Showing posts with label Philip Glass. Show all posts
Showing posts with label Philip Glass. Show all posts

Saturday, June 4, 2016

Love, Authenticy & Predators

Be authentic, open and loving, but remember life is war.
With weak people seeking power and acting as bullies, we sometimes need to seek refuge in the figurative treehouse, just like animals. This reminder came from Athens, Greece, with the video below, which illustrates a scene Dad and I witnessed outside our house. Feathers blew lightly across the snow, betraying violence in the Linden tree.
Author Paulo Cuelho says, "Love does not need to be understood. It needs only to be shown ... The world around you will reward you." And sociologist/inspirational speaker Brene Brown says we should let ourselves be deeply, vulnerably seen and love with our whole hearts, though there is no guarantee."
Sure, indulge your emotions, but be fierce. Consider the movie Life As War, the third film in a trilogy about modern society, with moving Philip Glass music. It depicts our hyper-technological life, and the absence of nature, which adds to unnecessary fear. Ευχαριστώ, Βασίλη μου!

Saturday, November 1, 2014

Reset your mind: Glass & Kurosawa

Tired of endless chatter? Reset your mind with this, which surely is completely unrelated to anything you have done or seen today: a scene from "Dreams" by the Japanese film director Akira Kurosawa set to the music of Philip Glass.

Monday, June 9, 2014

A Soundtrack For Brazil

For Brazil fans who want an avant garde soundtrack to the World Cup games, try the Brazilian group Uakti and the sound of wooden vibraphone. This piece, Tiquiê River/Japurá River, was written by the contemporary American composer Philip Glass.
My favorite Uakti piece is for flute players, electronica fans and those who love them: Alnitak, circa 1991.

Wednesday, June 20, 2012

Glass in the Heat

Deep bass from an electronic keyboard plunked by Philip Glass is filling the hot air in Rockefeller Park near Ground Zero.
The cause is the composer Glass' 75th birthday. His piece "Glassworks" was first. Then, from 1984, "Civil Wars Part II" started the formal program by the Philip Glass Ensemble.
The sun is setting, and it's cooling to sit barefoot in the grass next to the Hudson River. A nice way to end a searing day in New York City!
Tomorrow in Times Square at 6:30 p.m., hundreds are invited to participate in a public choral work.

Friday, May 2, 2008


NEW YORK, NY -- Saw composer Philip Glass receive a standing ovation at the Metropolitan Opera tonight at the conclusion of his 3.5-hour opera Satyagraha, or "Holding Onto the Truth." The entire opera is in Sanskrit with text from the Bhagavad Gita. While it premiered in 1980, this week marks its short debut at the Met. And it remains timely, as it parallels Ghandi's non-violent philosophy forged among Indians in South Africa in the early 20th Century with the rise of Martin Luther King Jr. Ghandi wrote a book called Satyagraha first. If you like Glass music, as I do, with its repetitive, techno wind twirls peppered with violins, then the opera's prose, puppetry and music offer a mesmerizing combination. (Libretto here) Glass spent quite a bit of time with sitar player Ravi Shankar in India in the 1960s, but there was no evident influence here. Newsprint played a prominent role in the staging, since the S. Africa Indians published their struggles in a popular paper. (Reminded me of the avid newspaper readership I saw in India.) Newsprint was in papier mache puppets, held up by the chorus for the projection of script, pulled across stage like giant ribbons by women in red-and-orange saris, and varnished onto the floor of the entire stage. Someone's got to buy newsprint! A few words from a blue-faced Krishna in a blue tux to Ghandi are applicable to the poor, those in war, or those facing examinations: "Whence comes this faintness on you now at this crisis hour? ... Give up this faint-heartedness. Stand up, chastiser of your foes!"