This week I’m going to talk about the storylines of these two soundtracks. I’m not going to say much directly about the film versions of these stories because from what I’ve seen of them they all suck. And I’ve never seen any stage productions. However, I like both soundtracks and I’ve always been intrigued by the underlying stories of both of them.

At the start, let me say that I am a ‘Lost Horizon’ person. Even as a child I liked the soundtrack from ‘Camelot’ but the idea of taking a story about the destruction of paradise and celebrating that destruction with song and dance while turning the people who destroyed paradise into heroes and heroines struck me as very bizarre. On the other hand, the whole Shangri-La mythos of longing for a better world is something I felt an engagement with even as a kid.
As I’ve grown, the King Arthur mythos has not become any more attractive to me. In fact, as I’ve become more and more aware of the Christian subtexts and overtones to these two storylines my adult sensibilities have become stronger, more firmly grounded variations of my reactions as a child.
I will start simply. These are the lyrics to the first song of ‘Lost Horizon:’
Have you ever dreamed of a place
Far away from it all
Where the air you breathe is soft and clean
And children play in fields of green
And the sound of guns
Doesn’t pound in your ears
Anymore
Have you ever dreamed of a place
Far away from it all
Where the winter winds will never blow
And living things have room to grow
And the sound of guns
Doesn’t pound in your ears
Anymore
Many miles from yesterday
Before you reach tomorrow
Where the time is always just today
There’s a lost horizon
Waiting to be found
There’s a lost horizon
Where the sound of guns
Doesn’t pound in your ears
Anymore










Most of us resist any distortion of a recognizable image. Yet the artist must distort or modify form, not only in order to express his ideas, but to preserve the unity of the picture plane. All spaces must be designed so as to maintain an exchange of importance with one another. When the design is successful, nothing can be added, nothing taken away. All relationships must be established and united through this exchange of equality.
...Notan came into being when both the positive and negative areas began to exist as realities in balance. When the black weights or holes on a static surface became rocks and water seen as equal entities, then Notan was achieved. Notan was found when the spaces between the forms became one unified form flowing like a mountain stream around and between the rocks or positive shapes, sealing the whole design into an organic whole.
The idea of this interaction in Notan is embodied in the ancient Eastern symbol of the Yang and the Yin, which consists of mirror images, one white and one black, revolving around a point of equilibrium. Here the positive and negative areas together make a whole created through a unity of opposites that have equal and inseparable reality. In the Yang and the Yin symbol, as in Notan, opposites complement, they do not conflict. Neither seeks to negate or dominate the other, only to relate in harmony. It is the interaction of the light and the dark, therefore, that is most essential.