Saturday, 10 May 2008

THE STAR - a short story by ARTHUR C. CLARKE

The Star
by
Arthur C. Clarke

It is three thousand light-years to the Vatican. Once I believed that space could have no power over faith. Just as I believed that the heavens declared the glory of God's handiwork. Now I have seen that handiwork, and my faith is sorely troubled.

I stare at the crucifix that hangs on the cabin wall above the Mark VI computer, and for the first time in my life I wonder if it is no more than an empty symbol. I have told no one yet, but the truth cannot be concealed. The data are there for anyone to read, recorded on the countless miles of magnetic tape and the thousands of photographs we are carrying back to Earth. Other scientists can interpret them as easily as I can--more easily, in all probability. I am not one who would condone that tampering with the truth which often gave my order a bad name in the olden days.

The crew is already sufficiently depressed, I wonder how they will take this ultimate irony. Few of them have any religious faith, yet they will not relish using this final weapon in their campaign against me--that private, good-natured but fundamentally serious war which lasted all the way from Earth. It amused them to have a Jesuit as chief astrophysicist. Dr. Chandler, for instance, could never get over it (why are medical men such notorious atheists?). Sometimes he would meet me on the observation deck, where the lights are always low, so that the stars shine with undiminished glory. He would come up to me in the gloom and stand staring out of the great oval port, while the heavens crawled slowly round us as the ship turned end over end with the residual spin we had never bothered to correct.

"Well, Father," he would say at last. "It goes on forever and forever, and perhaps Something made it. But how you can believe that Something has a special interest in us and our miserable little world--that just beats me." Then the argument would start, while the stars and nebulae would swing around us in silent, endless arcs beyond the flawlessly clear plastic of the observation port. It was, I think, the apparent incongruity of my position which, yes, amused the crew. In vain I would point to my three papers in the Astrophysical Journal, my five in the Monthly Notices of the Royal Astronomical Society. I would remind them that our order has long been famous for its scientific works. We may be few now, but ever since the eighteenth century we have made contributions to astronomy and geophysics out of all proportion to our numbers.

Will my report on the Phoenix Nebula end our thousand years of history? It will end, I fear, much more than that. I do not know who gave the nebula its name, which seems to me a very bad one. If it contains a prophecy, it is one which cannot be verified for several thousand million years. Even the word "nebula" is misleading; this is a far smaller object than those stupendous clouds of mist--the stuff of unborn stars--which are scattered throughout the length of the Milky Way. On the cosmic scale, indeed, the Phoenix Nebula is a tiny thing--a tenuous shell of gas surrounding a single star. Or what is left of a star . . .

The Rubens engraving of Loyola seems to mock me as it hangs there above the spectrophotometer tracings. What would you, Father, have made of this knowledge that has come into my keeping, so far from the little world that was all the universe you knew? Would your faith have risen to the challenge, as mine has failed to do? You gaze into the distance, Father, but I have traveled a distance beyond any that you could have imagined when you founded our order a thousand years ago. No other survey ship has been so far from Earth: we are at the very frontiers of the explored universe. We set out to reach the Phoenix Nebula, we succeeded, and we are homeward bound with our burden of knowledge. I wish I could lift that burden from my shoulders, but I call to you in vain across the centuries and the light-years that lie between us. On the book you are holding the words are plain to read. "AD MAIOREM DEI GLORIAM," the message runs, but it is a message I can no longer believe. Would you still believe it if you could see what we have found?

We knew, of course, what the Phoenix Nebula was. Every year, in our galaxy alone, more than a hundred stars explode, blazing for a few hours or days with thousands of times their normal brilliance before they sink back into death and obscurity. Such are the ordinary novae--the commonplace disasters of the universe. I have rocorded the spectrograms and light curves of dozens, since I started working at the lunar observatory. But three or four times in every thousand years occurs something beside which even a nova pales into total insignificance.

When a star becomes a supernova, it may for a little while outshine all the massed suns of the galaxy. The Chinese astronomers watched this happen in A.D. 1054, not knowing what it was they saw. Five centuries later, in 1572, a supernova blazed in Cassiopeia so brilliantly that it was visible in the daylight sky. There have been three more in the thousand years that have passed since then. Our mission was to visit the remnants of such a catastrophe, to reconstruct the events that led up to it, and, if possible, to learn its cause. We came slowly in through the concentric shells of gas that had been blasted out six thousand years before, yet were expanding still. They were immensely hot, radiating still with a fierce violet light, but far too tenuous to do us any damage. When the star had exploded, its outer layers had been driven upward with such speed that they had escaped completely from its gravitational field. Now they formed a hollow shell large enough to engulf a thousand solar systems, and at its center burned the tiny, fantastic object which the star had now become--a white dwarf, smaller than the Earth, yet weighing a million times as much. The glowing gas shells were all around us, banishing the normal night of interstellar space. We were flying into the center of a cosmic bomb that had detonated millennia ago and whose incandescent fragments were still hurtling apart. The immense scale of the explosion, and the fact that the debris already covered a volume of space many billions of miles across, robbed the scene of any visible movement. It would take decades before the unaided eye could detect any motion in these tortured wisps and eddies of gas, yet the sense of turbulent expansion was overwhelming. We had checked our primary drive hours before and were drifting slowly toward the fierce little star ahead. Once it had been a sun like our own, but it had squandered in a few hours the energy that should have kept it shining for a million years. Now it was a shrunken miser, hoarding its resources as if trying to make amends for its prodigal youth.

No one seriously expected to find planets. If there had been any before the explosion, they would have been boiled into puffs of vapor and their substance lost in the greater wreckage of the star itself. But we made the automatic search, as always when approaching an unknown sun, and presently we found a single small world circling the star at an immense distance. It must have been the Pluto of this vanished solar system, orbiting on the frontiers of the night. Too far from the central sun ever to have known life, its remoteness had saved it from the fate of all its lost com- panions.

The passing fires had seared its rocks and burned away the mantle of frozen gas that must have covered it in the days before the disaster. We landed, and we found the Vault.

Its builders had made sure that we should. The monolithic marker that stood above the entrance was now a fused stump, but even the first long-range photographs told us that here was the work of intelligence. A little later we detected the continent-wide pattern of radioactivity that had been buried in the rock. Even if the pylon above the Vault had been destroyed, this would have remained, an immovable and all but eternal beacon calling to the stars. Our ship fell toward this gigantic bull's-eye like an arrow into its target.

The pylon must have been a mile high when it was built, but now it looked like a candle that had melted down into a puddle of wax. It took us a week to drill through the fused rock, since we did not have the proper tools for a task like this. We were astronomers, not archaeologists, but we could improvise. Our original program was forgotten: this lonely monument, reared at such labor at the greatest possible distance from the doomed sun, could have only one meaning. A civilization which knew it was about to die had made its last bid for immortality.

It will take us generations to examine all the treasures that were placed in the Vault. They had plenty of time to prepare, for their sun must have given its first warnings many years before the final detonation. Everything that they wished to preserve, all the fruits of their genius, they brought here to this distant world in the days before the end, hoping that some other race would find them and that they would not be utterly forgotten.

If only they had a little more time! They could travel freely enough between the planets of their own sun, but they had not yet learned to cross the interstellar gulfs, and the nearest solar system was a hundred light-years away. Even if they had not been so disturbingly human as their sculpture shows, we could not have helped admiring them and grieving for their fate. They left thousands of visual records and the machines for projecting them, together with elaborate pictorial instructions from which it will not be difficult to learn their written language. We have examined many of these records, and brought to life for the first time in six thousand years the warmth and beauty of a civilization which in many ways must have been superior to our own. Perhaps they only showed us the best, and one can hardly blame them. But their worlds were very lovely, and their cities were built with a grace that matches anything of ours. We have watched them at work and play, and listened to their musical speech sounding across the centuries. One scene is still before my eyes--a group of children on a beach of strange blue sand, playing in the waves as children play on Earth.

And sinking into the sea, still warm and friendly and life-giving, is the sun that will soon turn traitor and obliterate all this innocent happiness.

Perhaps if we had not been so far from home and so vulnerable to loneliness, we should not have been so deeply moved. Many of us had seen the ruins of ancient civilizations on other worlds, but they had never affected us so profoundly.

This tragedy was unique. It was one thing for a race to fail and die, as nations and cultures have done on Earth. But to be destroyed so completely in the full flower of its achievement, leaving no survivors--how could that be reconciled with the mercy of God?

My colleagues have asked me that, and I have given what answers I can. Perhaps you could have done better, Father Loyola, but I have found nothing in the Exercitia spiritualia that helps me here. They were not an evil people: I do not know what gods they worshiped, if indeed they worshiped any. But I have looked back at them across the centuries, and have watched while the loveliness they used their last strength to preserve was brought forth again into the light of their shrunken sun.

I know the answers that my colleagues will give when they get back to Earth. They will say that the universe has no purpose and no plan, that since a hundred suns explode every year in our galaxy, at this very moment some race is dying in the depths of space. Whether that race has done good or evil during its lifetime will make no difference in the end: there is no divine justice, for there is no God. Yet, of course, what we have seen proves nothing of the sort. Anyone who argues thus is being swayed by emotion, not logic. God has no need to justify His actions to man. He who built the universe can destroy it when He chooses. It is arrogance--it is perilously near blasphemy for us to say what He may or may not do.

This I could have accepted, hard though it is to look upon whole worlds and peoples thrown into the furnace. But there comes a point when even the deepest faith must falter, and now, as I look at my calculations, I know I have reached that point at last.

We could not tell, before we reached the nebula, how long ago the explosion took place. Now, from the astronomical evidence and the record in the rocks of that one surviving planet, I have been able to date it very exactly. I know in what year the light of this colossal conflagration reached Earth. I know how brilliantly the supernova whose corpse now dwindles behind our speeding ship once shone in terrestrial skies. I know how it must have blazed low in the East before sunrise, like a beacon in that Oriental dawn. There can be no reasonable doubt: the ancient mystery is solved at last. Yet O God, there were so many stars you could have used.

What was the need to give these people to the fire, that the symbol of their passing might shine above Bethlehem?

Hair - Let the Sunshine In

LET THE SUNSHINE IN

Soldier 1:
We starve-look
At one another
Short of breath
Walking proudly in our winter coats
Wearing smells from laboratories
Facing a dying nation
Of moving paper fantasy
Listening for the new told lies
With supreme visions of lonely tunes

Soldier 2:
Somewhere
Inside something there is a rush of
Greatness
Who knows what stands in front of
Our lives
I fashion my future on films in space
Silence
Tells me secretly
Everything
Everything

Claude:
Manchester England England
Manchester England England
(Ensemble:Eyes look your last)
Across the Atlantic Sea
(Arms take your last
embrace)
And I'm a genius genius
(And lips oh you the
doors of breath)
I believe in God
(Seal with a righteous kiss)
And I believe that God believes in Claude
(Seal with a righteous kiss)
That's me, that's me, that's me
(The rest is silence,
The rest is silence,
The rest is silence)

Ensemble:
Singing our space songs on a spider web sitar
Life is around you and in you
Answer for Timothy Leary, dearie

Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sun shine in...

Hair - Aquarius

AQUARIUS

When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius
Aquarius!
Aquarius!

Harmony and understanding
Sympathy and trust abounding
No more falsehoods or derisions
Golding living dreams of visions
Mystic crystal revalation
And the mind's true liberation
Aquarius!
Aquarius!

When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius
Aquarius!
Aquarius!

Harmony and understanding
Sympathy and trust abounding
No more falsehoods or derisions
Golding living dreams of visions
Mystic crystal revalation
And the mind's true liberation
Aquarius!
Aquarius!

Born To Be Wild and Easy Rider (Slipshotfilms)

BORN TO BE WILD

Get your motor runnin'
Head out on the highway
Lookin' for adventure
And whatever comes our way
Yeah Darlin' go make it happen
Take the world in a love embrace
Fire all of your guns at once
And explode into space

I like smoke and lightning
Heavy metal thunder
Racin' with the wind
And the feelin' that I'm under
Yeah Darlin' go make it happen
Take the world in a love embrace
Fire all of your guns at once
And explode into space

Like a true nature's child
We were born, born to be wild
We can climb so high
I never wanna die

Born to be wild
Born to be wild

DON'T BOGART ME - BY: FRATERNITY OF MAN

DON'T BOGART ME

Don't bogart that joint, my friend
Pass it over to me.
Don't bogart that joint, my friend
Pass it over to me.

Roll another one
Just like the other one.
This one's burnt to the end
Come on and be a friend.

Don't bogart that joint, my friend
Pass it over to me.
Don't bogart that joint, my friend
Pass it over to me.

Ro-o-o-o-o-o-o-o-o-o-o-o-o-o-o-oll another one
Just like the other one.
You've been hanging on to it
And I sure would like a hit.

Don't bogart that joint, my friend
Pass it over to me.
Don't bogart that joint, my friend
Pass it over to me

WHEN I PLAYED THE DEVIL


It was a long time ago. Years, ages to me, that I stepped a stage for the last time.

I still remember a certain play: I played the Devil in one of Master Gil Vicente's Acts, "The Act of The Soul".

I was what you call an "amateur", I loved (and still I do) to perform, and to play the Devil was my speciality.

I even scandalised half-world (well, a lot of people, several dozens, to be exact) when asked about the character I thought to be the most important in the play (The Act of The Soul).

Thoughtlessly I answered : The Devil.

For some time there were some Christian's mothers souls that kept their daughters (or at least tried to) away from me. I thought they really believed I was the devil, never realizing that were my imprudent words (in Portugal'sixties the majority of the people had a real fear and respect to the Catholic Church) that had arisen such reactions.

I went acting for sometime, until I had to choose between my passion and the need to feed my family.

If this event ocurred today, for sure I would say the same thing, but this time, when those scandalised faces showed their displeasure, at last I would know what to answer back:

- Of course the Devil is the most important character in the play. For sure is not the soul, she is there only to be driven to heaven or hell. The Angel ? Don't make me laugh, he only has to play the soul's watch-dog. If someone is doing the heavy work in the play it is the Devil.

If there is something extremely difficult to do is to tempt someone. You have to spend a lot of time and to use the best of your class to convert a soul to your kingdom of hell, and work your way, into the soul defences, with that pain-in-the-ass of an angel, always nagging around.

And if you still don't believe me just ask any propaganda's guru.

GOD ! I LOVE THESE EYES !!!



I can't avoid it. But her eyes always made me feel like someone helpless, like a canary who has been mesmerized by the cat, knowing it and don't even giving it a damn. If they say to you - Take care, you're gonna be eaten - you smile and don't even bother to answer back.

THAT'S MICHELLE PFEIFFER

Who really cares to be a canary ? I don't !!!

Friday, 9 May 2008

THE MAN FROM U.N.C.L.E. - THE COMPLETE SERIES ON DVD

Time Life and Warner Home Video have announced the upcoming release of The Man From U.N.C.L.E: The Complete Series for 27th November. This 41-disc collection will be presented in a special attaché case containing the original, unedited 105 episodes stretching from the first season in 1964, to the fourth and final season in 1968. Accompanying the DVDs are four eight-page booklets written by journalist Jon Burlingame, author Cindy Walker, journalist Craig Henderson and critic David Bianculli.

In terms of special features there will be: an interview called: “Double Agents – The David McCallum & Robert Vaughn Reunion”, the pilot episode - "Solo", a feature film based on Man From U.N.C.L.E. entitled "One Spy Too Many", 9 featurettes ("The Cloak and Swagger Affair: The Untold History of The Man From U.N.C.L.E.”, "The Spy-Fi Tour: Archives, Art & Artifacts”, “Cold War, Hot Spies: U.N.C.L.E. and the Cold War”, “MGM’s Secret Operations”, “Guns, Gizmos, Gadgets and Garb”, “Behind the Wheel: U.N.C.L.E.’s Piranha”, “Fandemonium”, “The Music from U.N.C.L.E.” and “The Girls of U.N.C.L.E.”), 17 on-camera interviews (with David McCallum, Robert Vaughn, director Richard Donner, writer Peter Allan Fields, writer Dean Hargrove, director of photography Fred Koenekamp, assistant producer George Lehr and director Joseph Sargent and others), 4 clip collections (featuring Eddie Albert, Joan Collins, Joan Crawford, Janet Leigh, Leonard Nimoy, Carol O’Connor, Jack Palance, Slim Pickens, Vincent Price, Kurt Russell, William Shatner, Sonny & Cher and more), “The Secret Tapes of Illya Kuryakin: Home Movies from the Set of U.N.C.L.E.”, clips from Robert Vaughn and David McCallum’s appearances at the 1965 Emmy and Golden Globe broadcasts, a clip from McCallum’s appearance on The Andy Williams Show, a Tom & Jerry Cartoon – “The Mouse From H.U.N.G.E.R.”, U.N.C.L.E. memorabilia, Ian Fleming’s personal notes, NBC Broadcast and Standards memos, research files, set designs, blueprints, promos, trailers, television commercials and a photo gallery.
This product will be available directly from Time Life's website.








MICHELLE PFEIFFER - LADYHAWKE - MOVIE POSTERS




SEAN CONNERY (MORE) MOVIE POSTERS








SEAN CONNERY ( AS JAMES BOND ) MOVIE POSTERS







Thursday, 8 May 2008

THE NAME OF THE ROSE - THE FILM


The Name of the Rose (original title, Der Name der Rose) is a German-French-Italian 1986 film, directed by Jean-Jacques Annaud, based on the book of the same name by Umberto Eco. Sean Connery is the Franciscan friar William of Baskerville and Christian Slater is his apprentice Adso of Melk, who are called upon to solve a deadly mystery in a Medieval abbey.

Synopsis

William of Baskerville and his apprentice Adso of Melk (narrating as an old man, it later transpires) arrive at a Benedictine abbey where a mysterious death has occurred ahead of an important Church conference. William, known for his deductive and analytic mind, confronts the worried Abbot and gains permission to investigate the death – a young illuminator appears to have committed suicide. Over the next few days, several other bizarre deaths occur, and the two discover that not everything is what it seems in the abbey.

The two also make the acquaintance of Salvatore (played by Ron Perlman), a demented hunchback who spews forth gibberish in various languages, and his handler and protector, Remigio da Varagine (Helmut Qualtinger) who, as events prove, also has a shady past. William quickly deduces that Salvatore had once been a member of a heretical sect and infers that Remigio likewise had been involved. He suspects that they may have been involved in the killings.

Investigating and keen to head off accusations of demonic possession (which nevertheless eventually leads to the burning of two innocent men at the stake) the protagonists discover and explore a labyrinthine medieval library, constructed on multiple levels in the abbey's forbidden principal tower. It becomes clear that the only remaining copy of Aristotle's Second Book of Poetics is somehow related to the deaths. William deduces, thanks to a scrap of parchment with hastily written notes, that all of those who died under mysterious circumstances had read the book. His investigations are curtailed by the arrival of Bernardo Gui of the Inquisition, summoned for the conference and keen to investigate the deaths. The two men clashed in the past and the zealous inquisitor has no time for theories outside his own: that The Devil is responsible – and torture will reveal the truth.

To their great misfortune, Salvatore and a semi-feral local girl are found fighting over meat while in the presence of candles and a black cat. Bernardo Gui sees this as irrefutable proof that they are in league with Satan and, along with Remigio, he has them manacled and subjected to "questioning". Grisly scenes ensue showing Salvatore being branded and his arms and hands mangled by the inquisitors. He is then dragged into a kangaroo court tribunal and unsuccessfully prompted by Gui to implicate his partner and the girl who is lying unconscious on the floor.

It is obvious that Salvatore has been driven insane as a result of Gui's torture, prompting Remigio to later scream, "The devil I renounce is you, Bernardo Gui!" At first Remigio shows nothing but contempt for his tormentors and brags about spending most of his life shaking down the poor in the name of the Church and its corrupt officials. But then he is "shown the instruments of Inquisition" and he begins to wildly confess to every insane suggestion that Gui throws his way. It is soon clear that Gui also seeks to implicate and destroy Brother William.

Ascending the forbidden library, William and Adso come face to face with the Venerable Jorge, the most ancient denizen of the abbey, who reveals the book, which contains a description of comedy and how it may be used to teach. Being afraid of laughter and comedy—the traditionalist firmly asserts that Christ never laughed and jocularity is a blasphemous sin—Jorge has poisoned the pages to avoid the spread of what he considers dangerous ideas. (A common method of reading books at the time was to lick one's finger to moisten it in order to turn the pages; when the page corners were poisoned, the reader licking his poisoned finger died soon thereafter.)

William of Baskerville and his apprentice Adso of Melk

Realising that William knows of the poisoned pages and will not fall for the same trick, Jorge throws over a candle, starting a blaze that spreads quickly in the tower, the internal structure of which is completely made of wood. As it contains innumerable rare and unique books of infinite value, this devastates William, who insists Adso flee while he desperately tries to save as many tomes as possible. The fire destroys both Jorge and the Second Book of the Poetics, but miraculously, William does make it out with a few precious books. Facing a local rebellion due to his harsh methods, Bernardo Gui is fortunately denied his revenge on William and forced to flee—but dies horribly at the hands of the mob. Later, William and Adso take their leave—the latter having lost his heart and virginity to the wild girl (possibly the rose) whom he nevertheless turns his back on in favour of remaining with William and his calling.

Cast

(in credits order)
Sean Connery - William of Baskerville
Christian Slater - Adso of Melk
Michael Lonsdale - The Abbot
Helmut Qualtinger - Remigio da Varagine
Elya Baskin - Severinus
Volker Prechtel - Malachia
Feodor Chaliapin, Jr.- Jorge de Burgos
Mark Bellinghaus - Jorge's Novice
William Hickey - Ubertino da Casale
Michael Habeck - Berenger
Urs Althaus - Venantius
Valentina Vargas - The Girl
Ron Perlman - Salvatore
Leopoldo Trieste - Michele da Cesena
Franco Valobra - Jerome of Kaffa
Vernon Dobtcheff - Hugh of Newcastle
Donald O'Brien - Pietro d'Assisi (as Donal O'Brian)
Andrew Birkin - Cuthbert of Winchester
F. Murray Abraham - Bernardo Gui
Lucien Bodard - Cardinal Bertrand
Peter Berling - Jean d'Anneaux
Pete Lancaster - Bishop of Alborea
Dwight Weist - Voice of Adso as an Old Man (voice)

Awards

The film was awarded the César for best foreign film.
The film was awarded two BAFTAs. Sean Connery for best actor, and Hasso von Hugo won Best Make Up Artist.

Trivia

The exterior of the monastery seen in the film was constructed on a hilltop outside Rome, and ended up being the biggest exterior set built in Europe since “Cleopatra”.

The interiors were shot at Eberbach Abbey, Germany.

The director of the movie, Jean-Jacques Annaud spent four years preparing the film, traveling throughout the United States as well as Europe, searching for the perfect cast and film set locations.

Annaud once told Umberto Eco that he was convinced the book was written for only one person to direct, that is to say himself. He felt personally intrigued by the project, among other things because of a life-long fascination with medieval churches and a great familiarity with Latin and Greek.

Major changes from the book

The film has a much more simplified plot, with far more action in it.

A lengthy dream sequence near the end (Terce of the sixth day) dreamt by Adso is non-existent in the film. It is mostly based, William tells Adso, on the Coena Cypriani, which illustrates a comedic assembly of many biblical characters. There are several versions, one of which is found bound together with Aristotle's Poetics, and its popularity shows how comedy attracts the attention of the young. Adso was very familiar with this text; Jorge was disgusted by it.

In the book, the Abbot explicitly assigns William as an investigator and orders everyone to help him if he requests something. He also explicitly tells that entering the aedificium is forbidden in the evenings.

A major character (and suspect) from the book is omitted in the film adaptation: Benno of Uppsala, who even joins William and Adso for a short period of their investigation. He runs into the library as the abbey burns, presumably dying when the floor collapses.

The Abbot is the sixth victim in the book, whereas in the film he just stops appearing.

A lot of dialogue regarding religion and comedy, as well as much discussion by the main characters about the current time period and the heretics is cut drastically down.

Jorge's motivation is reduced by cutting out the history of the Abbey librarians, who traditionally later become the Abbots. This takes with it the history of Jorge being passed over for that position, and his subsequently setting up the current Abbot, Librarian, and Assistant as puppets. The sermon that Jorge gives on the apocalypse and the ruin of the Abby because of its pursuit for knowledge is reduced to an exclamation during the panic following Malachi's death.

The most notable of changes is the ending: the film has Remigio and Salvatore being burnt at the stake by Bernardo Gui, who is killed by peasants before being able to burn The Girl. In the book, Gui does not die, and he takes Remigio, The Girl and Salvatore with him and his escorts. Remigio is taken to Avignon, the seat of the pope, for a final trial before he is burnt. William tells Adso that Gui will burn The Girl on the way, and that Salvatore, who is supposedly forgiven, may or may not be burnt as well.

See also


External links

Wikiquote has a collection of quotations related to:
Umberto Eco
The Name of the Rose at the Internet Movie Database

TADANORI YOKOO

Tadanori Yokoo (横尾忠則, Yokoo Tadanori) (born 1936) is a Japanese graphic designer, illustrator, printmaker and painter.

Tadanori Yokoo, (pronounced "yoko-o") born in Hyōgo Prefecture, Japan, in 1936, is one of Japan's most successful and internationally recognized graphic designers and artists. He began his career as a stage designer for avant garde theatre in Tokyo. His early work shows the influence of the New York based Push Pin Studio (Milton Glaser and Seymour Chwast in particular) but Yokoo himself cites filmmaker Akira Kurosawa and writer Yukio Mishima as two of his most formative influences.

In the late 1960s he became interested in mysticism and psychedelia, deepened by travels in India. Because his work was so attuned to 1960s pop culture, he has often been (unfairly) described as the "Japanese Andy Warhol" or likened to psychedelic poster artist Peter Max, but Yokoo's complex and multi-layered imagery is intensely autobiographical and entirely original. By the late 60s he had already achieved international recognition for his work and was included in the 1968 "Word & Image" exhibition at the Museum of Modern Art in New York. Four years later MoMA mounted a solo exhibition of his graphic work.

In 1981 he unexpectedly "retired" from commercial work and took up painting. His career as a fine artist continues to this day with numerous exhibitions of his paintings every year, but alongside this he remains fully engaged and prolific as a graphic designer.

ANNUNCIATION

Annunciation by Mati Klarwein - 1961


Annunciation is the first painting I painted after my initial New York awakening. I was 28 years old and at the peak of my molecular bio-energy. You can feel the sudden burst of the Big Apple's electric zap in the composition after all the early years of adolescent brooding over potatoes and eggs and the romantic nostalgia of the preceeding Flight to Egypt.









In those days I had an obsessional passion for the female body that lasted deep into my thirties (to be replaced by rocks 'n' stones)..


Years later Carlos Santana saw a reproduction of the Annunciation in a magazine and wanted it for the cover of his all time best selling Abraxas album. It did me a world of good. I saw the album pinned to the wall in a shaman's mud hut in Niger and inside a Rastafarian's ganja hauling truck in Jamaica. I was in good global company, muchissimas gracias, Carlito!





The text above is edited extracts from Mati's book 'Collected Works 1959-1975'. An explanation of the Biblical meaning of Annunciation can be found in Wikipedia.


Annunciation: detail showing Wodaabe Charm Dancers with Mati's head in the foreground


At the end of the rainy season the Wodaabe people of Niger (shown in the detail above) hold an annual seven day ritual celebration where the men participate in a series of charm and beauty dances judged solely by women. During the week, women single out the most desirable men. As part of the ritual, Wodaabe men decorate their faces to appeal to the women spectators. A man who can hold one eye still as he rolls the other is considered especially alluring to his female judges.


Although the title, combined with the depiction of the Virgin Mary as a voluptuously sensual black girl, is a clear challenge to our preconceptions, this painting can also be seen as a visual celebration of life on earth in all its richness and diversity: Music, scent, sex and sensuality, colour, taste, texture, the eroticism of flowers, the sensuality of stone, the natural beauty of landscapes and of all the fruits of nature are all represented here.





The detail on the left shows the 'Cala' cove in Deia, Mallorca, as seen from Mati's home there

Joe Dassin - L'ÉTÉ INDIEN

L'ÉTÉ INDIEN

Tu sais, je n'ai jamais été aussi heureux que ce matin-là
nous marchions sur une plage un peu comme celle-ci
c'était l'automne, un automne où il faisait beau
une saison qui n'existe que dans le Nord de l'Amérique
Là-bas on l'appelle l'été indien
mais c'était tout simplement le nôtre
avec ta robe longue tu ressemblais
à une aquarelle de Marie Laurencin
et je me souviens, je me souviens très bien
de ce que je t'ai dit ce matin-là
il y a un an, y a un siècle, y a une éternité

on ira où tu voudras, quand tu voudras
et on s'aimera encore, lorsque l'amour sera mort
toute la vie sera pareille à ce matin
aux couleurs de l'été indien

aujourd'hui je suis très loin de ce matin d'automne
mais c'est comme si j'y étais
je pense à toi
où est tu?
que fais-tu?
est-ce que j'existe encore pour toi?
je regarde cette vague qui n'atteindra jamais la dune
tu vois, comme elle je me couche sur le sable
et je me souviens
je me souviens des marées hautes
du soleil et du bonheur qui passaient sur la mer
il y a une éternité, un siècle, il y a un an

on ira où tu voudras, quand tu voudras
et on s'aimera encore, lorsque l'amour sera mort
toute la vie sera pareille à ce matin
aux couleurs de l'été indien

SALUT LES AMOUREUX

SALUT LES AMOUREUX

Les matins se suivent et se ressemblent
Quand l'amour fait place au quotidien
On n'était pas fait pour vivre ensemble
Ça n'suffit pas de toujours s'aimer bien
C'est drole, hier, on s'ennuyait
Et c'est à peine si l'on trouvait
Des mots pour se parler du mauvais temps
Et maintenant qu'il faut partir
On a cent mille choses à dire
Qui tiennent trop à cœur pour si peu de temps

On s'est aimé comme on se quitte
Tout simplement sans penser à demain
A demain qui vient toujours un peu trop vite
Aux adieux qui quelque fois se passent un peu trop bien

On fait c'qu'il faut, on tient nos roles
On se regarde, on rit, on crâne un peu
On a toujours oublié quelque chose
C'est pas facile de se dire adieu
Et l'on sait trop bien que tot ou tard
Demain peut-etre ou meme ce soir
On va se dire que tout n'est pas perdu
De ce roman inachevé, on va se faire un conte de fées
Mais on a passé l'âge, on n'y croirait plus

On s'est aimé comme on se quitte
Tout simplement sans penser à demain
A demain qui vient toujours un peu trop vite
Aux adieux qui quelque fois se passent un peu trop bien

Roméo, Juliette et tous les autres
Au fond de vos bouquins dormez en paix
Une simple histoire comme la notre
Est de celles qu'on écrira jamais
Allons petite il faut partir
Laisser ici nos souvenirs
On va descendre ensemble si tu veux
Et quand elle va nous voir passer
La patronne du café
Va encore nous dire "Salut les amoureux"

On s'est aimé comme on se quitte
Tout simplement sans penser à demain
A demain qui vient toujours un peu trop vite
Aux adieux qui quelque fois se passent un peu trop bien

Joe Dassin - Le Cafe des Trois Colombes

LE CAFÉ DES TROIS COLOMBES

Nancy en hiver, une neige mouillée
Une fille entre dans un café
Moi, je bois mon verre, elle s'installe à côté
Je ne sais pas comment l'aborder
La pluie, le beau temps, ça n'a rien de génial
Mais c'est bien pour forcer son étoile
Puis vient le moment oû l'on parle de soi
Et la neige a fondu sous nos pas

On s'est connus au café des trois colombes
Au rendez-vous des amours sans abri
On était bien, on se sentait seuls au monde
On n'avait rien, mais on avait toute la vie

Nancy au printemps, ça ressemble au Midi
Elle m'aime et je l'aime aussi
On marche en parlant, on refait la philo
Je la prends mille fois en photo
Les petits bistrots tout autour de la place
Au soleil ont sorti leurs terrasses
Mais il y avait trop de lumière et de bruit
On attendait qu'arrive la nuit

On se voyait au café des trois colombes
Au rendez-vous des amours sans abri
On était bien, on se sentait seuls au monde
On n'avait rien, mais on avait toute la vie

Nancy, c'est très loin, c'est au bout de la terre
Ça s'éloigne à chaque anniversaire
Mais j'en suis certain, mes chagrins s'en souviennent
Le bonheur passait par la Lorraine
Il s'en est allé suivre d'autres chemins
Qui ne croisent pas souvent le mien
Je t'ai oubliée, mais c'est plus fort que moi
Il m'arrive de penser à toi

On se voyait au café des trois colombes
Au rendez-vous des amours sans abri
On était bien, on se sentait seuls au monde
On n'avait rien, mais on avait toute la vie

Joe Dassin chante 'Ca Va Pas Changer Le Monde'

ÇA VA PAS CHANGER LE MONDE

C'est drôle, tu es partie
Et pourtant tu es encore ici
Puisque tout me parle de toi
Un parfum de femme, l'écho de ta voix
Ton adieu, je n'y crois pas du tout
C'est un au revoir, presqu'un rendez-vous

Ça va pas changer le monde
Il a trop tourné sans nous
Il pleuvra toujours sur Londres
Ça va rien changer du tout
Qu'est-ce que ça peut bien lui faire
Une porte qui s'est refermée?
On s'est aimés, n'en parlons plus
Et la vie continue

Ça va pas changer le monde
Que tu changes de maison
Il va continuer, le monde
Et il aura bien raison
Les poussières d'une étoile
C'est ça qui fait briller la voie lactée
On s'est aimés, n'en parlons plus
Et la vie continue

Ça va pas changer le monde
Ça va pas le déranger
Il est comme avant, le monde
C'est toi seule qui as changé
Moi, je suis resté le même
Celui qui croyait que tu l'aimais
C'était pas vrai, n'en parlons plus
Et la vie continue

Joe Dassin - À toi

A TOI

A toi
A la façon que tu as d'être belle
A la façon que tu as d'être à moi
A tes mots tendres un peu artificiels
Quelquefois
A toi
A la petite fille que tu étais
A celle que tu es encore souvent
A ton passé, à tes regrets
A tes anciens princes charmants

A la vie, à l'amour
A nos nuits, à nos jours
A l'éternel retour de la chance
A l'enfant qui viendra
Qui nous ressemblera
Qui sera à la fois toi et moi

A moi
A la folie dont tu es la raison
A mes colères sans savoir pourquoi
A mes silences et à mes trahisons
Quelquefois
A moi
Au temps que j'ai passé à te chercher
Aux qualités dont tu te moques bien
Aux défauts que je t'ai caché
A mes idées de baladin

A la vie, à l'amour
A nos nuits, à nos jours
A l'éternel retour de la chance
A l'enfant qui viendra
Qui nous ressemblera
Qui sera à la fois toi et moi

A nous
Aux souvenirs que nous allons nous faire
A l'avenir et au présent surtout
A la santé de cette vieille terre
Qui s'en fout
A nous
A nos espoirs et à nos illusions
A notre prochain premier rendez-vous
A la santé de ces milliers d'amoureux
Qui sont comme nous

A la vie, à l'amour
A nos nuits, à nos jours
A l'éternel retour de la chance
A l'enfant qui viendra
Qui nous ressemblera
Qui sera à la fois toi et moi

Edith Piaf - a Nimegue - Non, Je Ne Regrette Rien(11/13)

JE NE REGRETTE RIEN

Non!
Rien de rien...
Non!
Je ne regrette rien
Ni le bien
Qu’on m’a fait,
Ni le mal,
Tout ça m’est bien égal!
Non!
Rien de rien...
Non!

C’est payé,
Balayé,
Oublié,
Je me fous du passé!
Avec me souvenirs
J’ai allumé le feu,
Mes chagrins, mes plaisirs,
Je n’ai plus besoin d’eux!

Balayé les amours,
Avec leurs trémolos,
Balayés pour toujours
Je repars à zéro...

Non!
Rien de rien...
Non!
Je ne regrette rien
Ni le bien
Qu’on m’a fait,
Ni le mal,
Tout ça m’est bien égal!
Non!
Rien de rien...
Non!

Car ma vie,
Car mes joies,
Aujourd’hui,
Ça commence avec toi!

Edith Piaf - La Vie En Rose - 1954

LA VIE EN ROSE

Des yeux qui font baiser les miens,
Un rire qui se perd sur sa bouche,
Voila le portrait sans retouche
De l'homme auquel j'appartiens

Quand il me prend dans ses bras
Il me parle tout bas,
Je vois la vie en rose.

Il me dit des mots d'amour,
Des mots de tous les jours,
Et ça me fait quelque chose.

Il est entré dans mon coeur
Une part de bonheur
Dont je connais la cause.

C'est lui pour moi. Moi pour lui
Dans la vie,
Il me l'a dit, l'a jure pour la vie.

Et des que je l'apercois
Alors je sens en moi
Mon coeur qui bat

Des nuits d'amour à ne plus en finir
Un grand bonheur qui prend sa place
Des enuis des chagrins, des phases
Heureux, heureux a en mourir.

Quand il me prend dans ses bras
Il me parle tout bas,
Je vois la vie en rose.

Il me dit des mots d'amour,
Des mots de tous les jours,
Et ça me fait quelque chose.

Il est entré dans mon coeur
Une part de bonheur
Dont je connais la cause.

C'est toi pour moi. Moi pour toi
Dans la vie,
Il me l'a dit, l'a jure pour la vie.

Et des que je l'apercois
Alors je sens en moi
Mon coeur qui bat

L'Internationale Communiste en Version original (Français)


L'Internationale

Debout les damnés de la terre
Debout les forçats de la faim
La raison tonne en son cratère
C'est l'éruption de la fin
Du passe faisons table rase
Foules, esclaves, debout, debout
Le monde va changer de base
Nous ne sommes rien, soyons tout

C'est la lutte finale
Groupons-nous, et demain (bis)
L'Internationale
Sera le genre humain

Il n'est pas de sauveurs suprêmes
Ni Dieu, ni César, ni tribun
Producteurs, sauvons-nous nous-mêmes
Décrétons le salut commun
Pour que le voleur rende gorge
Pour tirer l'esprit du cachot
Soufflons nous-mêmes notre forge
Battons le fer quand il est chaud

L'état comprime et la loi triche
L'impôt saigne le malheureux
Nul devoir ne s'impose au riche
Le droit du pauvre est un mot creux
C'est assez, languir en tutelle
L'égalité veut d'autres lois
Pas de droits sans devoirs dit-elle
Egaux, pas de devoirs sans droits

Hideux dans leur apothéose
Les rois de la mine et du rail
Ont-ils jamais fait autre chose
Que dévaliser le travail
Dans les coffres-forts de la bande
Ce qu'il a crée s'est fondu
En décrétant qu'on le lui rende
Le peuple ne veut que son dû.

Les rois nous saoulaient de fumées
Paix entre nous, guerre aux tyrans
Appliquons la grève aux armées
Crosse en l'air, et rompons les rangs
S'ils s'obstinent, ces cannibales
A faire de nous des héros
Ils sauront bientôt que nos balles
Sont pour nos propres généraux

Ouvriers, paysans, nous sommes
Le grand parti des travailleurs
La terre n'appartient qu'aux hommes
L'oisif ira loger ailleurs
Combien, de nos chairs se repaissent
Mais si les corbeaux, les vautours
Un de ces matins disparaissent
Le soleil brillera toujours.

The Internationale [variant words in square brackets]

Arise ye workers [starvelings] from your slumbers
Arise ye prisoners of want
For reason in revolt now thunders
And at last ends the age of cant.
Away with all your superstitions
Servile masses arise, arise
We'll change henceforth [forthwith] the old tradition [conditions]
And spurn the dust to win the prize.

So comrades, come rally
And the last fight let us face
The Internationale unites the human race.
So comrades, come rally
And the last fight let us face
The Internationale unites the human race.

No more deluded by reaction
On tyrants only we'll make war
The soldiers too will take strike action
They'll break ranks and fight no more
And if those cannibals keep trying
To sacrifice us to their pride
They soon shall hear the bullets flying
We'll shoot the generals on our own side.

No saviour from on high delivers
No faith have we in prince or peer
Our own right hand the chains must shiver
Chains of hatred, greed and fear
E'er the thieves will out with their booty [give up their booty]
And give to all a happier lot.
Each [those] at the forge must do their duty
And we'll strike while the iron is hot.



LA VARSOVIENNE

En rangs serrés l'ennemi nous attaque
Autour de notre drapeau groupons-nous.
Que nous importe la mort menaçante
Pour notre cause soyons prêts à souffrir
Mais le genre humain courbé sous la honte
Ne doit avoir qu'un seul étendard,
Un seul mot d'ordre Travail et Justice,
Fraternité de tous les ouvriers.

Refrain:
O frères, aux armes, pour notre lutte,
Pour la victoire de tous les travailleurs.

Les profiteurs vautrés dans la richesse
Privent de pain l'ouvrier affamé.
Ceux qui sont morts pour nos grandes idées
N'ont pas en vain combattu et péri.
Contre les richards et les ploutocrates.
Contre les rois, contre les trônes pourris,
Nous lancerons la vengeance puissante
Et nous serons à tout jamais victorieux.

Mireille Mathieu - Paris en colere

PARIS EN COLÈRE

Que l'on touche à la liberté - et Paris se met en colère
Et Paris commence à gronder - et le lendemain, c'est la guerre.
Paris se réveille, et il ouvre ses prisons
Paris a la fièvre: Il la soigne à sa façon.
Il faut voir les pavés sauter quand Paris se met en colère
Faut les voir, ces fusils rouillés qui clignent de l'œil aux fenêtres
Sur les barricades qui jaillissent dans les rues
Chacun sa grenade, son couteau ou ses mains nues.

La vie, la mort ne comptent plus, on a gagné, on a perdu
Mais on pourra se présenter là-haut, une fleur au chapeau.
On veut être libres à n'importe quel prix
On veut vivre, vivre, vivre, vivre libre à Paris.

Attention, ça va toujours loin, quand Paris se met en colère
Quand Paris sonne le tocsin, ça s'entend au bout de la terre
Et le monde tremble quand Paris est en danger
Et le monde chante quand Paris s'est libéré.
C'est la fête à la liberté, et Paris n'est plus en colère
Et Paris peut aller danser, il a retrouvé la lumière.
Après la tempête, après la peur et le froid
Paris est en fête, et Paris pleure de joie

Mireille Mathieu- Chant des Partisans subtitles

Le Chant des Partisans:

Ami, entends-tu le vol noir des corbeaux sur nos plaines ?
Ami, entends-tu les cris sourds du pays qu'on enchaîne ?
Ohé partisans, ouvriers et paysans, c'est l'alarme !
Ce soir l'ennemi connaîtra le prix du sang et des larmes.
Montez de la mine, descendez des collines, camarades,
Sortez de la paille les fusils, la mitraille, les grenades;
Ohé les tueurs, à la balle ou au couteau tuez vite !
Ohé saboteur, attention à ton fardeau, dynamite !
C'est nous qui brisons les barreaux des prisons, pour nos frères,
La haine à nos trousses, et la faim qui nous pousse, la misère.
Il y a des pays où les gens aux creux du lit font des rêves
Ici, nous, vois-tu, nous on marche et nous on tue nous on crève
Ici chacun sait ce qu'il veut, ce qu'il fait quand il passe;
Ami, si tu tombes, un ami sort de l'ombre à ta place.
Demain du sang noir séchera au grand soleil sur les routes
Sifflez, compagnons, dans la nuit la liberté nous écoute

Rhyming English Translation
Here is an English translation, which can be sung to the same tune:

My friend, do you hear the dark flight of the crows over our plains?
My friend, do you hear the dulled cries of our countries in chains?

Oh, friends, do you hear, workers, farmers, in your ears alarm bells ringing?
Tonight all our tears will be turned to tongues of flame in our blood singing!

Climb up the from mine, out from hiding the pines, all you comrades,
Take out from the hay all your guns, your munitions and your grenades;

Hey you, assassins, with your bullets and your knives, kill tonight!
Hey you, saboteurs, be careful with your burden, dynamite!

We are the ones who break the jail bars in two for our brothers,
hunger drives, hate pursues, misery binds us to one another.

There are countries where people sleep without a care and lie dreaming.
But here, do you see, we march on, we kill on, we die screaming.

But here, each one knows what he wants, what he does with his choice;
My friend, if you fall, from the shadows on the wall, another steps into your place.

Tomorrow, black blood shall dry out in the sunlight on the streets.
But sing, companions, freedom hears us in the night still so sweet.

My friend, do you hear the dark flight of the crows over our plains?
My friend, do you hear the dulled cries of our countries in chains?

LÉO FERRÉ - L'AFFICHE ROUGE

L'affiche rouge

Paroles: Louis Aragon. Musique: Léo Ferré 1961 "Les chansons d'Aragon chantées par Léo Ferré"
© Barclay


--------------------------------------------------------------------------------
Vous n'avez réclamé ni la gloire ni les larmes
Ni l'orgue ni la prière aux agonisants
Onze ans déjà que cela passe vite onze ans
Vous vous étiez servis simplement de vos armes
La mort n'éblouit pas les yeux des Partisans

Vous aviez vos portraits sur les murs de nos villes
Noirs de barbe et de nuit hirsutes menaçants
L'affiche qui semblait une tache de sang
Parce qu'à prononcer vos noms sont difficiles
Y cherchait un effet de peur sur les passants

Nul ne semblait vous voir Français de préférence
Les gens allaient sans yeux pour vous le jour durant
Mais à l'heure du couvre-feu des doigts errants
Avaient écrit sous vos photos MORTS POUR LA FRANCE
Et les mornes matins en étaient différents

Tout avait la couleur uniforme du givre
A la fin février pour vos derniers moments
Et c'est alors que l'un de vous dit calmement
Bonheur à tous Bonheur à ceux qui vont survivre
Je meurs sans haine en moi pour le peuple allemand

Adieu la peine et le plaisir Adieu les roses
Adieu la vie adieu la lumière et le vent
Marie-toi sois heureuse et pense à moi souvent
Toi qui vas demeurer dans la beauté des choses
Quand tout sera fini plus tard en Erevan

Un grand soleil d'hiver éclaire la colline
Que la nature est belle et que le cœur me fend
La justice viendra sur nos pas triomphants
Ma Mélinée ô mon amour mon orpheline
Et je te dis de vivre et d'avoir un enfant

Ils étaient vingt et trois quand les fusils fleurirent
Vingt et trois qui donnaient le cœur avant le temps
Vingt et trois étrangers et nos frères pourtant
Vingt et trois amoureux de vivre à en mourir
Vingt et trois qui criaient la France en s'abattant

LÉO FERRÉ - LA SOLITUDE

Wednesday, 7 May 2008

The Doors - ROADHOUSE BLUES (Live)

Roadhouse Blues

Ah Keep your eyes on the road,
Your hands upon the wheel.
Keep your eyes on the road
Your hands upon the wheel.
Yeah, we're going to the roadhouse,
Gonna have a real good-time.

Yeah, the back of the roadhouse,
They've got some bungalows.
Yeah, the back of the roadhouse,
They've got some bungalows.

They dance for the people
Who like to go down slow.

Let it roll, baby, roll.
Let it roll, baby, roll.
Let it roll, baby, roll.
Let it roll, all night long.

Do it, Robby, Do it!

You gotta roll, roll, roll,
You gotta thrill my soul, alright.
Roll, roll, roll, roll-a
Thrill my soul.

*improv*

Ashen-Lady.
Ashen-Lady.
Give up your vows.
Give up your vows.
Save our city.
Save our city.
Ah, right now.

Well, I woke up this morning
And I got myself a beer.
Well, I woke up this morning
And I got myself a beer.

The future's uncertain
And the end is always near.

Let it roll, baby, roll.
Let it roll, baby, roll.
Let it roll, baby, roll.
Let it roll, all night long.

FIVE TO ONE (Live Roundhouse London)



Five to one, baby
One in five
No one here gets out alive, now
You get yours, baby
Ill get mine
Gonna make it, baby
If we try

The old get old
And the young get stronger
May take a week
And it may take longer
They got the guns
But we got the numbers
Gonna win, yeah
Were takin over
Come on!

Yeah!

Your ballroom days are over, baby
Night is drawing near
Shadows of the evening crawl across the years
Ya walk across the floor with a flower in your hand
Trying to tell me no one understands
Trade in your hours for a handful dimes
Gonna make it, baby, in our prime

Come together one more time
Get together one more time
Get together one more time
Get together, aha
Get together one more time!
Get together one more time!
Get together one more time
Get together one more time
Get together, gotta, get together

Ohhhhhhhh!

Hey, cmon, honey
You wont have along wait for me, baby
Ill be there in just a little while
You see, I gotta go out in this car with these people and...

Get together one more time
Get together one more time
Get together, got to
Get together, got to
Get together, got to
Take you up in my room and...
Hah-hah-hah-hah-hah
Love my girl
She lookin good, lookin real good
Love ya, cmon

NO ONE HERE GETS OUT ALIVE

No One Here Gets Out Alive was the first biography of Jim Morrison, lead singer and lyricist of the L.A. rock band The Doors, written after his death by journalist Jerry Hopkins, with later "insider" information added by Danny Sugerman. The book is largely credited with revitalizing the popularity of the Doors and Morrison. Hopkins had done an extensive interview with Morrison before his death, but his first manuscript was rejected by major publishers. Sugerman began working as an assistant in the Doors office at the age of fourteen, and became their manager after Morrison died (replacing Bill Siddons). According to Doors drummer John Densmore, Sugerman became "the manager and driving force behind The Doors" who "guided our career for over 30 years" until his death in 2005.

The book has been criticized as being obsequious and lacking any meaningful analysis of Morrison's personality, as well as with dwelling on the worst and most pointless of Morrison's excesses, such as his alcoholism. The fact that Sugerman has been described as "the number one Doors fan of the world", has led detractors to label this book "Nothing Here But a Bunch of Lies" and the work of a fabulist. Critics have also opined that the information added by Sugerman, which made the manuscript more appealing to publishers, was sensationalism and in some cases outright fabrication. Those who knew both Morrison and Sugerman have said Sugerman's touting of himself as an "insider" during the time Morrison was alive is an exaggeration at best. Material introduced by Sugerman included insinuations that Morrison had not really died and wild speculations about the possible causes of his death. Surviving family and friends were not pleased with the unwanted entreaties by stalkers looking for Morrison and the vandalization of his grave by fans hoping to exhume Morrison's body. Sugerman's credibility was not helped by the fact that he lifted part of his book's foreword almost word-for-word from Venable Herndon's biography James Dean: A Short Life.


The book title is taken from the Doors song "Five To One".

THE DOORS OF PERCEPTION - ALDOUS HUXLEY


The Doors of Perception is a 1954 book by Aldous Huxley detailing his experiences when taking mescaline. This short book is considered to be one of the most profound studies of the effects of mind-expanding drugs and what they teach about how the mind works.



"If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things through narrow chinks of his cavern."



Quotations from "Doors"

.To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large— this is an experience of inestimable value to everyone and especially to the intellectual.


."Is it agreeable?" somebody asked.
"Neither agreeable nor disagreeable," I answered. "it just is." Istigkeit - wasn't that the word Meister Eckhart liked to use? "Is-ness." The Being of Platonic philosophy - except that Plato seems to have made the enormous, the grotesque mistake of separating Being from becoming and identifying it with the mathematical abstraction of the Idea. He could never, poor fellow, have seen a bunch of flowers shining with their own inner light and all but quivering under the pressure of the significance with which they were charged; could never have perceived that what rose and iris and carnation so intensely signified was nothing more, and nothing less, than what they were - a transience that was yet eternal life, a perpetual perishing that was at the same time pure Being, a bundle of minute, unique particulars in which, by some unspeakable and yet self-evident paradox, was to be seen the divine source of all existence. (page 4-5)


.I strongly suspect that most of the great knowers of Suchness paid very little attention to art.... (To a person whose transfigured and transfiguring mind can see the All in every this, the first-rateness or tenth-rateness of even a religious painting will be a matter of the most sovereign indifference.) Art, I suppose, is only for beginners, or else for those resolute dead-enders, who have made up their minds to be content with the ersatz of Suchness, with symbols rather than with what they signify, with the elegantly composed recipe in lieu of actual dinner.


.The man who comes back through the Door in the Wall will never be quite the same as the man who went out. He will be wiser but less sure, happier but less self-satisfied, humbler in acknowledging his ignorance yet better equipped to understand the relationship of words to things, of systematic reasoning to the unfathomable mystery which it tries, forever vainly, to comprehend.

Cultural references


Huxley's book inspired the young Jim Morrison to name his rock and roll band The Doors.[1] Morrison himself would quote Huxley at length.


See also



Publication data


The Doors of Perception is usually published in a combined volume with Huxley's essay, Heaven and Hell

.The Doors of Perception and Heaven and Hell, 1954, 1956, Harper & Brothers
.1977 Harpercollins (UK), mass market paperback: ISBN 0-586-04437-X
.1990 Harper Perennial edition: ISBN 0-06-090007-5
.2004 Harper Modern Classics edition: ISBN 0-06-059518-3
.2004 Sagebrush library binding: ISBN 1-4176-2859-6
.The Doors of Perception, unabridged audio cassette, Audio Partners 1998, ISBN 1-57270-065-3

Timothy Leary - Legend of a mind

LEGEND OF A MIND

Timothy learys dead.
No, no, no, no, hes outside looking in.
Timothy learys dead.
No, no, no, no, hes outside looking in.

Hell fly his astral plane,
Takes you trips around the bay,
Brings you back the same day,
Timothy leary. timothy leary.

Timothy learys dead.
No, no, no, no, hes outside looking in.
Timothy learys dead.
No, no, no, no, hes outside looking in.

Hell fly his astral plane,
Takes you trips around the bay,
Brings you back the same day,
Timothy leary. timothy leary.

Along the coast youll hear them boast
About a light they say that shines so clear.
So raise your glass, well drink a toast
To the little man who sells you thrills along the pier.

Hell take you up, hell bring you down,
Hell plant your feet back firmly on the ground.
He flies so high, he swoops so low,
He knows exactly which way hes gonna go.
Timothy leary. timothy leary.

Hell take you up, hell bring you down,
Hell plant your feet back on the ground.
Hell fly so high, hell swoop so low.
Timothy leary.

Hell fly his astral plane.
Hell take you trips around the bay.
Hell bring you back the same day.
Timothy leary. timothy leary.
Timothy leary. timothy leary.

Related Posts Plugin for WordPress, Blogger...