants him to understand what he’s doing and to know that he’s doing it all because of what Dean taught him about free will. Dean tells Castiel that he’s like a brother to him and that he needs to trust him when he tells him not to work with Crowley. If he keeps trying to open Purgatory, Dean will stop him. Castiel tells him that he can’t stop him, apologizes, and then leaves.
Castiel is alone, praying to God. After having told his story, he asks again if he’s doing the right thing. He begs for a sign and says that, if he doesn’t get one, he’s going to do whatever he must. There is no sign.
Characters
Sam Winchester
Dean Winchester
Castiel
Bobby Singer
Crowley
Raphael
Rachel
Ellsworth
Redd
Definitions
Aliases
Angel Lore
Bobby’s Hats
Dark Side
Demon Smoke
Devil’s Trident
Goblet of blood
Heaven
Hell
Holy Oil
Purgatory
Smiting
Soul
Warding Sigils
Music
“Me and Mrs. Jones” by Billy Paul
(plays while Crowley tortures)
An der schönen blauen Donau, Op. 314 by Johann Strauss II
(plays when Crowley and Cas are in Hell)
Quotes
Castiel: I remember being at a shoreline, watching a little grey fish heave itself up on the beach. And an older brother saying, “Don’t step on that fish, Castiel, big plans for that fish. I remember the Tower of Babel – all 37 feet of it, which I suppose was impressive at the time. And when it fell they howled, “Divine Wrath!” But come on, dried dung can only be stacked so high.
Castiel: And of course, I remember the most remarkable event. Remarkable because it never came to pass. It was averted by two boys, an old drunk, and a fallen angel. The grand story, and we ripped up the ending, and the rules, and destiny, leaving nothing but freedom and choice. Which is all well and good, except… but what if I’ve made the wrong choice?
Crowley: Don’t worry about — what, like Lucifer didn’t worry? Or Michael? Or Lilith or Alastair or Azazel didn’t worry?! Am I the only game piece on the board who doesn’t underestimate those denim-wrapped nightmares?!
Bobby: If there’s a snowball of a snowball’s chance here, that means we’re dealing with a Superman who’s gone darkside, which means we’ve got to be cautious, we’ve got to be smart, and maybe stock up on some kryptonite.
Dean: (to Sam) This makes you Lois Lane.
Castiel: I did it to protect the boys, or to protect myself. I don’t know anymore.
Castiel: Freedom is a length of rope. God wants you to hang yourself with it.
Castiel: Explaining freedom to angels is a bit like teaching poetry to fish.
Castiel: Are you joking?
Raphael: Do I look like I’m joking?
Castiel: …You never look like you’re joking.
Crowley: See, problem with the old place was most of the inmates were masochists already. A lot of “thank you, sir, can I have another hot spike up the jacksy?” But just look at them. No one likes waiting in line.
Castiel: What happens when they reach the front?
Crowley: Nothing. They go right back to the end again. That’s efficiency.
Crowley: What are you planning to do about Raphael?
Castiel: What can I do besides submit or die?
Crowley: Submit or die? What are you, French? How about resist!
Castiel: Sam, I am the one who raised you from perdition.
Sam: What? … Well, no offence, but you did a pretty piss poor job of it.
Castiel: You don’t understand. It’s complicated.
Dean: No, actually, it’s not, and you know that. Why else would you keep this whole thing a secret, huh, unless you knew that it was wrong? When crap like this comes around, we deal with it… Like we always have. What we don’t do is we don’t go out and make another deal with the Devil!
Castiel: It sounds so simple when you say it like that. Where were you when I needed to hear it?
Dean: I was there. Where were you?
Trivia & References
The Man Who Would Be King is a short story by Rudyard Kipling, made into a 1975 film by John Houston starring Sean Connery and Michael Caine. It tells the story of two ex-officers of the British Raj who become adventurers and become hailed as deities in a remote village in the Hindu Kush. They lead successful battles against the villages enemies, but become wrapped up in their own delusions of grandeur. Eventually the villages turn against them. In the movie, the story unfolds as the surviving character relates his story to a journalist.
Some of the film clips used in Castiel’s flashback montage at the beginning where he remembers the fall of the Tower of Babel, appear to be from the the fall of Babylon section of the 1916 movie by D.W. Griffith Intolerance. This movie also features a non-linear narrative and spans 2,500 years of history. It is considered on of the masterpieces of the silent era of movies (Source). You can see a clip from the movie here.
Crowley: Single best chance to get over the rainbow, and the Winchesters killed her!
“Over the Rainbow” is a song that was written for the movie The Wizard of Oz. It refers to another world that one can reach only by going over the rainbow. Here, Crowley uses it to refer to Purgatory.
Crowley refers to the vampire he’s torturing as Chocula, which is a reference to the breakfast cereal Count Chocula, which has a vampire for a mascot.
Dean: He’s the Balki Bartokomus of Heaven – he can make a mistake.
Dean is comparing Castiel to Balki Batokumus was a character in the 1980s ‘fish-out-of-water/buddy’ genre sitcom Perfect Strangers. Balki was a naive shepherd from the fictional country Mypos, who immigrates to U.S. and moves in with a distant cousin.
Bobby: You sure about that? Cause we can twist again all the way to next summer.
Bobby is quoting the song “Let’s Twist Again” recorded by Chubby Checker.
Bobby: Well, who do you deal with?
Redd: The Dispatcher – a demon named Ellsworth
Castiel: (voiceover) If there was a demon counterpart to Bobby Singer, Ellsworth would be it.
Jim Beaver played a character called Ellsworth in Deadwood. Ellsworth the demon is shown to resemble Bobby, and rather than having a number of phones has a collection of blood goblets. He also impersonates an FBI officer as Bobby does.
Ellsworth: I want you to get down to New Mexico and bag me that wendigo!
A wendigo is what Dean and Sam hunted in 1.02 Wendigo.
The devil’s trap on the ceiling above Redd is the same one that was used on Meg in 1.22 Devil’s Trap and again in 2.14 Born Under a Bad Sign. It was also used in the season 3 title card.
Castiel: (about visiting Heaven) I favor the eternal Tuesday afternoon of an autistic man who drowned in a bathtub in 1953.
This may be a reference to the hit song by The Moody Blues from 1968 titled “Tuesday Afternoon” (sometimes known as “Forever Afternoon”). Watch the song here
Castiel: Whose Heaven is this?
Raphael: Ken Lay’s. I’m borrowing it.
Castiel: I still question his admittance here.
Raphael: He’s devout. Trumps everything.
Ken Lay was the corrupt CEO whose fraud led to the bankruptcy of the Enron corporation. He was convicted on a number of charges, but died in 2006 before he was sentenced. Former president George H.W. Bush attended the memorial service.
Bobby: Yeah, but it’s like Mr. Clean clean, you know?
Mr. Clean is a brand name known as Flash in the UK. Its mascot is a muscular, tanned, bald man who cleans things very well.
Dean: Yeah, you think, Kojak?
Kojak was a 1970s TV detective.
Crowley: Well I’ve got news for you, kitten: a whore is a whore is a whore.
This may be a parody of Hemingway’s line in For Who The Bell Tolls “a bitch is a bitch is a bitch is a bitch,” which in itself a reference to the famous line by Gertrude Stein a rose is a rose is a rose is a rose. In which Stein is basically saying things are the way they are.
Crowley: Ah, Castiel, Angel of Thursday. Just not your day, is it?
According to A Dictionary of Angels: Including the Fallen Angels, Castiel is an Angel of Thursday in the occult lore. This may be a reference to the fact that Supernatural aired on Thursday nights on The CW when the character was introduced in season four. Beginning with season six, the show has aired on Fridays, which may be why Crowley says it’s “not Castiel’s day.”
Among the list of demons and angels that Crowley claims underestimated Sam and Dean, he mentions Lilith, though she fully intended for the brothers to kill her. It is likely, though, that no demons knew that her death was the final seal.
Crowley: Ding ding ding, tell him what he’s won, Vanna.
Vanna White is the long-time hostess on the TV game show Wheel of Fortune.
Minutiae
There was a rumor amongst fans that Ben Edlund appears in the episode as one of the people queuing in line in Hell. This hasn’t been confirmed. The guy who is taking a ticket as Crowley and Castiel arrive is played by Michael Bardach, and is credited on IMDB as “Ticket Guy.”
Above the line in hell is a sign that says:
NEXT IN LINE
6,611,527,124
The number changes to 6,611,527,125 while Crowley and Castiel stand under it.
One of the demons that brings Ellsworth a monster – before being killed by Castiel – also played a demon in 1.22 Devil’s Trap. In 1.22 Devil’s Trap, he is wearing an auto mechanic uniform with the name “Kim.”
Sides, Scripts & Transcripts
6.20 The Man Who Would Be King (Transcript)
Promotion
Episode title
Ben Edlund to direct
Video of Ben talking about writing and directing the episode at Paleyfest
Episode spoilers from EW
Official Synopsis
Promo pics
Promo clip
Preview Clip
Ben Edlund talks about the relationships in the episode
Promotional ad
Sera introduces the episode
Comments by Misha on the episode at Zap2it
Mark Sheppard comments on the episode
Mark Sheppard comments on the episode
Ben Edlund on the episode by Zap2It
Ben Edlund on the episode by TV Squad
Ben Edlund on the episode by TV Line
Ben Edlund on the episode by EW
Ben Edlund on the episode by TV Overmind
Ben Edlund on the episode by EONline
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…The larger the choir, the lowder we sing, the warmer the weather will be, got it ?
There are seldom the times to remember the way things thouched one the first time around. It was the rediscovery of Melanie, that reminded me of the duty we have in cherishing that that we once enjoyed, at the degree afforded by either memory only or by the trigger mechanism of association (to make a short story…long really).
In few words: I rediscovered her: Nickel..Song, somewhere in the recess between the pillows of my couch (Yes my couch is…that old (just joking), and just at the perfect time, considering…You know what..The rhyme goes just as it used to, except that nickel is now worth about .0001 cents.
The social value of the song on the other hand, breaks the bar of the balance: Heeeeaaaavvvyyyyyyy !
Rien n’est jamais acquis l’homme ni sa force
Ni sa faiblesse ni son coeur et quand il croit
Ouvrir ses bras son ombre est celle d’une croix
Et quand il croit serrer son bonheur il le broie
Sa vie est un trange et douloureux divorce
Il n’y a pas d’amour heureux.
2Sa vie elle ressemble ces soldats sans armes
Qu’on avait habills pour un autre destin
quoi peut leur servir de se lever matin
Eux qu’on retrouve au soir dsarms incertains
Dites ces mots ma vie et retenez vos larmes
Il n’y a pas d’amour heureux.
3Mon bel amour mon cher amour ma dchirure
Je te porte dans moi comme un oiseau bless
Et ceux-l sans savoir nous regardent passer
Rptant aprs moi ces mots que j’ai tresss
Et qui pour tes grands yeux tout aussitt moururent
Il n’y a pas d’amour heureux.
4Le temps d’apprendre vivre il est dj trop tard
Que pleurent dans la nuit nos coeurs l’unisson
Ce qu’il faut de malheur pour la moindre chanson
Ce qu’il faut de regrets pour payer un frisson
Ce qu’il faut de sanglots pour un air de guitare
Il n’y a pas d’amour heureux
Bien sûr il y a les guerres d’Irlande Et les peuplades sans musique Bien sûr tout ce manque de tendres Il n’y a plus d’Amérique Bien sûr l’argent n’a pas d’odeur Mais pas d’odeur me monte au nez Bien sûr on marche sur les fleurs Mais voir un ami pleurer!
Bien sûr il y a nos défaites Et puis la mort qui est tout au bout Nos corps inclinent déjà la tête Étonnés d’être encore debout Bien sûr les femmes infidèles Et les oiseaux assassinés Bien sûr nos cœurs perdent leurs ailes Mais mais voir un ami pleurer!
Bien sûr ces villes épuisées Par ces enfants de cinquante ans Notre impuissance à les aider Et nos amours qui ont mal aux dents Bien sûr le temps qui va trop vite Ces métro remplis de noyés La vérité qui nous évite Mais voir un ami pleurer!
Bien sûr nos miroirs sont intègres Ni le courage d’être juifs Ni l’élégance d’être nègres On se croit mèche on n’est que suif Et tous ces hommes qui sont nos frères Tellement qu’on n’est plus étonnés Que par amour ils nous lacèrent Mais voir un ami pleurer!
This is what: Gustave built them both, together with many more churches, public buildings, bridges around the world. Today we thank him for his unique vision of a modern world, on his birthday.
I hope that his vision, of the world is not only remembered and cherished, but that his humanistic approach to our civilization inspire us: He built bridges over troubled waters, to use one very appropriate verse, to bring people closer to each other. He built a statue that holds high the torch of Liberty, and the tallest tour, just so that people have a larger horizon to the land bellow. And then so much more.
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Lay, lady, lay, lay across my big brass bed Lay, lady, lay, lay across my big brass bed Whatever colors you have in your mind I’ll show them to you and you’ll see them shine
Stay, lady, stay, stay with your man awhile Until the break of day, let me see you make him smile His clothes are dirty but his hands are clean And you’re the best thing that he’s ever seen
Stay, lady, stay, stay with your man awhile Why wait any longer for the world to begin You can have your cake and eat it too Why wait any longer for the one you love When he’s standing in front of you
Lay, lady, lay, lay across my big brass bed Stay, lady, stay, stay while the night is still ahead I long to see you in the morning light I long to reach for you in the night Stay, lady, stay, stay while the night is still ahead
Brahms chose the title “Tragic” to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared “one laughs while the other cries.” Brahms quotes some material from the last movement of the Second Symphony in this overture.
The Tragic Overture comprises three main sections, all in the key of D minor.
Theorists have disagreed in analyzing the form of the piece: Jackson finds Webster’s multifarious description rather obscurist and prefers to label the work’s form as a “reversed sonata design” in which the second group is recapitulated before the first, with Beethoven‘s Coriolan Overture as a possible formal model.(Source:http://en.wikipedia.org/wiki/Tragic_Overture)
Vitamin D deficiency is easily treatable with oral supplements, but many patients may not be getting the proper dosage, and this could be putting their health at risk. An analysis of vitamin D supplements on the market in the US revealed that dosages vary widely regardless of what is listed on the label. Over-the-counter, bottled pills were found to contain between 52 and 135 percent of their advertised vitamin D content, while those produced by compounding pharmacies contained as little as 23 percent and as much as 146 percent of the labeled amount. More…Discuss
C’est quoi le temps, Le temps, c’est pas de l’argent mais c’est un oiseau qui fout le camp C’est quoi le temps, L’espace de l’homme à l’enfant, c’est de l’amour et c’est du sang
Un cheveu blanc, une ride Des lambeaux d’éphémérides Perdus dans une chambre vide des parents Des trous dans une raquette Un imper, une gazette d’outre-temps
C’est quoi le temps, C’est la distance qui va de passionnément à tendrement, inexorablement
C’est quoi le temps, Le temps, c’est pas de l’argent, c’est un oiseau qui fout le camp C’est quoi le temps, C’est un chiffon de papier, des grains tombant d’un sablier
C’est la Toussaint, la Saint-Pierre Des chiffres en or sur la pierre C’est la montre de mon père tout en argent C’est ce nouveau-né qui brille Aux j.O. de l’an 2000 à Milan
Worse Things Than Dying by Frances Seymour Tuesday, April 22, 2008
There are worse things than dying This condition is so true . Yet, there’s no denying the fate that’s befallen you. What’s it like to be trapped In a body that refuses to work? With all your energy zapped, your mind gone berserk. Do you hear voices in the distance? Muffled noise of gibberish sound Yet, you have no remembrance Everything you’ve known has drowned. So, you’re lying in a mindless state Emotionless, quiet and still With nothing to do but wait, For this perverse condition to heal. There are worse things than dying. Being eyewitness to this fact For you sister, I’m still crying And petitioning God to act. Oh, if He’d only take you home You would be whole again. Then our family could carry on, With hearts on the mend.
Cantata BWV 42: Am Abend aber desselbigen Sabbats (8 April 1725)
1. Sinfonia 2. Am Abend aber desselbigen Sabbats (Recitative: T) 06:43 3. Wo zwei und drei versammlet sind (Aria: A) 07:16 4. Verzage nicht, o Häuflein klein (Duet: S, T) 17:28 5. Man kann hiervon ein schön Exempel sehen (Recitative: B) 19:47 6. Jesus ist ein Schild der Seinen (Aria: B) 20:33 7. Verleih uns Frieden gnädiglich (Chorale) 23:56
Soloists: Soprano: Barbara Schlick Alto: Gérard Lesne Tenor: Howard Crook Bass: Peter Kooy
Performed by La Chapelle Royale & Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1990.
“The unidentified librettist of the cantata, ‘Am Abend aber desselbigen Sabbats’, based his text on the opening lines of the Gospel reading for the First Sunday after Easter, taken from St. John. Although a substantial work in terms of length, Bach allotted only one of the seven movements to the choir; instead of the opening chorale fantasia, which Bach favoured in his Leipzig cantatas, this one begins with an unusually extended Sinfonia. Performed for the first time on the Sunday after Easter, in 1725, Alfred Dürr suggests that Bach deliberately omitted a full-scale choral movement in order to give his choir a well-earned rest after their exacting duties over the Passiontide and Easter festivals.
“The ‘SInfonia’, a full-scale orchestral movement, probably from a lost concerto, is scored for a concertino group of two oboes and a bassoon, with strings, organ, and continuo. Much of the two-part violin writing is in unison but, as the movement unfolds, it plays a role of greater intricacy with the woodwind concertino. The movement is cast in ‘da capo’ form with a central section, marked ‘cantabile’. Here the beautifully shaped melodies of the two oboe parts and the tenderly lyrical character of the section as a whole have led some writers to suggest that Bach perhaps intended an evocation of eventide and the walk to Emmaus, prevailing themes running through the cantata. The first vocal number is a tenor recitative accompanied by a continuo part of repeated semi-quavers. The words, here, are those of the title: ‘Then the same day at evening, being the first day of the week when the doors were shut where the disciples were assembled, came Jesus and stood in the midst.’ The following ‘da capo’ aria for alto with oboes, bassoon, and strings is concerto-like both in scale and structure and perhaps belonged to the same work from which Bach borrowed the opening ‘Sinfonia’. This is the heart of the work and is cast in two distinct sections: first, an Adagio, the more extended of the two, then a brief contrasting section in 12/8 and marked ‘Un poco andante’, which returns to the opening.
“The third movement is a duet for soprano and tenor accompanied by bassoon, cello, and continuo. The words are based on a verse from a seventeenth century Lied by Jakob Fabricius (c. 1635). Bach makes fleeting and subtle references to its associated melody both in the continuo and the tenor parts. The following recitative and aria are for the bass soloist. In the closing bars of the recitative the continuo depicts the impotent rage of Christ’s antagonists. In the lively and invigorating A major aria scored for two violins, bassoon, organ, and continuo, three aspects of Christian belief are contrasted: the impotence of Christ’s enemies is depicted in the restless violin figurations, while the vocal line expresses the tranquil reassurance imparted by faith in Christ. Lastly, the powerful continuo symbolizes persistence and strength. The cantata ends with a four-part chorale accompanied by the full orchestra. The first verse contains Luther’s German translation of the Latin Antiphon ‘Da pacem, Domine’, with its anonymous melody. The second verse, by Johann Walther, is a prayer for peace and good government traditionally linked with Luther’s translation; its melody too, is an anonymous one dating from the 16th century. Bach had used these verses just a few weeks earlier in his Sexagesima cantata, BWV 126, but set them differently on each occasion.” – Nicholas Anderson
Painting: The Man Who Passed By (Interior), Georges Le Brun
Does it seem to you that the world has gone mad? Wars, bombings, killings, hate….
I can offer but a little remedy, an escape rather. Music equivalent of “slow TV”, something created not to excite our over-driven nerves, but to soothe, to lull, to put in ultimate trance, to make the time stand still and the troubles of outside world fade away, if only for a few minutes.
Nobody has done it better than my beloved Franz Schubert.
There is a famous quip about two musicians arguing over the merits ( or weaknesses) of Schubert late piano sonatas, one describing the unusual time span of the pieces as “the heavenly lengths”, another – replying “they aren’t that heavenly, they are just plain LENGTHS”.
Yes, Schubert is unique in a sense that he’s dispensed not only with customary time restrains established by the need to keep the listener “interested”, but also with the medley of rather theatrical “action heroes” prerequisite for a virtuoso performer to feel adequate 🙂 His music is not about heroes and villains, gods and devils.
His music is about you and I, about regular people living their lives, loving, longing, suffering, dying….all without the world taking notice and without the headlines.That’s the real charm and beguiling spell of his music – this is about us, the regular human beings, whom he understood better than any other composer.
You might not be able to fully enjoy this piece from the first try, or if you have your thoughts wondering around, thinking of million little things, looking for easy gratification of virtuoso finger-work and thunderous chords.
You will enjoy it if you allow yourself to surrender to this music, to its flow, as slow, smooth and spellbinding neurasthenia waters of mythical river Lethe, the river of forgetfulness and oblivion.
“J’ai trop vu, trop senti, trop aimé dans ma vie; Je viens chercher vivant le calme du Léthé.”
“I have seen too much, felt too much, loved too much in my life;
I come to seek, still living, the calm of Lethe.”
A.de Lamartine
00:00 1. Allegro 17:17 2. Andantino 26:14 3. Scherzo: Allegro vivace – Trio: Un poco più lento 31:20 4. Rondo: Allegretto – Presto.
La Galleria è situata in alcuni fra i più bei saloni del Palazzo (dal quale deriva appunto il nome Palatina cioè del Palazzo), nel piano nobile. La superba collezione di dipinti è centrata sul periodo del tardo Rinascimento e il barocco, l’epoca d’oro del palazzo stesso, ed è il più importante esempio in Italia di quadreria, dove, a differenza di un allestimento museale moderno, i quadri non sono esposti con criteri sistematici, ma puramente decorativi, coprendo tutta la superficie della parete in schemi simmetrici, molto fedele all’allestimento originario voluto dal Granduca Pietro Leopoldo tra la fine del Settecento e l’inizio dell’Ottocento.
Christ in Majesty, 7th century. Church of Santa Maria Antiqua, Rome.
(Christ in Majesty, 7th century. Church of Santa Maria Antiqua, Rome.)
Holy Gospel of Jesus Christ according to Saint John 17:20-26.
Lifting up his eyes to heaven, Jesus prayed saying: “I pray not only for them, but also for those who will believe in me through their word,
so that they may all be one, as you, Father, are in me and I in you, that they also may be in us, that the world may believe that you sent me.
And I have given them the glory you gave me, so that they may be one, as we are one,
I in them and you in me, that they may be brought to perfection as one, that the world may know that you sent me, and that you loved them even as you loved me.
Father, they are your gift to me. I wish that where I am they also may be with me, that they may see my glory that you gave me, because you loved me before the foundation of the world.
Righteous Father, the world also does not know you, but I know you, and they know that you sent me.
I made known to them your name and I will make it known, that the love with which you loved me may be in them and I in them.”
Mural: Christ in Majesty, 7th century. Church of Santa Maria Antiqua, Rome.
Donald Trump e atacat de 187 de organizații finanțate în mod direct de SOROS şi totuşi Donald Trump conduce primarele republicane. Pe Marian Muntean l-au atacat doar 10 şi PNL-ul a capitulat
Rich Swier, un cunoscut blogger american, a făcut revista presei americane și a identificat 187 de organizații finanțate în mod direct de SOROS care îl atacă, zi de zi, pe Donald Trump.
Şi totuşi Donald Trump conduce primarele republicane.
Pe Marian Muntean l-au atacat doar 8-9 ONG-uri şi cu GDS-ul “zece care-i şi întrece” şi vreo 10 ziare şi televiziuni progresiste şi băsiste şi PNL-ul a capitulat speriat la culme de minciunile soroşiste. Sau a vrut să capituleilze ca să câștige Nicușor Dan, omul ONG-urilor lui Soros? .
The Ascension. Benjamin West. 1801. Denver Art Museum, Colorado, United States.
The Ascension. Benjamin West. 1801. Denver Art Museum, Colorado, United States.
From a sermon by Saint Augustine, bishop
(Sermo de Ascensione Domini, Mai 98, 1-2: PLS 2, 494-495)
“No one has ever ascended into heaven except the one who descended from heaven”
Today our Lord Jesus Christ ascended into heaven; let our hearts ascend with him. […] For just as he remained with us even after his ascension, so we too are already in heaven with him, even though what is promised us has not yet been fulfilled in our bodies. […]
While in heaven he is also with us; and we while on earth are with him. He is here with us by his divinity, his power and his love. We cannot be in heaven, as he is on earth, by divinity, but in him, we can be there by love.
He did not leave heaven when he came down to us; nor did he withdraw from us when he went up again into heaven. The fact that he was in heaven even while he was on earth is borne out by his own statement: No one has ever ascended into heaven except the one who descended from heaven, the Son of Man, who is in heaven. […]
These words are explained by our oneness with Christ, for he is our head and we are his body. No one ascended into heaven except Christ because we also are Christ: he is the Son of Man by his union with us, and we by our union with him are the sons of God. So the Apostle says: Just as the human body, which has many members, is a unity, because all the different members make one body, so is it also with Christ. He too has many members, but one body.
The Ascension. Benjamin West. 1801. Denver Art Museum, Colorado, United States.
Holy Gospel of Jesus Christ according to Saint John 17:20-26.
Lifting up his eyes to heaven, Jesus prayed saying: “I pray not only for them, but also for those who will believe in me through their word, so that they may all be one, as you, Father, are in me and I in you, that they also may be in us, that the world may believe that you sent me.
And I have given them the glory you gave me, so that they may be one, as we are one,
I in them and you in me, that they may be brought to perfection as one, that the world may know that you sent me, and that you loved them even as you loved me.
Father, they are your gift to me. I wish that where I am they also may be with me, that they may see my glory that you gave me, because you loved me before the foundation of the world.
Righteous Father, the world also does not know you, but I know you, and they know that you sent me.
I made known to them your name and I will make it known, that the love with which you loved me may be in them and I in them.”
Ascension, les Très Riches Heures du Duc de Berry. By the Limbourg brothers, 15th century. Musée Condé, Chantilly, France
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CIDSE - TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)
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