Category: Daily Dispatch

  • The Omen Is It Scary Or Just Confusing?

    The Omen Is It Scary Or Just Confusing?

    The unholy love-child of “Rosemary’s Baby” and “The Exorcist,” “The Omen” (1976) proved to be the fulfillment of a prophecy that big-studio mainstream demonic horror was here to stay.

    But is the movie particularly scary?

    Sure, it’s got atmosphere to burn, with a creepy nanny and a Jerry Goldsmith score replete with mumbo jumbo Latin chorus. But it’s more of a Hitchcock film (perhaps by way of Brian DePalma) than anything that’s going to make you sleep with the light on or haunt your consciousness.

    Granted, the big set-pieces are pretty unforgettable. But how many of them make any sense? “The Omen” is puzzlingly devoid of psychological, mythic, or even biblical resonance, despite the characters’ repetition of a passage from the Book of Revelation.

    What it did have was enormous success at the box office, which allowed director Richard Donner to make “Superman,” and for that, at least, we are blessed. For 20th Century Fox, this son of a jackal proved to be a lucrative cash cow. Of course, Fox is now a subsidiary of Walt Disney. To contemplate that Disney is now in a position to crank out more “Omen” films is scarier than anything in the movie.

    Anyway, it ain’t “The Exorcist,” but the power of friendship compels me… to show up for our discussion of “The Omen.” Unleash your Satanic rottweilers in the comments section. I’ll be feeling every one of the 666 minutes of the next Roy’s Tie-Dye Sci-Fi Corner, this Friday evening at 7:30 EDT.

    https://www.facebook.com/roystiedyescificorner

  • Vaughan Williams at 150 A Master’s Vision

    Vaughan Williams at 150 A Master’s Vision

    One of England’s greatest composers, Ralph Vaughan Williams looked back to his country’s agrarian roots as a roundabout way of securing the future of its cultural identity. On the 150th anniversary of his birth, I salute him in all his rumpled glory.

    As did so many composers who were caught in the wildfire of nationalism that swept across Europe, beginning in the middle of the 19th century, Vaughan Williams rebelled against the prevailing academicism that reached its tendrils from the capitals of German music to choke the “provincial” hinterlands. He emerged from an environment that had produced far too many knock-offs of Mendelssohn and Brahms. Vaughan Williams would revolutionize his compatriots’ perception of art music by embracing the sounds of the English countryside.

    However, like Béla Bartók, he was no simplistic, twee purveyor of folk music. On the contrary, the rhythms and inflections of his native land were already part of his DNA. The songs he documented while roaming the fields and fens with his colleague, Gustav Holst, merely brought to the surface what was already innate. What he expressed in his original music was thoroughly digested and deeply personal.

    Some of Vaughan Williams’ best loved works are imbued with nostalgia for a faded world, but the composer pushed forward also, through two world wars and into the Great Beyond. He was not a conventionally religious man, but mysticism seems to color a fair amount of his music. He was also unafraid, in works like his Sixth Symphony, to stare desolation unflinchingly in the face. Technically, his lessons with Maurice Ravel made him a thoughtful orchestrator, so that throughout his life he deployed his instrumental forces with considerable craft and creativity. Given the proper attention, there is much to engage on all levels of his music.

    While you might not want to take his advice on the best way to tie a tie, musically, with Vaughan Williams, you are always in the hands of a master. Put your faith in Ralph (pronounced “Rafe”) for the Vaughan Williams sesquicentenary.

    Thank you, RVW, for a lifetime of enrichment, and happy birthday!

  • Vaughan Williams 150th NYC Celebration

    Vaughan Williams 150th NYC Celebration

    October 12 marks the 150th anniversary of the birth of Ralph Vaughan Williams. American admirers of the composer are totally in the wrong country this year. The U.K. has been a nonstop RVW jamboree.

    That said, if you’re in New York City or the vicinity tomorrow, organist David Briggs will present his transcription of Vaughan Williams’ Symphony No. 5 on the composer’s birthday at the Church of St. Ignatius Loyola, NYC, 980 Park Avenue, at 7 p.m.

    If you can’t be there, the concert will be livestreamed and archived through Friday. For more information, visit the St. Ignatius website and click on the links. If you plan to view the livestream, make sure you make your reservation using the correct tab!

    https://ignatius.nyc/music/concerts/

    Briggs has also recorded this transcription, at Truro Cathedral in Cornwall. The CD is available for purchase from Albion Records, the official label of the Ralph Vaughan Williams Society.

    https://rvwsociety.com/transcriptions/

    If our American orchestras can’t be bothered to program any of RVW’s symphonies – and what I wouldn’t give to be able to hear an orchestra play No. 5 tomorrow – at least someone is in a position to pull out all the stops.

  • Exceeding Limits Blog Post Length Penalties and SEO

    Exceeding Limits Blog Post Length Penalties and SEO

    I just submitted a 2,133 word article against a 1,200 word quota. We’ll see how Perry White takes that one.

  • Angela Lansbury A Legend Remembered

    Angela Lansbury A Legend Remembered

    From “Gaslight” to “Mary Poppins Returns.” From “The Manchurian Candidate” to “Mame.” From Mrs. Lovett to Mrs. Potts. Angela Lansbury was a stalwart of stage and screen for over 70 years. The winner of seven Tony Awards. Nominated for three Oscars and a record 18 Emmys. She left quite a legacy. Who would have thought at the time she started “Murder, She Wrote” that she was only at mid-career. Lansbury died earlier today, five days shy of her 97th birthday. I always loved this photo of her having lunch with Basil Rathbone, during the making of “The Court Jester” with Danny Kaye. R.I.P.

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