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10869Re: blings

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  • Elizabeth R. Milner
    Dec 30, 2003
      What! Never experienced Mad TV's "Lord of the Blings!" (It's awful
      actually.) Bling-bling is hip-hop speak for anything bright and
      flashy. For an explanation of how the term arose, go to

      Wagner isn't the only one Howard Shore listened to -- I hear great
      gobs of Orf's Carmina Burana.
      > Er---"bling bling?" I must really be off track; I don't know what
      > means. Maybe you can explain? And I couldn't help but choke with
      > reading that. Sauron has a "death" style, but not a "life" style,
      if I'm
      > reading my Tolkien right. Has this man lost his mind?
      > "The ring is a never-ending nightmare to which people are drawn for
      > obvious reason."
      > Now we _know_ he hasn't read the book.
      > "It generates lust and yet gives no satisfaction."
      > Well, yeah ... that's part of the problem.
      > "Wagner, by contrast, uses the ring to shine a light on various
      > confused, all-too-human relationships."
      > In less elevated language, Wagner is writing a soap opera. Tolkien
      > "The experience of film—and, in particular, of music in film—has
      > had a prejudicial effect on the way people view live opera. They
      > images to set the tone and music to match—'Mickey-Mousing,' Walt
      > composers called it. Howard Shore, in 'The Lord of the Rings,'
      > the art of Mickey-Mousing at an exalted level."
      > It is worth noting that the idea of making music match the tone of
      > story it's trying to tell is much older than Disney. Early
      > included Antonio Vivaldi, and the idea was brought to perfection by
      > Hollywood hacks as Franz Liszt and Camille Saint-Saens - the latter
      > first composer of note to write film music; maybe he knew
      something. It
      > was from them that later film composers learned the art of conveying
      > plot-based emotions through music.
      > Personally I find operas in which the emotional content of the music
      > doesn't match the plot to be simply disconnected. Maybe I've been
      > by film music, or maybe I'm just expecting a little sense.
      > Agreed. I always thought the endless recicetives in opera to be
      > You know the ones, where "he sat in a chair" is repeated about
      thirty five
      > times. I have no problem with opera so long as it's tied to plot
      enough to
      > have the music advance the story line. Though I admit, I've only
      seen one
      > live opera, Madamme Butterfly. --djb
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