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Sure, “Ruby Red” and “Walking Guitar Blues” are filled with the same Woody Guthrie-via-Dylanisms that were retch-inducing in the hands of lesser artists, but as performed by NYC’s finest, become a big middle finger right up the ass of Flower Power. Team are an application of the nostalgic signifiers sculpted by Boards of Canada into dance music that has the carefree exuberance of children's television. It's not that their sugar quotient is high, there's nothing cloying about their cheer. There are words but mostly unintelligible - this is an enterprise of celebration and camaraderie, hence Team and the exclamation point after Go. Pure and unadulterated fun to an almost exhausting extent, the most joyous band around, living today in the excitement of yesterday. They had previously done this with Beethoven and I couldn't see the point: it didn't seem a very useful way of listening to Beethoven. But with the Bach I found I could turn on the radio, whether I was in the car or in the kitchen, and there would be a piece by Bach and I would know exactly where I was, even if I had never heard the music before: it was like opening a door and finding yourself in a landscape that you hadn't visited before but knew where everything would be. This is maybe a fancy way of saying it is all predictable, but that is not how I feel it. Maybe all the parts are predictable but how they are put together is arresting - and this is not just how the parts come together in sequence to form a line but also how the lines are balanced against each other (must be that darn counterpoint). Here Gould plays the six English Suites (I don't know what is English about them): each a Prelude and then a series of dances. It was recorded over 5 years (or to exact 5 years and a day) - there was a gap in the middle when Gould's piano got broke and another time when he was sneaking behind Columbia's back and trying to do a deal with Deutsche Gramophone: but, even so, five years seems a long time. Most of it is fun, enchanting, but overall a footnote on Bach's work. There is the occasional exhilarating moment, such as the closing Gigue from the second Suite, which Gould plays with a breakneck precision: very Glenn Gould, part breathtaking brilliance, part a mad rush as though he wanted to get it over and done with as quickly as possible - but I can't fix most of it in my mind: when I hear a piece I recognise it, feel at home with it, but once it has passed it has gone: or rather, I have a sense of its Bachness, but my memory is just a bit hazy. Glenn Gould Plays Beethoven's 5th Symphony Transcribed for Piano by Franz Liszt Rated. This is to no small degree due to Franz Liszt, whose arrangement strips the composition of much of its bombast, but it does leave in all the emotionality, and it gives the pianist ample room for expression, an opportunity that Glenn Gould is only too eager to take. While not exactly your average chamber piece, the pared-down arrangement opens up entire new ways of listening to this well-known composition, and it certainly more than worthwhile. He refuses to let himself be carried along by Beethoven's melodic flow; instead he seems to be over-determined to shape melody and rhythm according to his own conceptions, go against the flow seemingly at random, stretch some parts into extreme slow motion and rush through others at top speed, barely scratching the surface of a deeply emotional piece. The result feels forced and like an all-too-conscious display of skill and ego; Beethoven's melodies feel bent and void of any emotion other than those injected by Gould, and quite often, what Gould introduces feels more like serious mood swings that are arbitrary and disconnected with the music. One gets the feeling that rather than interpreting Beethoven's music, what Gould really wants to do is to declare him obsolete.


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Levine examined 35 different journal articles that studied the relationship between viewer enjoyment and frightening movies, and they found four common theories that aim to explain the freakish brains that made Paranormal Activity an international hit. First, and perhaps most famously, Zillman’s (1980, 1996) excitation transfer paradigm states that viewers who experience “fearful apprehension about deplorable events that threaten liked protagonists” also then experience heightened enjoyment when those threats are satisfyingly resolved. More controversially, the same theory holds that horror movies that end “unhappily” (which seems like. How, then, to explain the many people who enjoy horror movies that end in terrible, violent, and scary ways. A second hypothesis involves individual empathy—specifically, and somewhat troublingly, that people with less of it like horror films more. Tamborini (1996) argued that viewers with high levels of empathy should dislike horror films because they react negatively to the suffering of others. But many horror fans, myself included, bristle at this suggestion: I cannot stand watching viral clips of people being embarrassed on local TV, and I don’t enjoy watching people fall. Fantastical horror, it turns out, is different; when heavily violent and torture-based movies were eliminated from these studies, the inverse correlation between empathy and enjoyment dropped. Another, perhaps stronger variant of this hypothesis relies on an “in someone else’s shoes” definition of empathy, wherein enjoyment of horror films is contingent upon one’s dissociation from the threats present in those films: If you personally aren’t worried about, say, a demonic doll taking control of your home’s inanimate objects, you can more easily enjoy watching it happen to someone else. Other studies claimed that those who like horror films tend to have three commonly shared traits: sensation-seeking, above-average aggression, and maleness. For the latter two there are important caveats: Aggressive people may seek horror films out, but that does not indicate a causal relationship in either direction. Also, like many of these traits, aggression is self-reported, and human beings are notoriously bad at describing themselves accurately. As for the supposed gender divide: There is some suspicion that more men might say they like scary movies than really do. I have noticed, too, that male friends who aren’t fans of horror movies phrase their stance as dispassionate preference rather than emotional pattern. “I’m not scared of them,” they’ll say, insistently. “I just don’t like them. THIS IS ALL VERY well and good, but none of it quite gets at that distinct feeling of triumphant survival a good scary movie can make you feel when it’s over. It’s like a roller coaster, with more ghosts: Doing it is great, but having done it is even better. It’s also an easy claim to bragging rights: You can say you got through something a lot of people won’t even try to get through, and you didn’t even have to be in any real danger.

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What do you think would happen if Jon were to immediately return north after refusing to bow to Dany. Do you really think the North can withstand assault from the Lannisters much less the NK. Not to mention the WofFK which surely weakened the remaining northern houses. How many are left? The north can pretend they are independent but without being able to protect the citizens how independent can they be. Which makes it rather impossible to say if they indeed “butcher characters”. It seems unlikely and why would he named him Aegon, when key was to recreate three headed dragon. By Aegon and Rhaenys deaths, no point of naming him Aegon. Three headed dragon was destroyed when Aegon and Rhaenys died. Aegon was being mentioned on the show in S3, so Jon having Aegon as his birth name doesn’t make much of sense. Not to mention books points more to Aemon than Aegon or any other name. What tangible evidence is there to support such a statement. Could it have been Jon winning the support of the Mormonts. Maybe it was convincing the free folk to cross the wall and fight with him. Well no because most of the free folk said no thank you and died and were raised again. All Dany has is an entire region of people that she freed from the bonds of slavery. Because really that’s the only explanation I can come up with for your insistence that Dany somehow end up. ubservient to Jon. The fact that a relationship which blatantly depicts mutual attraction and compromise on both sides is constantly read as one partner ensnaring and subjugating the other one is just cringe-worthy, and that’s without bringing the usual Jon vs Dany pissing contest into it.

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