Dammit. Missed out on tickets to The Cure’s “Reflections” show at the Sydney Opera House at the end of the month. They are playing their first three albums – Three Imaginary Boys, Faith and Seventeen Seconds. Would have loved to witness the minimal synth grandeur of those albums in all their truly depressing glory… perfect at the Opera House!
so nice. so sad. so glad they programmed it rather than just animating it.
There’s more info about the creation of this video on the Apple ][+ on Stewart Smith’s Stewdio website. It explains he initially produced this video unsolicited, for the band Grandaddy, who later wrote him a retroactive contract for it. You can download the code for the program he wrote for it there too…
2005. I release the Jed source code making this the first open-source music video. Maybe.
My friend Mickey sent me a great percussion piece featuring marimba today, after our discussions re. film soundtracks. I haven’t included that here, just details on the soundtrack to Badlands, one of my favourite films, and soundtracks, ever – and the original inspiration for exploring the marimba / xylophone for film music.
From Robert J. Thomas’s DVD review, some soundtrack details for Badlands (1973):
by Carl Orff and Gunild Keetman
“Trois Morceaux en forme de Poire”
by Erik Satie
by James Taylor
“A BLOSSOM FELL”
Written by H. Barnes, H. Cornelius, D. John
Performed by Nat “King” Cole
Courtesy of Capitol Records
“LOVE IS STRANGE”
Written by M. Baker, B. Smith, S. Robinson
Performed by Mickey and Sylvia
*Some tracks are on “The Best Of Carl Orff”, BMG 75605 51357 2, 1999:
..Carmina Burana – highlights – about half the 1 hour long masterpiece.
..Schulwerk (School work) – excerpts (collaboration with Gunild Keetman)
…. Guten Morgen, Spielmann (Gunild Keetman)
…. Der Wind, der weht
…. * Gassenhauer (Gunild Keetman)
…. Wer da bauet an der Strassen
…. Malaguena (Gunild Keetman)
…. C’est le mai
…. StÃ¼cke auf Ostinato (Gunild Keetman)
…. Schlaf, Kindleinm schlaf
…. * Passion
…. TanzstÃ¼ck (Gunild Keetman)
Edit: Apparently the film’s composer, George Aliceson Tipton, composed more original music for the film than is usually acknowledged (thanks to Adrian below for pointing this out). He can be found discussing this in Rosy-Fingered Dawn a 2002 documentary on Malick’s films (which I’ll now try to track down).
Walter Benjamin’s mystical vision of history piqued my fancy this morning while browsing Wikipedia:
The following is Benjamin’s ninth thesis from the essay “Theses on the Philosophy of History”:
A Klee painting named ‘Angelus Novus’ shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.