Yes I've seen Zappa in concert ... but was also never really an enthusiast of his work ... just got exposed to it by way of friends who constantly would play it ... and thus also eventually being taken to a concert by a boyfriend who also liked him.
You read RUSSIAN franz? Cool. There's an interesting passage in BROTHERS that conveys very nicely what's being said ... and makes the point ... even in English. Will try to find it and post it here later.
Yes saw the older version and newer versions of LOLITA (but mostly the OLDER version which also plays more often on TV). Does it seem Jeremy keeps being mentioned? Sorry about that ... it's just that film version of the RIDICULOUS MAN popped up while doing a search for the TEXT. Otherwise he's not really on my mind.
THE DOORS is a really interesting film. You should check it out sometime. It's also full of SURREALISM, because it begins with JIM as a child when he's in the back of the car with his other 2 sleeping siblings, as his parents drive cross country.
Then JIM also WAKES Up to see the AUTO ACCIDENT on the HIGHWAY, where someone's HIT some INDIANS who were walking along that road.
Later in an interview Jim also tells the WITCH he marries about that accident and how SOULS were FLOATING around in the BREEZE and ONE of them LEAPS into HIM.
Then throughout the rest of the film you also see these GHOSTLY figures of those INDIANS dancing with JIM on stage during his concerts, and appearing to him when he goes out into the desert with the other band members where he takes peyote, stumbles into a CAVE, and sees a FUTERISTIC vision of his death in Paris.
The INDIANS also appear when he visits and meets ANDY WARHOL, where he also encounters his DOPPLEGANGER, and they also appear again just before PAM finds Jim's body in the bath tub.
The film also gives credit to one of the books one of the band members has written, but imo, it also more closely follows what's been written in another book called:
NO ONE HERE GETS OUT ALIVE
If you don't want to watch Stone's film version, at least check out that story.
It also begins with JIM as a child. He's on SLED with his other 2 siblings, rushing down a hill full of SNOW, with NO intention of STOPPING, prior to his being stopped from killing all of them with his NON STOP RECKLESS behavior which also continues into adulthood.
There's also another interesting YOU TUBE clip of his father where one can also see the reason why Jim was the way he was, because when they ask this man about his son, he's also VERY CRITICAL of him and has almost NOTHING whatsoever nice to say about him.
So one can also UNDERSTAND the reason why JIM was ACTING OUT all the time.
That's too bad you don't seem to comprehend what the LYRICS of the SOUNDS of SILENCE song are saying, because imo, that's definitely also POETRY.
Isn't that NEON SIGN that FLASHES OUT it's WARNING also pretty much the same kind of WARNING that LYNCH gives us about the HOLLYWOOD MACHINE or FACTORY SYSTEM and the kind of damage that it can cause for someone who gets TRAPPED inside of it?
Doesn't that NEON SIGN with its WARNING also symbolize the same kind of a WARNING that HANEKE seems to be suggesting to the viewer here in his film HIDDEN?
Anne in GREAT EXPECTATIONS Here:
http://www.youtube.com/watch?v=ECyl4taufVw
http://www.youtube.com/watch?v=YilOOvH12Oc&feature=related
http://www.youtube.com/watch?v=8wYJUbOGmgk&feature=related
http://www.youtube.com/watch?feature=endscreen&v=p-5SaBmZWj8&NR=1
ANNE is kinda like a FEAMLE version of BOB from TWIN PEAKS due to the way she INFLICTS upon the YOUNG BOY the SAME kind of PAIN that was previously inflicted upon her as a YOUNGER woman.
Nabokov in particular has dismissed his work as mediocre and light on substance.
A summary and Some BROTHER'S QUOTES from CHAP 4 HERE where what Mr. D has to say is anything but MEDIOCRE and LIGHT on SUBSTANCE:
Summary—Chapter 4: Rebellion
The two brothers begin to discuss questions of God’s existence and the immortality of the soul. Ivan says that, in his heart, he has not rejected God, but that at the same time he feels himself unable to accept God or the world that God has created. Ivan says that he can love humanity in the abstract, but that, when he meets individual men and women, he finds it impossible to love them. Moreover, he is deeply troubled by the injustice of suffering on Earth. He asks Alyosha how a just God could permit the suffering of children, creatures too young even to have sinned. He says that to love such a God would be the equivalent of a tortured man choosing to love his torturer
http://www.classicreader.com/book/276/35/
One can love one's neighbours in the abstract, or even at a distance, but at close quarters it's almost impossible. If it were as on the stage, in the ballet, where if beggars come in, they wear silken rags and tattered lace and beg for alms dancing gracefully, then one might like looking at them. But even then we should not love them. But enough of that. I simply wanted to show you my point of view. I meant to speak of the suffering of mankind generally, but we had better confine ourselves to the sufferings of the children. That reduces the scope of my argument to a tenth of what it would be. Still we'd better keep to the children, though it does weaken my case. But, in the first place, children can be loved even at close quarters, even when they are dirty, even when they are ugly (I fancy, though, children never are ugly). The second reason why I won't speak of grown-up people is that, besides being disgusting and unworthy of love, they have a compensation -- they've eaten the apple and know good and evil, and they have become 'like gods.' They go on eating it still. But the children haven't eaten anything, and are so far innocent. Are you fond of children, Alyosha? I know you are, and you will understand why I prefer to speak of them. If they, too, suffer horribly on earth, they must suffer for their fathers' sins, they must be punished for their fathers, who have eaten the apple; but that reasoning is of the other world and is incomprehensible for the heart of man here on earth. The innocent must not suffer for another's sins, and especially such innocents! You may be surprised at me, Alyosha, but I am awfully fond of children, too. And observe, cruel people, the violent, the rapacious, the Karamazovs are sometimes very fond of children. Children while they are quite little -- up to seven, for instance -- are so remote from grown-up people they are different creatures, as it were, of a different species.
"You speak with a strange air," observed Alyosha uneasily, "as though you were not quite yourself."
"By the way, a Bulgarian I met lately in Moscow," Ivan went on, seeming not to hear his brother's words, "told me about the crimes committed by Turks and Circassians in all parts of Bulgaria through fear of a general rising of the Slavs. They burn villages, murder, outrage women and children, they nail their prisoners by the ears to the fences, leave them so till morning, and in the morning they hang them -- all sorts of things you can't imagine. People talk sometimes of bestial cruelty, but that's a great injustice and insult to the beasts; a beast can never be so cruel as a man, so artistically cruel. The tiger only tears and gnaws, that's all he can do. He would never think of nailing people by the ears, even if he were able to do it.
These Turks took a pleasure in torturing children, -too; cutting the unborn child from the mothers womb, and tossing babies up in the air and catching them on the points of their bayonets before their mothers' eyes. Doing it before the mothers' eyes was what gave zest to the amusement. Here is another scene that I thought very interesting. Imagine a trembling mother with her baby in her arms, a circle of invading Turks around her. They've planned a diversion: they pet the baby, laugh to make it laugh. They succeed, the baby laughs. At that moment a Turk points a pistol four inches from the baby's face. The baby laughs with glee, holds out its little hands to the pistol, and he pulls the trigger in the baby's face and blows out its brains. Artistic, wasn't it? By the way, Turks are particularly fond of sweet things, they say."
"Brother, what are you driving at?" asked Alyosha.
"I think if the devil doesn't exist, but man has created him, he has created him in his own image and likeness."
"Just as he did God, then?" observed Alyosha.
"'It's wonderful how you can turn words,' as Polonius says in Hamlet," laughed Ivan. "You turn my words against me. Well, I am glad. Yours must be a fine God, if man created Him in his image and likeness. You asked just now what I was driving at. You see, I am fond of collecting certain facts, and, would you believe, I even copy anecdotes of a certain sort from newspapers and books, and I've already got a fine collection. The Turks, of course, have gone into it, but they are foreigners. I have specimens from home that are even better than the Turks
This poor child of five was subjected to every possible torture by those cultivated parents. They beat her, thrashed her, kicked her for no reason till her body was one bruise. Then, they went to greater refinements of cruelty -- shut her up all night in the cold and frost in a privy, and because she didn't ask to be taken up at night (as though a child of five sleeping its angelic, sound sleep could be trained to wake and ask), they smeared her face and filled her mouth with excrement, and it was her mother, her mother did this. And that mother could sleep, hearing the poor child's groans! Can you understand why a little creature, who can't even understand what's done to her, should beat her little aching heart with her tiny fist in the dark and the cold, and weep her meek unresentful tears to dear, kind God to protect her? Do you understand that, friend and brother, you pious and humble novice? Do you understand why this infamy must be and is permitted? Without it, I am told, man could not have existed on earth, for he could not have known good and evil. Why should he know that diabolical good and evil when it costs so much? Why, the whole world of knowledge is not worth that child's prayer to dear, kind God'! I say nothing of the sufferings of grown-up people, they have eaten the apple, damn them, and the devil take them all! But these little ones! I am making you suffer, Alyosha, you are not yourself. I'll leave off if you like."
"Nevermind. I want to suffer too," muttered Alyosha.
One picture, only one more, because it's so curious, so characteristic, and I have only just read it in some collection of Russian antiquities. I've forgotten the name. I must look it up. It was in the darkest days of serfdom at the beginning of the century, and long live the Liberator of the People! There was in those days a general of aristocratic connections, the owner of great estates, one of those men -- somewhat exceptional, I believe, even then -- who, retiring from the service into a life of leisure, are convinced that they've earned absolute power over the lives of their subjects. There were such men then. So our general, settled on his property of two thousand souls, lives in pomp, and domineers over his poor neighbours as though they were dependents and buffoons. He has kennels of hundreds of hounds and nearly a hundred dog-boys -- all mounted, and in uniform. One day a serf-boy, a little child of eight, threw a stone in play and hurt the paw of the general's favourite hound.
'Why is my favourite dog lame?' He is told that the boy threw a stone that hurt the dog's paw. 'So you did it.' The general looked the child up and down. 'Take him.' He was taken -- taken from his mother and kept shut up all night. Early that morning the general comes out on horseback, with the hounds, his dependents, dog-boys, and huntsmen, all mounted around him in full hunting parade. The servants are summoned for their edification, and in front of them all stands the mother of the child. The child is brought from the lock-up. It's a gloomy, cold, foggy, autumn day, a capital day for hunting. The general orders the child to be undressed; the child is stripped naked. He shivers, numb with terror, not daring to cry....
'Make him run,' commands the general. 'Run! run!' shout the dog-boys. The boy runs.... 'At him!' yells the general, and he sets the whole pack of hounds on the child. The hounds catch him, and tear him to pieces before his mother's eyes!... I believe the general was afterwards declared incapable of administering his estates. Well -- what did he deserve? To be shot? To be shot for the satisfaction of our moral feelings? Speak, Alyosha!
"To be shot," murmured Alyosha, lifting his eyes to Ivan with a pale, twisted smile.
"Bravo!" cried Ivan delighted. "If even you say so... You're a pretty monk! So there is a little devil sitting in your heart, Alyosha Karamazov!"
"What I said was absurd, but-"
"That's just the point, that 'but'!" cried Ivan. "Let me tell you, novice, that the absurd is only too necessary on earth. The world stands on absurdities, and perhaps nothing would have come to pass in it without them. We know what we know!"
"What do you know?"
"I understand nothing," Ivan went on, as though in delirium. "I don't want to understand anything now.
*****************************
Would you place this stuff into the MEDIOCRE or LIGHT on SUBSTANCE CATEGORY???
One has to also wonder whether or not MR. N ever really read MR. D for his to have said such a thing.
LYNCH is also suppose to have donated some of his books by MR. D to the CLUB of SILENCE in Paris.
reply
share