Stories with Tag Soundtrack

• 1977 Jazz-Funk Musical Adaptation of Dune by David Matthews

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  Posted: 2025-02-19 14:29:11

  Verbose tl;dr

  In 1977, French composer David Matthews created a jazz-funk concept album inspired by Frank Herbert's Dune. Commissioned for French radio, this pre-Lynch adaptation features a distinct 70s sound with synthesizers, electric piano, and a driving rhythm section. While incorporating elements of the novel's plot and characters like Paul Atreides and the Fremen, Matthews focuses more on evoking the atmosphere and themes of Arrakis, using original compositions with titles like "The Ceremony of the Sand" and "The Voice of Muad'Dib." This rarely-heard musical interpretation of Dune offers a unique and intriguing alternative to other adaptations.

  In the annals of unusual artistic endeavors, one particular project stands out as a peculiar and largely forgotten artifact of the late 1970s: a jazz-funk musical adaptation of Frank Herbert's epic science fiction novel, Dune, composed by David Matthews. This intriguing work, dating back to 1977, predates both the well-known David Lynch film adaptation and the more recent Denis Villeneuve version, offering a drastically different interpretation of Herbert's complex narrative.

  Matthews, a British composer known for his eclectic musical style, embarked on this ambitious project, seemingly captivated by the rich and multifaceted world Herbert had created. He envisioned translating the sprawling saga of Arrakis, its warring factions, and the messianic rise of Paul Atreides, into a vibrant musical experience infused with the rhythmic dynamism of jazz and the infectious grooves of funk. This fusion of genres, popular in the 70s, provided a unique sonic landscape against which to reimagine the political intrigue, ecological complexities, and spiritual awakenings that permeate Herbert's narrative.

  While the full extent of the musical's development remains somewhat shrouded in mystery, Open Culture sheds light on its existence through the presentation of several surviving tracks. These audio fragments offer tantalizing glimpses into Matthews' interpretation of Dune, showcasing his compositional approach and hinting at the potential scale of the intended production. Titles like "The Fremen," "Chani," and "Spice," evoke key elements of the novel, suggesting that Matthews sought to capture the essence of the story through musical motifs and thematic exploration.

  Regrettably, the 1977 Dune musical seemingly never reached full fruition, remaining a fascinating what-if in the realm of science fiction adaptations. The reasons for its apparent abandonment remain unclear, leaving us to speculate about the challenges faced in bringing such a complex and ambitious project to the stage. Nevertheless, the surviving tracks serve as a testament to Matthews' artistic vision and provide a unique historical perspective on the enduring appeal of Herbert's masterpiece. They stand as a curious footnote in the history of Dune adaptations, offering a glimpse into an alternative path not taken, a sonic exploration of Arrakis through the lens of 1970s musical sensibilities. This almost-lost piece of cultural history invites listeners to imagine a Dune experienced not through visuals and dialogue, but through the evocative power of music, a truly unique and intriguing prospect.

  • Dune
  • David Matthews
  • Jazz
  • Funk
  • Musical
  • adaptation
  • 1977
  • Science Fiction
  • Open Culture
  • Soundtrack
  • Progressive Rock
  • Experimental Music

  Summary of Comments ( 3 )
  https://news.ycombinator.com/item?id=43102491

  Verbose tl;dr

  Hacker News users discuss the surprising existence of a Dune musical by David Matthews, predating the Toto adaptation. Several express curiosity about its sound and availability, with some recalling Matthews' other works like the "Shookfoil" album. Others debate the legality and likelihood of a full release due to copyright issues with the Dune IP. The potential for a "so bad it's good" experience is also mentioned, while a few lament the missed opportunity of a French electronic music adaptation by Heldon. Some question if Matthews' involvement is a hoax, while others confirm his prolific career in library and experimental music. The overall sentiment is a mix of intrigue and skepticism.

  The Hacker News post titled "1977 Jazz-Funk Musical Adaptation of Dune by David Matthews" generated several comments discussing various aspects of the potential musical adaptation.

  Some users expressed excitement and curiosity about the project. One comment highlighted the intriguing combination of jazz-funk and the Dune universe, wondering how such a musical would translate the complex themes and atmosphere of the book. Another user expressed sheer disbelief and eagerness to hear the adaptation, while another simply stated their hope that it would be made available on streaming platforms. A commenter mentioned having seen a production of this adaptation back in the 70s, remembering it as being quite good but noting the difficulty of adapting such dense source material.

  Several comments focused on David Matthews, the composer. Some users pointed out that this was not the Dave Matthews of the Dave Matthews Band, but a different composer of the same name. This distinction led to some humorous remarks about the initial confusion and subsequent disappointment. One commenter shared an anecdote about a college radio DJ playing a cut from Matthews' Dune musical and jokingly attributing it to the more famous Dave Matthews, sparking interest among listeners.

  The discussion also touched upon the challenges of adapting Dune for different media. One user mentioned the inherent difficulty of translating the book's intricate plot and philosophical depth to other formats, while another expressed skepticism about the viability of a jazz-funk musical as a suitable medium for Dune. One commenter referenced Alejandro Jodorowsky's unsuccessful attempt to adapt Dune into a film, highlighting the complexity and ambition required for such a project. A different commenter referenced a different musical adaptation of Dune and stated that it "wasn't very good."

  Finally, some comments provided further information about David Matthews and his work. One commenter mentioned that Matthews was known for his work in theater and had composed music for other productions. Another shared a link to Matthews' website, enabling other users to explore his other projects and compositions.

• Morse Code in Tubular Bells (2021)

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  Posted: 2025-01-23 20:19:59

  Verbose tl;dr

  The blog post explores a purported connection between Mike Oldfield's "Tubular Bells," famously used in The Exorcist, and Morse code. The author analyzes a specific section of the album and argues that the tubular bells play a sequence that translates to "BELLS." While acknowledging the possibility of coincidence, the author speculates that Oldfield, known for his meticulous approach to composition and interest in radio, might have intentionally embedded this message as a playful nod to his amateur radio background, potentially referencing his callsign "G3SWE." The post further links this potential Morse code to a rumored "curse" surrounding The Exorcist, suggesting the message could be interpreted as a signature or playful acknowledgement of the film's ominous themes.

  The blog post, "Morse Code in Tubular Bells (2021)," explores a fascinating, albeit ultimately debunked, theory connecting Mike Oldfield's iconic instrumental piece "Tubular Bells" with the world of amateur radio and specifically, Morse code. The author meticulously details their investigative journey, sparked by a fleeting, almost subconscious, perception of Morse code within the familiar melodies of the composition. This initial impression prompted a deep dive into analyzing specific sections of "Tubular Bells," particularly the introductory movements.

  The author employs various methods to scrutinize the music for encoded messages. These include painstakingly transcribing suspected Morse code sequences heard in the piece, converting these sequences into alphanumeric characters, and attempting to decipher any potential hidden meanings within the resulting text. The author demonstrates a clear understanding of Morse code principles, explaining the distinction between dots and dashes, and the process of translating these auditory elements into letters and numbers.

  The investigation focuses on isolating melodic phrases from "Tubular Bells" which exhibit rhythmic similarities to Morse code transmissions. The author provides detailed descriptions of these phrases, even specifying timestamps within the musical piece for reference. They then present their interpreted Morse code sequences alongside the corresponding decoded text. Despite the meticulousness of this approach, the deciphered messages ultimately yield incoherent and seemingly random strings of characters, suggesting no intentional coded communication.

  Furthermore, the blog post delves into the historical context surrounding the creation of "Tubular Bells," including the recording equipment used by Mike Oldfield. The author explores the possibility that unintended electromagnetic interference, perhaps from nearby amateur radio transmissions, might have inadvertently imprinted Morse-like patterns onto the recording. However, this hypothesis is also deemed unlikely, given the controlled studio environment and the nature of the recording process.

  Ultimately, the author concludes that the perceived Morse code in "Tubular Bells" is likely a product of pareidolia, the psychological phenomenon of perceiving meaningful patterns within random or ambiguous stimuli. While the initial suspicion of hidden messages proved unfounded, the author emphasizes the value of the investigative process itself, showcasing the power of curiosity and the analytical approach applied to unraveling a musical mystery. The investigation serves as an interesting example of how our brains can sometimes create connections where none actually exist, even within the intricate tapestry of a musical masterpiece.

  • Morse Code
  • Tubular Bells
  • The Exorcist (1973 film)
  • Soundtrack
  • Mike Oldfield
  • Music
  • Film
  • Horror
  • Amateur radio
  • Hidden Message
  • Easter Egg

  Summary of Comments ( 19 )
  https://news.ycombinator.com/item?id=42807653

  Verbose tl;dr

  HN users discuss the plausibility and technical details of the claim that Mike Oldfield embedded Morse code into "Tubular Bells." Some are skeptical, pointing out the difficulty of discerning Morse within complex music and suggesting coincidental patterns. Others analyze specific sections, referencing the provided audio examples, and debate whether the supposed Morse is intentional or simply an artifact of the instrumentation. The use of a spectrogram is highlighted as a method for clearer analysis, and discussion arises around the feasibility of Oldfield's equipment and knowledge of Morse at the time. Some express appreciation for the in-depth analysis of the blog post while others remain unconvinced, citing the lack of definitive proof. The comment thread also diverges into discussions about Oldfield's other work and general discussions on musical analysis techniques.

  The Hacker News post titled "Morse Code in Tubular Bells (2021)" has several comments discussing the linked article about potential Morse code hidden within Mike Oldfield's "Tubular Bells."

  Several commenters express skepticism about the claims made in the article. One points out that the supposed Morse code appears in a section of the piece with heavy phasing effects, making it unlikely that a deliberate, clean Morse signal could be embedded without being distorted. They also highlight the unlikelihood of Oldfield, known for his meticulous studio work, allowing such imperfections. Another commenter echoes this sentiment, suggesting the perceived Morse code is likely an auditory illusion or pareidolia, where random patterns are interpreted as meaningful information. This commenter further notes the lack of any known motive for Oldfield to include such a message, strengthening their skepticism.

  One commenter questions the methodology used in the analysis, suggesting that the author should have compared the audio to a known recording of the Morse code sequence they claim to have heard, rather than relying solely on their subjective interpretation. They also propose the possibility of the sounds being unintentional artifacts of the recording process or the instruments used.

  Another commenter delves into technical details, suggesting that the described sounds are more likely due to phasing between two slightly detuned oscillators rather than deliberate Morse code. They explain how such phasing can create rhythmic patterns that might be misconstrued as coded signals.

  One commenter recalls a similar experience listening to a different piece of music, where they perceived a Morse code-like rhythm, but ultimately attributed it to the natural rhythms of the music itself. This further emphasizes the potential for misinterpretation of musical patterns.

  Finally, some comments express general interest in the topic, even while remaining skeptical. They appreciate the exploration of the idea and the technical analysis provided by other commenters, demonstrating the engagement of the community with the topic despite the lack of definitive proof of hidden Morse code. There's a general sense of appreciation for the mystery and the discussion it generated.