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  Original Music 2011

Hummingbird Collosus

  Hummingbird Colossus

3 minutes 52 seconds| Futuristic scientology décor outlined. Big choral finishes never fail to convey conviction.

The mad artist Richard Dadd figured vaguely into the slap-dash SWF that accompanied this film. (This was among the last of my feeble efforts at SWFs.) The music, otherwise, has loads of reverb and ambient effects and evokes bucolic scenes of the English countryside.

My favorite period of contemporary music is early 20th Century French and German music. However, I have developed a fondness for English composers of the same period as these continental composers. Here and there in my piece I glimpse a Gerald Finzi or a Frederick Delius.

Time stamp: 1/25/11

Novel Icon Novel-in-Progress, excerpt 16| Readers of my previous novel will pick up on this mannequin theme:

Following the near-dissolution of Canada, after French-speaking Quebec seceded, once-isolationist North Korea began asserting itself on the world stage by gobbling up strategic plots of land in the Americas. Specifically, as bearing on Lowell’s situation, they purchased an old factory complex in Saskatchewan among the minor badlands along the North Dakota state line.

The previous business in that location manufactured life-size Nativity figures, though this concern dried up when religious displays were no longer sanctioned for public spaces due to separation of church and state litigation. It was less about blasphemy than enticement that the Koreans repurposed the facilities to construct another type human figure.

A “town” was constructed to display their wares, and this was not dissimilar to the propagandistic villages created along the DMZ in their homeland. Here the intent was to lure male workers (preferably those skilled in oil fracking) over the frontier with promises of lucrative earnings and polygamy. Female mannequins were provocatively dressed and staged in front of bright windows in, what appeared to be, a house of ill repute. Speakers mounted to a parapet embroidered on the inducement, and threw Pidgin English, buried in shrill, desperate melodies, against the white-faced crags of the surrounding canyon. Good times were to be had by any man making his way into the compound, although the blaring grabble mostly bounded back onto the premises empty handed. Regardless, rumors circulated about able-bodied men being shanghaied and taken back to Pyongyang to replenish a dwindling population and workforce; and nothing in the opposing camp’s secretive behavior dispelled this idea.

Otis Elevator had maintained a factory near the border in the general area, and built a ten-story tower for the testing of industrial elevators: This structure was not especially conspicuous on a landscape dominated by grain silos. The Feds got a good deal on the complex when Otis’ closed its operation, and the upper floor was converted into observation platform to keep track of the Koreans’ movement.

Lowell was not a combatant, but hired (without benefits) to do a job formerly performed by the National Guard. His duty required him to sit in a chair throughout the afternoon hours and monitor the unchanging Theatre of The Absurd on the other side of a fence. Little brain real estate was needed to check off boxes on a daily log, which chronicled the enemy’s regimented timetable. He only needed the routine on the other end of his binoculars to match the expectation of paperwork; and the less paperwork, the better.

Book excerpts resume  with 55) Azure L’Amour (Music30.html).

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