Jack Schitt. He had the kind of name you’d see on a bathroom wall and laugh at, a name built for bumper stickers and dirty jokes, but there it was, nailed to eternity.
“He was an asshole,” the plaque says, but funny.
Like that makes it better, like the world needs more assholes with punchlines.
The truck below hums along, hauling yesterday’s crap like it always does.
Look at it— pink and small, with a cat’s face stitched to the leather, smiling as if it knows something about joy, about the swift, spontaneous dance of childhood.
Who left it here? Who forgot it? Was there a rush, a tumble into arms, or only the silent, careless way things are lost on the edge of a busy world?
But here it is, waiting in the open air, a tiny relic of running feet. And isn’t it a kind of miracle to be reminded, so simply, how small we begin, and how much we leave behind?
He sits in the space where nothing begins, A man folded into himself, his hands still, as if waiting to explain what the world refuses to ask.
The shutters are closed, the light withdrawn, and yet the graffiti hums— a hymn of guilt, a language he cannot speak, scribbled by ghosts who pass unnoticed.
Behind him, the city vanishes, its weight pressed into his spine. He is no longer afraid of falling; the earth has already claimed him.
Is this the moment the world forgets him? Or the moment he forgets the world? The air thickens with questions, each heavier than the silence they fill.
Gull on Asphalt it started with a crack of light, a wet push into the cold, and the sky—always the sky— waiting to swallow you whole. you learned fast.
claws on stone, wings slicing the wind like knives. you laughed at gravity, but sickness hit like a sudden storm, a sharp crack in the clear sky, leaving you stunned, spiraling, ground rushing up too fast to fight.
one day the wind felt heavier, the horizon farther. and then—this.
blood on the pavement, feathers bent wrong, the sky doesn’t even care.
Ennio Morricone’s contribution to the world of music, especially film music, stands as a testament to his unparalleled genius. Over a career spanning more than six decades, Morricone composed over 400 film and television scores, in addition to more than 100 classical works. His music is not just a backdrop to the films it accompanies; it is an integral part of the storytelling process, often conveying more emotion, tension, and drama than the dialogue or visuals themselves.
This week’s show features some of his greatest compositions, for film.
The playlist for the week of August 26, 2024 ☞
00:00:00 Ennio Morricone – The Ecstasy of Gold
00:05:48 Ennio Morricone – Deborah’s Theme – ( From “Once upon a time in America”)
00:09:55 Ennio Morricone – A Fistful of Dollars – Titles
00:12:49 Ennio Morricone; Itzhak Perlman; John Williams; Pittsburgh Symphony Orchestra – Love Theme (From “Cinema Paradiso”)
00:16:01 Ennio Morricone – For a Few Dollars More – Main Theme
00:18;56 Ennio Morricone – Gabriel’s Oboe (From “The Mission”)
00:21:07 Ennio Morricone – Man with a Harmonica (From “Once Upon a Time in the West”)
00:24:29 Ennio Morricone; Joan Baez – Here’s to You (From “Sacco e Vanzetti”)
00:27:36 Ennio Morricone; Maria Travia; Hayley Westenra; Roma Sinfonietta – Once Upon A Time In The West – Main Theme
00:31:31 Ennio Morricone – Watch Chimes (Carillon’s Theme from For a Few Dollars More)
00:32:39 Ennio Morricone – The Verdict (Dopo la condanna) (From “Inglourious Basterds”)
00:33:50 Ennio Morricone – Duck You Sucker! (From “A Fistful of Dynamite”)