The Fork

We have little control of our fates, at best.  There are daily things that we can choose our not, but so much Big Stuff is simply out of our hands — that’s just the way it is, Psykhe weaves our threads in the tapestry of eternity as she will.

Some of us, are occasionally offered a fork:  the fibres split, and for a fragment of a second, we can walk along this piece or that one, before joining the rest of the thread. Only you and She notice this tiniest imperfection in the tapestry of eternity, but She can’t take it apart to fix it — it would do too much damage.  So we live with it, knowing that for that millimetre or two, we had the tiniest choice of which fibre to follow, andwhat seemed all laid out for metre after metre suddenly gave us an option.

I’m not sure where to go, from here, but I know there isn’t much time before She pushes me along my thread.


Psyche Rock Opera update!

I previously mentioned this project here, but I’m going to embed the funding info again:

As of right now, there is only about two days left to help fund this project!

I’m also hoping to interview the woman behind it all for the blog, so let’s get some prayers out that both will happen!

This looks Interesting: Psyche Rock Opera

There are some things in the description on the crowdfunding page and website that I can quibble with, mythologically speaking (Aphrodite as Eros’ mother AND lover? Er… And really, do I have to spell out for hard polytheists [who I’m assuming is the majority of my readers here] the folly of Joseph Campbell’s allegedly “universal” myth archetypes, and how this can sorely limit the impact and meaning of the story itself —while I can see the Psykhe mythos as fulfilling some, possibly even many aspects of the Hero’s Journey, to force Her tale into that mould tends to miss some marks of varying importance), but this looks like it’s bound to be a better effort than the Xanadu stage musical (which actually fails its Hellenic mythology WAY more than the original film, which actually recognises the Moisai as being born on Mt, Helikon, not Olympos, for starters)

Judging my the text on both sites, I’m assuming the sample music in this pitch video is just a rough cut of the music in the opera. I really don’t like the main female voice I’m hearing throughout this —she’s kinda “tinny” and strained, which reminds me of Sarah Brightman, and not in a good way1. On the other hand, I do like everything else I’m hearing, so I hope this sample isn’t reflective of the casting choices.

If I had any money, I’d probably donate a little, but if you think this is worthy of your delicious monies, feel free to give a little to their project.

1: As a classically trained singer, myself, I really dislike Brightman’s voice —and as some-one with a background, and even family background in opera, Brightman is the last choice for any director to put in something operatic. If you can’t project your voice with your own physical talents, and not a microphone, you are NOT an operatic singer. But then again, she mainly has the career she does cos ALW has been boning her for years, and everybody deserving of the very much earned title of Theatre Geek knows it. That said, I have a couple of Brightman’s pop records, cos she’s really just a pop singer and so that’s where she excells.