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Watch “The Doors – Riders On The Storm (ORIGINAL!) – driving with Jim” on YouTube


The Doors Lyrics

“Riders On The Storm”

Riders on the storm
Riders on the storm
Into this house we’re born
Into this world we’re thrown
Like a dog without a bone
An actor out on loan
Riders on the storm

There’s a killer on the road
His brain is squirmin’ like a toad
Take a long holiday
Let your children play
If you give this man a ride
Sweet family will die
Killer on the road, yeah

Girl, you gotta love your man
Girl, you gotta love your man
Take him by the hand
Make him understand
The world on you depends
Our life will never end
Gotta love your man, yeah

Riders on the storm
Riders on the storm
Into this house we’re born
Into this world we’re thrown
Like a dog without a bone
An actor out on loan.
Riders on the storm

Riders on the storm
Riders on the storm
Riders on the storm
Riders on the storm
Riders on the storm

Watch “Chilling Adventures of Sabrina 2×9 – Full Dance of Lucifer And Sabrina #Sabrina #DarkLord season 2×9” on YouTube


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Chilling Adventures of Sabrina (TV series)

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Chilling Adventures of Sabrina is an American supernatural horror web television series developed by Roberto Aguirre-Sacasa for Netflix, based on the Archie comic book series of the same name. The series is produced by Warner Bros. Television, in association with Berlanti Productions and Archie Comics. Aguirre-Sacasa and Greg Berlanti serve as executive producers, alongside Sarah Schechter, Jon Goldwater, and Lee Toland Krieger.
Chilling Adventures of Sabrina
Chilling Adventures of Sabrina logo.jpg
Genre

Horror
Supernatural

Based on
Chilling Adventures of Sabrina
by Archie Comics
Developed by
Roberto Aguirre-Sacasa
Starring

Kiernan Shipka
Ross Lynch
Lucy Davis
Chance Perdomo
Michelle Gomez
Jaz Sinclair
Tati Gabrielle
Adeline Rudolph
Richard Coyle
Miranda Otto

Composer(s)
Adam Taylor
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
20 (list of episodes)
Production
Executive producer(s)

Lee Toland Krieger
Jon Goldwater
Sarah Schechter
Roberto Aguirre-Sacasa
Greg Berlanti

Producer(s)

Craig Forrest
Ryan Lindenberg
Matthew Barry

Production location(s)
Vancouver, British Columbia
Cinematography

David Lanzenberg
Brendan Michael Uegama
Stephen Maier
Craig Powell

Editor(s)

Harry Jierjian
Gaston Jaren Lopez
Rita K. Sanders
Elizabeth Czyzewki
Jason Cherella
Erin Wolf
Leigh Dodson

Running time
49–63 minutes
Production company(s)
Archie Comics
Warner Bros. Television
Berlanti Productions
Distributor
Netflix Streaming Services
Warner Bros. Television Distribution
Release
Original network
Netflix
Picture format

1080p (2:1 aspect ratio) HDTV
2160p (2:1 4K UHD)

Audio format
Dolby Digital 5.1
Original release
October 26, 2018 –
present
External links
Official website

The series is centered on the Archie Comics character Sabrina Spellman, portrayed by Kiernan Shipka, and also stars Ross Lynch, Lucy Davis, Chance Perdomo, Michelle Gomez, Jaz Sinclair, Tati Gabrielle, Adeline Rudolph, Richard Coyle, and Miranda Otto. Originally in development during September 2017 at The CW, the series was intended to be a companion series to Riverdale; however, in December 2017, the project was moved to Netflix with a straight-to-series order, consisting of two seasons. Filming takes place in Vancouver, British Columbia, where both parts of the first season were shot back-to-back.

The first ten episodes were released on October 26, 2018. The series has received positive reviews, with critics praising Shipka’s performance, as well as the premise, visuals, and directing. A Christmas special episode was released on December 14, 2018, and the second part of the first season was released on April 5, 2019. In December 2018, Netflix renewed the series for a second season of 16 episodes, which will also be split into two parts.
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Last edited 3 days ago by Kte95
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Watch “Charlotte Church – The Lord’s Prayer (Live From Jerusalem 2001)” on YouTube


https://en.m.wikipedia.org/wiki/Lord%27s_Prayer

Lord’s Prayer

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For other uses, see Lord’s Prayer (disambiguation), Our Father (disambiguation) and Pater Noster (disambiguation).
James Tissot—The Lord’s Prayer (Le Pater Noster)—Brooklyn Museum

The Lord’s Prayer, also called the Our Father (Latin, Pater Noster), is a venerated Christian prayer which, according to the New Testament, Jesus taught as the way to pray:

Pray then in this way … (Matthew 6:9 NRSV)
When you pray, say … (Luke 11:2 NRSV)

Two versions of this prayer are recorded in the gospels: a longer form within the Sermon on the Mount in the Gospel of Matthew, and a shorter form in the Gospel of Luke when “one of his disciples said to him, ‘Lord, teach us to pray, as John taught his disciples.'” (Luke 11:1 NRSV). Lutheran theologian Harold Buls suggested that both were original, the Matthean version spoken by Jesus early in his ministry in Galilee, and the Lucan version one year later, “very likely in Judea”.[1]

The first three of the seven petitions in Matthew address God; the other four are related to human needs and concerns. The Matthew account alone includes the “Your will be done” and the “Rescue us from the evil one” (or “Deliver us from evil”) petitions. Both original Greek texts contain the adjective epiousios, which does not appear in any other classical or Koine Greek literature; while controversial, “daily” has been the most common English-language translation of this word. Protestants usually conclude the prayer with a doxology, a later addendum appearing in some manuscripts of Matthew.
Matthew 6:9-13 (NRSV) Luke 11:2-4 (NRSV)
Our Father in heaven, Father, [Other ancient authorities read Our father in heaven]
hallowed be your name. hallowed be your name.
Your kingdom come. Your kingdom come.
[A few ancient authorities read Your Holy Spirit come upon us and cleanse us.]
Your will be done, on earth as it is in heaven. [Other ancient authorities add Your will be done, on earth as in heaven]
Give us this day our daily bread. [Or our bread for tomorrow] Give us each day our daily bread. [Or our bread for tomorrow]
And forgive us our debts, as we also have forgiven our debtors. and forgive us our sins, for we ourselves forgive everyone indebted to us.
And do not bring us to the time of trial, [Or us into temptation] but rescue us from the evil one. [Or from evil] And do not bring us to the time of trial. [Or us into temptation. Other ancient authorities add but rescue us from the evil one (or from evil)]
[Other ancient authorities add, in some form, For the kingdom and the power and the glory are yours forever. Amen.]

Initial words on the topic from the Catechism of the Catholic Church teach that it “is truly the summary of the whole gospel”.[2] The prayer is used by most Christian churches in their worship; with few exceptions, the liturgical form is the Matthean. Although theological differences and various modes of worship divide Christians, according to Fuller Seminary professor Clayton Schmit, “there is a sense of solidarity in knowing that Christians around the globe are praying together … and these words always unite us.”[3]

In biblical criticism, the prayer’s absence in the Gospel of Mark together with its occurrence in Matthew and Luke has caused scholars who accept the two-source hypothesis (against other document hypotheses) to conclude that it is probably a logion original to Q.[4]
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Last edited 3 hours ago by an anonymous user
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Content is available under CC BY-SA 3.0 unless otherwise noted.

Watch “Christopher Walken reads The Raven”, by Edgar Allan Poe, on YouTube


“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!

Watch “Leonard Cohen Interview – Part 1 of 3” on YouTube


Watch “Isn’t it a Pity – Nina Simone” on YouTube


Isn’t it a pity
You don’t know what I’m talking about, yet
But I will tell you soon
It’s a pity

Isn’t it a pity
Isn’t it a shame
Yes, how we break each other’s hearts
And cause each other pain

How we take each other’s love
Without thinking anymore
Forgetting to give back
Forgetting to remember
Just forgetting and no thank you
Isn’t it a pity

Some things take so long
But how do I explain
Why not too many people can see
That we are all just the same
We’re all guilty

Because of all the tears
Our eyes just can’t hope to see
But I don’t think it’s applicable to me
The beauty that surrounds them
Child, isn’t it a pity

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How we break each other’s hearts
And cause each other pain
How we take each other’s love
The most precious thing
Without thinking anymore

Forgetting to give back
Forgetting to keep open our door
Isn’t it a pity
Isn’t it a pity

Some things take so long
But how do I explain
Isn’t it a pity
Why not too many people
Can see we’re all the same

Because we cry so much
Our eyes can’t, can’t hope to see
That’s not quite true
The beauty that surrounds them
Maybe that’s why we cry
God, isn’t it a pity

Lord knows, it’s a pity
Mankind has been so programmed
That they don’t care about nothin’
That has to do with care
C-a-r-e

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How we take each other’s love
The most precious thing
Without thinking anymore
Forgetting to give back
Forgetting to keep open the door

But I understand some things take so long
But how do I explain
Why not too many people
Can see we’re just the same

And because of all their tears
Their eyes can’t hope to see
The beauty that surrounds them
God, isn’t it a pity
The beauty that surrounds them
It’s a pity

We take each other’s love
Just take it for granted
Without thinking anymore
We give each other pain
And we shut every door

We take each other’s minds
And we’re capable of take each other’s souls
We do it every day
Just to reach some financial goal
Lord, isn’t it a pity, my God
Isn’t it a pity, my God
And so unnecessary

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Just a little time, a little care
A little note written in the air
Just the little thank you
We just forget to give back
‘Cause we’re moving too fast
Moving too fast
Forgetting to give back

But some things take so long
And I cannot explain
The beauty that surrounds us
And we don’t see it
We think things are just the same
We’ve been programmed that way

Isn’t it a pity
If you want to feel sorry
Isn’t it a pity
Isn’t it a pity
The beauty sets the beauty that surrounds us
Because of all our tears
Our eyes can’t hope to see

Maybe one day, at least, I’ll see me
And just concentrate on givin’, givin’, givin’, givin’
And ’til that day
Mankind don’t stand a chance
Don’t know nothin’ about romance
Everything is plastic
Isn’t it a pity
My God

Watch “Nina Simone – Sinnerman” and Tom Ellis on YouTube (2 videos)



Oh, sinnerman, where you gonna run to?
Sinnerman where you gonna run to?
Where you gonna run to?
All on that day
We got to run to the rock
Please hide me, I run to the rock
Please hide me, run to the rock
Please hide here
All on that day
But the rock cried out
I can’t hide you, the rock cried out
I can’t hide you, the rock cried out
I ain’t gonna hide you there
All on that day
I said rock
What’s the matter with you rock?
Don’t you see I need you, rock?
Good Lord, Lord
All on that day
So I run to the river
It was bleedin’, I run to the sea
It was bleedin’, I run to the sea
It was bleedin’, all on that day
So I run to the river
It was boilin’, I run to the sea
It was boilin’, I run to the sea
It was boilin’, all on that day

So I run to the Lord
Please hide me, Lord
Don’t you see me prayin’?
Don’t you see me down here prayin’?
But the Lord said
Go to the Devil, the Lord said
Go to the Devil
He said go to the Devil
All on that day
So I ran to the Devil
He was waitin’, I ran to the Devil
He was waitin’, ran to the Devil
He was waitin’, all on that day
I cried, power, power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Kingdom (power, Lord)
Kingdom (power, Lord)
Kingdom (power, Lord)
Kingdom (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Oh yeah
Oh yeah
Oh yeah
Well, I run to the river
It was boilin’, I run to the sea
It was boilin’, I run to the sea
It was boilin’, all on that day
So I ran to the Lord
I said Lord, hide me
Please hide me
Please help me, all on that day
He said, hide?
Where were you?
When you oughta have been prayin’
I said Lord, Lord
Hear me prayin’, Lord, Lord
Hear me prayin’, Lord, Lord
Hear me prayin’, all on that day
Sinnerman, you oughta be prayin’
Outghta be prayin’, sinnerman
Oughta be prayin’, all on that day
Up come power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
(Power, Lord)
Hold down (power, Lord)
Go down (power, Lord)
Kingdom (power, Lord)
Power (power, Lord)
Power (power, Lord)
Power (power, Lord)
Na-na-na, na-na-na-na
Na-na-na, na-na-na-na
Na-na-na, na-na-na-na
Woah, ho
Ha-ha-ha-ha
Ha-ha-ha-ha, oh Lord
Nu, nu, nu
No-no-no-no, ma-na-na-na-na, don’t you know I need you Lord?
Don’t you know that I need you?
Don’t you know that I need you?
Oh, Lord
Wait
Oh, Lord
Oh, Lord, Lord
Source: LyricFind


Songwriters: Nina Simone
Sinnerman lyrics © Warner Chappell Music, Inc

Watch “Modigliani’s Women! ( 12 July 1884 – 24 January 1920)” on YouTube


CHOPIN: Nocturne No. 2, E flat major, Op. 9, No. 2

https://en.m.wikipedia.org/wiki/Amedeo_Modigliani

Amedeo Modigliani

Amedeo Clemente Modigliani (Italian pronunciation: [ameˈdɛːo modiʎˈʎaːni]; 12 July 1884 – 24 January 1920) was an Italian Jewish painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern
style characterized by elongation of faces, necks, and figures that
were not received well during his lifetime but later found acceptance.
Modigliani spent his youth in Italy, where he studied the art of
antiquity and the Renaissance. In 1906 he moved to Paris, where he came
into contact with such artists as Pablo Picasso and Constantin Brâncuși. By 1912 Modigliani was exhibiting highly stylized sculptures with Cubists of the Section d’Or group at the Salon d’Automne.

Amedeo Modigliani

Amedeo Modigliani Photo.jpg

Amedeo Modigliani

Born

Amedeo Clemente Modigliani

12 July 1884

Died 24 January 1920 (aged 35)

Nationality Italian
Education Accademia di Belle Arti, Florence
Known for Painting, sculpture

Notable work

Redheaded Girl in Evening Dress
Madame Pompadour
Jeanne Hébuterne in Red Shawl

Modigliani’s
œuvre includes paintings and drawings. From 1909 to 1914 he devoted
himself mainly to sculpture. His main subject was portraits and full
figures, both in the images and in the sculptures. Modigliani had little
success while alive, but after his death achieved great popularity. He
died of tubercular meningitis, at the age of 35, in Paris.

Family and early lifeEdit

Modigliani’s birthplace in Livorno

Modigliani was born into a Sephardic Jewish family in Livorno, Italy. A port city, Livorno had long served as a refuge for those persecuted for their religion, and was home to a large Jewish community. His maternal great-great-grandfather, Solomon Garsin, had immigrated to Livorno in the 18th century as a refugee.[1]

Modigliani’s mother, Eugénie Garsin, born and raised in Marseille,
was descended from an intellectual, scholarly family of Sephardic
ancestry that for generations had lived along the Mediterranean
coastline. Fluent in many languages, her ancestors were authorities on
sacred Jewish texts and had founded a school of Talmudic studies. Family legend traced the family lineage to the 17th-century Dutch philosopher Baruch Spinoza.
The family business was a credit agency with branches in Livorno,
Marseille, Tunis, and London, though their fortunes ebbed and flowed.[2][3]

Modigliani’s
father, Flaminio, was a member of an Italian Jewish family of
successful businessmen and entrepreneurs. While not as culturally
sophisticated as the Garsins, they knew how to invest in and develop
thriving business endeavors. When the Garsin and Modigliani families
announced the engagement of their children, Flaminio was a wealthy young
mining engineer. He managed the mine in Sardinia and also managed the almost 30,000 acres (12,141 ha) of timberland the family owned.[4]

A
reversal in fortune occurred to this prosperous family in 1883. An
economic downturn in the price of metal plunged the Modiglianis into
bankruptcy. Ever resourceful, Modigliani’s mother used her social
contacts to establish a school and, along with her two sisters, made the
school into a successful enterprise.[5]

Amedeo
Modigliani was the fourth child, whose birth coincided with the
disastrous financial collapse of his father’s business interests.
Amedeo’s birth saved the family from ruin; according to an ancient law,
creditors could not seize the bed of a pregnant woman or a mother with a
newborn child. The bailiffs entered the family’s home just as Eugenia
went into labour; the family protected their most valuable assets by
piling them on top of her.

Modigliani had a close relationship with his mother, who taught
him at home until he was 10. Beset with health problems after an attack
of pleurisy when he was about 11, a few years later he developed a case of typhoid fever. When he was 16 he was taken ill again and contracted the tuberculosis
which would later claim his life. After Modigliani recovered from the
second bout of pleurisy, his mother took him on a tour of southern
Italy: Naples, Capri, Rome and Amalfi, then north to Florence and Venice.[6][7][8]

His
mother was, in many ways, instrumental in his ability to pursue art as a
vocation. When he was 11 years of age, she had noted in her diary: “The
child’s character is still so unformed that I cannot say what I think
of it. He behaves like a spoiled child, but he does not lack
intelligence. We shall have to wait and see what is inside this
chrysalis. Perhaps an artist?”[9]

Art student yearsEdit

Modigliani is known to have drawn and painted from a very early age, and thought himself “already a painter”, his mother wrote,[10]
even before beginning formal studies. Despite her misgivings that
launching him on a course of studying art would impinge upon his other
studies, his mother indulged the young Modigliani’s passion for the
subject.

At the age of fourteen, while sick with typhoid fever, he raved
in his delirium that he wanted, above all else, to see the paintings in
the Palazzo Pitti and the Uffizi in Florence. As Livorno’s local museum housed only a sparse few paintings by the Italian Renaissance
masters, the tales he had heard about the great works held in Florence
intrigued him, and it was a source of considerable despair to him, in
his sickened state, that he might never get the chance to view them in
person. His mother promised that she would take him to Florence herself,
the moment he was recovered. Not only did she fulfil this promise, but
she also undertook to enroll him with the best painting master in
Livorno, Guglielmo Micheli.

Micheli and the MacchiaioliEdit

Portrait of Pablo Picasso, 1915, private collection

His home in Venice.

Modigliani worked in Micheli’s Art School from 1898 to 1900. Among his colleagues in that studio would have been Llewelyn Lloyd, Giulio Cesare Vinzio, Manlio Martinelli, Gino Romiti, Renato Natali, and Oscar Ghiglia.
Here his earliest formal artistic instruction took place in an
atmosphere steeped in a study of the styles and themes of 19th-century
Italian art. In his earliest Parisian work, traces of this influence,
and that of his studies of Renaissance art, can still be seen. His nascent work was shaped as much by such artists as Giovanni Boldini as by Toulouse-Lautrec.

Modigliani showed great promise while with Micheli, and ceased
his studies only when he was forced to, by the onset of tuberculosis.

In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli,
a painter of dramatic religious and literary scenes. Morelli had served
as an inspiration for a group of iconoclasts who were known by the
title “the Macchiaioli” (from macchia —”dash
of colour”, or, more derogatively, “stain”), and Modigliani had already
been exposed to the influences of the Macchiaioli. This localized landscape
movement reacted against the bourgeois stylings of the academic genre
painters. While sympathetically connected to (and actually pre-dating)
the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the contemporaries and followers of Monet, and are today largely forgotten outside Italy.

Modigliani’s connection with the movement was through Guglielmo
Micheli, his first art teacher. Micheli was not only a Macchiaiolo
himself, but had been a pupil of the famous Giovanni Fattori,
a founder of the movement. Micheli’s work, however, was so fashionable
and the genre so commonplace that the young Modigliani reacted against
it, preferring to ignore the obsession with landscape that, as with
French Impressionism, characterized the movement. Micheli also tried to
encourage his pupils to paint en plein air,
but Modigliani never really got a taste for this style of working,
sketching in cafés, but preferring to paint indoors, and especially in
his own studio. Even when compelled to paint landscapes (three are known
to exist),[11] Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.

While with Micheli, Modigliani studied not only landscape, but
also portraiture, still life, and the nude. His fellow students recall
that the last was where he displayed his greatest talent, and apparently
this was not an entirely academic pursuit for the teenager: when not
painting nudes, he was occupied with seducing the household maid.[10]

Despite
his rejection of the Macchiaioli approach, Modigliani nonetheless found
favour with his teacher, who referred to him as “Superman”, a pet name
reflecting the fact that Modigliani was not only quite adept at his art,
but also that he regularly quoted from Nietzsche’s Thus Spoke Zarathustra. Fattori himself would often visit the studio, and approved of the young artist’s innovations.[12]

In 1902, Modigliani continued what was to be a lifelong infatuation with life drawing, enrolling in the Scuola Libera di Nudo, or “Free School of Nude Studies”, of the Accademia di Belle Arti in Florence. A year later, while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Regia Accademia ed Istituto di Belle Arti.
It is in Venice that he first smoked hashish
and, rather than studying, began to spend time frequenting disreputable
parts of the city. The impact of these lifestyle choices upon his
developing artistic style is open to conjecture, although these choices
do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism
that was almost expected of artists of the time; his pursuit of the
seedier side of life appears to have roots in his appreciation of
radical philosophies, including those of Nietzsche.

Portrait of Chaim Soutine, 1916

Early literary influencesEdit

Having been exposed to erudite philosophical literature as a young
boy under the tutelage of Isaco Garsin, his maternal grandfather, he
continued to read and be influenced through his art studies by the
writings of Nietzsche, Baudelaire, Carducci, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.

Letters that he wrote from his ‘sabbatical’ in Capri in 1901
clearly indicate that he is being more and more influenced by the
thinking of Nietzsche. In these letters, he advised friend Oscar
Ghiglia;

(hold sacred all) which can exalt and excite your
intelligence… (and) … seek to provoke … and to perpetuate …
these fertile stimuli, because they can push the intelligence to its
maximum creative power.[13]

The work of Lautréamont was equally influential at this time. This doomed poet’s Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani’s generation, and the book became Modigliani’s favourite to the extent that he learnt it by heart.[12]
The poetry of Lautréamont is characterized by the juxtaposition of
fantastical elements, and by sadistic imagery; the fact that Modigliani
was so taken by this text in his early teens gives a good indication of
his developing tastes. Baudelaire and D’Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.

Modigliani wrote to Ghiglia extensively from Capri, where his
mother had taken him to assist in his recovery from tuberculosis. These
letters are a sounding board for the developing ideas brewing in
Modigliani’s mind. Ghiglia was seven years Modigliani’s senior, and it
is likely that it was he who showed the young man the limits of his
horizons in Livorno. Like all precocious teenagers, Modigliani preferred
the company of older companions, and Ghiglia’s role in his adolescence
was to be a sympathetic ear as he worked himself out, principally in the
convoluted letters that he regularly sent, and which survive today.[14]

Dear friend, I write to pour myself out to you and to
affirm myself to myself. I am the prey of great powers that surge forth
and then disintegrate … A bourgeois
told me today–insulted me–that I or at least my brain was lazy. It did
me good. I should like such a warning every morning upon awakening: but
they cannot understand us nor can they understand life…[15]

Paris

Gallery of works

Montparnasse, ParisEdit

Female Head, 1911/1912, Tate

SculptureEdit

Four sculptures by Modigliani were exhibited at the 1912 Salon d’Automne along with the Cubists. Towards the front left, Joseph Csaky‘s sculpture Groupe de femmes. Other works are shown by František Kupka (Fugue in Two Colors), Francis Picabia (The Spring), Jean Metzinger (Dancer in a Café), and Henri Le Fauconnier (Mountaineers Attacked by Bears).

In 1909, Modigliani returned home to Livorno, sickly and tired from
his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brâncuși. He was Constantin Brâncuși’s disciple for one year.

Although a series of Modigliani’s sculptures were exhibited in the Salon d’Automne
of 1912, by 1914 he abandoned sculpting and focused solely on his
painting, a move precipitated by the difficulty in acquiring sculptural
materials due to the outbreak of war, and by Modigliani’s physical debilitation.[3]

In June 2010 Modigliani’s Tête, a limestone carving of a woman’s head, became the third most expensive sculpture ever sold.

Friends and influencesEdit

Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moïse Kisling, Pablo Picasso, Diego Rivera, Marie “Marevna” Vorobyev-Stebeslka, Juan Gris, Max Jacob, Jacques Lipchitz, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.

The war years

Patronage of Léopold Zborowski

Jeanne Hébuterne

Death and funeral

Legacy

Critical reactions

Selected works

See also

References

Further reading

External links

Watch “Susan Boyle Wins GOLDEN BUZZER on AGT The Champions | Got Talent Global” on YouTube


Watch “JIM CROCE – I’LL HAVE TO SAY I LOVE YOU IN A SONG” on YouTube



Well, I know it’s kind of late
I hope I didn’t wake you
But what I’ve got to say can’t wait
I know you’d understand
‘Cause every time I tried to tell you
The words just came out wrong
So I’ll have to say “I love you” in a song

Yeah, I know it’s kind of strange
Every time I’m near you
I just run out of things to say
I know you’d understand
‘Cause every time I tried to tell you
The words just came out wrong
So I’ll have to say “I love you” in a song
‘Cause every time the time was right
All the words just came out wrong
So I’ll have to say “I love you” (I love you) in a song
Yeah, I know it’s kind of late (it’s kind of late)
I hope I didn’t wake you
But there’s something that I just got to say
(I know you’d understand)
I know you’d understand
‘Cause every time I tried to tell you
The words just came out wrong
So I’ll have to say “I love you” in a song
Source: LyricFind


Songwriters: James Croce
I’ll Have to Say I Love You in a Song lyrics © BMG Rights Management

Watch “Find Out Who’s Tracking You Through Your Phone” on YouTube


How to protect your privacy? How to stay safe while using your phone? Did you know that anyone can get your personal information and read your private messages? Here’s a list of the most useful codes for smartphones all in one video, together with some instructions on how to detect intruders.

The status of the different types of diversions that are taking place along with the number the Information is being transferred to will be displayed on your phone‘s screen if you dial *#21#.

It’s a good idea to dial ##002# if you have to use roaming. In this case, money won’t be taken from your account for calls that are redirected by default to your voice mail.

People usually don’t reveal all that much in phone conversations. From the point of view of those who want to listen in, it‘s much more worthwhile to set up special devices (‘bugs’) in someone‘s home. Radio wave detectors can be used to work out whether such bugs are present in a building.

Determine what information it’s safe to make accessible to all. Be very careful when posting photographs of children. Only your mobile operator should ever offer you tracking services, and they should only turn them on with your explicit agreement. Websites and applications that offer to hand out the location of other people are almost certainly acting with criminal intent.

TIMESTAMPS

*#21# 0:35

*#62# 1:21

##002# 1:42

*#06# 2:03

The James Bond Code 2:39

Use Anti-Vlrus Software 4:28

How do the secret services listen in? 5:05

How can you protect yourself from criminals and spies? 6:06

Watch “Castiel: My Story – The Man Who Would Be King” on YouTube (A Witnessing Angel’s Monologue)


From Wikipedia:

http://www.supernaturalwiki.com/6.20_The_Man_Who_Would_Be_King

6.20 The Man Who Would Be King

Manwhowouldbekingpromo.jpg

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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Watch “Rhapsody In Blue (1945) – Rhapsody in Blue Debut” on YouTube


Rhapsody In Blue (1945) Directed by Irving Rapper1945 141 min

Robert Alda stars alongside musical greats Al Jolson, Paul Whiteman, and Oscar Levant in this biopic treatment of the life of composer George Gershwin. The film traces Gershwin’s rise, from his first big hit “Swanee” (performed by Al Jolson, playing himself), to his collaborations with lyricist brother Ira (Herbert Rudley) to the heights of artistic achievement with the debut of “Rhapsody in Blue” at Aeolian Hall

Starring Robert Alda, Joan Leslie, Alexis Smith

Category People & Blogs

Do you believe in…chocolate??? Watch “Hot Chocolate (I Believe in Miracles)” on YouTube



I believe in miracles
Where you from
You sexy thing, sexy thing you
I believe in miracles
Since you came along
You sexy thing

Where did you come from, baby?
How did you know I needed you?
How did you know I needed you so badly?
How did you know I’d give my heart gladly?
Yesterday I was one of the lonely people
Now you’re lying close to me, making love to me
I believe in miracles
Where you from, you sexy thing? (Sexy thing, you)
I believe in miracles
Since you came along, you sexy thing
Where did you come from, angel?
How did you know I’d be the one?
Did you know you’re everything I prayed for?
Did you know, every night and day for?
Every day, needing love and satisfaction
Now you’re lying next to me, giving it to me
I believe in miracles
Where you from, you sexy thing? (Sexy thing, you)
I believe in miracles
Since you came along, you sexy thing
Oh! Kiss me, you sexy thing
Touch me baby, you sexy thing
I love the way you touch me, darling, you sexy thing
Oh! It’s ecstasy, you sexy thing
Yesterday I was one of the lonely people
Now you’re lying close to me, giving it to me
I believe in miracles
Where you from, you sexy thing? (Sexy thing, you)
I believe in miracles
Since you came along, you sexy thing
Oh, touch me
Kiss me, darling
I love the way you hold me, baby
Oh, it’s ecstasy
Oh! It’s ecstasy (Sexy thing, you sexy thing, you)
Kiss me, baby (Sexy thing, you sexy thing, you)
I love the way you kiss me, darling (Sexy thing, you sexy thing, you)
Oh, yeah (Sexy thing, you sexy thing, you)
Love the way you hold me (Sexy thing, you sexy thing, you)
Keep on lovin’ me, darling (Sexy thing, you sexy thing, you)
Keep on lovin’ me, baby (Sexy thing, you sexy thing, you)
Source: LyricFind


Songwriters: Brown Wilson
You Sexy Thing lyrics © Kobalt Music Publishing Ltd., Music & Media Int’l, Inc

Quote by Henry Miller: “To walk in money through the night crowd, prote…” | Goodreads


https://www.goodreads.com/quotes/7942315-to-walk-in-money-through-the-night-crowd-protected-by

Quote by Henry Miller: “To walk in money through the night crowd, prote...” | Goodreads

Melanie’s “Nickel Song”: Let’s sing it in choir, before its getting really cold


…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 !

Melanie\’s \”The Nickel Song\”widget.php?song_id=178067

Like a Rolling Stone: Bob Dylan’s


“How does it feel…To be all alone…

Like a complete unknown…

Like a rolling stone…”

Continue reading

Il n’y a pas d’amour heureux: Georges Brassens


Georges Brassens
Il N’y A Pas D’amour Heureux lyrics

Pome de Louis Aragon
Musique : Georges Brassens

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

Leonard Cohen: The Master Song (1967)


The Master Song, by Leonard Cohen

I believe that you heard your master sing
when I was sick in bed.
I suppose that he told you everything
that I keep locked away in my head.
Your master took you travelling,
well at least that’s what you said.
And now do you come back to bring
your prisoner wine and bread?
You met him at some temple, where
they take your clothes at the door.
He was just a numberless man in a chair
who’d just come back from the war.
And you wrap up his tired face in your hair
and he hands you the apple core.
Then he touches your lips now so suddenly bare
of all the kisses we put on some time before.

And he gave you a German Shepherd to walk
with a collar of leather and nails,
and he never once made you explain or talk
about all of the little details,
such as who had a word and who had a rock,
and who had you through the mails.
Now your love is a secret all over the block,
and it never stops not even when your master fails.

And he took you up in his aeroplane,
which he flew without any hands,
and you cruised above the ribbons of rain
that drove the crowd from the stands.
Then he killed the lights in a lonely Lane
and, an ape with angel glands,
erased the final wisps of pain
with the music of rubber bands.

And now I hear your master sing,
you kneel for him to come.
His body is a golden string
that your body is hanging from.
His body is a golden string,
my body has grown numb.
Oh now you hear your master sing,
your shirt is all undone.

And will you kneel beside this bed
that we polished so long ago,
before your master chose instead
to make my bed of snow?
Your eyes are wild and your knuckles are red
and you’re speaking far too low.
No I can’t make out what your master said
before he made you go.

Then I think you’re playing far too rough
for a lady who’s been to the moon;
I’ve lain by this window long enough
to get used to an empty room.
And your love is some dust in an old man’s cough
who is tapping his foot to a tune,
and your thighs are a ruin, you want too much,
let’s say you came back some time too soon.

I loved your master perfectly
I taught him all that he knew.
He was starving in some deep mystery
like a man who is sure what is true.
And I sent you to him with my guarantee
I could teach him something new,
and I taught him how you would long for me
no matter what he said no matter what you’d do.

I believe that you heard your master sing
while I was sick in bed,
I’m sure that he told you everything
I must keep locked away in my head.
Your master took you travelling,
well at least that’s what you said,
And now do you come back to bring
your prisoner wine and bread?

Jacques Brel – Voir un ami pleurer (watching a friend cry)



Voir un ami pleurer (Jacques Brel)

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!

John Lennon: Imagine All The People


Welcome to The Hotel California


The House Of The Raising Sun


Bob Dylan: Lay, Lady Lay



http://a%20href=

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

(my grandma and your grandma sitting by the fire song) Iko, Iko-the dixie cups


Cello Concerto in Bminor Op 104(3)-Antonin Dvorak


Tragic Overture Opus 81 by Johannes Brahms


The Tragic Overture (German: Tragische Ouvertüre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on December 26, 1880 in Vienna. Most performances last between twelve and fifteen minutes.

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)

Ludwig van Beethoven ● Piano Trio No. 7 Op. 97 “Erzherzog Trio”, part 1 Allegro moderato



performed by the “Million Dollar Trio” Artur Rubinstein, Jascha Heifetz and Emanuel Feuermann, 1941.

The Piano Trio No. 7 in B-flat major, Op. 97, by Ludwig van Beethoven is a piano trio for piano, violin, and cello, published in 1811. It is commonly referred to as the Archduke Trio, because it was dedicated to the amateur pianist and composition student of Beethoven, Archduke Rudolph of Austria.

It was written during the “middle” period of Beethoven’s compositional career, which spans approximately 1803 until 1814. Composition began in the summer of 1810 and it was completed in March 1811.
(Source: http://en.wikipedia.org/wiki/Piano_Trio_No.7(Beethoven)

Handel’s Messiah:The Biblical Message Behind The Musical Masterpiece (NEW FULL LENGTH)


Caricature of Handel by Joseph Goupy (1754)

Image via Wikipedia


George Frideric Handel‘s musical masterpiece MESSIAH, illustrated with beautiful motion pictures and short narrative between the songs to tell the Biblical story behind the music. This presentation emphasizes the purpose of Jesus’ life, death and resurrection. Features The Academy of Ancient Music, Christopher Hogwood conductor, and the Smithsonian Chamber Players.

Regina Spektor_ Ne me quite pas (just wonderful music…that’s all!)


Regina Spektor_ Ne me quite pas

Regina Spektor_ Ne me quite pas

In a sentimental mood – Duke Ellington and John Coltrane (Another forget-me-not: can’t forget the past, don’t want to forget the past!)


“can’t forget the past, don’t want to forget the past!” 

GILBERT BECAUD C’EST QUOI LE TEMPS (“C’est un oiseaux qui fuit le camps”)


 

 

Français : Tombe de Gilbert Bécaud au cimetièr...

Français : Tombe de Gilbert Bécaud au cimetière du Père Lachaise (Photo credit: Wikipedia)


Artist: Gilbert Bécaud lyrics
Title: C’est Quoi Le Temps

Lyrics to C’est Quoi Le Temps :

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

C’est quoi le temps,
Un tyran qui nous prend tout et l’on s’en fout puisqu’on a tout le temps
C’est quoi le temps
 Send “C’est Quoi Le Temps” to your Cell 

great compositions/performances: J.S. Bach / Am Abend aber desselbigen Sabbats, BWV 42 (Herreweghe)


J.S. Bach / Am Abend aber desselbigen Sabbats, BWV 42 (Herreweghe)

Watch “Robin Williams reads “I Love You Without Knowing How” by Pablo Neruda” on YouTube


I love you without knowing how, by Pablo Neruda

I love you without knowing how,

by Pablo Neruda

This is how pieces de résistance are born: Watch “Bob Fosse on All That Jazz” on YouTube


This is How pieces de résistance are born

Watch “The Wilderness Survival @WildernessSurvivalSkill: Catching giant crab and meal preparations” on YouTube


@wildernessSurvivalSkill, giant crab, wilderness, food preparation, wood fire, talented enactors, Thailand, natural resources, jungle

Everliving music/fabulous composition: Watch “Respighi: Ancient Airs and Dances, Suite No. 3 – Sir Neville Marriner, Los Angeles Chamber Orchestra” on YouTube


Watch “Richard Wagner – The Valkyrie, WWV 86b, Ride of the Valkyries (Oslo Philharmonic/ Maris Jansons)” on YouTube


Loved songs and singers: Watch “Janis Joplin – Me & Bobby McGee” on YouTube


Watch Valentina Lisitsa: F. Schubert Sonata A major # 20 D.959 Valentina Lisitsa Another exceptional interpretation, from the unequaled Valentina Lisitsa


F. Schubert Sonata A major # 20 D.959 Valentina Lisitsa

Published on Jul 25, 2016

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.

  • Category

  • License

    • Standard YouTube License

Watch “Leonard Cohen – A Thousand Kisses Deep” on YouTube



The ponies run, the girls are young,
The odds are there to beat.
You win a while, and then it’s done ?
Your little winning streak.
And summoned now to deal
With your invincible defeat,
You live your life as if it?s real,
A Thousand Kisses Deep.

I’m turning tricks, I’m getting fixed,
I’m back on Boogie Street.
You lose your grip, and then you slip
Into the Masterpiece.
And maybe I had miles to drive,
And promises to keep:
You ditch it all to stay alive,
A Thousand Kisses Deep.

And sometimes when the night is slow,
The wretched and the meek,
We gather up our hearts and go,
A Thousand Kisses Deep.

Confined to sex, we pressed against
The limits of the sea:
I saw there were no oceans left
For scavengers like me.
I made it to the forward deck.
I blessed our remnant fleet…
And then consented to be wrecked,
A Thousand Kisses Deep.

I’m turning tricks, I’m getting fixed,
I’m back on Boogie Street.
I guess they won’t exchange the gifts
That you were meant to keep.
And quiet is the thought of you,
The file on you complete,
Except what we forgot to do,
A Thousand Kisses Deep.

And sometimes when the night is slow,
The wretched and the meek,
We gather up our hearts and go,
A Thousand Kisses Deep.

The ponies run, the girls are young,
The odds are there to beat .

Watch “Leonard Cohen-In My Secret Life” on YouTube


https://youtu.be/ym3_m_Apfas
LEONARD COHEN LYRICS

“In My Secret Life”

I saw you this morning.
You were moving so fast.
Can’t seem to loosen my grip
On the past.
And I miss you so much.
There’s no one in sight.
And we’re still making love
In My Secret Life.

I smile when I’m angry.
I cheat and I lie.
I do what I have to do
To get by.
But I know what is wrong,
And I know what is right.
And I’d die for the truth
In My Secret Life.

Hold on, hold on, my brother.
My sister, hold on tight.
I finally got my orders.
I’ll be marching through the morning,
Marching through the night,
Moving cross the borders
Of My Secret Life.

Looked through the paper.
Makes you want to cry.
Nobody cares if the people
Live or die.
And the dealer wants you thinking
That it’s either black or white.
Thank G-d it’s not that simple
In My Secret Life.

I bite my lip.
I buy what I’m told:
From the latest hit,
To the wisdom of old.
But I’m always alone.
And my heart is like ice.
And it’s crowded and cold
In My Secret Life.

The Traitor, Leonard Cohen With Martha Wainright (from I’m Your Man Show)


New! Read & write lyrics explanations

  • Highlight lyrics and explain them to earn Karma points.

Now the swan it floated on the english river
Ah the rose of high romance it opened wide
A sun tanned woman yearned me through the summer
And the judges watched us from the other side

I told my mother “mother I must leave you
Preserve my room but do not she’d a tear
Should rumour of a shabby ending reach you
It was half my fault and half the atmosphere”

But the rose I sickened with a scarlet fever
And the swan I tempted with a sense of shame
She said at last I was her finest lover
And if she withered I would be to blame

The judges said you missed it by a fraction
Rise up and brace your troops for the attack
Ah the dreamers ride against the men of action
Oh see the men of action falling back

But I lingered on her thighs a fatal moment
I kissed her lips as though I thirsted still
My falsity had stung me like a hornet
The poison sank and it paralysed my will

I could not move to warn all the younger soldiers
That they had been deserted from above
So on battlefields from here to barcelona
I’m listed with the enemies of love

And long ago she said “i must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that rose and wind the swan”

So daily I renew my idle duty
I touch her here and there — I know my place
I kiss her open mouth and I praise her beauty
And people call me traitor to my face

Watch “Doru Stanculescu – Hai, hai, haidi, hai (Pe sub flori ma leganai)” on YouTube


Ai, hai lyrics

Artist: Doru Stănculescu
Translations: English, French, German
Romanian
Ai, hai

N-a ști nimeni că m-am dus,
Numa’ m-or vedea că nu-s.

Sus e cerul, largă-i lumea,
Bine c-a-nfrunzit pădurea!

Ai, hai, ai, haidi, haidi, hai,
Pe sub flori mă legănai.

Sus e cerul, largă-i lumea,
N-a ști nimeni că m-am dus.

Bine c-a-nfrunzit pădurea,
Numa’ m-or vedea că nu-s

Ai, hai, ai, haidi, haidi, hai,
Pe sub flori mă legănai.

© 2008-2016 LyricsTranslate.com

WAKE UP PEOPLE!!! They Poisoned Our Water? Interview With UAW Region 1D Assistant Director Steve Dawes On Flint: A CRIME AGAINST HUMANITY


They Poisoned Our Water? Interview With UAW Region 1D Assistant Director Steve Dawes On Flint

historic musical bits: Beethoven, Symphony No 6, 3,4,5mov, Otto Klemperer


Beethoven, Symphony No 6, 3,4,5mov, Otto Klemperer

Brahms – Sonata n°3, Paganini Variations – Berezovsky


Brahms – Sonata n°3, Paganini Variations – Berezovsky

historic musical bits: Mendelssohn – A Midsummer Night’s Dream – Philharmonia / Klemperer (rec. 1960)


Mendelssohn – A Midsummer Night’s Dream – Philharmonia / Klemperer

Published on Dec 29, 2012

Felix Mendelssohn-Bartholdy

A Midsummer Night’s Dream op.61

Heather Harper
Janet Baker
Philharmonia Orchestra
Otto Klemperer
Studio recording, London 28-29.I.1960 & 16.II.1960
**********************************************

A Midsummer Night’s Dream (Mendelssohn)

From Wikipedia, the free encyclopedia
 
watercolour portrait against blank background of a young man with dark, curly hair, facing the spectator: dressed in fashionable clothes of the 1830s, dark jacket with velvet collar, black silk cravat, high collar, white waistcoat

 
Portrait of Mendelssohn by James Warren Childe, 1839

At two separate times, Felix Mendelssohn composed music for William Shakespeare‘s play, A Midsummer Night’s Dream. First in 1826, near the start of his career, he wrote a concert overture (Op. 21). Later, in 1842, only a few years before his death, he wrote incidental music (Op. 61) for a production of the play, into which he incorporated the existing Overture. The incidental music includes the world-famous Wedding March. The German title reads Ein Sommernachtstraum.

Overture

The Overture in E major, Op. 21, was written by Mendelssohn at 17 years and 6 months old (it was finished on 6 August 1826),.[1] Contemporary music scholar George Grove called it “the greatest marvel of early maturity that the world has ever seen in music”.[2] It was written as a concert overture, not associated with any performance of the play. The Overture was written after Mendelssohn had read a German translation of the play in 1826. The translation was by August Wilhelm Schlegel, with help from Ludwig Tieck. There was a family connection as well: Schlegel’s brother Friedrich married Felix Mendelssohn’s Aunt Dorothea.[3]

While a romantic piece in atmosphere, the Overture incorporates many classical elements, being cast in sonata form and shaped by regular phrasings and harmonic transitions. The piece is also noted for its striking instrumental effects, such as the emulation of scampering ‘fairy feet’ at the beginning and the braying of Bottom as an ass (effects which were influenced by the aesthetic ideas and suggestions of Mendelssohn’s friend at the time, Adolf Bernhard Marx). Heinrich Eduard Jacob, in his biography of the composer, said that Mendelssohn had scribbled the chords after hearing an evening breeze rustle the leaves in the garden of the family’s home.[3]

The overture begins with four chords in the winds. Following the first theme in the parallel minor (E minor) representing the dancing fairies, a transition (the royal music of the court of Athens) leads to a second theme, that of the lovers. This is followed by the braying of Bottom with the “hee-hawing” being evoked by the strings. A final group of themes, reminiscent of craftsmen and hunting calls, brings the exposition to a close. The fairies dominate most of the development section, while the Lover’s theme is played in a minor key. The recapitulation begins with the same opening four chords in the winds, followed by the Fairies theme and the other section in the second theme, including Bottom’s braying. The fairies return, and ultimately have the final word in the coda, just as in Shakespeare’s play. The overture ends once again with the same opening four chords by the winds.

The Overture was premiered in Stettin (then in Prussia; now Szczecin, Poland) on 20 February 1827,[4] at a concert conducted by Carl Loewe. Mendelssohn had turned 18 just over two weeks earlier. He had to travel 80 miles through a raging snowstorm to get to the concert,[5] which was his first public appearance. Loewe and Mendelssohn also appeared as soloists in Mendelssohn’s Concerto in A-flat major for two pianos and orchestra, and Mendelssohn alone was the soloist for Carl Maria von Weber‘s Konzertstück in F minor. After the intermission, he joined the first violins for a performance of Beethoven‘s Ninth Symphony.

The first British performance of the Overture was conducted by Mendelssohn himself, on 24 June 1829, at the Argyll Rooms in London, at a concert in benefit of the victims of the floods in Silesia, and played by an orchestra that had been assembled by Mendelssohn’s friend Sir George Smart.[4]

Incidental music

Mendelssohn wrote the incidental music, Op. 61, for A Midsummer Night’s Dream in 1842, 16 years after he wrote the Overture. It was written to a commission from King Frederick William IV of Prussia. Mendelssohn was by then the music director of the King’s Academy of the Arts and of the Leipzig Gewandhaus Orchestra.[6] A successful presentation of SophoclesAntigone on 28 October 1841 at the New Palace in Potsdam, with music by Mendelssohn (Op. 55) led to the King asking him for more such music, to plays he especially enjoyed. A Midsummer Night’s Dream was produced on 14 October 1843, also at Potsdam. The producer was Ludwig Tieck. This was followed by incidental music for Sophocles’ Oedipus (Potsdam, 1 November 1845; published posthumously as Op. 93) and Jean Racine‘s Athalie (Berlin, 1 December 1845; Op. 74).[1]

The A Midsummer Night’s Dream Overture, Op. 21, originally written as an independent piece 16 years earlier, was incorporated into the Op. 61 incidental music as its overture, and the first of its 14 numbers. There are also vocal sections and other purely instrumental movements, including the Scherzo, Nocturne and Wedding March. The vocal numbers include the song “Ye spotted snakes” and the melodramas “Over hill, over dale”, “The Spells”, “What hempen homespuns”, and “The Removal of the Spells”. The melodramas served to enhance Shakespeare’s text.

Act I was played without music. The Scherzo, with its sprightly scoring, dominated by chattering winds and dancing strings, acts as an intermezzo between Acts I and II. The Scherzo leads directly into the first melodrama, a passage of text spoken over music. Oberon’s arrival is accompanied by a fairy march, scored with triangle and cymbals.

The vocal piece “Ye spotted snakes” opens Act II’s second scene. The second Intermezzo comes at the end of the second act. Act III includes a quaint march for the entrance of the Mechanicals. We soon hear music quoted from the Overture to accompany the action. The Nocturne includes a solo horn doubled by bassoons, and accompanies the sleeping lovers between Acts III and IV. There is only one melodrama in Act IV. This closes with a reprise of the Nocturne to accompany the mortal lovers’ sleep.

The intermezzo between Acts IV and V is the famous Wedding March, probably the most popular single piece of music composed by Mendelssohn, and one of the most ubiquitous pieces of music ever written.

Act V contains more music than any other, to accompany the wedding feast. There is a brief fanfare for trumpets and timpani, a parody of a funeral march, and a Bergomask dance. The dance uses Bottom’s braying from the Overture as its main thematic material.

The play has three brief epilogues. The first is introduced with a reprise of the theme of the Wedding March and the fairy music of the Overture. After Puck‘s speech, the final musical number is heard – “Through this house give glimmering light”, scored for soprano, mezzo-soprano and chorus. Puck’s famous valedictory speech “If we shadows have offended” is accompanied, as day breaks, by the four chords first heard at the very beginning of the Overture, bringing the work full circle and to a fitting close.

Suite and excerpts

The purely instrumental movements (Overture, Scherzo, Intermezzo, Nocturne, Wedding March, and Bergomask) are often played as a unified suite or as independent pieces, at concert performance or on recording, although this approach never had Mendelssohn’s imprimatur. Like many others, Eugene Ormandy and the Philadelphia Orchestra recorded selections for RCA Victor; Ormandy broke with tradition by using the German translation of Shakespeare’s text. In the 1970s Rafael Frühbeck de Burgos recorded a Decca Records LP of the complete incidental music with the New Philharmonia Orchestra and soloists Hanneke van Bork and Alfreda Hodgson; it later was issued on CD.[7] In October 1992, Seiji Ozawa and the Boston Symphony Orchestra recorded another album of the full score for Deutsche Grammophon; they were joined by soloists Frederica von Stade and Kathleen Battle as well as the Tanglewood Festival Chorus. Actress Judi Dench was heard reciting those excerpts from the play that were acted against the music. In 1996, Claudio Abbado recorded an album for Sony Masterworks of extended excerpts with Kenneth Branagh acting several roles from the play, performed live.[8]

Scoring

The Overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, ophicleide, timpani and strings. The incidental music adds a third trumpet, three trombones, triangle and cymbals to this scoring.

Notes

Parts of the score are used, re-orchestrated by Erich Wolfgang Korngold, in Max Reinhardt‘s 1935 movie A Midsummer Night’s Drea

great compositions/performances: BARTHOLDY QUARTETT plays MENDELSSOHN – STRING QUARTET OP. 44 N. 2


BARTHOLDY QUARTETT plays MENDELSSOHN – STRING QUARTET OP. 44 N. 2

great compositions/performances: Berlioz – Roman Carnival Overture Op. 9 – National Symphony Orchestra Washington – C. Eschenbach


Berlioz – Roman Carnival Overture Op. 9 – National Symphony Orchestra Washington – C. Eschenbach