Showing posts with label PBS. Show all posts
Showing posts with label PBS. Show all posts

Tuesday, 12 May 2026

One promise away

Now Hear This is a PBS programme that I've been following for a couple of years with mild interest.  It's a sort of musical travelogue in which conductor and violinist Scott Yoo, often accompanied by his wife, flutist Alice Dade, pursues a given musical theme - a composer, a genre, a geographical setting - and engages in less-than-spontaneous interactions with various experts.  It's good fun and reasonably informative.

I'd deferred on the last episode of this season, "The Iceland Sound", because I didn't think it would be to my taste.

Oh gawd.  It was ethereal.  Much of the music reminded me of the majestic, soul-filling composition by Kjartan Sveinsson that closes out the credits of the film Echo (Bermál), the Icelandic film that made such a deep impression on me during the pandemic.

Two highlights of this episode: 1) an "impromptu" (nothing is impromptu in this series) jam on Icelandic dulcimers called langspil

The music starts at about the 2:20 mark. 

The female musician in this clip is Jófríður Ákadóttir, who is kind enough to her international fans to record and perform under "JFDR".  Later in the programme, she sings one of her songs, accompanied by high school students in a "clarinet choir", a clip that isn't online, although you can live-stream the series if you contribute money to PBS, something I resumed when the Creature stopped federal funding.

However, the video for the JFDR song is available:
 
Once an orchid sat/ in a silver night and/ solemnly waited/ Slightly breathing/ Touched its glistening/ tear, only one dream away from/ a perfect birth/ One promise away from birth/ One secret away from/ One dream a--/ One kiss away from life/ from a life/ from another life/ from another life, you know

Then when the sun rose/ in a newer lighting/ Lay his wings on her/ warm with his kisses/ and touched her light feather/ just so they could breathe again/ Just so they could feel the pain/ Just to be reborn again/ 

Then when I said/ Sat his wings down/ Yearning for our love/ Yearning for our love/ one dream away

I really loved the version with the clarinet choir. Icelandic students apparently get their musical education one-on-one on their chosen instrument, because music is so highly valued.  I can't help but wonder what life is like for those who lack musical aptitude in Iceland, because I was certainly never that good.  Is it like life for un-athletic kids in North American schools?

Tuesday, 16 July 2024

Being awkward on the edge of the Roaring Twenties

I neither saw The Shining, nor read the book.  No disrespect to Stephen King - horror just isn't my thing.  The Resident Fan Boy, in the face of my resistance, went to see it in the company of Double Leo Sister, who found it amusing to lean into him at various points of the movie, and hiss:  "Boo!"  (Seeing films with my sister is, on the whole, a bad idea.)

Every single obituary for Shelly Duvall last week began with some variation on "best known for The Shining".  Non-horror fans could see her in a variety of films, usually with a quirky aspect.  She was pretty quirky.

My favourite of these was a made-for-television adaptation of Bernice Bobs Her Hair, which was on repeat on PBS stations in the eighties and nineties.  It first aired in 1976 as part of a series called The American Short Story, evidently aimed at college students.  This was, after all, only six years after PBS emerged from the former NET (National Education Television).

Anyway, I went looking online, and found a couple of reasonably clear full-length recordings, to see if I still liked it.  

I did.

Along with Shelley Duvall as Bernice, the 18-year-old small-town, socially inept rich girl, we have Veronica Cartwright (13 years after The Birds and three years before Alien - if we're keeping with the horror film trope) as her 18-year-old small-city socially successful wealthy cousin Marjorie.  It's sort of F Scott Fitzgerald's version of Pygmalion.  I read the short story (also freely available online) for the first time a couple of nights ago.  Published in 1920, it's sly and gentle satire.

The 1976 television version (there was also a 1951 production starring Julie Harris) expands on the short story, because it has to, in order to fill the hour.  The late Joan Micklin Silver directed this, but also wrote the screenplay, adding lovely touches as the jellybeans the young women sneak to social gatherings to use as lipstick (a detail not in the short story), and supplying further steps to Marjorie's coaching of Bernice into a daring girl about to be launched into college and dating, with disastrous results, of course.

The biggest change is the fleshing out of the character of Warren, who, in the short story, is your garden-variety handsome Yale sophomore.  Played by Bud Cort (who appeared with Shelley Duvall in her first film Brewster McCloud - directed by Robert Altman in 1970), Warren is transformed into a rather stodgy young man, whose self-involvement is hilariously highlighted in this exchange, which is also not in the short story.

Like most television dramas of the seventies, eighties, and even into the nineties, BBHH is slower paced than we've become used to in this century, but it has high production values, witty writing, and an excellent cast.  It's an illustration of Shelley Duvall's range as a performer, and no one loses their life.

There is a loss of face -- and a couple of scalpings. 

Friday, 3 May 2019

Maybe he should have asked Lily first

The only reason we chose our service provider over the other one available in Victoria was because it offers Boston's PBS station WGBH as the "time shift" option.  (The other service offers Detroit's WTVS, which isn't as execrable as Watertown's WPBS, but is still pretty bad.)

Last night, I was yet again not disappointed.  I'd left the television on between shows, and hadn't muted it as is my usual practice.  A concert exerpt came up and as the music progressed, I found myself asking the usual questions when I'm about to acquire a *new favourite:  What is this? and Who are these guys? 

* I say "new", but, as has been demonstrated in the past, I'm always a few years behind.

The following video is not the clip I saw last night, but it's the best version I can find, which comes closest to what I heard.  I love the driving drums and the backing vocals.



The lyrics are sadder than you'd think.

I'm leaving this place behind
And I'm heading out on the road tonight.
I'm off for the hinterlands
Way up north where the tall trees stand.

Before I commence my ride
I'm asking Lily to be my bride.
I know there's another man
But he ain't gonna delay my plans.

I know she's gonna be my wife,
Gonna fall in love, I'm gonna live my life with her.
You know I bet he's not so tough.
Ain't afraid of him 'cause I'm a fool for love.

I've come far to find Big Jim,
Well, here I am and I guess you're him.
I see how you got your name,
You're tall as hell, and broad as a train.

They say you are a hard-broiled man
And the baddest guy in the whole wide land.
Well, I'm not afraid to fight,
Let's step outside and I'll show you why

I'm humming like a revved-up truck
Never mind the odds, I'm gonna try my luck with her.
Just tell me when you've had enough.
I'm dangerous 'cause I'm a fool for love.

You know you don't hit half bad
For my love I will lay you on the ground tonight.
Just wait until I catch my breath,
Gonna send you off to an early death.

I lie in the drifting snow,
Bleeding out as it covers me up.
If Spring comes before I'm found,
Just throw my bones in a hole in the ground

I lost friends along my way
I knew I'd meet them eventually,
No, I'm not afraid to die,
Just mad I left Big Jim alive.

I know I should've never looked back,
But you ain't gonna win a woman's heart like that.
I never should've called his bluff,
I was born to lose cause I'm a fool for love.

I stare into the endless sky,
And I saw a tale of my life go by.
I drift into the great unknown;
I really don't know where I'm going.

Friday, 26 September 2014

What I'm watching this minute



Oh gawd.  Emma Thompson.  Bryn Terfel.  Stephen Sondheim.  I've been waiting for this for weeks….

Sunday, 23 October 2011

Stuck in a moment

I can remember exactly where I was on the morning of September 14th, 2001. Yes, I said the fourteenth of September, although I could tell you where I was and what I was doing on the morning of September 11th, 2001 -- if you really wanted me to.

Nevertheless on September 14th, I was walking doggedly up Sussex Drive to see an exhibition at the National Art Gallery while crowds of people surged in the other direction, past the American Embassy, then choked in flowers and notes. Across the street, the headless mannequins displaying Justina McCaffrey's wildly expensive designer wedding dresses (you can just see one in the extreme right edge of the photo) were draped in sheer lavender veils of mourning.

Three days after the incinerations in New York, Washington, and Pennsylvania had felt more like three weeks and the orgy of grief was set to continue in "a show of support for our American friends and neighbours" on the lawn in front of the Parliament Buildings.

I'd had enough. Sitting in a pub having breakfast three days before, I had been horrified, sickened and terrified along with everybody else, but part of me was now deeply upset that this level of outrage and hysteria had never been demonstrated when word of atrocities in, say, Bosnia or Rwanda, had reached Canada. Granted, two dozen Canadians had died on 9/11, so it seemed, I suppose, a bit more personal. However, I couldn't help thinking that the reason everyone was so devastated by this was that the victims were mostly white and relatively wealthy, the very people supposed to be exempt from this kind of thing. Not long after the attacks, one of the victim's children gave a heartfelt plea to the Canadian press to consider the sufferings of her widowed mother.

In the financial losses resulting from her bereavement, she'd had to give up her summer house.

In the intervening years, 9/11 has become something like an annual festival, like Christmas or Halloween, complete with television specials, many of them repeats, year after year.

This year being the ten anniversary, I decided to keep away from the television, but one night, about to drift off asleep, I stumbled across a Frontline Documentary on PBS entitled Faith and Doubt at Ground Zero and, being too tired to change the channel, blearily began to watch it.

At first glance, it's like any other 9/11 special, the same shaky-camera shots, the same screams, the same re-tellings. However, the focus of this documentary is on the topic of how faith, or indeed, the lack of it, figured in the engineering of this horror, and what role faith, theist or atheist, plays in trying to make sense of the ensuing suffering and in the very nature of evil.

We start with friends and families of victims of the Twin Towers. We hear from Christians of various stripes, Jews, Muslims. This documentary was made about a year after the attacks. They are still clearly reeling from the shock and the statements of faith are simple:
"God didn't do this."
"God knows best."
A grieving Muslim father who lost his daughter and son-in-law, reports that his prayer at the time was that if they could not be saved, "Let them both go to Allah together."

Others are angrier. A writer (for Martha Stewart magazine, as it turns out) who lost her firefighter husband speaks of coming into a crisis while in vacation in Hawaii of all places, questioning why God would "turn this loving man into bones. . . . I just can't bring myself to speak to (God) anymore; I feel so abandoned."

A security guard who lost scores of friends says: "I'm losing respect for him (meaning God the Father - apparently Jesus is just alright with him). I look at God as a barbarian. That wasn't mercy."

Canadian Brian Clark who survived the Twin Towers and saved another man's life, resulting in a life-long close friendship says: "God intervened in our lives," but adds: "Others didn't have that experience -- I can't question it."

Here we're moving into the sticky area, aren't we? I can't fault these people for speaking honestly in their raw pain and grief, but there's that strange sense of entitlement. God should have spared them because... Why? Because they were good people? Good people are slaughtered every day.

The clergy begin to weigh in. An orthodox Rabbi declares: "If the Plan saved you, you better be ready to say how the Plan didn't save others. If you can, at least you're honest, but we don't worship the same God."

And the discussion continues: a rabbinical scholar, a atheist professor of Middle Eastern studies who says he was confirmed in his atheism by 9/11, a French photographer, a conservative Rabbi who sings the transcripts of phone messages left by the victims to their loved ones as prayers (it's odd, it's uncomfortable, but it's moving); novelist Ian McEwan, opera singer Renée Fleming, a professor of Islamic studies, a Catholic priest. The list goes on, a roster of articulate speakers struggling with the unspeakable.

Highlights for me:

1) A Holocaust survivor puts the whole subject of the existence of evil into perspective. As a child, she lost her entire family during the Nazi atrocities: "I've seen hangings, shootings... (wry, bitter smile) You want to hear more? ....Were they, too, created in the image of God?"

2)Margot Adler, an National Public Radio reporter who is also Unitarian, tells the story of Vladimir Putin being interviewed for NPR, and how Adler was struck by something Putin said that was not, as far as she knew, quoted anywhere. They were asking him about Reagan's remarks about the Evil Empire, and Putin sort of shrugged it off, saying it was an exaggeration. But then they asked him about George Bush's definition of Osama Bin Laden as evil personified: "Putin says, 'No. That is mild language.' And then he says: 'We are as dust to them.'"

Adler goes on to emphasize the impact that remark had on her, with evil, you "lose your sense that a human being is a human being" -- it's an estrangement, the jumpers are not just like you. Here's where I found myself nodding, but then, I'm a lifelong Unitarian-Universalist and that's what I was brought up to believe.

3) The disturbing story of a high-ranking Lutheran clergyman who participated in a service in Yankee Stadium shortly after the attacks, and was stunned to find fellow Lutheran clergyman calling for his resignation and defrocking because he, as a Christian minister, had stood on a podium and prayed with clergyman of other faiths.

The documentary ends on an odd postscript. Jarring, I suppose, because it's based on something that it is assumed everyone will have seen -- and I hadn't. It's various interviewees responding to a photograph of two Twin Towers jumpers, remarkable because they are plummeting to their deaths clasping hands. Ian McEwan is one of the few dissenting voices, saying he finds nothing in this but despair. I googled the photograph, but think it serves little purpose in reproducing it here. I'm not sure if it serves any purpose in providing this link to Brian Doyle's brief essay Leap, but you can go look if you like.

I do recommend Faith and Doubt at Ground Zero, which is archived and viewable on line.

In the weeks and months after September 11th, 2001, it felt sometimes as if the whole world had sunk into a blue funk. A song getting airplay was U2's "Stuck in a Moment" which, I think, was actually about the recent death of INXS frontman Michael Hutchence, but, for me, captured the mood of that autumn and winter:

Bono, Edge, and Elvis Costello performed this recently on Costello's television show "Spectacle".

Thursday, 26 March 2009

And my poor fool is hanged

Wednesday used to be an impossible night for TV viewing, but last night there was an embarrassment of riches in a sparse week. I had planned to watch Being Erica and the second-to-last episode of the doomed American version of Life on Mars, but the Resident Fan Boy reminded me that Ian McKellen's King Lear was on PBS.

Oh my goodness. This King Lear has to be one of the clearest and accessible productions I've ever seen. From the opening moments, the characters emerge in all their complexity. McKellen's Lear is a very old man, one used to getting his way and one still capable of forcing everyone into a deep terrified curtsey if he so much as raises his voice. The eldest daughter Goneril (Frances Barber) comes across as the voice of sweet reason; the middle sister Regan (Monica Dolan) clutches a wine goblet at every opportunity and follows Goneril's lead, while kid sister Cordelia (Romola Garai) makes the fateful decision not to flatter her father. As the events spin out inexorably into death and disaster, one wishes she had. Perhaps then, her aged arrogant father would not be systematically stripped of all his power and left to the whim of her sisters, who in this production, start out from put-upon and annoyed before suddenly toppling over into out-and-out cruelty.

There seems to be a Doctor Who theme over at the Royal Shakespeare Company these days. One of Lear's few remaining supporters is his fool, played by Sylvester McCoy, who manages to slip his trademark spoon-playing into his routine. This is a frightened and powerless servant full of affection for the foolish king, but all too aware of the way the wind blows. (And it does, with a heigh-ho.)

In a startling re-staging and arranging, the sort of stuff for which the RSC is famous, Lear's ambiguous line near the end, "And my poor fool is hanged" is made unmistakable at the end of Act III. Usually, the fool just vanishes, but Gloucester, deliberately disobeying the two elder daughters' orders to leave Lear to the elements, returns once again to help the king flee, and fool is still in the stable when Gloucester is surrounded by grinning Cossack types. A couple of them haul Gloucester off to face his blinding (which I can never face, I always change the channel or leave the auditorium -- I do, really). The remainder improvise a gallows and brutally hang the poor fool who speaks "a prophecy ere I go", a speech that normally takes place at the end of the earlier heath scene: ". . .Then comes the time, who lives to see't/ That going shall be us'd with feet." It is upsetting enough to see the gentle jester strangled, but see Sylvester McCoy used thus is doubly so.

Our PBS transmission concluded with a wonderful interview with Sir Ian, looking remarkably youthful after his ravaged Lear. I hope the rumoured filming of David Tennant's Hamlet is of similar quality.

Last summer, talent writer and Lear virgin Marie Phillips wrote in her blog about seeing King Lear for the very first time and being bamboozled. Marie, if the King Lear currently languishing on your PVR is McKellen's and Trevor Nunn's RSC version, for pity's sake, watch it. This is a crystal-clear Lear.