Media & Journalism – Page 2

The Beebs at 100

Since 1922 (it just had to be 1922!) the BBC has informed and entertained at home and abroad; during times of empire – its waning and its demise; in war and peace; through political turmoil and social upheaval. In these days of instantaneous communication and the new media that has evolved out of it, she navigates gingerly through troubled waters but, hopefully and with good will and chance, is in no real danger of sinking anytime soon – with or without the license fee, meddling politicians, the next app, or the next big thing.

With a timeline to be explored either by year or thematically, and thoughtful collections of 100 objects, 100 faces and 100 voices that have been accumulating over the year, the BBC proudly displays the first century of their being.

Whether the Coronation Map of 1953, David Attenborough’s rejected job application (an ‘oversight’ that was thankfully quickly reversed!) or the Monty Python animations of Terry Gilliam, especially the objects category offers surprises and something familiar for almost everyone.

And from the beginning, women were there; in many roles, mostly unheralded, underpaid and pawns to the patriarchal structures of … Auntie Beeb! For me the name Hilda Matheson jumps out; she who shared with Virginia Woolf (who wrote of her disparagingly – that, enough to make one curious) the affections of Vita Sackville-West. Specific to her work with the BBC, this blog entry is very interesting, and illustrative of what the ‘girls’ were up against.

During my exploration of the celebratory website, links to the Radio Times were prevalent and it turns out that the Programme Index includes amongst its (searchable) historical listings also digitized copies of the Radio Times. One way (should the time allow) of appraising the societal history of the United Kingdom over the last century – thinking about how far it has come and imagining how far it could go.

Playing Faust

I mentioned here that Goethe’s Faust will soon no longer be compulsory reading in most of the German secondary curriculums. But these nine minutes – courtesy of Michael Sommer and his Playmobile support cast – should very well be.

Lots of fun! And, more generally, Sommers Weltliterature to go offers an off-beat and creative introduction to some great works of literature – from ancient times to the contemporary. Mostly in German, but so cleverly constructed that even non-speakers should be able to get the gist and, if all else fails, the auto-translate works reasonably well. Potentially, also, an excellent resource for German language learners.

Melbourne girls both

Good grief – what an odd expression; coming, surely, only at the end of a good life. Such is my state of the doldrums. If it’s not enough to confront, and daily, one’s own mortality and those near, there are those more distant who have somehow been there on life’s journey.

The death of two Melbourne girls made good – very good – and only days apart, moves one (such as I) for whom they were omnipresent from childhood through teenage years, then fading into the background as time passed and life got messy – but always sort of there. Essential accompaniments to the sound track of this one life.

Until she came to my mind last year in an unusual context, I hadn’t thought of Judith Durham for a long, long time, and I was initially quite taken aback at how familiar she remained, and the ease with which she transported me back to my childhood – suddenly I was there (in front of the TV) watching The Seekers farewell concert in Melbourne in 1967 – and how thrilled I was to hear her distinctive voice again.

As fate would have it, in a Guardian piece reporting Judith Durham’s death on 5th August, Olivia Newton-John is mentioned as one, after The Seekers played at her Melbourne school, inspired by Durham, and is quoted as once having said: “She was one of the first Aussie girls to make it overseas.” Olivia Newton-John died on 8th August, just three days after Judith Durham.

Not everyone’s music to be sure – too folksy, too poppy, whatever – but, even when not, in and about Melbourne, at different times, everyone’s darlings, both. In retrospect, it is clear that the trajectory of their careers and how that effected their lives says a lot about the demands of the music business and the pitfalls of celebrity. Especially when that celebrity is catapulted outside the provincialism of home-shores and played out in the international arena. For Judith Durham, her relatively modest star shined only for a relatively short time; the end of which she alone determined. For Livvy (everybody in Melbourne called her Livvy), it was a fame, that was greater, lasted longer but took its tribute. Two women, two talented artists – both driven and confined by the dictates and the expectations of an industry, both visited by serious illness, but nevertheless bravely making the (very different) decisions that each could live with. Until they couldn’t anymore.

Following are a pair of videos as tribute. Chosen at random from You Tube, they are sentimental for sure, some would say overly so, but they are songs I remember vividly. Firstly, coming to my notice because it was embedded in The New York Times obituary and is wonderfully remastered, is a video from The Seekers’ 1965 hit “I’ll Never Find Another You” and, secondly, and it’s harder to find free stuff for Olivia, this (available for the moment at least) 1978 performance in Amsterdam of “Hopelessly Devoted to You” from the mega-film Grease released that year, in which she starred with John Travolta – and which, as I remember it, made her a superstar.

The Seekers’ first hit single, I’ll Never Find Another You, recorded at Abbey Road studios in London in the autumn of ’64, reaching #1 in Feb ’65.

Live in Amsterdam, 1978.

In both songs, You sing of some idealized other You. By the many who, in one way or another, grew up with You both, You are remembered. Not just because You were so exceptional, but rather because, during those heady days of youth when everything or nothing seemed possible, we could imagine – with just a little bit of good fortune – being just a little bit like You.

Just another mid-June Wednesday

…or maybe not – of course not; not this day! For this one gifted to us nearly a century ago, and more recently to have become a quiet but special celebration of literary reflection.

This year the weather plays its part as written (by Virginia Woolf, and today – in Germany anyway) and though bad tidings continue to whirl (wars and pandemics; in the here and now as once they haunted the streets of 1922 London), there is always some time to give to a Dalloway Day. At the Royal Society of Literature there are some links for this year and previous years, but the embedded clip below is something lighter and bit different.

This Lit Hub video is a good-humored discussion; presenting some transatlantic perspective through the person of Elif Batuman in conversation with the young, Black and British writer Yomi Adegoki. Though they divert quickly from talking specifically about Virginia Woolf, it was not before Batuman set the tone of the discussion by relating the peculiar atmosphere of unresolved grief, personal and societal, that pervades Mrs. Dalloway to her own method of working in these uncertain times. Specifically, the hazards of moving between writing as a journalist, concerned often with matters of the real world, and those of the novelist which can’t help but reach into an interior life for inspiration. Such so-called ‘life writing’ brings with it responsibilities – to one’s own self and to others. These were, of course, concerns that Virginia Woolf was aware of and attended to in her own way; this to be discerned in an informed reading of Mrs. Dalloway.

Podcasting Ukraine

In the midst of a serious (and difficult in many respects) read of Timothy Snyder’s Bloodlands (in German translation in my case), a just released Ezra Klein podcast popped up on my screen and lo and behold with the respected (and sometimes polarizing) Yale historian as guest. I usually listen to Ezra’s podcast via Apple or the NYT website, but the first is device dependent and the latter probably on subscription so here embedded is the Spotify version.

Ezra Klein in conversation with Timothy Snyder March 15 2022

Professionally, in the last weeks Ezra has found himself (and almost exclusively so) confronted with this heinous war of Vladimir Putin against the Ukrainian people. And, personally, he seems as moved to outrage as the most of us. It would be fair to say, foreign policy is not usually Ezra’s primary focus, but he is embracing it and probably learning along with his listeners. Also, I rather imagine, as a new second time father, Ezra is coming to terms not just with a present danger but one that will surely affect future generations.

This discussion with Snyder is only the most recent of a number of excellent podcasts released since the beginning of hostilities – including with other such qualified figures as Adam Tooze and Fiona Hill (who mentioned Bloodlands as a must read that offers some historical context to the current situation), and I expect there will be more to come.

Whether I will be able to find words to adequately describe the human and moral catastrophe with which one is faced in reading Bloodlands, I don’t know. What I do know is: Timothy Snyder would surely have not predicted, a dozen years after its publication, that – for all the wrong reasons – there would be a new readership for his book; people like me seeking some historical and cultural context for this war in the middle of Europe that is, at once, upon us and removed from us.

A right royal Welfare Queen

In the process of posting at the end of last year on the film Passing, I considered Imani Perry’s review of that film, and in glancing Perry’s Wikipedia profile I was alerted to her role in a recent interesting art transaction; from which arose questions to do with ownership of art and the responsibilities that come with that – to the artist and to the public arena.

As reported here at Artnet, Perry was in fact the owner of the Amy Sherold painting Welfare Queen (2012), which was sold at auction for a sum way beyond the estimate. Controversy ensued on a number of fronts. Firstly, Sherold’s own dissatisfaction that this work which she herself sold to the fledgling collector Perry, for the first time and under generous circumstances, a decade ago, should now be auctioned; destination unknown. (Sherold articulates her disquiet on the matter in a statement to Culture Type.) And this leads, of course, and as the Artnet piece considers, to the matter of re-sale equity conditions. Mostly one would think in “royalties” (no pun intended!) but equally so in terms of due “care”, and I think it is this latter that grates so at the artist. Perhaps not all, not even most, artists have this as an imperative, but it seems for this Black woman artist a transaction has more worth than the almighty dollar; rather is an act of passing on the guardianship of her work, her art, her intent. An honorable intent.

Welfare Queen, oil on canvas, Amy Sherold, 2012.

In her lot essay for Phillips (something else that raised eyebrows; normally the prerogative of a qualified other, not the collector), and the above video, Imani Perry enthusiastically states her highest regard for the artist and the painting, and (in the essay) her wish that the new owner will be similarly disposed. I suppose it is no one else’s concern … well, Amy Sherold may be entitled to a legitimate interest … but one has to wonder, should the painting have meant so much to Perry, why on earth did she unload it at all, let alone let it loose to the highest bidder in the capitalistic playground of the auction house? As I say: not my business! For Ms. Perry: good business, perhaps. As I write, I can’t track the buyer which seems to indicate that it was not purchased by a public gallery and is destined for another private collection. Hopefully, one with an interest in its public display, because, for all the reasons Perry says, it is a powerful work that invites reflection and identification in many ways, and especially in respect to stereotyping – based on race, gender, class – created very often through political expediency and becoming entrenched through language (‘welfare queen’) into societal norms.

Diverting, I also note that in her essay Imani Perry remarks upon the painting being a constant companion and inspiration during the last years and in the course of her own creative endeavors, right up to the writing of her latest book, so I should mention that that book, South to America – A Journey Below the Mason-Dixon to Understand the Soul of a Nation, was in fact published last month by Harper Collins. There is a sample reading on the publisher’s website, an adapted essay (regarding New Orleans) at The New York Times and also there, a (middling to good) review by Tayari Jones.

Should you be unsure of quite where to place Amy Sherold, you may remember, as I do, her celebrated 2018 portrait of Michelle Obama; now hanging in the National Portrait Gallery in Washington. Well, usually! For now I see, through until May this year, it is on a nationwide tour – with its other half so to speak!

Modern Reading

Whether over lunch, or in the midst of bedtime ritual, beginning tomorrow and for ten consecutive weekdays (Jan 24 – Feb 4), BBC Radio 4 presents a reading of Mrs. Dalloway; embedded within what the BBC calls a “celebration of the birth of Modernism a hundred years ago”. Here, the reference is to literary Modernism and the publication of James Joyce’s Ulysses in 1922 (and Eliot’s The Waste Land). Virginia Woolf’s ‘one day’ novel was published three years later, but fits very well in the modernist tradition – and may justifiably be considered (by the broadcaster) more readable (and listenable) than Joyce’s epic work; dense as it is in allusion and parody.

Start the Week tomorrow morning (with Kirsty Wark – the third presenter in three weeks – and I am still getting used to NOT starting the week with Andrew Marr!) starts the season with a discussion that broadens the scope of modernism beyond the literary – into the visual arts, music and the public space. One of the guests is Matthew Sweet whose ten part series 1922: The Birth of Now also begins tomorrow (through to Feb 4). [BBC is quite generous, and most of these links should remain live for some time.]

Presumably, there is more in store across the BBC but I can’t find the theme centrally organized (generally this is a problem with Sounds – and I know I’m not alone in this opinion!). I actually only became aware of an upcoming “Modernism” project through a passing reference on Feedback at the end of last year and was reminded with a programming note on Open Book last week. That episode, by the way, is all about Ulysses, and listening to the very interesting participants has motivated me to consider (and not for the first time, and as an important condition) diving in. Given this interest of mine in the modernists, and my interest in their interest in the ancients, I shouldn’t need to be pushed (one would think), and rather have been tempted to jump in long ago. Or do I have an insurmountable interest conflict?

Anyway, I have at least tracked down a very good digital version of Ulysses, and there is no shortage of study material, so I will collate what I have in a separate post for future reference. For the moment, may I just refer to Virginia Woolf’s struggle with Joyce (which she never really resolved – personally, I’m not totally convinced she read Ulysses in its entirety nor any of his other works) in particular and, more generally, Volume 2 of her diary which includes this year; one which for her was just another, and was to become for us (and maybe posterity), and unbeknownst to her, much more.

Interrupted…

in the midst of Yuletide

some tidings, though not unexpected, when they do come still jolt one to the very core; so it is with the death of one of the United States’ finest writers.

Joan Didion: December 5, 1934 – December 23, 2021

There could be very few who have not been bedazzled by the beauty and coolness – in structure and syntax – of Joan Didion’s prose, the integrity and incisiveness of her investigations into the American culture and society of the last half century – uncompromising, often going there where it is at its very darkest. Who could not have appreciated her intellectual brilliance and the finest sense of irony that she brought to her stories – be they fact or fiction? As I have done, how many others have cried with her and for her – because of injustices done or out of grief crying to be heard; knowing well that all those tears are really for oneself – perhaps as the writer, Didion, would have wished? As a chronicler of, not only her time and her country, but her inner self with all its contradictions and human frailties and failures, Didion has no peer. She will remain present, until she is not.

The New York Times is full of accolades – here is their obituary, and tributes from two generations -a younger represented by Parul Sehgal and, old habits die hard, Kakutani (luck or subscription whichever comes first!). ~~Available, for the moment at least,~~ ^{(edit. Jan 7 2022)} Available to subscribers, this very famous 1991 essay written for The New York Review of Books about the trial of the Central Park Five in which Didion deconstructs the prosecution’s arguments, exposing the racial profiling and the political pressures about which they erected their case. Be warned, thirty years ago long form was really that – long! And every word, every page worth it. As prescient as the issues she raises in here essay were then, regrettably they remain the reality to this day.

This afternoon I watched again Griffin Dunne’s 2017 Netflix documentary about his aunt (I had a need to return to her – Christmas or no Christmas!). Not everybody was satisfied if I remember, and it cannot help but be a labour of love, but the warts are there to be found, and I liked it. Here is the trailer on YouTube:

Now the following I haven’t seen; but also available on YouTube is the 1972 film “Play It As It Lays”, for which Didion wrote the screenplay with her husband John Gregory Dunne based on her 1970 novel.

Screenplay by Joan Didion, based on her 1970 novel of the same name.

Didion speaks of this film not very favorably – something like “not what I wrote!”- in the abovementioned documentary, but it’s there asking to be watched! (As a side note, I find myself wondering: whatever happened to Tuesday Weld?)