Adaptation

Goodbye and Hello

A 20-year-old Tim Buckley, given full creative control by Elektra, recorded Goodbye and Hello in Los Angeles in June 1967. He sang in both lower register and falsetto, played bottleneck guitar, kalimba, and vibraphone, and worked with an ensemble including double bass, harpsichord, and congas. Larry Beckett’s lyrics explored the psychological nature of war; Buckley’s addressed estrangement from his wife and child. Critics noted improved lyrical and melodic qualities. The album peaked at No. 171. It distinguished itself from Buckley’s debut through thematic depth, varied time signatures, and late-1960s poetic sensibility.

Pictures at an Exhibition

A live rock transcription that replaces the piano with ego, the orchestra with amplification, and the gallery with a packed northern English hall.

Porgy and Bess

Porgy and Bess (1959) is a studio album by Miles Davis featuring orchestral jazz arrangements of George Gershwin’s 1935 opera, co-created with Gil Evans. Recorded in summer 1958 at Columbia’s 30th Street Studio in New York City, it applies modal improvisation — using scales instead of chords — to reframe familiar melodies. Philly Joe Jones drums on most tracks; Jimmy Cobb plays on four. Cannonball Adderley and Paul Chambers perform as part of Davis’s sextet. The album is the second of five Davis–Evans collaborations between 1957 and 1962.

A Night at the Opera

A Night at the Opera is not a miracle. It is a construction — four months, seven studios, £40,000, 24-track tape, and four musicians assigning themselves roles like actors in a play. Its power lies in how tightly its ideas are bound to its making: no Trident, no compromise, no unassigned instrument, no unmotivated genre shift. It is prog not as indulgence but as method — and art rock not as pose but as precision.

Close to the Edge

Close to the Edge is Yes’s 1972 studio album, recorded at Advision Studios in London. It contains three tracks: an 18-minute four-movement title suite inspired by Hermann Hesse’s Siddhartha; the pastoral 'And You and I'; and the hard-driving 'Siberian Khatru'. Rick Wakeman’s Mellotron and church organ expand the band’s sonic palette. The album was assembled section-by-section from musical sketches written on tour by Jon Anderson and Steve Howe. Eddie Offord co-produced and engineered. It represents a peak in Yes’s 1970s progressive era.

Rock Bottom

Rock Bottom is Robert Wyatt’s 1974 solo debut, produced by Nick Mason and recorded across three locations: a non-soundproofed van in a Wiltshire field, The Manor Studio, and CBS Studios in London. It combines jazz looseness, instrumentation, and improvisation with rock/folk song forms — an 'upside down' fusion designed to avoid the 'noodling' Wyatt associated with existing jazz-rock. Wyatt performed on vocals, keyboards, percussion, slide guitar, James’ drum, Delfina’s wineglass, Delfina’s tray, and a small battery. Much was composed pre-accident in Venice; arrangements and lyrics were reworked during convalescence. Collaborators included Mike Oldfield, Ivor Cutler, and Fred Frith. The album received mostly positive reviews.

Sketches of Spain

Sketches of Spain is a studio album by Miles Davis and Gil Evans, recorded between November 1959 and March 1960 at Columbia’s 30th Street Studio in New York City. It features arrangements of Spanish classical and folk works—including the adagio from Rodrigo’s Concierto de Aranjuez and 'Will o’ the Wisp' from de Falla’s El amor brujo—as well as Evans originals inspired by Alan Lomax’s 1955 field recordings from Galicia and Andalusia. Davis performed on flugelhorn and trumpet. The album marks Davis’s first collaboration with producer Teo Macero. It was critically acclaimed despite recording challenges: classical musicians struggled with improvisation; jazz musicians with complex notation. It won the 1961 Grammy for Best Jazz Composition of More Than Five Minutes Duration.

The Kick Inside

The Kick Inside is Kate Bush’s 1978 debut album, recorded in July and August 1977 at AIR Studios in London under producer Andrew Powell. EMI required Bush to use experienced session musicians — including Ian Bairnson, Duncan Mackay, and Stuart Elliott — rather than her KT Bush Band. Two songs originated as June 1975 demos. The album features orchestral arrangements on most tracks, with Bush on vocals and piano, and draws inspiration from a 1967 TV adaptation of Wuthering Heights, Gurdjieff, and the ballad of Lizie Wan.

3:10 to Yuma

Delmer Daves’ 1957 Western 3:10 to Yuma adapts Elmore Leonard’s taut short story into a study of obligation under pressure. Rancher Dan Evans agrees to escort outlaw Ben Wade to the 3:10 train for Yuma, facing ambush, betrayal, and his own wavering resolve. Shot by Charles Lawton Jr. with sun-bleached realism and scored sparingly by George Duning, the film builds suspense through pacing, performance, and moral granularity — not spectacle. It was preserved by the Library of Congress in 2012 for its cultural and aesthetic significance.

A Master Builder

Jonathan Demme’s 2013 film A Master Builder adapts Ibsen’s play into a tightly contained, single-set drama starring Wallace Shawn as the ageing architect Halvard Solness. With Declan Quinn’s restrained cinematography and Tim Squyres’ unhurried editing, it foregrounds language, pause and presence over action or spectacle. Julie Hagerty and Lisa Joyce deliver precise, understated performances that deepen the film’s study of memory, guilt and the slow collapse of authority. Though its formal austerity divides opinion, it remains a rare and committed act of textual fidelity — demanding, quiet, and morally unblinking.

A Night to Remember

A 1958 British drama reconstructing the sinking of the RMS Titanic with procedural fidelity, based on Walter Lord’s 1955 book and informed by survivor testimony. Directed by Roy Ward Baker and produced by William MacQuitty, it avoids sentimentality in favour of chronological precision, using authentic sets, restrained performances and Geoffrey Unsworth’s understated cinematography to trace the collapse of routine, hierarchy and certainty.

All Night Long

Basil Dearden’s All Night Long transposes Shakespeare’s Othello to a single night at a Thames-side jazz party, starring Patrick McGoohan as a scheming drummer, Paul Harris as a bandleader, and Marti Stevens as his wife. With contributions from Dave Brubeck, Charles Mingus and John Dankworth, the film treats jazz not as ornament but as narrative grammar — its rhythms, improvisations and silences shaping character and consequence. Shot in black and white by Edward Scaife, written by blacklisted screenwriter Paul Jarrico, it is a study in mediation, mistrust and the cost of control.

An Actor's Revenge

Kon Ichikawa’s 1963 film follows Yukinojō Nakamura, an onnagata kabuki actor who returns to Edo to enact revenge on the men who caused his parents’ suicide. Kazuo Hasegawa plays both Yukinojō and the thief Yamitarō, anchoring a film defined by theatrical composition, restrained music by Yasushi Akutagawa, and Musei Tokugawa’s wry benshi narration. It is less a story of justice than a study in performance as survival, gender as labour, and vengeance as repetition — all rendered with formal control and deliberate emotional distance.

An Enemy of the People

Satyajit Ray’s 1990 Bengali-language drama transposes Ibsen’s An Enemy of the People to a small Indian town whose economy depends on a temple’s ‘holy water’. When doctor Ashok Gupta (Soumitra Chatterjee) proves the water is contaminated, he is systematically silenced by municipal officials, journalists and religious authorities — all invested in maintaining the status quo. Shot with clinical precision and performed with restrained gravity, the film traces the erosion of professional integrity and communal trust. Though its resolution feels underprepared, its central inquiry — how facts are weighed against utility — remains urgently relevant.

Androcles and the Lion

RKO’s 1952 Androcles and the Lion adapts George Bernard Shaw’s 1912 play with strict fidelity to his text, casting Alan Young as a gentle Christian tailor who befriends a lion in the Roman wilderness. Directed by Chester Erskine and Nicholas Ray, it foregrounds verbal wit over visual spectacle, staging philosophical debate in studio-bound sets. Though reshoots added arena theatrics, the film’s strength remains its unflinching commitment to Shaw’s irony, pacifism, and bureaucratic satire—making it a rare, talkative anomaly in the sword-and-sandal cycle.

Arabian Nights

Pier Paolo Pasolini’s 1974 Arabian Nights is the final film of his ‘Trilogy of Life’, adapting fragments from the One Thousand and One Nights across real locations in Yemen, Iran, Ethiopia and Nepal. It abandons the frame narrative to focus on bodily pleasure, poetic recitation and episodic storytelling, using non-professional actors, long takes and Ennio Morricone’s sparse score. Though formally daring and visually rich, its resistance to psychology and narrative cohesion divides viewers. It won the Cannes Grand Prix in 1974.

John Maynard Smith

Ole Scheeren

SESC Pompeia

Gae Aulenti

Lina Bo Bardi

Street Fighter: The Movie (console video game)

Street Fighter: The Movie (console video game) is a 1995 Capcom release for PlayStation and Sega Saturn. It adapts the 1994 film using digitised actor footage and bases its combat on Super Street Fighter II Turbo. Four modes exist: Movie Battle (Guile infiltrating Shadaloo City), Street Battle (twelve-fighter ladder), Vs. Mode, and Trial Mode. Super Special Moves require a half-full Super Combo gauge and two-button inputs. Regional versions differ in naming and voice samples. The Japanese release is titled Street Fighter: Real Battle on Film.

Injustice: Gods Among Us

Injustice: Gods Among Us is a 2013 DC fighting game by NetherRealm Studios. It uses a 2.5D plane, single-round matches, two life bars, a four-button layout (including a character-specific trait), power-vs-gadget class distinctions, stage transitions triggered by corner heavy attacks, and a super meter filled by action or damage and spent on enhanced moves or counters.

Prince of Persia: The Sands of Time

Prince of Persia: The Sands of Time (2003) is a foundational third-person action-adventure by Ubisoft Montreal that reimagined the franchise’s 2D roots as a 3D parkour-and-time-rewind system. Built around acrobatic traversal, trap navigation, and sand-infected enemy combat, it uses the Dagger of Time to rewind mistakes and freeze or kill foes — turning time into a limited, tactical resource. Farah provides AI archery assistance that doubles as environmental hazard. Health is restored at water sources; magic fountains expand maximum health. The dynamic third-person camera shifts contextually, denying manual control. Released in 2003, it was a critical and financial success — over 14 million copies sold by 2014 — and launched a trilogy.

Star Wars: The Old Republic

Star Wars: The Old Republic is BioWare’s first MMORPG. It launched in 2011. It is built around eight faction-locked classes, each with a three-act, level-gated storyline. Players choose Republic or Sith Empire but can align morally anywhere on the light/dark spectrum. Advancement comes through missions, exploration, and combat. Skills unlock automatically. Heroic missions require multi-player cooperation and reset daily. Player choices permanently alter storylines and affect NPC companions. All dialogue is fully voiced and uses a Mass Effect–style system. BioWare Austin was founded in March 2006 specifically for this project, with assistance from BioWare Edmonton. In 2023, BioWare Austin handed the game to Broadsword Online Games.

Marvel Cinematic Universe

The Echo Chamber

VAZ-2101

The VAZ-2101 is a compact 4-door saloon or wagon, introduced in 1970 as AvtoVAZ's first product. It is a licence-built version of the Fiat 124, heavily modified for Soviet and Eastern Bloc conditions. Among many changes, aluminium brake drums were added to the rear, and the original Fiat engine was dropped in favour of a newer design made by NAMI. This new engine had a modern overhead camshaft design but was never used in Fiat cars. The suspension was raised to clear rough Russian roads and the bodyshell was made from thicker, heavier steel with reinforcement in key chassis areas after cracking was discovered during durability testing. The first Lada models were equipped with a starting handle in case the battery went flat in Siberian conditions, though this was later dropped. Another feature specifically intended to help out in cold conditions was a manual auxiliary fuel pump. The station wagon version (correspondingly based on the Fiat 124 Familiare) was known as the VAZ-2102. Subsequently, it was widely, and successfully exported to the West under the Lada brand, for over two decades.

Francesinha

Manchurian (dish)

Nikujaga

Egg tart

Hiyashi chūka

Japanese curry

Korokke

Lumpia

Metamorphosis

Barrel cactus

Plant arithmetic

Plant memory

Dracaena cinnabari

Coprinopsis atramentaria

Hericium erinaceus

Migration (ecology)