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Musical Interlude topic for December 2024
YouTube etcetera ^ | December 4, 2012 etcetera | Vince Guaraldi et al

Posted on 12/03/2024 5:53:08 AM PST by SunkenCiv

On December 9, 1965, A Charlie Brown Christmas aired on TV screens across America and instantly captured the hearts and ears of a generation. Bolstering the animated special, based on Charles M. Schulz's immensely popular PEANUTS comic strip, was an engaging score from Bay Area jazz artist Vince Guaraldi, who brought characters like Charlie Brown, Lucy, and Snoopy to life through his evocative cues... Guaraldi's soundtrack, meanwhile, has since become one of the best-selling jazz albums in history, second only to Miles Davis' Kind of Blue, and regularly ranks among America's top-selling holiday albums every December.
Vince Guaraldi Trio - Christmas Time Is Here (Instrumental) | 6:02
Vince Guaraldi | 71.6K subscribers | 10,409,616 views | December 4, 2012
Vince Guaraldi Trio - Christmas Time Is Here (Instrumental) | 6:02 | Vince Guaraldi | 71.6K subscribers | 10,409,616 views | December 4, 2012

(Excerpt) Read more at youtube.com ...


TOPICS: Music/Entertainment
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21 posted on 12/04/2024 7:26:37 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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I got thinking, hadn't I posted the Pardon Me Boys version before? Amusing, the rest of the keyword, sorted:

22 posted on 12/04/2024 7:29:07 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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composed by Antoine Dufour and Tommy Gauthier.
Spiritual Groove by Tommy Gauthier and Antoine Dufour | 4:02
Tommy Gauthier | 13.2K subscribers | 1,250,078 views | August 29, 2007
Spiritual Groove by Tommy Gauthier and Antoine Dufour | 4:02 | Tommy Gauthier | 13.2K subscribers | 1,250,078 views | August 29, 2007

23 posted on 12/04/2024 7:48:25 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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National finger style guitar champion Chris Proctor live at Riffs Acoustic Music | October 13, 2012 - Performing two Scottish jigs: Scarce O'Tatties and the Lyndhurst Jig. Inspired by Silly Wizard.
Chris Proctor - Scarce O'Tatties Lyndhurst Jig | 4:39
Riffspc | 15 subscribers | 926 views | October 15, 2012
Chris Proctor - Scarce O'Tatties Lyndhurst Jig | 4:39 | Riffspc | 15 subscribers | 926 views | October 15, 2012

24 posted on 12/04/2024 7:53:48 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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from "So Many Partings".
A Scarce O'Tatties / Lyndhurst | 3:28
Silly Wizard - Topic | 2.45K subscribers | 17,295 views | April 25, 2021
A Scarce O'Tatties / Lyndhurst | 3:28 | Silly Wizard - Topic | 2.45K subscribers | 17,295 views | April 25, 2021

25 posted on 12/04/2024 7:57:42 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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Not Work Safe!
"This clip was filmed as part of Lights Out with David Spade."
"That Relationship Lasted for Two Sexes"
- Lara Beitz - Lights Out with David Spade
| 5:57
Comedy Central Stand-Up | 2.66M subscribers | 295,266 views | August 15, 2019

26 posted on 12/06/2024 5:23:34 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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Genesis - Time Table (Official Audio) | 4:46
Genesis | 661K subscribers | 302,040 views | Premiered September 19, 2020
Genesis - Time Table (Official Audio) | 4:46 | Genesis | 661K subscribers | 302,040 views | Premiered September 19, 2020

27 posted on 12/07/2024 6:42:18 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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28 posted on 12/07/2024 3:43:42 PM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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[snip] Hot 'n' Nasty is one of my all-time favorite rock hits of the early 70’s! Steve Marriott, a seasoned rock-veteran as frontman of The Small Faces and Humble Pie is one of the most underrated rock singer-songwriters of our era. I bought their 1972 studio album, ‘Smokin', right after it was released and I played the hell out of it!

I never cared for the way it was mastered. The volume-level on the LP was so low during mastering that you could hear the vinyl groove even during loud passages. Steve Marriott’s vocal was so compressed and so lost in the mix that you couldn’t understand the lyrics. The bass was mixed way out in front and overpowered everything else, making it sound super muddy and mushy.

I used PhonicMind, a web-based audio “decomposing” site to separate the original track into 4 separate files: Vocal, Drums, Bass and Instruments.

I used Adobe Audition to do Dynamic Range Enhancement and EQ of the separate tracks, then put them back together for final mixdown.

Enjoy my HQ REMIX/REMASTER of Humble Pie’s 1972 hit: “Hot 'n' Nasty”. [/snip]
Humble Pie - Hot 'n' Nasty - 1972 [HQ REMIX REMASTER] | 3:26
Bob Zwolinski | 1.9K subscribers | 32,542 views | October 27, 2019
Humble Pie - Hot 'n' Nasty - 1972 [HQ REMIX REMASTER] | 3:26 | Bob Zwolinski | 1.9K subscribers | 32,542 views | October 27, 2019

29 posted on 12/08/2024 12:26:42 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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Jeff "Skunk" Baxter and his band playing Doobie Brothers classic "China Grove" at The Birchmere on 11/13/23, in Alexandria, VA. Starts out how the Doobie Brothers played it and then he stops and changes it all up.
Jeff "Skunk" Baxter - China Grove, 11/13/2023, Alexandria, VA | 4:59
Lary Chinowsky | 1.6K subscribers | 191,704 views | November 19, 2023
Jeff

30 posted on 12/08/2024 12:34:37 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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The rest of the Doobie Brothers keyword, sorted:

31 posted on 12/08/2024 12:39:45 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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Jeff "Skunk" Baxter performs Rikki Don't Lose That Number live at the NAMM Show 2016 TEC Awards in Anaheim, CA. Featuring Kipp Lennon on vocals, Nathan East on bass, CJ Vanston on keys and the Larry Batiste 2Cold Chili Bone TEC Band.
Skunk Baxter Rikki Don't Lose That Number | 6:01
TEC Awards | 31.5K subscribers | 10,085,677 views | February 10, 2016
Skunk Baxter Rikki Don't Lose That Number | 6:01 | TEC Awards | 31.5K subscribers | 10,085,677 views | February 10, 2016

32 posted on 12/08/2024 12:44:03 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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33 posted on 12/08/2024 12:47:34 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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34 posted on 12/09/2024 2:59:24 PM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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"Good Morning, School Girl" is a blues standard which has been identified as an influential part of the blues canon. Pre-war Chicago blues vocalist and harmonica pioneer John Lee "Sonny Boy" Williamson first recorded it in 1937. Subsequently, a variety of artists have recorded versions of the song, usually calling it "Good Morning Little Schoolgirl".
Sonny Boy Williamson - Good Morning, School Girl (1937) | 3:05
Tube Radio | 350 subscribers | 55 views | Premiered May 12, 2021
Sonny Boy Williamson - Good Morning, School Girl (1937) | 3:05 | Tube Radio | 350 subscribers | 55 views | Premiered May 12, 2021

35 posted on 12/09/2024 3:11:00 PM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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Parole from Runt. The Ballad of Todd Rundgren.
Todd Rundgren - Parole (Lyrics Below) (HQ) | 4:21
Toddzilla | 11.6K subscribers | 7,408 views | January 8, 2018
Todd Rundgren - Parole (Lyrics Below) (HQ) | 4:21 | Toddzilla | 11.6K subscribers | 7,408 views | January 8, 2018

36 posted on 12/11/2024 6:29:59 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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My favorite of the old A&E Biography series.
Explores the life and times of the great artist and reviews his paintings, sculpture, architecture, drawings, and poems. Follows his work from apprenticeship to the call to Rome by Pope Julius II to paint the Sistine Chapel ceiling.
Michelangelo: Artist & Genius | Full Documentary | 46:36
Biography | 957K subscribers | 997,631 views | July 2, 2021
Michelangelo: Artist & Genius | Full Documentary | Biography | 46:36 | Biography | 957K subscribers | 997,631 views | July 2, 2021
--> YouTube-Generated Transcript <--
·Intro
0:00·[music playing]
0:11·[sculptor knocking stone]
0:17·NARRATOR: To rank as a masterpiece, a work of art must stand as a supreme and timeless accomplishment.
0:24·Creating one work this extraordinary could be the crowning glory of any artist's life.
0:29·And among those few who have achieved the remarkable distinction of producing a masterpiece in more than one branch of the arts, Michelangelo Buonarroti
0:37·stands almost totally alone. His vast number of creations include
0:43·the vivid biblical scenes that grace the ceiling of the Sistine Chapel, the heroic marble sculpture
0:50·of "David," and the central plan for the monumental St. Peter's
0:57·Cathedral in Rome.
1:05·His talents were so exceptional, that during his own lifetime, he was called "divine."
1:13·For centuries, Michelangelo has been perceived as a tortured and lonely man, a solitary genius who suffered
1:19·both personal and financial agonies in creating his art in truth.
1:25·For much of his life, Michelangelo lived quite well. Yet, no matter how successful he became,
1:31·he never lost his burning need to create. While countless other artists fade from memory,
1:38·Michelangelo and his work endure. And as the generations pass, many
1:43·wonder what inspired this exceptional man to produce such immortal creations.
1:50·Some of the answers can be found by looking beyond the myths to the turbulent forces that shaped Michelangelo
1:56·and the times in which he lived. He was born during the Renaissance, a revolutionary age in which the newly rediscovered philosophies
2:03·of the ancient world collided head on with the dogmatic Christian values of the Middle Ages.
2:09·Michelangelo was deeply influenced by both of these opposing streams of thought. This conflict was heightened by his day-to-day personal
2:16·struggles, his battles with strong-willed patrons, with contentious family members, and, most of all,
2:23·with his own complex emotions. He was a man of radical contradictions,
2:28·at once generous and arrogant, humble and vain, a man capable of great love one moment
2:34·and petty jealousy the next. Moved to extremes of ecstasy and often despair,
2:40·Michelangelo found a refuge in his art. It was here that all the clashing elements of his life
2:47·melted, given his work a dynamic inner quality that elevates it beyond the merely beautiful.
2:53·Everything he made reveals his internal struggles, his endless search for deeper meaning.
3:01·The emerging portrait of Michelangelo, "Artist and Man," is as passionate and vivid as his work.
3:08·Over 430 years after his death, it serves as a window into his life.
3:21·[birds chirping] For someone who was destined to become one of the world's great artistic talents, Michelangelo Buonarroti
·Early Life
3:29·had a highly unlikely family background. Not one of his ancestors had even a passing connection
3:35·with the arts. His father, Ludovico, was a petty bureaucrat. And it was while he was serving as the mayor of the small town
3:42·of Caprese near Florence that Michelangelo was born on March 6, 1475.
3:48·[music playing] Little is known of Michelangelo's mother Francesca, except that she married young and was often in frail health.
3:56·She had fallen from a horse three months into her pregnancy and was unable to nurse Michelangelo after his birth.
4:02·With an infant brother already in the house, Michelangelo was sent to the nearby mountain village of Settignano, where he was put in the temporary care
4:09·of a wet nurse. Set among the rocky crags that provided the marble
4:15·for Florence's great buildings, Settignano was a place of forests, sky, and stone.
4:22·The nurse's husband worked in the local quarry. As Michelangelo himself later recalled--
4:29·ACTOR AS MICHELANGELO: "If there is any good in me, it comes from being born in the clear mountain air.
4:34·And because from my nurses milk, I drew the skill to make figures with chisel and hammer."
4:41·NARRATOR: After giving birth to three more sons, Michelangelo's mother fell ill again and died when he was only six.
4:48·During the next four years, Michelangelo stayed mainly in Settignano. Instead of learning to read and write,
4:54·he spent his days with the stonecutter, playing with his tools, watching him hammer the stone.
5:01·When Michelangelo was 10, his father remarried and moved the family to Florence.
5:06·The city presented opportunity, and Ludovico Buonarroti had a grand vision of his five sons entering business
5:12·and building a family fortune. [music playing] It was in Florence that Michelangelo was to receive
5:19·his first formal schooling, but his education turned out to be far different than anyone expected.
5:26·By the end of the 15th century, Florence was the queen city of the Renaissance.
5:32·As the name Renaissance literally means, it was a time of rebirth, artistic, intellectual,
5:37·and spiritual. The recently uncovered knowledge of ancient Greek and Roman civilization was causing people to question
5:44·the rigid religious attitudes of the medieval world. A new doctrine called humanism, which emphasized
5:50·worldly interests over those of the afterlife, was taking hold. The result was a cultural revolution unlike anything
5:57·Europe had seen before. Dazzled by the abundance of great art in the city,
6:04·Michelangelo was soon captivated by the idea of becoming an artist. He grew less and less interested in his studies,
6:10·pursuing his new goal with a single-minded zeal that would become a central feature of his character.
6:17·Ludovico Buonarroti, a narrow-minded and difficult man, was appalled at the idea of his son becoming an artist.
6:24·At the time, most artists had little more status than common laborers. But Michelangelo was stubborn, and even his father's beatings
6:31·could not dissuade him from pursuing his ambition. When Michelangelo was 13, his father finally
6:38·relented and apprenticed him to one of the most respected artists in Florence.
6:44·It was as an apprentice that Michelangelo first learned to paint. He received a thorough grounding in a technique
6:50·called fresco, painting murals on fresh plaster, which was to serve him well in later life.
6:56·Yet, it was soon apparent that the young artist preferred the pen to the brush.
7:01·He loved nothing more than to roam the streets of Florence, observing and sketching the many exquisite churches, sculptures,
7:08·and paintings that adorn the city. He carefully studied the frescoes of Giotto
7:14·and Masaccio, two of the founders of Florentine renaissance art. Michelangelo's drawings of these works
7:21·are much more than slavish copies. They have a distinctive, almost three-dimensional quality
7:26·that was revealing of a budding sculptor. It wasn't long before the talented young artist
7:32·caught the eye of the most powerful man in Florence, Lorenzo de' Medici.
7:37·Called Lorenzo the Magnificent by his contemporaries, he was a lavish patron of learning and the arts
7:43·and surrounded himself with the greatest thinkers and artists of the age. He allowed promising young talents
7:50·to study in his palace and sculpture garden, which contained de' Medici's impressive collection of ancient statues.
7:56·In this garden, Michelangelo, at around age 14, made his first serious attempt at sculpture.
8:02·Borrowing a fragment of marble and a chisel from some masons who were working nearby, he set to work.
8:08·Carving what appears to be a living creature out of flesh and blood from a cold block of stone requires not only artistic skill,
8:15·but sheer physical strength and endurance. The wiry young Michelangelo was equal to the task, however.
8:21·And using one of Lorenzo's ancient statues as a model, within a matter of days, he managed
8:26·to fashion the head of a mythological fawn. Lorenzo, who was strolling through the garden at the time,
8:33·marveled at the young artist's skill. He also joked that the fawn's mouth seemed too perfect
8:38·for a creature so old. Inspired rather than discouraged, Michelangelo remodeled his creation
8:45·and, several days later, presented the altered fawn, complete with rotted teeth and gums, to Lorenzo.
8:53·Il Magnifico was so impressed by the ambitious young sculptor, that he invited him to come live at his palace.
9:03·When Michelangelo moved into Palazzo Medici, he got to have lunch every day with Lorenzo and all
9:11·the worthy people. This meant he met poets, philosophers, businessmen,
9:18·and people who proved to be good contacts in the future.
9:23·NARRATOR: In this august company, Michelangelo was first immersed in the secular humanism that would so strongly influence him.
9:31·As Michelangelo was becoming more cultured, he was also showing evidence that he had not given up
9:36·his childish arrogance. One day, Michelangelo and another young artist, Pietro Torrigiano, were studying Masaccio's frescoes
9:43·in Florence's church of the Carmine. As Torrigiano himself later remembered, "Buonarroti
9:49·had the habit of making fun of anyone else who was drawing there. And one day, he provoked me so much that I lost my temper.
9:56·Clenching my fist, I gave him such a punch on the nose that I felt the bone and cartilage crush like a biscuit.
10:02·So that fellow will carry my signature till he dies."
10:07·Michelangelo's jealous rivalries with other artists didn't end with Pietro Torrigiano.
10:13·They would flare repeatedly, giving evidence of a deep-seated insecurity that would haunt him and drive him throughout his life.
10:21·During these years, Michelangelo's spirit and intellect had been decisively shaped by the humanistic values of the Renaissance.
10:28·But he was also deeply influenced by the Christian beliefs that were prevalent at the time.
10:33·These contrasting themes can be seen in the two most significant sculptural works of his early career, the "Madonna
10:41·of the Steps." Depicting a tender religious scene not only highlights the 16-year-old's exceptionally refined technique,
10:48·but, in its quiet serenity, also suggests a deeply introspective side of his personality.
10:55·The "Battle of the Centaurs," with its writhing mythological figures, hints at the explosive emotions
11:01·raging within the young artist. These two traits would later merge and give birth
11:06·to some of the greatest masterpieces ever created.
·Religious Influence
11:17·Barely two years after Michelangelo joined his household, Lorenzo the Magnificent died.
11:23·Deeply shaken by the loss of his first great patron and benefactor, Michelangelo left the Medici palace
11:29·and returned to his father's modest house. His bleak mood didn't last long, however.
11:35·The 17-year-old soon decided to master anatomy so he could perfect his renderings of the human form.
11:41·The dissection of human corpses was strongly condemned by the church without special permission.
11:47·But Michelangelo enlisted the aid of the Pryor of the local church which ran the hospital to gain access to the hospital's morgue.
11:54·It was here that Michelangelo probed the secrets of the human body. Yet, even as he was undertaking his anatomical studies,
12:01·Michelangelo was becoming more aware of his religious faith. The impressionable young artist was greatly
12:06·affected by the sermons of a fanatical monk named Savonarola. The influence of Savonarola on Michelangelo was, I believe,
12:15·very, very great. Michelangelo said at the end of his life that he could still remember the sound of Savonarola's voice.
12:22·And I think also that some of Savonarola's ideas show up in the Sistine ceiling.
12:29·NARRATOR: A throwback to the intolerant religious beliefs of the medieval world, Savonarola zealously rejected
12:35·what he saw as the secular hedonism of the age, particularly in the city of Florence where he preached.
12:41·For a time, the glorious days of the Florentine Renaissance appeared to be in jeopardy.
12:47·But Savonarola's fanaticism went too far, and he was eventually excommunicated and burned at the stake.
12:56·When the French king invaded Italy in 1494, adding to the turmoil in Florence,
13:02·Michelangelo left the city. After a short stay in Bologna, Michelangelo
13:08·ended up in Rome two years later, where he received a commission that allowed him to give form to his growing spiritual awareness.
13:15·The Piet , completed in 1500, depicts the Virgin Mary tenderly cradling the body of Christ.
13:23·Ironically, the artist's anatomical studies, which, to a religious zealot like Savonarola,
13:28·would have been considered a mortal sin, had an enormous impact on the statue.
13:35·The slack figure of Christ is so remarkably realistic that observers of the day were stunned.
13:42·Wrote one, "It would be impossible to find a body showing greater mastery of arts or a nude
13:48·with more detail in the muscles, veins, and nerves, stretched over their framework of bones.
13:55·It staggers belief that the hand of an artist could have executed this inspired and admirable work so
14:02·perfectly." When Michelangelo learned that some were attributing his creation to another artist, he stole into the church
14:09·where it was being displayed and carved his name on the statue across the front of Mary's gown.
14:16·It was a display of vanity that the proud young sculptor would never repeat again. The Piet proved once and for all that Michelangelo was
14:24·a great genius. And the very commission-- when the commission was actually undertaken,
14:30·Michelangelo said-- it was said that he would make something better than anything past or present.
14:35·And when it was unveiled, I think it was obvious that it was. And it made his reputation.
14:42·NARRATOR: At the age of 25, Michelangelo was becoming famous. Yet, it was far from a happy period in his life.
14:50·Burdened by the financial demands of his father, who constantly nagged him about money,
14:55·Michelangelo lived like a pauper. Michelangelo's father, Ludovico Buonarroti
15:01·was, I guess, best described as a great big nothing. Anyway, he didn't earn very much,
15:08·and he wasn't particularly honest. And there was even one occasion on which Michelangelo accused
15:13·him of stealing from him. Despite all of these things, however, Michelangelo
15:19·respected his father very, very greatly. And he loved him tremendously. ACTOR AS MICHELANGELO: "Dearest father,
15:25·do not be surprised if occasionally I write you in an angry tone. At times, I am quite upset by things that befall
15:32·one who is away from home. You must realize that I too spend money and have
15:37·my own troubles. In spite of all this, I shall send you what you ask of me, even if I should have to sell myself
15:44·as a slave." Michelangelo's favorite brother by far was Buonarroto.
15:51·We know this because once Buonarroto got sick, and Michelangelo just about totally freaked out.
15:57·He did he got very hysterical about the whole thing and wanted to spend huge amounts of money
16:03·on the best doctors that could be found for Buonarroto.
16:08·ACTOR AS MICHELANGELO: "Dear brother, the letter from you heartened me greatly. I think of you all the time, so be in good spirits.
16:15·And keep your nose to the grindstone, as you have been doing. I want you to know that I gave two ducats to Balducci here
16:22·in Rome so that he could have Francesca [inaudible] give them to you in Florence.
16:28·My best regards to all of you, and especially to my father Ludovico, whom I esteem as such.
16:35·May god help you. NARRATOR: Despite his artistic success in Rome, the ever-restless Michelangelo soon returned to his home
16:42·in Florence, where he received the greatest challenge of his early career.
16:48·He was commissioned by the Florentine office of works to carve a statue out of a huge block of marble that
16:53·had been badly damaged by an earlier artist 35 years before. Michelangelo had an almost mystical belief
17:01·that the figures he carved already existed fully formed within the blocks of stone he worked.
17:07·By studying the raw marble, examining its patterns of fissures and veins, he could sense where the figure slept.
17:15·Then layer by layer, blow by blow, he would liberate his creation from its rocky prison.
17:22·Isolating himself with the enormous piece of marble, Michelangelo chipped and hammered away,
17:28·letting no one but his few assistants observe his progress. After four years of backbreaking labor,
17:35·he finally unveiled his giant sculpture. Standing over 14 feet tall, the magnificent "David"
17:43·was a towering achievement, both literally and figuratively. The expression of outward calm, first seen and Michelangelo's
17:50·early "Madonna of the Steps," was again evident in his rendering of this legendary biblical king.
17:57·However, it had been charged with an inner dynamism that made the work electrifying.
18:03·It's the work which really summed up everything he had been learning about up to that point. It's, of course, a colossal male nude.
18:09·And he'd been studying classical antiquity. He'd been doing some dissections to learn about the human body better.
18:16·In addition, of course, the "David" stood for Florence and stood for a civic identity. It was a symbol of civic liberty,
18:21·and it was something that Michelangelo deeply believed in. NARRATOR: From the moment the day that was revealed,
18:28·Michelangelo was hailed as one of the greatest sculptors who ever lived. But the Renaissance was an age of giants,
18:33·and there was still an artist to stature eclipsed even that Michelangelo, Leonardo da Vinci.
18:41·The two personalities of Michelangelo and Leonardo are different, even though they were contemporaries.
18:46·And they lived long lives, both of them. Michelangelo, first of all, was much more of a tormented man.
18:53·I think Leonardo was more widespread in a way. His paintings are more--
19:00·happy's not the right word. But they were melancholic, but they were calm and quiet.
19:07·And Leonardo was involved in so many other things that--
19:13·I almost feel that art came natural. For Michelangelo, art was suffering.
·Michelangelo vs Leonardo
19:22·NARRATOR: About the only thing the two men had in common were prickly egos that caused each to sense the other as a threat.
19:28·In a thinly veiled reference to Michelangelo, Leonardo even went so far as to satirize sculptors
19:33·as brutishly inferior artists. Wrote Leonardo-- "The sculptor, in creating his work,
19:40·does so by the strength of his arm, often accompanied by great sweat. The marble dust flowers him all over so
19:46·that he looks like a baker, and his house is made filthy by the flakes and dust of stone."
19:54·Even years later when he was 74, Michelangelo bitterly remembered the insult in a letter he wrote to a friend.
20:02·ACTOR AS MICHELANGELO: "The man who wrote that painting was more noble than sculpture did not know what he was writing about.
20:08·And if he understood the other things about which he was writing no better, I'm sure my housemaid could have written
20:15·more intelligently." NARRATOR: In 1504, the opportunity arose from Michelangelo to prove himself against his rival.
20:23·The town council of Florence had decided that their new meeting hall should be decorated with two huge murals.
20:29·Space was reserved for two artists, Michelangelo and Leonardo da Vinci.
20:35·As Michelangelo and Leonardo prepared for this contest, their mutual dislike quickly became evident.
20:42·They denigrated each other's accomplishments, insulted each other in the street. And yet, spurred on by their burning desire to outdo one
20:49·another, they focused even more intently on the task at hand. The full-scale designs they created for their murals
20:56·were considered by many observers to be their greatest work up to that time. In his autobiography, the artist Benvenuto Cellini
21:03·wrote of these drawings-- "No ancient or modern artist has ever reached such a high standard.
21:09·And while they remained intact, they served as a school for all of the world."
21:16·Unfortunately neither mural was completed. Leonardo experienced problems when he tried a novel way of applying the paint
21:23·and ruined much of his surface. Michelangelo was called away to Rome for an even more important
21:28·commission. All that remains today of this epic confrontation are sketches done by other artists.
21:38·Even in these, the forceful vitality and vastly different styles of the two legendary masters
21:43·shines through.
·The Sistine Chapel
21:50·There was only one man in Italy who was powerful enough to cause Michelangelo to abandon his clash with Leonardo, Pope
21:57·Julius II. Vigorous, temperamental, and possessed of a vision as large
22:02·as his ego, he was very much like Michelangelo himself.
22:07·Pope Julius was a man who wanted and got the best of everything. His architect was the great Bramante.
22:14·His painter was the brilliant young Raphael, and his sculptor would be Michelangelo.
22:20·Julius' first assignment called from Michelangelo to build him a magnificent tomb, one that would exalt him
22:26·through all eternity. Thrilled at the opportunity to create what promised to be his most stunning masterpiece,
22:33·Michelangelo designed a grandiose monument that included no less than 40 life-sized statues.
22:39·But the mercurial Pope soon lost interest in the project. Michelangelo became furious and promptly left
22:45·Rome for Florence, where for many months, he defied the Pope's orders to return.
22:50·The two eventually settled their differences, however. And in 1508, Julius gave Michelangelo
22:56·the most challenging assignment of his life, to paint the ceiling of the Sistine Chapel.
23:04·Michelangelo immediately balked at the proposal. His only desire was to return to carving marble, his first
23:10·and greatest love as an artist. Raphael, he argued, was far better equipped to paint the Sistine.
23:17·However, the iron-willed Julius proved to be even more stubborn than Michelangelo. On may 10, 1508, the contract was signed.
23:26·ACTOR AS MICHELANGELO: "I, Michelangelo, sculptor, have received from the holiness of our lord Pope Julius II 500
23:32·ducats on account of the painting of the vault of the Sistine Chapel, on which I begin to work.
23:38·NARRATOR: The nearly 6,000 square foot ceiling was an enormous undertaking. And over the next four years, Michelangelo
23:45·would labor to the point of exhaustion on the project. A different artist might have decided to rush through the commission, doing just enough to get
23:53·by so he could return to work of his own choosing. But once he knew he could not escape the ceiling,
23:59·Michelangelo became determined to create images that would confirm his lofty vision of his own talents
24:05·and do justice to the glory of God. Contrary to popular belief, Michelangelo actually
24:12·had the help of as many as 13 assistants during his work. But ever the perfectionist, he limited his helpers
24:18·to menial tasks and painted almost the entire surface by himself.
24:24·This tremendous assignment was made even more difficult by the impatient demands of the Pope for greater speed
24:30·and the enormous responsibility the artist had in providing for his aging father and his three younger
24:36·brothers. To his brother Buonarroto, he wrote-- ACTOR AS MICHELANGELO: "I have learned from your letter how things are in Florence I'm very sorry to hear about them,
24:45·all the more since I see the family is in need, especially Ludovico.
24:50·I myself am without money. Furthermore, I have rent to pay, so I have a lot of troubles.
24:57·But I hope to get out of them soon and be able to help you. NARRATOR: As the Sistine ordeal wore on,
25:03·the emotional strain on Michelangelo began to show. ACTOR AS MICHELANGELO: "Dearest father, today
25:08·I received a letter from you. And it caused me much grief. It grieves me to know that you are so frightened.
25:15·For even if you were deprived of all you have in this world, you would not lack for a good livelihood,
25:20·were I the only one to help you. I myself am quite concerned, for this Pope hasn't given me
25:27·a single penny for a whole year. And I'm not asking for any for my work is not progressing in such a way as
25:33·to make me think I deserve anything. This is due to the difficulty of the work and also to the fact
25:40·that painting is not my profession. Yet, I am wasting my time fruitlessly.
25:45·God help me." NARRATOR: Standing, not lying as legend would have it,
25:50·for hours at a time on a scaffolding 70 feet in the air was a grueling physical trial.
25:56·The extent of Michelangelo's misery was captured in one of his most famous poems. ACTOR AS MICHELANGELO: "I've grown a goiter
26:02·by dwelling in this den. My beard turns up to heaven. My nape falls in fixed my spine.
26:11·My breastbone visibly grows like a harp. A rich embroidery bedews my face from brush drops
26:19·thick and thin. NARRATOR: Chafing at the slow pace of the work, Julius visited the chapel frequently
26:25·to check on its progress. Each time, he demanded to know when Michelangelo would finish.
26:31·"When I can" was the constant headstrong response.
26:37·One day Julius became so infuriated with this pat reply that he struck Michelangelo with his staff.
26:46·The artist could withstand endless hours of grinding toil, but this assault on his dignity was intolerable.
26:53·He immediately withdrew from the chapel and threatened to leave Rome. For perhaps the only time in his life,
26:58·Pope Julius humbled himself before another man. He sent an emissary to Michelangelo
27:03·with an apology and a payment of 500 ducats. Placated, the artist returned to the chapel
27:10·and resumed his work. Finally, on November 1, 1512, Michelangelo's creation
27:18·was revealed to the world. The result was miraculous.
27:25·In an unparalleled display of physical effort and artistic skill, the surface of the ceiling
27:30·had been covered with 33 panels containing more than 300 painted figures.
27:37·Michelangelo Buonarroti had sacrificed four years of his life for art and, in the process, brought art to life.
27:47·Against his will, the greatest sculpture of the age had become the greatest painter as well.
27:53·At the age of 37, he was hailed by his contemporaries as the divine Michelangelo.
·The Aftermath
28:07·When Pope Julius died barely four months later, Michelangelo was filled with remorse.
28:13·Even though Julius had driven him for years to the brink of exhaustion, if not insanity, the artist
28:18·had developed an affection for the kindred spirit he recognized in the Pope. When Michelangelo picked up his hammer and chisel again,
28:25·he was happy to work on a new scaled-down version of a tomb for Julius, the man who had helped inspire his most
28:31·celebrated masterpiece. In 1516, he completed what would eventually
28:37·become the centerpiece of the Julius tomb, his statue of the seated Moses.
28:42·This imposing figure, said to be an idealized portrait of Julius, so impressed Michelangelo that he supposedly
28:48·struck it on the knee with a mallet and demanded that it speak.
28:58·By this time, Michelangelo was far from destitute. He was indisputably the most celebrated and sought-after
29:04·artist in Europe. Like all master artisans of the time, he had become the head of his own workshop.
29:10·Michelangelo had a lot of people working for him. At that time, but even now again, artists
29:16·had assistants to do something like the Sistine Chapel, the mausoleum of Julius II, the Cappella Medici in Florence.
29:27·It's impossible for one man to do it all alone. And on top of that, those where the art school of those days.
29:34·NARRATOR: But Michelangelo was far more successful than most of his contemporaries. He ran a thriving concern that included up to 20
29:40·full and part-time workers. RAB HATFIELD: Michelangelo was an extremely wealthy man.
29:47·His lifetime earnings were at least 50,000 large gold
29:53·florins. His estate at the time that he died was over 25,000 large gold florins.
30:03·I guess we need to know what a large gold florin is. I should imagine that somebody like myself would be earning
30:11·from 40 to 60 large gold florins a year.
30:16·In other words, in about a thousand years, I could earn what Michelangelo succeeded in earning.
30:22·He's your first star, at least your first star in the arts. ACTOR AS MICHELANGELO: "Dearest father, on Wednesday, I
30:29·was paid 400 gold ducats from the apostolic treasury. See to it that the receipts are signed properly,
30:35·and then take the money to my banker in Florence and have him take care of it as usual. Also remind him of the farm.
30:42·If he strings you along, try to buy from someone else. But if you see that it is a safe purchase,
30:48·I give you permission to spend up to 1,400 ducats."
30:55·NARRATOR: Michelangelo wasn't nearly as business-like when it came to making creative choices. With an ambition that was as large as his talent,
31:02·he found it hard to say "no" to his many patrons. Time and time again, his imagination would be fired by some new project.
31:10·Only later would he realized that even with his assistance, he couldn't possibly hope to complete the work that he had
31:15·undertaken, especially since he still insisted on doing the bulk of the creative work himself.
31:21·Partly for this reason, many of the prodigious number of works Michelangelo has left to posterity remain unfinished.
31:29·Yet, these statues are still among his most eloquent. Like trapped souls, the figures appear
31:35·to be struggling to free themselves from the blocks of stone.
31:43·Despite his tremendous backlog of commissions, in 1519, Michelangelo undertook one of his largest projects,
31:50·a tomb chapel for his first great patrons, the Medici family. He worked on the chapel off and on for the next 15 years, years
31:58·that witnessed a profound change in his personal and artistic outlook on life.
32:03·His transformation was caused by a series of shocks to Michelangelo and the world in which he lived.
32:10·In 1527, Rome, the capital of Catholicism, was sacked by an invading army of Spanish and German troops,
32:17·many of whom were followers of the fiery Protestant reformer, Martin Luther. For nine horrible months, the soldiers
32:23·rampaged through the city raping and looting. This tragedy foreshadowed the wave of religious turmoil
32:30·that was about to engulf Europe and seemed to confirm Savonarola's prophecies of doom.
32:35·It also helped to end the atmosphere of optimism that had nourished Michelangelo's earlier works.
32:41·During the next three years, both Michelangelo's favorite brother, Buonarroto, and his father died, leaving the artist, who was now in his mid-50s,
32:49·feeling whole and lonely. His sense of isolation was tempered somewhat in 1532
32:56·when he met one of the two great loves of his life, a young Italian artist named Tommaso dei Cavalieri.
33:03·The aging master saw in Tommaso's youthful beauty the embodiment of the artistic ideals he had been pursuing
33:09·throughout his life. Some of Michelangelo's most heartfelt letters, drawings, and poems were addressed to him.
33:16·Perhaps the most revealing insight into Michelangelo's feelings for Tommaso can be found in a letter he wrote to a mutual friend.
33:23·ACTOR AS MICHELANGELO: "My dear Bartolomeo, since I first gave my soul and my heart to Tommaso,
33:29·you may consider how it is being so far from him. Therefore, if I wish without respite day or night to be
33:36·there, it is only to live again, which cannot be without the soul. And since the heart is indeed the abode of the soul,
33:44·it is only natural to return my soul to its proper place."
33:51·NARRATOR: The artist's love for Tommaso might well have been chased. There is no evidence that Michelangelo had a sexual life
33:57·of any kind. However, it is apparent that he had strong passions, passions
34:03·that he struggled against and which caused him immense inner pain.
34:08·These feelings were at odds with Michelangelo's powerful religious convictions, and he looked to God
34:13·to help soothe his turmoil. Nowhere is this made more clear than in his poem,
34:20·"A Prayer for Aid." ACTOR AS MICHELANGELO: "Dear Lord, thy help I seek against this woe, these torments that I spirit it
34:28·vex and tire. Thou only with new strength canst re-inspire
34:33·my will, my sense, my courage faint and low.
34:38·Thou gavest me on Earth this soul divine and thou within this body weak and frail didst prison it--
34:45·how sadly there to live. How can I make its lot less vile than mine?"
34:57·NARRATOR: As a result of his personal trials, Michelangelo changed as a man and as an artist.
35:02·His work became more intimate and internally complex. These qualities are evident in the completed Medici tomb,
35:10·which expresses in sculpture and architecture some of Michelangelo's most profound insights into death and immortality.
·The Last Judgment
35:22·In 1534, the same year the Medici tomb was unveiled, the 59-year-old Michelangelo returned
35:28·to the site of his greatest triumph, the Sistine Chapel. The new Pope, Paul III, had commissioned
35:34·him to paint another fresco, this one on the wall behind the altar. Older and still wary of the brush,
35:41·Michelangelo embarked on the endeavor with even less enthusiasm than he had the first time 26 years
35:47·earlier. During his years of toil on the huge painting,
35:52·Michelangelo met the second great love of his life, Vittoria Colonna, a widowed noble woman and one
35:58·of the outstanding intellectuals of the Renaissance. Vittoria's passion was the reform of the Catholic church.
36:05·She stimulated a further heightening of Michelangelo's already powerful religious beliefs.
36:11·He in turn wrote her impassioned poetry and sent her some of his most moving drawings.
36:17·Michelangelo's growing fixation on the afterlife affected the content of his second painting in the Sistine Chapel, "The Last Judgment."
36:25·The finished mural, completed seven years after he began, represents Christ judging the souls of heaven and Earth
36:32·in its tortured imagery. "The Last Judgment" is a stark contrast to the uplifting splendor of the chapel ceiling.
36:40·Christ is shown not as a redeemer, but as a wrathful condemner, sentencing much of humanity
36:45·to eternal damnation. Michelangelo's apocalyptic vision spares practically no one, not even himself.
36:53·In a revealing image, the artist put his own self-portrait in the painting as a flayed human skin
36:58·held by St. Bartholomew. The effect of "The Last Judgment" was so overwhelming, that when the Pope first saw it,
37:07·he fell to his knees in awe and begged god for lenience on his own judgment day.
37:13·But not everyone was as impressed as the Pope. A reactionary spirit was in the air, a product
37:18·of the counter reformation, which was the Catholic response to the Protestant movement. Many objected to the pagan imagery
37:25·Michelangelo used in depicting Christ as a clean-shaven, muscular young Apollo.
37:30·Still more decried the dozens of nudes that filled the work. The chief detractor was the Papal Master of Ceremonies,
37:38·Cardinal Biagio Cesena. Before the painting was even finished, he stole a glimpse at it and complained to the Pope
37:44·that it was obscene. In revenge, Michelangelo put a likeness of Biagio
37:49·into the fresco as Minos, prince of hell, complete with donkey's ears and a serpent coiled
37:54·around his loins. When Biagio protested to the Pope, demanding that Michelangelo be made to remove the figure,
38:01·the Pope wryly answered that he could release the Cardinal from purgatory. But over hell, he had no power.
38:09·Notwithstanding Pope Paul's defense, the controversy continued to rage throughout succeeding
38:14·generations. Subsequent Popes voiced their objections, and one even had to be dissuaded from destroying the work.
38:21·Many artists, known sarcastically as breeches-makers, were employed periodically in later years to provide Michelangelo's
38:28·offensive figures with loin cloths and other coverings. Michelangelo himself responded to the uproar
38:34·over "The Last Judgment" with characteristic defiance. When Pope Paul's successor demanded that he make the painting suitable,
38:41·Michelangelo answered tersely-- ACTOR AS MICHELANGELO: Tell the pope that this is a small matter, and it can easily be made suitable.
38:47·Let him make the world a suitable place, and painting will soon follow suit.
38:53·NARRATOR: Despite the imbroglio over "The Last Judgment" and his many personal setbacks, Michelangelo,
38:59·by now in his late '60s, had achieved a status as an artist that has never been matched before or since.
39:06·Wealthy beyond his dreams, he could have lived out his old age in comfortable retirement.
39:12·Instead, he continued to search for new artistic challenges. In 1546, he undertook his foremost architectural project,
39:20·the completion of St. Peter's Cathedral in Rome. Even though it was far from being finished when
39:26·Michelangelo died, the central plan was his. And to this day, the great dome of St. Peter's remains
39:33·one of the most famous and copied landmarks in all of architecture. Yet, even as he was working on this, his grandest monument,
39:42·Michelangelo couldn't resist the temptation to grapple with his old adversary marble,
39:47·for no other reason than to satisfy his own urge to create. The aging sculptor picked up his hammer and chisel once again.
39:55·As he wrote to his friend and biographer Giorgio Vasari-- ACTOR AS MICHELANGELO: "Dear Giorgio, my hand trembles.
40:01·My eyes a half-blind. I am nothing but a bag of bones and nerves.
40:08·A spider hangs in one ear. And in the other, a cricket chirps all night long.
40:13·I am ill with all the troubles that afflict old men, so old that death tugs at my sleeve for me to go with you.
40:22·I am carving another Piet . God grant that I may finish it."
40:29·NARRATOR: Even in the twilight of his life, Michelangelo could still, as one witness claimed,
40:34·knock more chips out of the hardest marble in a quarter of an hour than three masons could have done in an hour.
40:40·But the supreme master of stone had mellowed with age, and his two last sculptures are among his most moving.
40:48·In the deposition of Christ, Michelangelo portrays himself as Nicodemus, the old man who gave up his own tomb
40:55·to receive the body of Christ. In the so-called "Rondanini Piet ,"
41:01·which he was working on until eight days before his death, Michelangelo returned to the subject he had carved nearly 60
41:07·years before. The result is so different that it looks like it could have been fashioned by a completely
41:14·different artist. The fact of the matter is, and we see this all too poignantly
41:20·in the very late Pietas, is that this mind was forever restless,
41:28·even in his failing health and up to eight days before he died.
41:34·He kept exploring to the very end. NARRATOR: Despite the crude, unfinished quality
41:41·of these last statues, the passionate feeling that radiates from their rough surface seems almost more compelling than the glowing perfection
41:49·of his earlier works. Beauty had been his idol then. Now, it was faith that inspired him.
41:57·His eyes had turned inward, and the results were evident in his art.
·Conclusion
42:12·When Michelangelo died on February 18, 1564, at the age of 89, he left a legacy of artistic achievement
42:19·that remains unequaled. Even today, hundreds of years after his death, millions
42:25·around the world still marvel at his incomparable masterpieces. His art was a prism through which
42:31·he projected all of his feelings and experiences. Through it, he fused his work with his soul,
42:37·giving his creations a deep sense of humanity that is truly universal.
42:43·It is exactly this quality that has allowed Michelangelo's art to transcend the changing tastes of time.
42:52·He's considered a modern painter. It's the break, basically, from the old tradition
42:59·to the new conception of painting, of painting feelings.
43:05·He's the first artist that picked up man and paint it
43:11·the way it is. I mean, he is a man. But he's the center of the universe.
43:16·So I insist he's modern. NARRATOR: Michelangelo's own feelings about his character
43:23·and work were expressed when he composed these lines-- ACTOR AS MICHELANGELO: "A heart of flaming sulfur, a soul
43:31·without a guide to curb the fiery will, the ruffling pride of fierce desires
43:37·that from the passions flow. If I was made for art from childhood,
43:44·given a prey for burning beauty to devour, I blame the mistress I was born to serve."
46:11·[music playing] [music playing]

37 posted on 12/11/2024 7:46:03 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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Original concept by Ryan King and Dan Hess (venisproductions.com). "Peanuts", Copyright: United Feature Syndicate, Inc. "Hey ya", Copyright: Outkast
Hey Ya! (Charlie Brown & Snoopy Style) | 3:58
Daltry Garate | 442 subscribers | 74,438 views | June 29, 2016
Hey Ya! (Charlie Brown & Snoopy Style) | 3:58 | Daltry Garate | 442 subscribers | 74,438 views | June 29, 2016

38 posted on 12/11/2024 9:11:36 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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To: SunkenCiv

Hey Ya! (Charlie Brown & Snoopy Style)


That one is awesome.


39 posted on 12/11/2024 9:12:03 AM PST by dfwgator (Endut! Hoch Hech!)
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To: dfwgator

It was up and pulled back when, I did a search and found it on a numbers-only private site. Those were the days. :^) Dunno where the file is now, probably on a drive that needs some work.


40 posted on 12/11/2024 9:13:11 AM PST by SunkenCiv (Putin should skip ahead to where he kills himself in the bunker.)
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