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"When you've calmed down and put your organ back in your pants, you can listen to my reasoning."
Mr.MCCRUM, I was reading this thread with pleasure. What is the need and the reason to turn into such vulgarity?
You seem to have a fixation on human physiology, secretions and less noble organs.
I feel uncomfortable with this inappropriate language when it is used only to express one's temper.
Then you have my apologies.
But read the meaning. The meaning is that people over-react not from their heads, or their common sense, but from their need to assert. If people would examine whence come their outbursts, they'd see they tend to be from other parts of the psyche or anatomy than their minds or hearts.
's funny ... you didn't call out the original poster's use of the word 'bollocks'.
Because music is visceral in its impact, then it is valid to say that certain composers touch us physically. So if they don't, should we ask ourselves if the fault is in ourselves? In our physical receptivity?
By the way, what is an 'ignoble' body part? And can you properly define 'vulgar'? Look up bourgeois in your dictionary.
You could have commented on North's musical technique, the Native American influences in the score, dissonance, tonality, the visceral nature of the music, North's compassionate bittersweet. Not a sausage about any of the things I mentioned. But organs in pants ... THAT gets your attention.
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Not to be snarky, cuz' I like North and I like this score.....
You have to hand it to Doug for putting time and money into a release that seems to have a very limited audience.
Hope to be proven wrong
bruce
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Posted: |
Oct 1, 2016 - 1:25 AM
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By: |
finder4545
(Member)
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(WILLIAMDMCCRUM)
...Then you have my apologies.
But read the meaning. The meaning is that people over-react not from their heads, or their common sense, but from their need to assert. If people would examine whence come their outbursts, they'd see they tend to be from other parts of the psyche or anatomy than their minds or hearts.
's funny ... you didn't call out the original poster's use of the word 'bollocks'.
Because music is visceral in its impact, then it is valid to say that certain composers touch us physically. So if they don't, should we ask ourselves if the fault is in ourselves? In our physical receptivity?
By the way, what is an 'ignoble' body part? And can you properly define 'vulgar'? Look up bourgeois in your dictionary.
You could have commented on North's musical technique, the Native American influences in the score, dissonance, tonality, the visceral nature of the music, North's compassionate bittersweet. Not a sausage about any of the things I mentioned. But organs in pants ... THAT gets your attention.
Mr.MCCRUM, too complicated the life and the human machine, in their mental, material and spiritual parts, to be reduced to simple personal philosophy, impressions and convinctions. I see you are too severe, too drastic, too aggressive in leaving no room, or rather little room, for different opinions and thoughts, to the freedom of having a more natural time to build a passion. Sometime a work or a composer can be assimilated only gradually.
There are versatile composers that you “detect” at first sight (so to say, Bernstein), and there are “difficult” composers who, given for granted a perseverance in visiting their works and/or movies, can be assimilated and metabolized only in a different distance of time. In another thread somebody says “Help me like Bernstein more”. O.K. Listen to dozen of his films and like cinema before film music. The love will follow.
No doubt that North is one of those “difficult” composers, as is said by the different reactions to his output. I myself find some difficulty in selecting which/what is the North “accepted” and the North “not accepted” at the moment of selecting my tracks for a listening at home. But I ever propose to go back to those pieces discarted at that moment, as I know that the strong intellectual nature of North - in some way twined with Raksin in my mind - requires more and further time/attention to capture his essence, in terms of themes, rhythm, orchestrations, arrangements and so on.
North still is a controversial composer and I am not surprised if many fans (maybe the one now suffering your anger) are perplexed in front of his works. While his modern idiom and style well suited the contemporary dramas of the first assignments (Streetcar, Salesman, etc), no one would have thought him able, a day, to compose for large scale historical works, as SPARTACUS, CLEOPATRA, AGONY & ECSTASY, while still persisting the tradition of the Newmans, the Youngs and, above all, the conditioning presence of Rozsa.
But SPARTACUS and the others are now HERE, cosmic gems, and today one can only see that they are subjects light years away from those jazz inspired works, recognizing the genius of North.
By the way, I owe much to North. North is “responsible” of the acceleration of my interest in film music when I was a young student. At a 70mm projection of SPARTACUS I remained fascinated by the multitrack sound system and enraptured by the composition accompanying the gladiator fight Douglas-Stroode. Never listened in a movie, in the following years, a fight with a such cinematic impact in terms of photography, editing and music. After mentioning this at school, I was introduced to the chief projectionist by a teacher, in order to let me record from a monitor speaker with my tape-machine. So for years I was able to record hundreds of sound tracks and listen to them at home, increasing strongly my knowledge. Thanks to North.
We have to remember that North payed the price of his intellectual depth to Kubrick himself, with the discarted score of ODISSEY (fortunately saved on disc years later). So, no wonder that here he is, with these posts, a matter of controversy.
And, oh, regarding the “bourgeoisie” of my vocabulary, the noble or not noble parts of the body, the terms suitable or not in a debate, please! We are men, and you know very well what I mean, without the need of a syntactic, grammatical or etymological demostration of what is right or not at a given moment, as the kid examined by the teacher.
If I well remember, the concept of noble or not noble parts is recalled even in the Homer’s nudities of Ulysses and I leave to your sensibility to understand if you can cry “vomit” while a kid is just near to you approaching his ice cream. The contest has his value and I think - thinking to be free here to express the concept - that even the rage can be transmitted with more approriate terms.
O.k. This is my thinking. I’ll wait for your reprimand. But soft, please!
(EDITED)
Pardon,I was forgetting a central point recalled by Mccrum: I expect, obviously, Mr.Rameau answering and explaining the sense of his quick post, and in particular why a “complete pile of bollocks” while a discussion on such an important release and composer! Otherwise his intrusion is really injustifiable.
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I'm really looking forward to getting this new release of Cheyenne Autumn(1964)with a wonderful score by Alex North. I always liked the film too having watched and enjoyed it on the big screens many times. It's long alright but that never bothered me, it's a John Ford film afterall, and I never tire of watching his films. Plus it has the added bonus of the curious but funny Dodge City bit in the middle, packed with truly great stars of Hollywood. This is going to be another most welcome Intrada release for me anyhow.
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Do you think soon will follow "Lion in WINTER", "Roman SPRING of Mrs.Stone" and "Long hot SUMMER"?
Yeah - the 'winter' & 'summer' are good candidates. The Roman Spring of Mrs. Stone is April Fool's material, I daresay.
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If it's a score by Bernstein indeed, let's hope it is KINGS OF THE SUN!!!!
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I find North to be one of the few truly contrapuntal composers. Based on his style, he clearly thought out his music in a linear fashion and built harmony based on the interaction of each line (but not layering line upon line as many modern midi composers do). I appreciate that he clearly wasn't a big fan of tied whole notes in his scores and often employed the use of jagged rhythms to keep a section dynamic and moving.
I'm not saying he didn't have a sense of harmony however- being influenced by jazz seemed endemic to his style as well and there are many instances of him using harmonic extensions that give his music a richer sound.
Looking forward to this release with a restless excitement.
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I love CHEYENNE AUTUMN. It always seemed to me like SON OF CLEOPATRA, since it sounds stylistically so similar. Amazing, that such modern sounds can elucidate elements in stories so distant in time and theme. North was a real stylist.
This really comes from what I would call North's personal Golden Age:
SPARTACUS (1960)
CLEOPATRA (1963)
CHEYENNE AUTUMN (1964)
THE AGONY AND THE ECSTASY (1965)
THE SHOES OF THE FISHERMAN (1968)
All roadshows. All wonderful scores. All written practically in a row. Amazing man. He was nominated for Oscars 15 times, but never won, until he was given the first honorary Oscar for a film composer in 1986.
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I love CHEYENNE AUTUMN. It always seemed to me like SON OF CLEOPATRA, since it sounds stylistically so similar. Amazing, that such modern sounds can elucidate elements in stories so distant in time and theme. North was a real stylist.
This really comes from what I would call North's personal Golden Age:
SPARTACUS (1960)
CLEOPATRA (1963)
CHEYENNE AUTUMN (1964)
THE AGONY AND THE ECSTASY (1965)
THE SHOES OF THE FISHERMAN (1968)
All roadshows. All wonderful scores. All written practically in a row. Amazing man. He was nominated for Oscars 15 times, but never won, until he was given the first honorary Oscar for a film composer in 1986.
Guys like North were "lucky' to have so many films roadshowed.
Most composers had their scores heard in lo-fi mono at theatres saddled with crappy sound systems!
brm
ps DRAGONSLAYER also had a 70mm 6 track presentation!
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