Szasztok jol!

Harom temarol tomondatokban, mert keves az idom.

1. A temaval (mi a hazaszeretet, kie a haza, ki mivel jarult hozza a
magyar kulturahoz stb) semmi bajom. A stilussal van bajom. Irjunk ezekrol
a temakrol is a KULTURA-ba, mivel szerintem a KULTURA-val minden
osszefugg, DE KULTURA-ltan!!!! Az a gond ezzel a temaval, hogy
pillanatokon belul kialakulnak a szekertaborok. Az egyik oldalrol VALAKI
rahuzza a vizes lepedot a magyar kulturara altalaban es a kis szekere
mogul lovoldoz: mondvan, hogy mi nepnemzeti agyuval lovoldozunk a
Hallowen-verebre, holott igazabol nem is a Halloweennel volt bajunk, hanem
a kibaszott magyarorszagi gyokertelen, ujgazdag sznobizmussal. 
A masik szekertaborbol MASVALAKI meg rahuzza a vizeslepedot a zsidokra ugy
altalaban (Vonyi figyelsz?), es elohozakodik meg a sumerokkal is. 
Ilyenkor a joerzesu kozepmezony, akinek a fule mellett futyulnek a golyok
vagy szomoruan csovalja a fejet, vagy lemondja a KULTURA-t. Ez utobbit ne
tegyuk! A  menjen at a VITA-ra!

2. Az Izmael tenyleg eleg jo konyv. Nekem foleg az a resze teccett, amikor
egy elmeletet ad a Magilla a Biblia teremtestortenete egy reszenek 
(Kain-Abel) magyarazatara. Bar nekem is tulsagosan amerikainak tunt a
dolog (aki olvasta a Micimacko es Taot is meg a Tao Te King-et is, az
tudja mit ertek ez alatt, de ha tobb idom lesz, majd kifejtem). Errol nagy
vitank volt Vonyival, neki nagyon teccett, talan majd beirja, miert.
Mindenesetre erdemes elolvasni. Szerintem hozzajutni mar csak kolcsonkeres
vagy fenymasolas utjan lehet. Az enyem is kolcson van kerve, nem is tudom
kinel van.

3. Azt mar irtam, hogy beteges Star Wars rajongo vagyok. A 20. evfordulora
megjelent a minap a trilogia soundtrack-jenek gyujtemenyes kiadasa egy
csomo "previously unreleased" anyaggal. Szuper!
Egyebkent szerintem a zene er legtobbet a filmben. A filmet mar annyiszor
lattam, hogy neha unom, de a zenet maig nem untam meg, pedig kb 15 eve
hallgatom. 
A CD-khez adtak egy fuzetet, amelyben szamos erdekes cikket talaltam.
Ezeket az elkovetkezo napokban be fogom masolni a KULTURA-ba. 
Valahol egy olyan mondat is elhangzik, hogy a SW a XX. sz. masodik felenek
egyik legfontosabb szimfonikus muve. Nem tudom, zeneerto barataink
ismerik-e es mit szolnak egy ilyen kijelenteshez. Mindenesetre Wagner
hatasa nyilanvalo es bevallott. Az egyik megokolasa a fenti kijelentesnek,
hogy Williams kozel hozta ezzel a muvel az atlagemberhez a szimfonikus
muzsikat (ez az a nem pop album, melybol a legtobb hanghordozot adtak el).
Ezt csak megerositeni tudom, sajat peldammal. 
Valahol mashol az az erdekes szempont merul fel, hogy a mi generaionkat
(29 vagyok) Star Wars-generacionak nevezi. Fene tudja, van benne valami. 

Gondoljatok bele. A hetvenes evek vegen, amikor kamaszok voltunk, a rock
eppen haldoklott, a Pink Floyd a Fallal 80-ban elhelyezte a koszorut a
sirjan. Rock-generacio nem lehetunk. Kompjuter-generacio se nagyon
lehetunk, ahhoz meg oregek vagyunk. (En doktorandusz koromban valtottam
chiwriterrol Wordre, es mostanaban Word-rol LaTex-re, egy mai suvolvenynek
egy ilyen valtas gyorsabban megy.) Ebbe az "urbe" durrant bele 77-ben
(Magyarorszagon 79-ben) a Star Wars. Mar a tomegkulturaban tamadt urre,
termeszetesen. Nyilvan nem mindenki veszi magara, de egy erdekes szempont.
Kivancsi lennek a velemenyetekre. Na szummaszummarum a zeneje nagyon jo,
majd kesobb meg ejtek rola szot, most dogom van, sziasztok.

Dezso

John Williams' music for The StarWars Trilogy is easily the most
important symphonic work of the latter half of this century and is,
quite possibly, the most widely heard orchestral music ever! This is a
sweeping statement to be sure, but the exposure given his music by the
enormous success achieved by the three motion pictures had been
previously very unprecedented. Millions of people around the world
flocked to theatres in May of 1997 and, upon taking their seats and
reading on the screen the words, " A long time ago, in a galaxy far, far
away," were fronted with an expolsive orchestral sound which had been
absent from the screen since the 1940s. It is likely that within a week
of its May 25th opening, more people had heard the Williams score to
Star Wars than had heard all of Beethoven's or Mozart's music during
their entire lifetimes. Had this success been anticipated, Williams'
task of composing music destined for such scrutiny might have proved
daunting. Instead the film appeared to be just another assignement,
albeit a project with a scope affording its composer limitless
opportunity. Taking full advantage of this opportunity, Williams
fashioned a score which truly fits the criteria of "instant classic."
      The concept behind the score is a simple one. While the audience
is being thrown into space battles high above never before seen worlds,
the music should contribute an air of familiarity. Rather than further
alienating the viewing public, the music would comfort them. For
children it might have been the type of music to whic they had heard
their parents listening. For adults it was a type of music of which they
had longed to hear more. And to find such music in a film - not exactly
known as a forum for great orchestral compositon, although in actuality
it always had been - proved to be a great (and pleasant) surprise for
all.
      Historically the role of the composer was to support the drama
without taking an overly dominant role, thereby accomplishing much
without receiving due credit. The film composer, with very few
exceptions, received little more attention than a nameless craftsman
involved in the film making process. Finally came a film so large that a
score any more subtle than a freight train would have been entirely
inappropriate. What Star Wars needed was an orchestra, a big orchestra,
104 men strong. It needed a composer who could take all of the brilliant
classical music which had been written beforehand and build upon it ...
take the best of what was old and make it sound new again. This is very
exactly what John Williams did: capturing listeners like never before,
instantly revitalizing the art of film music and introducing the wonder
of a full symphony orchestra to a whole new generation. The same
children that walked into the theater and heard music that their parents
listened to were now going home and listening to the same music
themselves. What Williams did was take classical music and put it in a
form with which children, and the public at large, could relate. The
soundtracks from Star Wars, 1980 sequel The Empire Strikes Back and the
1983 trilogy finale Return of the Jedi, sold millions of copies. For
orchestral film soundtracks this was nothing short of revolutionary. The
music also went on to be recorded and re-recorded ad infinitum by
orchestras all over the world.
      The full impact of John Williams' score will perhaps never be
completely appreciated. There is no question that every composer past
and present is in his debt for the larger audiences he has brought into
symphony halls and for making the movie going public more aware of the
great music being written for motion pictures.
      May 15, 1997 will be the twentieth anniversary of Star Wars. This
is when George Lucas promises to unveil the first chapter of the second
trilogy in his epic saga. By this time the ten and eleven year olds who
heard their first symphony orchestra way back in 1977 (the Star Wars
generation, so to speak), will have turned thirty. They will go to the
new film with their own children in tow and introduce them to the sound
that had so captivated filmgoers years earlier as the great Star Wars
Symphony continues.
                                    -Robert Townson-

Bocs, hogy nem forditottam le, se idom, se megfelelo nyelvtudasom. Ha van
a droton SW-fanatikus megfelelo mennyisegu szabadidovel es nyelvtudassal,
magam is orulnek, ha bekuldene a forditast. Akik nem tudnak angolul,
azoktol bocsanatot kerek. Akiket nem erdekel, azoknak PgDn.

Egy mondatot azonban kiemelnek, mert fontosnak erzem:
"Williams zenejevel magaval ragadta a hallgatokat mint soha azelott,
ujraelesztette a filmzene muveszetet es egy egesz uj generaciot vezetett
be egy nagy szimfonikus zenekar csodalatos vilagaba."

Es ha mar zenenel tartunk, mar nem emlekszem, ki volt, akitol a TIPP
erkezett Bartok 44 hegeduduojara. Koszonet erte, varom a hasonlo jellegu
tippeket. Zeneszek, miert hallgattatok el, ne ijesszen el benneteket a
 stilus!

Folyt. kov. 

Udv
Dezso

Tisztelt kulturaltak,
e ho 19-tol kezdve nem kapom a HIX egyik elofizetett kozlemenyet sem. Sot, a
hypertextbol sem tudom valamennyi msg-t lehivni. Nem tudom, mi ennek az oka,
egy kerest mar elkuldtem a  cimre, de eddig semmi
eredmenye.
Ezert elnezest kerek, ha nem tudok irasokra reagalni.
Megkernek mindenkit, aki teheti, nezzen utana, miert tuntem el az osszes
hix-listakrol. A mas szerverekrol erkezo kozlemenyek rendesen jonnek tovabb,
tehat nem az en keszulekemben van a hiba...
Kosz
Fischer Istvan
PS.:Mindekinek koszonet, aki a Handesz- azaz  Landeszmann-ugyben privat
mailban felvilagositott. Most hallottam eloszor errol a baromsagrol.

Katona Pali AKA Bese

"Valaszok az ugyben felszolalok..." temamegjelolesu hozzaszolasaban
valahogy nem tert ki az en megjegyzeseimre. Ezt en egyaltalan nem banom,
hiszen minden mas reakciot a legmerevebben utasiott vissza. Igy
hallgatasat beleegyezesnek veszem.

Rakonczay Zoltan

In article >,  writes
> Egyszeruen nem tudom mgerteni, hogy mas nepek szokasai miert nepszeruek vilag
-
> viszonylatban es nalunk is, mig a sajat nepszokasaink meg ithhon sem ismertek
, 
> nemhogy nepszeruek.

Ez nem ujdonsag.  Amikor a szueleim megismerkedtek, a haboru utan, a menoe
tanc foxtrot meg two-step/one-step volt.  Amennyiben szueleim tancoltak,
ezeket tancoltak.  Meg keringoezni is alig tudtak.
-- 
     / */ / */ */ / */ / */ */ / */ */ / */ / */ */ / */ / */ */ /
I really hate this damned machine / I wish that they would sell it.
It never does quite what I want / But only what I tell it