#the beiderbecke affair

[helmstone]

Rewind TV comes to Freeview

Rewind TV comes to Freeview

If you’re a Freeview user, you may have noticed a new arrival this week (the 18th) — Rewind TV. They launched earlier this year on Sky, now have come to Freeview. At first glance they remind me a lot of Talking Pictures TV (TPTV) but perhaps more focussed on more recent shows. Their press release has more details, and includes classic UK shows such as The Prisoner, The Beiderbecke Affair, Dick…

[missanthropicprinciple]

I wish I had the skills to draw a bunch of fan art for the Beiderbecke Trilogy.

[frenchchairs]

Been trying to track this down for years. Finally found it at a sensible price.

Classic TV.

[the-aleator]

‘Ignore it. The man is clinically insane even by the standards of the teaching profession.’ -Mr. Carter, The Beiderbecke Connection (written by Alan Plater)

[mariocki]

Top five Old Telly shows!

Oof straight in with a devilishly hard one... in no particular order i guess...

1. Doctor Who - the OG gateway into the wider world of old tv for me (and, i suspect, for a majority of old tv fans). I don't think there's another show that spans such a long time, evolves so much, and yet remains clearly one cohesive programme (and is so consistently brilliant!).

2. Public Eye - my introduction to the other type of old tv: small stories, low stakes, dialogue-heavy but naturally quiet and reflective. The sober, hangdog answer to action heavy adventure tv.

3. The Power Game - who knew concrete could be so exciting?! Performance led drama with some of the sharpest, most venomous scripts in old tv.

4. Callan - always fascinating, often emotionally battering, anchored by one of the greatest lead performances in tv history. All the leads are brilliant, but Woodward absolutely inhabits Callan and makes him live.

5. Blake's 7 - DW's older, anarchist brother; as often devastating as it is thrilling, beautifully played by an ensemble cast. Innovative, original, and able to flip between darkly comic and gut-wrenching horror within the same scene.

To steal your own caveat @thisbluespirit these are my today choices... on any other day I might have to shuffle around to accommodate The Brothers, The Main Chance, Mr. Rose, Big Breadwinner Hog, The Avengers, Strangers, The Sandbaggers, The Beiderbecke Affair, etc etc etc etc........

[captainmactaggart]

The Beiderbecke Revolution

This episode was a real bastard to write, I can tell you. For one thing, it was written around the time I moved into my brother's old bedroom, so I couldn't give it as much of my attention as I wanted. For another, I had to go back and rewrite bits of it at least three times due to external circumstances. Anyway, the episode's called Little Norm, and can be found as usual on either deviantART or FictionPress:

PART 1: https://www.deviantart.com/toastedalmond98/art/GL09-Little-Norm-PT1-820998178 PART 2: https://www.deviantart.com/toastedalmond98/art/GL09-Little-Norm-PT2-820998187

FICTIONPRESS: https://www.fictionpress.com/s/3340517/9/Geddes-Line-Season-1

Read and enjoy with the usual level of discretion.

[michaelcarroll]

Some of you might recall that last year I mentioned that Leonia and I have a tradition we call "A Book at Bedtime." In the week leading up to Christmas I pick a book and read a few chapters a night to her as she snuggles under the duvet. Previous books have been (roughly in order):

A Christmas Carol by Charles Dickens The Princess Bride by William Goldman Truckers by Terry Pratchett The Outsiders by S.E. Hinton Labyrinth (movie novelisation) by A.C.H. Smith Dirk Gently's Holistic Detective Agency by Douglas Adams The Beiderbecke Affair by Alan Plater

This year's book is Who Goes Here? by Bob Shaw

[riffsstrides]

Anat Cohen Tentet

Happy Song

Anzic, 2017

Anat Cohen: clarinet; Oded Lev-Ari: musical direction; Rubin Kodheli: cello; Nadje Noordhuis: trumpet, flugelhorn; Nick Finzer: trombone; Owen Broder: baritone sax, bass clarinet; James Shipp: vibraphone, percussion; Vitor Gonçalves: piano, accordion; Sheryl Bailey: guitar; Tal Mashiach: bass; Anthony Pinciotti: drums.

In his fascinating autobiography, Miles Davis once said that Gil Evans would call him on the phone now and then just to share a quick thought—you know, the kind of thing some people used to do before these random impulses were relegated to texts or Tweets. His classic example was a 3AM call where his longtime friend and collaborator rang to say "If you're ever depressed, Miles, just listen to 'Springsville,'" and just as abruptly hung up. Anat Cohen deserves such a story as well—not just because everyone should have such a friend in their life, but because her titular "Happy Song" is just the same kind of ray of sunshine that's worth waking someone up to share. The piece is adeptly expanded from its initial trio rendition on Luminosa (Anzic, 2015), beautifully encapsulating the spirit of this new ensemble and providing a perfect introduction to their wildly colorful debut. Not content to rest too long after a previous pair of enchanting Brazilian-themed recordings, the poly-faceted clarinetist follows up here in delightful fashion with a bigger musical palette and expanded group to match. Cohen's catalogue has always encompassed music all around the world, and the Tentet (well, the term just sounds more fun and informal than "dectet") is a crack team of fellow New York City players who share the same love of all-encompassing groove and swing. Alongside the ever-present South American element, Happy Song visits the golden age of Hollywood with a big-band Bix Beiderbecke romp, crosses over to west Africa with the infectious rhythmic trance of "Kenedougou Foly," and shows the leader's native roots by using a klezmer piece as the loose basis for its dramatic extended centerpiece. Her fleet clarinet twines with some fuzzy guitar in the slow-burner of "Trills and Thrills," a wailing jam contributed by musical director Oded Lev-Ari. He isn't counted as one of the ten, but he's as vital in shaping the album's form as anyone else; the arrangements are wonderfully adroit in using all the players without ever feeling crowded. Even with a couple thoughtful lulls in "Trills" and Gordon Jenkins' "Goodbye," Happy Song bounces and swings with all the warmth its title promises. It shows Anat Cohen's wide-ranging mind and instrumental prowess as expansive as ever, and it's a vibrantly joyous affair indeed.

GENO THACKARA in All About Jazz

[goldeagleprice]

Architect I.M. Pei and “what might have been” in American gold medals

Wilson Commons, designed by I.M. Pei, on the campus of the University of Rochester. (Photo by URJeff).

This past week my brother-in-law, an architect, visited for a couple days, and at one point we talked about the famous Chinese-born and MIT- and Harvard-trained architect I.M. Pei. “He designed the student commons at my college,” I mentioned.

I’ve probably mentioned that to him a hundred times over the years.

Every University of Rochester student since 1976 remembers Wilson Commons as the center of life on the school’s main campus. Five stories high, wonderfully open with 18,000 square feet of glass windows like a huge honeycomb, and those spiral staircases . . . the amazing building lived up to Pei’s prediction:

It will be a place to be, and a place to remember.

Pei described his philosophy and approach to architecture:

At one level my goal is simply to give people pleasure in being in a space and walking around it. But I also think architecture can reach a level where it influences people to want to do something more with their lives. That is the challenge that I find most interesting.

Pei in Luxembourg, 2006.

I was sad to learn last night that I.M. Pei has passed away, at the age of 102.

One of my college friends, Renan Levine, now a professor at the University of Toronto, recalled Wilson Commons:

I don’t think any architect affected my daily life and routine more than I.M. Pei—at least for my three years at the University of Rochester. Those years included behavior shaped by architecture more than the other years of my life. Pei’s student center isn’t very beautiful and it includes some weirdly shaped rooms, but also sightlines that made it easy to look for friends on multiple levels, intersections / common areas that led to inevitable ‘bumping into’ encounters, and light, airy indoor space even when it was cold outside. It was a favorite pathway and a destination. A place to pass a few minutes, and a place to kill hours. A place to make plans and a place to let plans just work out.

That description matches my memories of Wilson Commons perfectly. I spent many, many hours in the publications offices in the lower level—my extracurricular introduction to the working world of publishing. Wilson Commons is where I started to earn my stripes in magazine, newspaper, and book production.

When I learned of I.M. Pei’s passing, I recalled a numismatic connection that I’d come across while researching for my book American Gold and Silver: U.S. Mint Collector and Investor Coins and Medals, Bicentennial to Date. The following is excerpted from chapter 3, which covers the Mint’s five-year American Arts Commemorative Series gold medallions (minted 1980 to 1984).

The American Arts gold medallion program ended in 1984. Proposed legislation would have continued the series for another 10 years. Hover to zoom.

1985 and Beyond: What Might Have Been, and What Was to Come

By the end of 1985 the American Arts Commemorative Series had wrapped up and the nation had moved on. When the program started in 1980, the U.S. Mint was slowly getting back into the minting of gold after the long hiatus from 1934 to the early 1970s. When the medallion program ended in 1984, legal-tender coins were back on the table in the form of Olympic commemoratives, which would soon be joined by a $5 commemorative for the Statue of Liberty centennial (1986), then another for the bicentennial of the U.S. Constitution (1987), and many others in the 1980s and 1990s to date. More significantly, the Mint’s new bullion-coin program, the American Eagles, came out in 1986 and quickly grew into what supporters of the American Arts medallions had envisioned in the late 1970s.

An interesting side note to the American Arts story: On February 7, 1985, Representative Jim Leach of Iowa, who had introduced the 1978 legislation that created the American Arts program, proposed an expansion. H.R. 1055 was an amendment to the American Arts Gold Medallion Act that would have extended the series for another 10 years, honoring the following artists—including architect I.M Pei.

Proposed 1985–1994 One-Ounce Medallions

Playwright and essayist Arthur Miller.

The “Queen of Jazz,” Ella Fitzgerald.

Writer William Faulkner.

Poet Emily Dickinson.

Composer and pianist George Gershwin.

Composer and conductor Aaron Copland.

Painter and muralist Thomas Hart Benton.

Old West artist Charles Marion Russell.

Composer and bandleader Duke Ellington.

Social commentator and humorist Will Rogers.

Proposed 1985–1994 Half-Ounce Medallions

Artist Georgia O’Keeffe.

Architect I.M Pei.

Photographer Ansel Adams.

Singer-songwriter Buddy Holly.

Author Ernest Hemingway.

Painter John James Audubon.

Actor Henry Fonda.

Jazz musician and composer Bix Beiderbecke.

Author Henry David Thoreau.

Singer and actor Paul Robeson.

Leach’s bill didn’t get beyond the House Subcommittee on Consumer Affairs and Coinage, and the curtain officially dropped on the American Arts program. The medallions’ five years on the national stage gave Congress and the Treasury a thorough education in producing, advertising, and mass-market distribution of gold. Next up would be the first of several vastly improved legal-tender bullion coinage series—not just gold coins, but also silver and platinum, destined to capture the public’s attention and sell by the tens of millions.

If the proposed expansion had come to pass, the United States would have had a half-ounce gold medal honoring architect I.M. Pei.

The United States never got its I.M. Pei gold medal. But Pei himself earned many gold medals and other accolades—the Gold Medal for Architecture from the American Academy of Arts and Letters . . . the AIA (American Institute of Architects) Gold Medal . . . the Royal Gold Medal of the Royal Institute of British Architects. As his biographer Carter Wiseman said, Pei won “every award of any consequence in his art.”

Fans of I.M. Pei’s architecture, and especially those of us who lived and learned inside the spaces he designed, have a lifetime’s worth of memories. May he rest in peace after a long and uniquely accomplished career.

Dennis Tucker is publisher at Whitman Publishing, a life member of the American Numismatic Association, and numismatic specialist of the United States Treasury’s Citizens Coinage Advisory Committee.

❑

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         Comments

Thanks for an interesting look into history and what might have ... by gatortreke

Thank you, Mr. Tucker, for this interesting historical ... by Jerry Diekmann

I love reading about the beleaguered American Arts gold medal ... by Buzz Killington

[vileart]

More Dramatury: Alison Skilbeck @ Edfringe 2018

HINT OF LIME PRESENTS ARE THERE MORE OF YOU?Written and Performed By Alison Skilbeck Directed by Jeremy Stockwell August 1 – 27 11.10 (70 mins) ASSEMBLY HALL If you lay yourself open, people will jump in with both feet, won’t they?

Claire, Sophia, Sara and Sam.  Four women, linked by a shared postcode, each moving through transitions in their lives.  Four women in search of happiness.  Four women on the verge of a nervous breakthrough.  Claire, always the loyal and dutiful wife, has been abandoned by her husband on the eve of his retirement.  Sophia loves opera.  She juggles her time between her big project of opening an Italian trattoria with singing, the daytime job of running a café and the stresses and strains of caring for her sick mother.  

Sara is a spirit weaver, sorting out people’s lives, untangling the threads and putting them back together but what about the twists and knots in her own life?  And then there’s Sam, a tough no-nonsense business-woman who through the course of an evening and with the help of a few drinks, reveals a more fragile vulnerability and the need of a friend. In turns touching scary, funny, warm and embracing, Are There More of You? tells the often untold stories of women of a certain age.  Women going through personal transitions, adapting to new circumstances, in search of love and happiness and discovering new things about themselves and the world around them.   

What was the inspiration for this performance? I wanted to write monologues for me, as an older actress. I started to write, and my four characters started to connect: hence ARE THERE MORE OF YOU? - four wildly different ladies linked only by a postcode. Is performance still a good space for the public discussion of ideas?  Yes indeed; though I think it works best when indirect, e.g CRUCIBLE for the McCarthy witch hunts. But times change, and STUFF HAPPENS was remarkable, also many plays recently about refugees.  When  I have Q and As after my shows, people are eager to engage. Theatre makes us see ourselves. But to be realistic, political plays rarely reach other than the converted. How did you become interested in making performance? I have been an actress, a performer, all my life; if by this you mean creating my own work by writing it, the negative reason is because there were increasingly fewer parts for women, and women of my age! On the positive side, many people had encouraged me to write, so I sat down and did it. People read and heard the script, and my director , Jeremy Stockwell ( KEN,  and A SOCK FULL OF CUSTARD Ed Fringe 2018) helped me get it on, oringinally some years ago. And audiences responded. Is there any particular approach to the making of the show? No. It's a while since I did write it, but - I wrote it, re-wrote it, honed and shaped it with my director who helped me find the different voices and bodies of the characters; we decided to have minimum set, costume, lx and sound ; to celebrate acting and the power of story - two planks and a passion - speaking directly to an audience. Does the show fit with your usual productions? In that they involve me alone on a stage - yes.  My two subsequent shows are different only in this: - MRS ROOSEVELT FLIES TO LONDON ( Edinburgh 2016) About a real, much admired person. I wrote after extensive research; there is more set and costume; a soundscape, and a lot of lighting. -THE POWER BEHIND THE CRONE ( Edinburgh 2017) is me plus Shakespeare! it is ultra-simple - no lx or sound - I play a very enthusiastic lecturer, Prof Artemis Turret, playing and talking about 7 older women in Shakespeare. Once again serious, but funny; like Shakespeare himself! What do you hope that the audience will experience? I hope they will have fun; laugh, cry, see themselves and people they know, and think about older women, their resilience and infinite variety. And I hope they'll be struck by what live theatre can do - how you can turn on a sixpence to become 'other'. Alison Skilbeck returns to The Edinburgh Fringe following her 5 star shows Mrs Roosevelt Flies to London, 2016, and The Power Behind The Crone, 2017.  Her enormously varied stage career has taken her to the West End and all over the UK and Europe, and to the USA with Shakespeare: early on she created roles in six Ayckbourn premieres at Scarborough.  Alison's television work includes Sherlock Homes, The Beiderbecke Affair, Miss Marple, Head Over Heels, Doctor Who, Soldier Soldier, Midsomer Murders, and Call The Midwife. Amongst her radio roles is Polly Perks in The Archers, until the character was killed off! Two recent projects have been Wimpole Street, the award winning web series, and the pod cast sitcom seriesWooden Overcoats. Alison has directed extensively thoughout her career, notably Shakespeare at RADA, where she has been an Associate Teacher for over 20 years. Alison also directs A Substitute For Life by Simon Brett, starring Tim Hardy, which also runs at Assembly throughout August. Jeremy Stockwell has directed, written, and devised new work in the U.K. for, among others, the National and BAC. His current touring productions are; Angelos & Barry: The New Power Generation (tour & West End run), Pemberton & Hague's Theatre Circus and The Very Perry Show, with Kate Perry (tour and New York run).  He directs extensively in theatres all over Europe. Also in Edinburgh this August, as an actor, Jeremy is playing Ken Campbell, in Terry Johnson's KEN, and Spike Milligan in A Sockful of Custard, which he co-wrote with Chris Larner, both at The Pleasance Courtyard. Jeremy has been a member of the RADA teaching and directing faculty for over twenty years. He is also Performance Coach for the BBC; his series include: How do You Solve a Problem Like Maria?, Faking It, The Speaker, and Strictly Come Dancing. Edinburgh Fringe Theatre ARE THERE MORE OF YOU? Written and Performed By Alison Skilbeck Directed Jeremy Stockwell August 2 – 27 11.10 (70 mins) ASSEMBLY HALL http://www.assemblyfestival.com  0131 623 3030  August 2 to 3 £6 (previews) August 4, 5, 8, 9, 14 - 16, 20 -23 & 27 £11(£9) August 6, 7, 10 -12, 17 – 19, 24 – 26 £12.50 (£10.50) Day off  August 13 from the vileblog https://ift.tt/2mGx3La

[newsblogalpha]

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[kwebtv]

The Beiderbecke Affair  -  ITV  -  1/6/1985  -  2/10/1985

Comedy / Drama  (6 episodes)

Running Time:  9 Hours 20 Minutes

Stars:

James Bolam  as  Trevor Chaplin

Barbara Flynn  as  Jill Swinburne

Terence Rigby  as  Big Al

Danny Schiller  as  Little Norm

Dudley Sutton  as  Mr. Carter

Dominic Jephcott  as  Sgt. Hobson

Keith Smith  as  Mr. Wheeler

Keith Marsh  as  Harry

Sue Jenkins  as Janey

Colin Blakely  as Chief Superintendent Forrest

Dudley Sutton as  Mr. Carter

[missanthropicprinciple]

episode 1

[elementsofsapphire]

Has anyone on here seen 'The Biederbecke Affair'???? Just curious because it's simply FABULOUS.

[missanthropicprinciple]

[missanthropicprinciple]

How to tell you’re in an Alan Plater television programme:

Average Joe Englishman, seemingly unremarkable hero, often a northerner

slow-moving plot

the Forest of Arden is mentioned

soft jazz is always involved

football

Dad Jokes/witty comments

strong women who don’t take BS

the setting involves academic life/a polytechnic/a high school

a yellow car/station wagon

a mystery plot unraveling through a series of random things that irritate and intrigue the main protagonists

police corruption and/or incompetence