Music: "Der Shatten eines Traumes" (R. Pitts)A Comprehensive Review of the international philosophical & psychological literature on synesthesiaLendall Pitts2022-01-30 | Randolph Pitts holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of Philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph has been a top executive at several entertainment companies, including a ten year stint as Chief Executive Officer of the company that produced Leaving Las Vegas for which Nicolas Cage won the Academy Award as best actor. The first volume of his eagerly anticipated tetralogy of novels will be published during 2022. Pitts' spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And also… with women and men falling in love. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world.
Musical excerpts: Randolph Pitts, “Sonate pour Anita,” Bagatelle No. 2 (from “Three Bagatelles (for Anita DeFrancesco)”, and “Love (for three orchestras and large organ)Three bagatelles (2021-2022)Lendall Pitts2022-01-21 | for Anita DeFrancescoFantasies A Comprehensive Review of the Psychological Literature, Part 1: sexual & related fantasiesLendall Pitts2022-01-15 | This episode of my podcast consists of a comprehensive review of the psychological and psychoanalytic literature on fantasies, concentrating on sexual and related fantasies. An attempt has been made that this review be up to date and that it also contain graduate degree dissertations on these topics as appropriate. Much of the literature cited and referenced herein is contained in peer-reviewed journals. For the most part opinions stated in this video are supported by the researchers cited, who are for the most part referenced by their academic and professional affiliations. This talk is also available as a podcast on Amazon Music, Audible, Apple Podcasts, Google Podcasts, Anchor FM and Spotify.
Here is a link to the podcast about fantasies by Anita DeFrancesco mentioned:
Host and presenter Randolph Pitts holds Summa cum laude degrees in Social Psychology, Near Eastern Studies (Egyptology), and Motion Picture Production/Entertainment Law and is a member of the American Philosophical Association, the professional association of university professors of philosophy. He also studied law at California State University Los Angeles. He was Distinguished Visiting Professor in the film school at Chapman University, where he taught legal and business aspects of the motion picture industry. He has done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of Philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph has been a top executive at several entertainment companies, including a ten year stint as Chief Executive Officer of the company that produced Leaving Las Vegas for which Nicolas Cage won the Academy Award as best actor. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder and host of the Explore Ecstatic Sensuality podcast. His tetrology novels will be published later in 2022. He is also a classical composer. The content of this video and of other episodes should not be viewed as professional psychological or relationship advice. For such advice he recommends that you contact psychotherapist Anita DeFrancesco at www.tantrawisdom.com
Music in this podcast: Sonate pour Anita by Randolph Pitts (Randolph Pitts, Piano) Concerto per pianoforte e orchestra (dedicato a Anita DeFrancesco) Randolph Pitts, PianoA review of the psychological and sociological research and literature on polyamoryLendall Pitts2021-12-31 | A review of the psychological and sociological research and literature on polyamory. Musical excerpts: Sonate (pour Anita), Randolph Pitts, Piano Concerto per pianoforte e orchestra (dedicato ad Anita DeFrancesco)Promo/teaser for my Podcasts interview with Anita De Francesco. She talks talks Tantra & RomanceLendall Pitts2021-12-22 | As far as Tantra, intimacy, love and relationships are concerned my special guest on my Explore Ecstatic Sensuality podcast knows it all. In this episode Anita explains what Tantra can do for you and your relationship. Would you rather be a giver or a receiver in Life and in Love? In this episode Randolph and his special guest Anita DeFrancesco discuss Tantra, relationships, and pleasure; the psychology or giving and receiving; what it means to be romantic. Are you into friendship love or game playing love? Men and women and how they differ in love and in relationships. What it means to fall in love. The search for your True Flame.
Anita DeFrancesco, MA, is a Somatic Orgonomy Psychotherapist, a two-time Award Winning Journalist, and a Love & Relationship Coach. She is the Founder of Tantra Wisdom - Kinepathics. She is the host of the Discover Joyous Love series on YouTube and also of the Discover Joyous Love and It’s Your Voice Podcasts available on Apple Podcasts, Spotify, Amazon Music and elsewhere. She is the author of “Live Free – Recreate and Liberate Your Life” and “The Donna Gentile Story,” a true crime thriller.
Mindfullness, Sexuality and Relationships: Anita’s mission is to educate people to enlightenment and awareness. To free the emotions from pain, learn to love more openly, express the hidden voice, and recreate a more purposeful, empowered and happy life; thus awakening from separation and suffering and embracing the modern world with oneness and love.
Randolph Pitts holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of Philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph has been a top executive at several entertainment companies, including a ten year stint as Chief Executive Officer of the company that produced Leaving Las Vegas for which Nicolas Cage won the Academy Award as best actor. The first volume of his tetralogy of novels will be published in 2022. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder and host of the Explore Ecstatic Sensuality podcast.Randolph Pitts, A Cabaret for Cesare Pavese (Excerpts, 2021)Lendall Pitts2021-11-01 | Cesare Pavese (Santo Stefano Belbo, 9 settembre 1908 – Torino, 27 agosto 1950) è stato uno scrittore, poeta, traduttore e critico letterario italiano. È considerato uno dei maggiori intellettuali italiani del XX secolo. Nell'estate 1950 trascorse alcuni giorni a Bocca di Magra, vicino a Sarzana, in Liguria, meta estiva di molti intellettuali, dove conobbe un'allora diciottenne Romilda Bollati, sorella dell'editore Giulio Bollati, appartenente alla nobile famiglia dei Bollati di Saint-Pierre (e futura moglie prima dell'imprenditore Attilio Turati, poi del ministro Antonio Bisaglia). I due ebbero una breve storia d'amore, come testimoniano i manoscritti dello scrittore, che la chiamava con lo pseudonimo di "Pierina".
Tuttavia, nemmeno questo nuovo sentimento riuscì a dissipare la sua depressione; in una lettera dell'agosto 1950, scriveva:
«Posso dirti, amore, che non mi sono mai svegliato con una donna mia al fianco, che chi ho amato non mi ha mai preso sul serio, e che ignoro lo sguardo di riconoscenza che una donna rivolge a un uomo? E ricordarti che, per via del lavoro che ho fatto, ho avuto i nervi sempre tesi, e la fantasia pronta e precisa, e il gusto delle confidenze altrui? E che sono al mondo da quarantadue anni? Non si può bruciare la candela dalle due parti – nel mio caso l'ho bruciata da una parte sola e la cenere sono i libri che ho scritto. Tutto questo te lo dico non per impietosirti – so che cosa vale la pietà, in questi casi – ma per chiarezza, perché tu non creda che quando avevo il broncio lo facessi per sport o per rendermi interessante. Sono ormai di là dalla politica. L'amore è come la grazia di Dio – l'astuzia non serve. Quanto a me, ti voglio bene, Pierina, ti voglio un falò di bene. Chiamiamolo l'ultimo guizzo della candela. Non so se ci vedremo ancora. Io lo vorrei – in fondo non voglio che questo – ma mi chiedo sovente che cosa ti consiglierei se fossi tuo fratello. Purtroppo non lo sono. Amore.»
Il agosto aveva scritto sul diario, pubblicato nel 1952 con il titolo Il mestiere di vivere. Diario 1935-1950: «Questo il consuntivo dell'anno non finito, che non finirò» e il 18 agosto aveva chiuso il diario scrivendo: «Tutto questo fa schifo. Non parole. Un gesto. Non scriverò più».
In preda a un profondo disagio esistenziale, tormentato dalla recente delusione amorosa con Constance Dowling, alla quale dedicò i versi di Verrà la morte e avrà i tuoi occhi, mise prematuramente fine alla sua vita il 27 agosto del 1950, in una camera dell'albergo Roma di Piazza Carlo Felice a Torino, che aveva occupato il giorno prima. Venne trovato disteso sul letto dopo aver ingerito più di dieci bustine di sonnifero.A Visit to Lendalls House - the farewell walk-through (2011)Lendall Pitts2021-07-18 | with a bit a background music in the form of Darius Milhaud's fifth string quartet, which the composer dedicated to Arnold Schoenberg.RP Wedding Location Scout - The Sunset RestaurantLendall Pitts2021-07-18 | This from ten years ago. Wedding postponed pending recasting of the bride. Here is a 360 degree pan from roughly the area on the beach where weddings take place. You'll see the Sunset Restaurant itself on the other side of the beach access road, which ends in a public (pay) parking area not too far beyond the Restaurant.
Please be prepared for the shock of my black hiking boots at the end of this video. (We -- meaning my fiancée at the time -- ultimately settled on The Cathedral of Saint John The Divine in New York. But again postponed pending recasting of the tole of The Bride. It's out to all the major agencies in the US, France and Rome. I fail to see why they cannot come up with a star suitable for the role. It's would be a real career changer.)String Quartet No 2, ii Langsam (2006, revised 2011)Lendall Pitts2021-07-05 | String Quartet No. 2 (2006, revised 2011), ii. Langsam with soprano (Sprechstimme) in movements ii. & iii. (This version is of the alternate version substituting flute for the soprano voice.) Text: Das Gespräch eines Lebensmüden mit seiner Seele (1900 b.c.) Text language: Ancient Egypitan (Middle Egyptian).
This piece was composed in Studio City, California and was dedicated to the composer's fiancée.
English translation of portion of the text appearing in the second movement:
To whom may I speak today? Siblings are evil, Today’s friends show no love.
To whom may I speak today? Hearts are greedy, Every man grabs the property of his neighbor.
To whom may I speak today? The gentle is extinct, The violent oppress everyone.
To whom may I speak today? People are content with evil, While goodness is trashed everywhere.
To whom may I speak today? The one whose wrongdoings should infuriate a man Only makes everybody laugh, his crimes are so outrageous.
To whom may I speak today? People plunder, Everyone steals his neighbor’s belongings.
To whom may I speak today? The scoundrel is one’s bosom buddy While the comrade with whom one would act has become a foe.
To whom may I speak today? The past is not remembered, The one who has been a mentor has no mentor, in our time.
To whom may I speak today? Siblings are evil, It is to foreigners that one must turn -- for integrity.
To whom may I speak today? Faces are blank, Every man averts his gaze from his comrades.
To whom may I speak today? Hearts are selfish -- There does not exist the heart of a man which one might trust.
To whom may I speak today? The ethical people are no more -- The country has been abandoned to crooks.
To whom may I speak today? In the absence of intimates, One turns to the darkness – to gripe to it.
To whom may I speak today? There are no more happy-hearted people, And one’s companion of yore is history.
To whom may I speak today? I am overwhelmed by despair For want of one close to my heart.
To whom may I speak today? Evil swarms in the land – There is no end to it.
Death is in my sight today, Like the bloom of health to one who has been plagued with illness, Like going outside again after a long confinement.
Death is in my sight today, Like the fragrance of myrrh, Like lounging under the sails on a windy day.
Death is in my sight today, Like the parting of the clouds, Like when a man grasps what did not know before.
Death is in my sight today, Like a man’s longing to see his home When he has spent many years in prison.Randolph Pitts, Rhapsodie amoureuse pour orchestre à cordes, 2011 (rev. 2012)Lendall Pitts2021-07-04 | Rhapsodie amoureuse pour orchestre à cordes is in three sections played without a break: i. engouement, ii. romance, iii. amour éternel. Rhapsodie amoureuse was composed in 2011 in Studio City, CA and revised in Brooklyn, NY in March of 2012. This piece was dedicated to the composer's fiancée, Cristie Strongman.Milton Babbitt, Piano Concerto No 2Lendall Pitts2021-07-03 | Robert Taub, Metropolitan Opera Orchestra, James Levine. “Late in Babbitt's 2nd Piano Concerto, (mm. 507-510) a swirling chaos of notes seems somehow to magically coalesce into C# Major, so strongly that the passage seems to be the "climax" of the work. At another point in this piano concerto, (mm. 203-204) there is a series of what sound like chromatically descending clusters, with the pitches distributed around the ensemble, in the midst of other activity--this chromatic descent, as something vaguely familiar or simple to me, is what I ‘grab onto’ in this part of the piece. Originally, I heard this moment without knowing its scored representation. In fact, the process of finding this moment in the score was quite difficult--it doesn't "look like" what it sounds like at all, due to the fact that the descent's pitches are distributed between horns, piano, marimba and clarinets, all of which look, on the score, as if they are doing their own thing. There are no visual clues that the instruments might coalesce in this way. I enjoy the feeling, while listening, of not knowing quite what to do or what to grab onto, mentally and emotionally, in what I'm hearing. These experiences were probably not intended by the composer (though Babbitt's music in particular is filled with triadic arpeggios and other tonal puns, which are so numerous and ubiquitous that intention seems inevitable).” (Adapted from Christopher Bailey's essay "Serial Structures as Fragmentation of the Familiar")
Milton Babbitt was born in Philadelphia to Albert E. Babbitt and Sarah Potamkin. He was Jewish. He was raised in Jackson, Mississippi, and began studying the violin when he was four but soon switched to clarinet and saxophone. Early in his life he was attracted to jazz and theater music. He was making his own arrangements of popular songs at seven, and when he was thirteen, he won a local songwriting contest Babbitt's father was a mathematician, and it was mathematics that Babbitt intended to study when he entered the University of Pennsylvania in 1931. However, he soon left and went to New York University instead, where he studied music with Philip James and Marion Bauer. There he became interested in the music of the composers of the Second Viennese School and went on to write a number of articles on twelve tone music, including the first description of combinatoriality and a serial "time-point" technique. After receiving his bachelor of arts degree from New York University College of Arts and Science in 1935 with Phi Beta Kappa honors, he studied under Roger Sessions, first privately and then later at Princeton University. At the university, he joined the music faculty in 1938 and received one of Princeton's first Master of Fine Arts degrees in 1942. During the Second World War, Babbitt divided his time between mathematical research in Washington, D.C., and Princeton, where he became a member of the mathematics faculty from 1943 to 1945. In 1948, Babbitt returned to Princeton University's music faculty and in 1973 became a member of the faculty at the Juilliard School in New York. Among his more notable former students are music theorists David Lewin and John Rahn, composers Michael Dellaira, Laura Karpman, Paul Lansky, Donald Martino, John Melby, Tobias Picker, and J. K. Randall, the theatre composer Stephen Sondheim, and composer and pianist Frederic Rzewski. Milton Babbitt was the recipient of many honors, including the Pulitzer Prize (special lifetime citation) and the Life Time Musical Achievement Award of The Max Reger Foundation of America.
During Milton Babbitt’s lifetime he was the lendallpitts channel’s favorite living composer. The lendallpitts channel pioneered in bringing his music to YouTube. This strikes us as a particularly luminous work. We hope you enjoy it. The thumbnail for this video is a photograph of Milton Babbitt with Igor Stravinsky.String Quartet No 2, iii Schwungvoll (2006, revised 2011)Lendall Pitts2021-06-30 | String Quartet No. 2, iii. Schwungvoll (2006, revised 2011) with soprano (Sprechstimme) in movements ii. & iii. (This recording is of the alternate version substituting flute for the soprano voice). Text: Das Gespräch eines Lebensmüden mit seiner Seele (1900 b.c.) Text language: Ancient Egyptian (Middle Egyptian). The visuals in this video were all created by the composer.
This piece was composed in Studio City, California and was dedicated to the composer's fiancée at the time -- and to his future fiancée, whoever she may be.
English translation of portion of the text appearing in the third movement:
Yea, verily, the one who is There shall be a living god, Punishing the crime of him who commits it.
Yea, verily, the one who is There shall stand in the Ship of the Sun, Disbursing offerings to the temples.
Yea, verily – yea, verily -- The one who is There shall be a wise man, And when he speaks, no-one can prevent him from petitioning Re.Randolph Pitts, Sarabande for Flute and Strings (2012)Lendall Pitts2021-06-30 | Randolph Pitts is an amateur composer. Image from the film "Die Unbekannte," writer/director Frank Wysbar (later known as Frank Wisbar). Actress: Sybille Schmitz.Randolph Pitts, Concerto per pianoforte e orchestra dedicato a Anita DeFrancescoLendall Pitts2021-04-18 | Dedicated to Anita DeFrancesco, April 17, 2021 Randolph Pitts, Piano "Past is epilogue"Sonate pour Anita (dedicated to Anita DeFrancesco) Randolph Pitts, 2020Lendall Pitts2020-09-19 | Randolph Pitts holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of Philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph has been a top executive at several entertainment companies, including a ten year stint as Chief Executive Officer of the company that produced Leaving Las Vegas for which Nicolas Cage won the Academy Award as best actor. The first volume of his eagerly anticipated tetralogy of novels will be published during 2022. Pitts' spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And also… with women and men falling in love. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world.
Dedicated to Anita DeFrancesco . The composer was inspired to write another piano sonata by the Sonate pour piano composed between 1950 and 1952 by Jean Barraqué, thus the French title for this piece, and also be the beauty, brilliance, creativity and spirit of the dedicatee. (Randolph Pitts, Piano) (Artwork by the composer)Randolph Pitts, Der Schatten Eines Traumes (2020 version)Lendall Pitts2020-05-19 | Texts: Walter Benjamin, Christoph Friedrich Heinle, Gilles Deleuze, Ingeborg Bachmann and Karoline von Günderrode Link to texts and translations: drive.google.com/file/d/10baGdohgZW0L3VADOdbUhsb1jWo5KYYL/view?usp=sharing
Dient ihr rastlos nur eurem Gotte in Schweiß Und erquicke er euch mit perlendem Tau Laßt mich sterben in Gold Meiner Schönheit
Sterblich nennt ihr sie – wehet der Sturm hierin Tausend farbig sprühet ihr Funkeln nur Unversehrt in der Glut Heiliger Menschheit.
Liebe gib auf den Tod, doch durch in dunkles Meer Müßt ihr hindurch zum flimmernden Sternenschein Käme wer, löscht die Liebe aus, Leuchtet die Sturmflut?
Laßt mich sterben in goldenen Abendschein -- Lange schon wehte der Abendwind -- Meine spielenden Fluten gleiten Müde in Schönheit. Christoph Friedrich Heinle Chaque événement est comme la mort. Elle est l’abîme du présent. En el je ne meurs pas, je suis déchu du pouvoir de mourir. L’expérience de la mort est la chose plus ordinaire de l’inconscient, parce qu’elle se fait dans la vie et pour la vie. Si la mort est inévitable, ce n’est nullement parce qu’elle serait intérieure au mode existant; c’est au contraire parce que le mode existant est nécessairement ouvert sur le dehors, parce qu’il éprouve nécessairement des passions. On peut croire à des désirs libérés, mais ce qu’on désire est mort, déjà mort: des images. Gilles Deleuze
Nichts mehr wird kommen. Frühling wird nicht mehr werden. Tausendjährige Kalender sagen es jedem voraus. Aber auch Sommer und weiterhin, was so gute Namen wie “sommerlich” hat -- es wird nichts mehr kommen.
Du sollst nah nicht weinen, sagt eine Musik.
Sonst sagt niemand etwas. Ingeborg BachmannE H Meyer, Konzert für Violine und Orchester, David OistrakhLendall Pitts2019-11-18 | Ernst Hermann Meyer was born in Berlin. He received his first piano lessons at the age of six, and started composing at eleven. After finishing school, he worked as an apprentice at a bank, and in 1926 he started the advanced study for music at Heidelberg University, where in 1930 he completed his Ph.D. on the 17th century chamber music of North German composers. He became a pupil of Hanns Eisler. Being a Jew, he emigrated to the United Kingdom in 1933 to avoid detention by the Nazi Party; there he eventually became a close friend of leftist composer Alan Bush. In the UK, he researched English chamber music of the 17th century and lectured for the Workers Educational Association. In 1939 he began lecturing at Bedford College, London; in 1945 he was given a guest professorship at King's College, Cambridge.
Meyer returned to East Germany (GDR) in 1948 and became one of the most influential figures of music culture there. He was active politically as a communist, and his works include choral, orchestral, and chamber music written to display commitment to Marxist–Leninist ideals. In 1982 the second edition of his book Early English Chamber Music was published.
Meyer was head of the German Society of Composers and Musicologists and professor of musicology at Berlin's Humboldt University.
Honors and awards: 1952 Nationalpreis der DDR III. Klasse für Kunst und Literatur (im Kollektiv „Das Mansfelder Oratorium“) 1955 Vaterländischer Verdienstorden in Silber 1961 Artur-Becker-Medaille 1962 Händelpreis des Bezirkes Halle 1963 Nationalpreis der DDR I. Klasse für Kunst und Literatur 1964 Johannes-R.-Becher-Medaille in Gold 1964 Verdienstmedaille der DDR 1965 Ehrendoktorwürde der Martin-Luther-Universität Halle-Wittenberg 1966 Erich-Weinert-Medaille 1969 Banner der Arbeit 1971 Vaterländischer Verdienstorden in Gold 1975 Medaille für Kämpfer gegen den Faschismus 1933 bis 1945 1975 Nationalpreis der DDR I. Klasse für Kunst und Literatur 1980 Karl-Marx-Orden 1985 Ehrenspange zum Vaterländischen Verdienstorden in GoldAnita DeFrancesco The Donna Gentile StoryLendall Pitts2019-11-17 | donnamariegentile.com
When Donna Gentile escaped from a home for delinquent girls and made her way to San Diego she had big dreams. She worked in security for a while and even dreamed of joining the police department. But things didn’t work out as she planned, and she found that the only way to survive was by turning to prostitution. Donna allowed herself to be befriended by several police officers thinking that this would afford her some protection in her dangerous life on the streets. Instead she was harassed and ultimately victimized by some of the same police to whom she had turned for help. But Donna was a fighter. Rather than taking the abuse, which included sexual harassment, she reported it to the San Diego Police Department. She testified against two officers, one of whom lost his job on account of her testimony. Her life became further complicated when the Internal Affairs Division exploited and coerced her into becoming a police corruption informant . Donna was scared. She left a voice recording with her attorney beginning with the words, “In case I disappear,” and going on to state that “someone wearing a badge may turn out to be a serious criminal.” In March 1985 while she was serving a sentence in Las Colinas jail the 22-year-old Philadelphia native wrote “My life is in danger when I get out.” Then three months later her brutally murdered body turned up on Mt. Laguna in the rural part of San Diego county. Gravel was stuffed in her mouth, something the mob does when it wants to warn others against being a “snitch.” Donna’s autopsy was sealed – the first and only autopsy ever to be sealed in the city of San Diego. Someone wanted to silence Donna. But who? “The Donna Gentile Story,” written by Donna’s first cousin Anita DeFrancesco, lets you decide, and it gives voice to future runaways forced to survive on the streets as sex workers. It shows how Donna Gentile was a trailblazer who carved a path for women by not remaining silent in the face of harassment and abuse. In this way she was an early pioneer of the “Me Too” movement which, at long last, is telling women that not only can they speak out, but that they can also act. This high profile story exploded in the media and was nationally televised. Artists unveiled a billboard with the logo NHI, “No Humans Involved,” bearing Donna’s picture and facing toward the SDPD headquarters. We believe her murder was a “cover-up,” perhaps of police incompetence, or perhaps of something much more sinister. No one should be both a criminal and a victim! Read the story behind Donna Marie Gentile’s murder as told by her first cousin, author, sex and relationship counselor, teacher and activist Anita DeFrancesco.Sopwith Camel, Look Into My Heart (aka The Chant)Lendall Pitts2019-07-22 | Sopwith Camel at Tony Serra's Pier 5 Law Offices 41st Annual Halloween Bash, Great American Music Hall, San Francisco, October 31, 2015. They recorded a Demo of this song under the title The Chant which is on the Acid Clear YouTube Channel.Randolph Pitts, A Cabaret for Cesare PaveseLendall Pitts2018-08-13 | For three sopranos, speaker, chorus, orchestra, organ, jazz ensemble, electronics and tape. Texts: Cesare Pavese, from his book 'Verrà la morte e avrà i tuoi occhi.' (The composer played the piano parts in the jazz interludes.)Randolph Pitts, Le sang des rêves (2012)Lendall Pitts2018-08-09 | i. Avant «vers où il se peut que vos yeux nous emmènent»; ii. Commentaire I de «les rayons de l'amour infini de Dieu»; iii. «Vers où il se peut que vos yeux nous emmènent»; iv. Commentaire II de «des rayons de l'amour infini de Dieu» v.«Depuis avant le début du temps», version première; vi. «Les rayons de l'amour infini de Dieu»; vii. Après «vers où il se peut que vos yeux nous emmènent»; viii. Commentaire III de «les rayons de l'amour infini de Dieu»; ix. «Depuis avant le début du temps», double. «Si l'un de nous se dit jamais dit au revoir, ce ne sera pas moi.»
i. Flûte, Vibraphone, Guitare, Alto ii. Flûte, Xylorimba, Tambour sur cadre, 2 Bongos, Alto iii. Voix, Flûte iv. Xylorimba, Vibraphone, Cymbalettes, Cloche double, Triangle, Guitare, Alto v. Voix, Flûte, Guitare, Alto vi. Voix, Flûte, Xylorimba, Vibraphone, Maracas, Guitare, Alto vii. Flûte, Vibraphone, Guitare viii. Flûte, Xyloriimba, Vibraphone, Claves, Cloche double, 2 Bongs, Maracas ix. Voix, Flûte, Xylorimba, Vibraphone, Maracas, Tam-Tam aigu, Gong grave, Tam-Tam très profond, Grande Cymbale suspendue, Guitare, AltoRandolph Pitts, Concerto for String Orchestra (for Anita DeFrancesco) 4th SectionLendall Pitts2018-07-18 | Dedicated to Anita DeFrancesco For the complete piece (revised 2021) go to: youtube.com/watch?v=e12dU0zJeyI&t=10sRandolph Pitts, Das Buch der Blauen Rose, Dedicated to Cristie StrongmanLendall Pitts2018-07-10 | For three sopranos, chorus, speaker, orchestra, organ, tape and electronics. Text by Hjalmar Kutzleb, Otto Sattler, Joseph von Eichendorff, Georg Philipp Friedrich Freiherr von Hardenberg (Novalis), Samuel Beckett & Karoline von Günderrode. "In diesem Moment kam die Frau zu ihm .... Er hörte in der Dämmerung zu, als sie kam und hörte so aufmerksam zu, dass er sie nicht eintreten hörte. Von der Tür aus sprach sie mit ihm, und er zuckte bei der Regelmäßigkeit ihrer klaren, festen Rede zusammen. Es war die übliche Geschichte, vulgär erzählt: Bewunderung für sein Genie, Sympathie mit seinem Leiden, nur eine Frau konnte verstehen Er ballte wütend die Hände gegen die ungeheure Unverschämtheit der Frauen, ihre lärmende, aufdringliche, neugierige Begeisterung, wie der spontane Ausdruck der Bewunderung, die vor dem Grab von Michelangelo in Santa Croce aus den amerikanischen Herzen quoll. Die Stimme leiert weiter, schwankte und blieb stehen. Er zeichnete eine müde Geste der Akzeptanz und bereitete sich darauf vor, sich noch einmal in dieser erschreckenden stillen Unbeweglichkeit zurückzuziehen. Sie machte das Licht an und ging achtlos in den Raum. Ein Einbruch der Dämonen hätte seine Absicht nicht so zerstreut. Sie setzte sich vor ihn an den Tisch und beugte sich mit ihren Kiefern in den Tassen ihrer Hände vor. Er sah sie giftig an, und trotz allem war er beeindruckt von der außerordentlichen Blässe ihrer Lippen, von denen der untere etwas hervorstand und sich verächtlich nach oben krümmte, was zu einer schwach unterschwelligen lokalen Sinnlichkeit führte, die seltsam mit der extremen Kälte einherging Reinheit, die sich traurig von der niedrigen Braue bis zu den geschlossenen Nasenlöchern ausbreitet. Er dachte an George Meredith und erholte sich etwas von seiner Ruhe. Die Augen waren so eingesunken, dass sie fast höhlenartig waren; Das Licht, das auf die Wangenknochen fiel, warf sie zurück in einen nebligen Schatten. Bei Tageslicht waren sie merkwürdig, fast abstoßend, und sie erreichten eine unbarmherzige Durchdringung vom weißen Rand, der natürlich über dem grün gesprenkelten Pupille zu sehen war. Jetzt, als sie sich unter dem Licht vorbeugte, waren sie Lache von Finsternis. Sie trug einen eng anliegenden Hut aus verblichenem grünem Filz; er dachte, dass er nie solch eine charmante Schäbigkeit gesehen hatte .... Als sie endlich fortging, fühlte er, dass etwas von ihm ausgegangen war, etwas, das er nicht verschonen konnte, aber noch weniger Groll, etwas von dem Verlangen zu leben, etwas von der unzumutbaren Hartnäckigkeit, mit der er vor der Auflösung zurückschreckte. So verlor er jeden Abend in der Kontemplation und Aufnahme dieser Frau einen Teil seiner essentiellen Animalität: so dass das Wasser stieg und ihn erschreckte. Dennoch kämpfte er den ganzen Tag, hoffnungslos, mechanisch, nur im Zwielicht entspannend, um zu hören, wie sie einen weiteren Stein in dem schwerfälligen Damm lockte, der von ihm aufgerichtet und gestützt wurde, verängstigt und korrumpierbar. Bis er schließlich zum ersten Mal nicht von der satanischen Dreifaltigkeit konditionert wurde; er wurde freigelassen; er erreichte die blaue Blume, Vega, GOTT… Nach einer zeitlosen Klammer fand er sich allein in seinem Zimmer wieder, durch Ekstase ausgelaugt, zerrissen von dem bitteren Abscheu dessen, was er zur Menschheit des Schweigens verurteilt hatte. So wurde er jede Nacht gestorben und war Gott, jede Nacht wurde wiederbelebt und zerrissen, zerrissen und mit zunehmender Kummer geschlagen, so dass er hungerte danach, unwiederbringlich verschlugen zu werden, eins mit dem vogellosen wolkenlosen, farblosen Himmel, in unendlicher Erfühllung. Dann ist es passiert. Während die Frau über das Gesicht nachdachte, das sie mit dem Tod überlagert hatte, wurde sie von einem gewaltigen Klangsturm beiseite gewirbelt, der das Haus selbst mit seiner anhaltenden, triumphierenden Vehemenz erschütterte und in schwindelndem, sprudelndem Ton emporstieg, bis es zerstreut wurde und es fusionierte in den Atem des Waldes und den pochenden Ruf des Meeres. Sie fanden, wie sie sein wildes, toten Haar streichelte." Samuel Beckett