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#metropole orchestra
keepscrollinghun · 1 year
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JIIIIIIILIAAAAAAAAN
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psalm22-6 · 1 year
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Souce: the Universal Weekly, 8 May 1926
London Showing Gala Event of Film Season The London showing was in the London Hippodrome, April 9th, and was by far the gala event of the current film season in London. The picture is in twenty-two reels and was shown at a double session, each session including eleven reels. This was a decided novelty for the British filmmen and reviewers, yet was accepted with favor and even enthusiasm. It is considered likely that the American presentation of the big French film will conform to this method. 
The trade showing tour of the picture which followed the London showing was as follows: West End Cinema, Birmingham, April 11th; Theatre Royal, Manchester, April 12th; Grainger Picture House, Newcastle, April 13th; Theatre Royal, Glasgow, April 14th; Briggate Picture House, Leeds, April 15th; Trocadero, Liverpool, April 16th, and Park Cinema, Cardiff, April 17th. The London Hippodrome showing was marked by unusual ceremonies and celebrations. An elaborate prologue, hailed as one of the finest ever seen in England, preceded the picture. In it many of the principal actors and actresses of the film appeared in person. Included in the prologue were the following French film favorites, who made a special trip from Paris for the opening: Sandra Milowanoff, who plays Fantine; Andree Rolane, who plays Cosette; Jean Toulout, who plays Javert; Paul Jorge, who plays Mgr. Myriel; G. Saillard, who plays Thenardier; N. Saillard, who plays Eponine and Renee Carl who has the role of La Thenardier. In the prologue, these players broke through the pages of a big book and marched across the stage before the sleeping figure of Victor Hugo. Prominent International Figures Attend
 A number of the officials and executives of the Societe des Cineromans also were present from Paris, including Jean Sapene, proprietor of Le Matin and director general of the Societe; Louis Nalpas, art director of the Societe; Henri Fescourt, who produced "Les Miserables," and others of similar importance. Amie de Fleureau [sic], French Ambassador to England, was present at the showing, with other prominent Frenchmen now in England, including Marcel Knecht. The French Ambassador, the officials of the Cineromans, members of the cast and many prominent Britons were guests at a banquet held the same evening in the Hotel Metropole, London. Ambassador de Fleureau, Sapene, Nalpas and Knecht sent the following cable to Carl Laemmle during the dinner: "After the splendid and unequalled presentation of 'Les Miserables' at the Hippodrome today to enthusiastic elite of England in the presence of the Ambassadors from Japan, Belgium, Brazil; the Ministers from Greece, Portugal, Norway, Finland and Lithuania; after this most cordial banquet uniting two hundred British-American-French leading journalists, we wish to congratulate warmly and to thank Universal and yourself for most efficient demonstration of Franco-American friendship for the betterment of peace." The cable also contained high praise for James V. Bryson, general manager of the European Motion Picture Co., Ltd., Universal's distributors in the British Isles. Bryson and his aids have had most to do with the acquisition of "Les Miserables" by Universal and for the elaborate presentation it has just received overseas. Cables of gratitude and praise also were sent to Laemmle from the Mayor of Nancy, France, the home of Hugo's father, and from the Mayor of Besancon, where Hugo was born. Score and Story of Picture Broadcast In connection with the Hippodrome presentation, the British National Opera Orchestra of fifty pieces was used to supply the musical background of the picture.
The entire score, together with the story of the picture, was broadcast by radio. It has been estimated that four million radio fans listened-in on this music program. Following the London presentation the orchestra was used for the various provincial trade showings. [. . .] Other Cities Equally Enthusiastic [. . .] Definite information as to whether "Les Miserables" would be released in America the same way as in England — in two parts of eleven reels each, totaling a four-hour show — could not be obtained this week at the Universal Home Office where it was said that this method was under serious consideration, but that no decision had yet been made.  It was pointed out that several other methods of presenting the entire twenty-two reels offer themselves. One of these would be to run the first eleven reels in the afternoon and the second part in the evening. Another way would be to run one part in one theatre and the other in another theatre day and date. Still a third way would be to run the first part the first half of the week and the second part the last half.  One thing is practically certain. Carl Laemmle, rather than sacrifice any of the dramatic thrills and entertainment value to be found in the full-length version, means to present it as it stands. It is of interest that the second half is almost a complete story in itself and with a short foreword for the purpose of introducing the characters and outline the elements of the preceding action, might conceivably stand on its own feet.  It is understood that Laemmle is seeking the advice of many exhibitors, newspaper reviewers and others on the perplexing subject of how to release "Les Miserables." Meanwhile, Universal is going ahead with plans to launch the big Universal-Film de France with an advertising, publicity and exploitation campaign that will dwarf that done for such previous Universal super-pictures as "The Hunch- back" and "The Phantom."
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edoardojazzy · 9 months
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Pat Metheny and The Metropole Orchestra, Live at North Sea Jazz Festival...
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theam-cjsw · 6 months
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The AM: October 2, 2023
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This week's AM ushers in October with occult vibes courtesy of satanstompingcaterpillars and Throbbing Gristle, trip-hop tunes from Portishead and Ghostkeeper, and more melancholy, moody, and otherwise magical music for misty Monday mornings.
Listening links:
Soundcloud
CJSW.com
Spotify playlist (missing a few tracks)
Image: Günter Brus, Erinnerungen an die Menschheit (Memories of Humanity), 1985
Hour One
The Best Thing in the World Alabaster DePlume • Come With Fierce Grace
Slow Drip Rich Hinman • Memorial
Dust Collects The Album Leaf • Future Falling
glenora forlorn wihtikow • weird kid
No Body Contagious Yawns • Intramental
For a Burning World Lord of the Isles, featuring Ellen Renton • My Noise is Nothing
Enough About Human Rights Ghost Train Orchestra, Kronos Quartet • Songs and Symphoniques: The Music of Moondog
Self Portrait Ryuichi Sakamoto • 1996
The Wind Surfer Teen Daze • The Wind Surfer
Sonic Space Atari Umma • Stoner Ambient Noise
Cerulean Blue Active Surplus • Mirroring
Hour Two
Blue Fish Sachiko Kanenobu • Misora
Clear Cut (Live Version) Jeffrey Silverstein • Single
Shine the Light Inside Astral Swans, featuring Jairus Sharif • Shine the Light Inside
It’s Not the Worst (Lali Puna Remix) Two Lone Swordsmen • Further Reminders
Just Eyes Void Comp • Metropol
Colorfulnickels satanstompingcaterpillars • The Autumn Kaleidoscope Got Changed
boatfriend satanstompingcaterpillars • The Autumn Kaleidoscope Got Changed
Snake Saloli • Canyon
Walkabout Throbbing Gristle • 20 Jazz Funk Greats
Life Cycle Vic Mars • Plant Life
冬のサナトリウム Ryohei Shima • Romance Girl A
october La Force • XO Skeleton
Hour Three
Wake Up Sargeant X Comrade • Lo Fi Future
? Saya Gray • Annie, Pick a Flower.. (My House)
The Rip Portishead • Third
Oceans Ghostkeeper • Sheer Blouse Buffalo Knocks
Thin Thing The Smile • A Light for Attracting Attention
All Good Things Bart • Some Kind of Way
A Summer Long Since Passed Virginia Astley • From Gardens Where We Feel Secure
Sunbeam Misha Panfilov • In Focus
Murkit Gem Bacao Rhythm & Steel Band • Hotline Bling b/w Murkit Gem
Air, Light & Harmony Badge Époque Ensemble • Air, Light & Harmony
Sojourner (Live) London Odense Ensemble • Live At Jaiyede Jazz Festival
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black-arcana · 2 years
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Within Temptation’s Sharon den Adel: My Life In 10 Songs
By Catherine Morris ( Metal Hammer )
From symphonic metal ballads to Lana del Rey covers, these are the Within Temptation songs that mean the most to frontwoman Sharon den Adel
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(𝘐𝘮𝘢𝘨𝘦 𝘤𝘳𝘦𝘥𝘪𝘵: 𝘛𝘪𝘮 𝘛𝘳𝘰𝘯𝘤𝘬𝘰𝘦)
Sharon den Adel emerged onto the metal scene 25 years ago with Within Temptation, lending the angelic highs of her soprano vocal range to the Dutch band’s ethereal yet heavy sound. Since then they’ve continually evolved, working with everyone from the Dutch Metropole Orchestra to hip hop legend Xzibit, but never losing the vast cinematic element of their sound. We sat down with the effervescent singer to pick through the tracks which best represent her musical journey with the band.
                                        ~*~~*~~*~~*~
Candles (Enter, 1997)
“I think the most beautiful song [on Enter] is Candles. It has a romantic, dark feeling to it. We were very much inspired by all the epic movies we were watching at the time, like Braveheart, that were these big sagas. I was also reading George R. R. Martin’s A Song of Ice and Fire; I could disappear into those books. They gave me a lot of inspiration to write lyrics.
“It was while listening to this Paradise Lost song – Lost Paradise, I think it was – that had this opera singer on it, that the penny dropped for us. Something beautiful combined with heavy music and growling. From then, all the things we really loved listening to – Marillion, Iron Maiden, Kate Bush, Tori Amos – small elements of these all bubbled up and came out in the music.”
Ice Queen (Mother Earth, 2000)
“A lot of people got to know us through Ice Queen. Actually, it was called Believer in the beginning, but we wanted to continue the theme of Mother Earth. I don’t mind playing it for the rest of our lives. We’ve tried to make different versions of it that give it a new life and a new shine, and it’s taken many different shapes: we did an acoustic version where we tried to give it a more bluesy sound, we had Jasper Steverlinck cover it who did an amazing job, and now we’re playing the original again. I still like the song because it brings me back to my love of Nirvana – and look, I know nobody hears Nirvana in it except me. But when I’m singing it, I feel like I’m singing Nirvana! It feels like a rebellious song.”
Our Farewell (Mother Earth, 2000)
“It’s a personal song. I had a great relationship with my grandmother so after she passed away, this song was for her; that’s why it’s called Our Farewell. We had a beautiful bond; she was like a second mom. Whenever I wasn’t happy at home I’d get on my bike and ride to her house on the other side of our little village. We played it at the Elements show and at some festivals we did the song with an opera singer. She represented for me the other voice, my grandmother. It was like I was singing to her and she was singing back to me, “we’ll meet each other again”. Our spirits are connected.”
Stand My Ground (The Silent Force, 2004)
“What I love about Stand My Ground is that it’s taken on so much more meaning for many different people than when we first wrote it. For us it was a song to talk about what was happening in politics at the time in the Netherlands – things were really changing at that time, getting darker and darker. But what you see now is that a lot of groups within our own community have adopted this song to address their own issues, like the LGBTQIA+ community for instance, we see a lot of people waving Pride flags at our shows and we really support that.
Pale (The Silent Force, 2004)
“It’s the most dark ballad and I love it, but it’s also like looking in the mirror and facing your demons; it shows the inside of your soul. It’s heavy. Robert wrote the lyrics for the most part, especially the lyrics, so it’s more his personal song, and it’s about depression. We all have those periods in life, it’s human. We can’t always have highs, and I think people who have really high highs have really deep lows, but then it’s like – how do I get away from that again? How do I get back to the other side? It’s always a struggle.”
What Have You Done feat. Mina Caputo (The Heart of Everything, 2007)
“What Have You Done was really special. Life of Agony has been a band that we’ve loved ever since we started making music. I remember they played Pinkpop festival in the Netherlands and they were on super early in the morning and it was raining, but we didn’t care, we just stood there in the pouring rain watching them. And after many years, we reached out to them and it was like– suddenly, the world becomes not so big anymore, when you can reach out to a musician and they respond enthusiastically to you. It makes the music even more special to me when you can bring your heroes closer. It’s the best thing ever, and it's a song that really does justice to her voice and mine.”
Iron (The Unforgiving, 2011)
“I think we had really finalised our big symphonic sound but then didn’t really know where to go from there, which is why everything changed on this album. We created our own comic, and all of the songs are based on the comic storyline. But it’s also based on our memories of reading comics as a kid, which is why we went back to our big musical heroes growing up, particularly on songs like Iron, which were inspired by Iron Maiden and Metallica. We were 80s kids and it was a beautiful time to grow up in and absorb all that music. It’s really an homage to the 80s.”
Summertime Sadness (The Q-Music Sessions, 2013)
“A radio station in Belgium asked us to do ten cover songs while we were in the studio for Hydra and it was amazing to do. It really gave us a new insight into songwriting, taking other artists’ songs apart and building them back up in our own style… I really loved that period.
“At the time Lana del Rey was something of a new artist on the block. She had this 50s vibe, but so dark and with a twist to it that I really admired. That first album (Born to Die) just blew me away. It was totally different from my own music but had this feminine touch that I could relate to.”
And We Run feat. Xzibit (Hydra, 2014)
“I remember when Aerosmith did Walk This Way with Run DMC and we loved that combination of rock music with something so different. This is our own interpretation of that – not of that song specifically, but of that collaboration of two worlds colliding and working really well together. It’s a song that people either loved or hated, and some people judged it without even listening to it or knowing Xzibit. We’ve always loved him. Honestly, I don’t mind if people don’t like things, it was an amazing collaboration and he really is the nicest guy on Earth. We’re different in so many ways but it felt really beautiful how we connected through music. And he said something that I will always remember which is that you can buy anything in life, except for time. That’s stuck in my head all these years.”
Don’t Pray For Me (single, 2022)
“It’s really about individuality and trying to protect that. Sometimes when you grow up in a community you feel pressure to fit in, you want to fit in – but sometimes, you don’t have that choice. You might think or feel differently than how you were brought up, whether that’s religion, sexuality… So many things are changing right now, with abortion rights, for example – people trying to decide for you how you should live your life. It’s really sad that people are trying to force their ways on other people. It’s something I’m really worried about. People can only be happy if they can be who they want to be.”
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handsofdarkness · 2 years
Text
Within Temptation’s Sharon den Adel: My Life In 10 Songs
From symphonic metal ballads to Lana del Rey covers, these are the Within Temptation songs that mean the most to frontwoman Sharon den Adel
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Sharon den Adel emerged onto the metal scene 25 years ago with Within Temptation, lending the angelic highs of her soprano vocal range to the Dutch band’s ethereal yet heavy sound. Since then they’ve continually evolved, working with everyone from the Dutch Metropole Orchestra to hip hop legend Xzibit, but never losing the vast cinematic element of their sound. We sat down with the effervescent singer to pick through the tracks which best represent her musical journey with the band.
Candles (Enter, 1997)
“I think the most beautiful song [on Enter] is Candles. It has a romantic, dark feeling to it. We were very much inspired by all the epic movies we were watching at the time, like Braveheart, that were these big sagas. I was also reading George R. R. Martin’s A Song of Ice and Fire; I could disappear into those books. They gave me a lot of inspiration to write lyrics.
“It was while listening to this Paradise Lost song – Lost Paradise, I think it was – that had this opera singer on it, that the penny dropped for us. Something beautiful combined with heavy music and growling. From then, all the things we really loved listening to – Marillion, Iron Maiden, Kate Bush, Tori Amos – small elements of these all bubbled up and came out in the music.”
Ice Queen (Mother Earth, 2000)
“A lot of people got to know us through Ice Queen. Actually, it was called Believer in the beginning, but we wanted to continue the theme of Mother Earth. I don’t mind playing it for the rest of our lives. We’ve tried to make different versions of it that give it a new life and a new shine, and it’s taken many different shapes: we did an acoustic version where we tried to give it a more bluesy sound, we had Jasper Steverlinck cover it who did an amazing job, and now we’re playing the original again. I still like the song because it brings me back to my love of Nirvana – and look, I know nobody hears Nirvana in it except me. But when I’m singing it, I feel like I’m singing Nirvana! It feels like a rebellious song.”
Our Farewell (Mother Earth, 2000)
“It’s a personal song. I had a great relationship with my grandmother so after she passed away, this song was for her; that’s why it’s called Our Farewell. We had a beautiful bond; she was like a second mom. Whenever I wasn’t happy at home I’d get on my bike and ride to her house on the other side of our little village. We played it at the Elements show and at some festivals we did the song with an opera singer. She represented for me the other voice, my grandmother. It was like I was singing to her and she was singing back to me, “we’ll meet each other again”. Our spirits are connected.”
Stand My Ground (The Silent Force, 2004)
“What I love about Stand My Ground is that it’s taken on so much more meaning for many different people than when we first wrote it. For us it was a song to talk about what was happening in politics at the time in the Netherlands – things were really changing at that time, getting darker and darker. But what you see now is that a lot of groups within our own community have adopted this song to address their own issues, like the LGBTQIA+ community for instance, we see a lot of people waving Pride flags at our shows and we really support that.
Pale (The Silent Force, 2004)
“It’s the most dark ballad and I love it, but it’s also like looking in the mirror and facing your demons; it shows the inside of your soul. It’s heavy. Robert wrote the lyrics for the most part, especially the lyrics, so it’s more his personal song, and it’s about depression. We all have those periods in life, it’s human. We can’t always have highs, and I think people who have really high highs have really deep lows, but then it’s like – how do I get away from that again? How do I get back to the other side? It’s always a struggle.”
What Have You Done feat. Mina Caputo (The Heart of Everything, 2007)
“What Have You Done was really special. Life of Agony has been a band that we’ve loved ever since we started making music. I remember they played Pinkpop festival in the Netherlands and they were on super early in the morning and it was raining, but we didn’t care, we just stood there in the pouring rain watching them. And after many years, we reached out to them and it was like– suddenly, the world becomes not so big anymore, when you can reach out to a musician and they respond enthusiastically to you. It makes the music even more special to me when you can bring your heroes closer. It’s the best thing ever, and it's a song that really does justice to her voice and mine.”
Iron (The Unforgiving, 2011)
“I think we had really finalised our big symphonic sound but then didn’t really know where to go from there, which is why everything changed on this album. We created our own comic, and all of the songs are based on the comic storyline. But it’s also based on our memories of reading comics as a kid, which is why we went back to our big musical heroes growing up, particularly on songs like Iron, which were inspired by Iron Maiden and Metallica. We were 80s kids and it was a beautiful time to grow up in and absorb all that music. It’s really an homage to the 80s.”
Summertime Sadness (The Q-Music Sessions, 2013)
“A radio station in Belgium asked us to do ten cover songs while we were in the studio for Hydra and it was amazing to do. It really gave us a new insight into songwriting, taking other artists’ songs apart and building them back up in our own style… I really loved that period.
“At the time Lana del Rey was something of a new artist on the block. She had this 50s vibe, but so dark and with a twist to it that I really admired. That first album (Born to Die) just blew me away. It was totally different from my own music but had this feminine touch that I could relate to.”
And We Run feat. Xzibit (Hydra, 2014)
“I remember when Aerosmith did Walk This Way with Run DMC and we loved that combination of rock music with something so different. This is our own interpretation of that – not of that song specifically, but of that collaboration of two worlds colliding and working really well together. It’s a song that people either loved or hated, and some people judged it without even listening to it or knowing Xzibit. We’ve always loved him. Honestly, I don’t mind if people don’t like things, it was an amazing collaboration and he really is the nicest guy on Earth. We’re different in so many ways but it felt really beautiful how we connected through music. And he said something that I will always remember which is that you can buy anything in life, except for time. That’s stuck in my head all these years.”
Don’t Pray For Me (single, 2022)
“It’s really about individuality and trying to protect that. Sometimes when you grow up in a community you feel pressure to fit in, you want to fit in – but sometimes, you don’t have that choice. You might think or feel differently than how you were brought up, whether that’s religion, sexuality… So many things are changing right now, with abortion rights, for example – people trying to decide for you how you should live your life. It’s really sad that people are trying to force their ways on other people. It’s something I’m really worried about. People can only be happy if they can be who they want to be.”
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taikatalvieikukaan · 1 year
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youtube
Album: Black Symphony
Song: Our Solemn Hour
Year: 2008
Within Temptation & The Metropole Orchestra (Live At The Ahoy Rotterdam)
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sugdenlovesdingle · 1 year
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I agree I don’t think he knew what love real love was like chas said before Aaron and even vic said about finding someone you actually love
all this talk about real love just makes me think of the Robbie Williams song
♫ I just want to feeeeel realll lovee ♫
Robert grew up in the 90s, and obviously he likes boys with dark hair, do we reckon he was a Robbie fan? Is he taking Aaron to see him on the next tour with the Dutch (!!) metropole orchestra? Does he change the pronouns in She's the One and sings it to Aaron?
(Sorry anon i'm really not in the mood for these character deep dives)
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cpblasterdsrk · 2 years
Text
bro imagine the Space Is Cool Orchestra version but played with the Metropole Orchestra
i will simply combust
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kayuwerott · 5 days
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Being a part of this playlist makes me really happy.
Why? Its the top of the tops.
Surrounded by Artists like Chopin, John Williams, Schostakovich, Rachmaninoff, Mozart, Mahler, Schumann, Liszt, Brahms, Elgar, Beethoven and..
72/Empathy, Kay Uwe Rott
#น้องนุ่น #radiodust #ElvishYadav𓃵 #PlaylistOfTheDay #NetflixTH #FYP #TBS #LiveYourOwnLife #newsおかえり #radiorose #indonesiaviral #崩壊スターレイル自己紹介カード #Metropol #Spotify_Number_i #TBT #Dream11Team #classicalmusic #orchestra #epic #followers #likeforlikes
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pascalbul · 4 months
Video
youtube
Steve Vai Live with the Holland Metropole Orchestra 2005 Full
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2013venjix · 7 months
Text
“Stand My Ground (Power Rangers Video Mix)” by Within Temptation⚡
LIVE MIX WITH THE METROPOLE ORCHESTRA⚡
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henriqueguthblog · 8 months
Video
youtube
Within Temptation and Metropole Orchestra - Black Symphony (Full Concert... #aovivo #live #show #music #goodmusic #bestmusic #enjoy #prazer #pleasure #goodvibes #excelentemúsica #excelent #boamúsica #música #aproveite #curteaí #curte #curta #curti #like #olha #veja #cantacomigo #dançacomigo #baila #pedrada #style #cantoria #withintemptation #metal #metalsinfonico #symphonicmetal
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grandhotelabyss · 1 year
Note
Not having read much of the fashionable translated fiction of the last several decades (Lispector and Bolaño being exceptions, both of whom seem in their own ways too weird to have contributed) I’ve always suspected that culpability lay as well in the more solipsistic moments of the midcentury- Adler as a novelist, Confessions of a Mask (masterpiece though it is) the entire bibliography of Philip Roth* etc. I am so very tired of relitigating these arguments from 2015, but yes wokeness enters into it too I’m sure, the idea that it’s almost an imperialist act to imagine a mind other than your own makes a certain kind of fiction inevitable I think.
*I find it curious that both the wokes who’ve (in theory at least, in practice there’s no male author of that generation whose books I see more in the wild, not even Baldwin or Pynchon) run him out of the canon and the based dissidents who seek to appropriate Roth as an icon of swaggering, he-man masculinity miss that the archetypal Roth protagonist isn’t a healthy all-American patriarch or even swinger, but a pathetic, almost kafka-esque insectoid figure torn simultaneously native of two cultures with wildly differing visions of masculinity, and whose compromise is a hypersexuality that the novelist’s art clearly portrays as disordered (even if his own life tells a different story.)
Yes, good call on Adler. As far as translated writers go, I think Sebald has to carry most of the blame for making world-weary old-world anhedonic lassitude, moralized as the proper "after Auschwitz" tone, into the style of the age. The contrarian wing of the literati isn't off the hook either, though, because the Houellebecq vogue didn't help.
The smartest literary left-liberals who are philosophically "woke" but disdainful of vulgar "wokeness" know Roth is with them in the end. I'm thinking of Becca Rothfeld or Garth Greenwell, for example. Such a ruthless philosophical materialist or monist hardly leaves actual metaphysical right-wingers a leg to stand on; as a matter of practical politics, he was only ever playing the gadfly within the greater Democratic Party coalition. By the same token, I suspect the real "based dissidents," not your Red Scare larpers, know their old enemy Entartete Kunst when they see it. I certainly didn't have any trouble placing Roth in my Multicultural Literature class right alongside people like Nella Larsen and Louise Erdrich, though The Ghost Writer is admittedly an easier case to make than something like Sabbath's Theater would be. There's a bigger question here about where Jewishness belongs on the progressive stack, if it does at all, but that is, as academics say in their footnotes, beyond the scope of this discussion.
Aesthetically, Roth's mid-to-late style, those furiously unspooling sentences, their sophisticated lexis and cadence almost (but not totally) unruffled by the fury, like a man in an immaculate suit having a public breakdown, with just a strand of pomaded silver-black hair dislodged on the forehead—
As the audience filed back in, I began, cartoonishly, to envisage the fatal malady that, without anyone's recognizing it, was working away inside us, within each and every one of us: to visualize the blood vessels occluding under the baseball caps, the malignancies growing beneath the permed white hair, the organs misfiring, atrophying, shutting down, the hundreds of billions of murderous cells surreptitiously marching this entire audience toward the improbable disaster ahead. I couldn't stop myself. The stupendous decimation that is death sweeping us all away. Orchestra, audience, conductor, technicians, swallows, wrens—think of the numbers for Tanglewood alone just between now and the year 4000. Then multiply that times everything. The ceaseless perishing. What an idea! What maniac conceived it? 
—is so distinct and forceful, such a brilliant adaptation of the Jamesian to accommodate rage and of the Faulknerian to elaborate the metropole, that we have to admire him on that level if not the thematic or structural. I'm startled to hear how much Roth is in my own "voice" as I record the Major Arcana chapters, though I don't think of him consciously as an influence despite my admiration and appreciation.
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pollux6 · 1 year
Link
Esperando una señal...
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ryosukekiyasu · 1 year
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NOISE MAFIA uvádí
NOISE FEST Czech Republic 2023 – mini edition
∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼∼
JOKE LANZ & PETR VRBA (SWI/CZ) - psychedelic impro noise duo
RYOSUKE KIYASU (JAP) - snare solo
FURUBURASUTO (CZ) - power jazz electronics
BNSU (JAP/TUR) - noise core
PAREGORIK (CZ) - harsh noise
WILHELM GRASSLICH & USNU? collaboration (CZ) - harsh noise power electronics
CHRUP (CZ) - harsh noise
ŸPERITIFF (CZ) – synth noise punk violence
SLOTH (CZ) - instrumental stoner sludge
THE OWL (UK) - experimental noise
Vstupné - 490,-
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JOKE LANZ & PETR VRBA (SWI/CZ)
Švýcarský turntablista JOKE LANZ je známý také jako SUDDEN INFANT. Jeho hra na gramofon a vinyly je stejně tak svébytná jako originální a jeho virtuozita bere dech. Doprovodí jej nestor české alternativní scény, hráč na trumpetu, klarinet a elektroniku PETR VRBA (IQ + 1, POISONOUS FREQUENCIES, THE MOND, P. I. O., KREKSO, BOYSE a další)
RYOSUKE KIYASU (JAP)
RYOSUKE KIYASU je to, čemu se říká živoucí legenda. Od roku 2003 se jako hráč na snare (šroťák) představil ve více než 55 zemích. Kromě sólových aktivit hrál také se soubory SETE STAR SEPT, KIYASU ORCHESTRA nebo v KEIJI HAINO'S FUSHITSUSHA. Podílel se na více než 200 nahrávkách na různých labelech po celém světě.
FURUBURASUTO (CZ)
FURUBURASUTO je zánovní spojení jazzového bubeníka Jana Chalupy (JANOUŠEK WROBLEWSKI QUARTET, E CONVERSO, TALAQPO) s živým procesováním Martina Režného aka SAKKIKANGAS.
BNSU (JAP/TUR)
Opravdu výživná porce nekompromisního noise core v podání bubeníka Utku Tavila (působí též mimo jiné v VVRNGDNG, TURBUHALER, SUTT a spousty dalších) a hlasového performera Kazehita Sekiho, který v našich končinách odehrál již nejedno strhující vystoupení.
PAREGORIK (CZ)
Zkušený noise performer z Pardubic, známý i z projektu LIONEL DIXIT zahraje svůj harsh noise s grácií, citem a lehkostí sobě vlastní. Zkušenost vyrytá do nespočtu nahrávek v živé podobě.
WILHELM GRASSLICH & USNU? collab (CZ)
Kolaborace dvou stálic české noiseové scény, která již jednou byla zvěčněna na magnetickou pásku poprvé při živém vystoupení. Jedinečná událost, která spojí umění, kreativitu, černý humor, nadhled a enormní dávku hluku.
CHRUP (CZ)
Šikovný konstruktér hlučných hracích strojků z Vysočiny, který se svým naléhavým setem už rozprášil nejeden klub v Evropě, Asii i Jižní Americe, předvede svůj originální harsh noise, po kterém budou vaše ouška pískat blahem.
ŸPERITIFF (CZ)
Když si divní lidé, z divného města založí divnou kapelu, nemůže to dopadnout lépe než je tomu v případě této smečky. Synth punk, no-wave violence, noise punk nebo synth violence nebo všechno dohromady nebo něco úplně jiného. Ostravské kvarteto, ošlehané větry důlních ventilátorů jako jsou mimo jiné SHEEVA YOGA nebo SKLO, roznese uhelný prach po celé Sibiři. Smetáky s sebou.
SLOTH (CZ)
Instrumentální stoner sludge uskupení svým demem totálně rozčeřilo bahno, na kterém je moravská metropole postavena. Brněnská odpověď na SLEEP.
THE OWL (UK)
Paul Priest známý z kapel jako jsou GET´S WORSE, NARAYANA nebo NARCOSIS odslouží svou instrumentálně dokonalou noiseovou mši, tentokráte jako solo performance bez ministrantů.
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