BBC Radio 4’s The Moral Maze is a superb programme that deals with serious issues in an intelligent, usually balanced, and often passionate, manner. Recent editions have included debates on the future of the NHS, assisted dying and the limits (if any) of freedom of expression.
Last night’s debate on Gaza was outstanding, even by the usual high standards of the show. If you didn’t hear it, click here.
Sarah AB, over at That Place gives a pretty good account of the discussion, but I’m reproducing, below, the assessment posted by one ‘Craig’, shortly after the broadcast, at a blog (new to me) called simply Is The BBC Biased? Quite clearly, whatever other reservations ‘Craig’ may have about the BBC, he was impressed by what he heard last night:
Tonight’s The Moral Maze was quite something.
To do justice to the thoughts it provoked would demand a post that took longer to read than it actually took to listen to the programme (and no one wants that), so I will simply sketch my initial impressions of it.
The panel contained two strongly pro-Israeli speakers, namely Melanie Phillips and Jill Kirby (making her debut), and one strongly pro-Palestinian speaker, Giles Fraser. The final speaker, Matthew Taylor, was happier to sit on the fence but dangled his feet on the Palestinian side.
The ‘witnesses’ were Colonel Richard Kemp and Dr Hugo Slim on the Israeli side, and Mehdi Hasan and Ted Honderich on the Palestinian side.
Michael Buerk gave a characteristically fine introduction (firm but fair).
Then came the first witness, Mehdi Hasan.
Mehdi (characteristically) was very canny in making repeated denunciations of Hamas, saying that they too had committed war crimes. Of course, that concession allowed him to repeatedly make his main point – that Israel is committing war crimes and that Israel is worse than Hamas because of its superior military strength and because it is ‘the occupier’.
His argument didn’t convince me but I can well imagine, unfortunately, that his fluency might have struck home with many a Radio 4 listener.
Melanie’s repeated attempts to talk him down, and both her and Jill’s attempts to get him to condone Hamas rather misfired. He was perfectly happy to condemn Hamas (#Taqiyya?) in order to make his condemnation of Israel tell, thus (in the process) somewhat taking the wind out of their sails.
Next came Colonel Richard Kemp.
He was very persuasive, making Israel’s case with considerable reasonableness (as opposed to Mehdi’s excitability). I suspect (and hope) that Radio 4 listeners will have responded well to his arguments.
Both Matthew Taylor and Giles Fraser gave him space to make his arguments and seemed rather hard-placed to argue with them. Giles, characteristically, was passionate but also seemed somewhat disarmed by Col. Kemp’s quietly-made points. It was a clear win for Col. Kemp.
Then came Ted Honderich.
Prof. Honderich is a philosopher. [I own an encyclopedia of philosophy edited by him]. He sought to make a philosophical case in defence of Hamas. Yes, really.
I suspect (like me) that most Radio 4 listeners will have failed to make much sense of his arguments. All I took from his contribution is that he thinks Hamas is good and that Israel is bad, and that he thinks that Hamas is justified in deliberately seeking to kill Israeli civilians. Philosophically-speaking.
I almost wish that Michael Buerk hadn’t cut him off so curtly from making his initial argument as I suspect that Radio 4 listeners would have been even more put off by the result. (Michael clearly didn’t like Ted Honderich). Partly as a result, Prof. Honderich made very little headway here.
His remarkable (and reprehensible) appearance was dominated by his spiteful encounter with Melanie Phillips. Insults flew in both directions.
Finally came Dr Hugo Slim, who put the case for Israel well, but who was also willing to give his hands a good wringing in the process. Giles Fraser tried to wax passionate against him but seemed to find him too likable (too liberal) to get into a proper fistfight with, and Matthew Taylor appeared to reach a meeting of minds with him
The final panel discussion was lively. Giles Fraser came out (extraordinarily) as being sympathetic to Ted Honderich’s pro-Hamas points (well, he is a Guardian editorial writer these days). Melanie Phillips tried to talk him down (and everyone else – until Jill Kirby made a good, pro-Israel point). Jill Kirby floundered somewhat, though she made some good points (first day nerves?). Michael Buerk had a dig at Giles for seeming to back up Prof. Honderich, and Matthew Taylor sat on the fence.
All in all, a fiercely balanced programme.
I did note that some people on Twitter denounced it as biased, though I couldn’t work out in what direction they meant (and was deeply unwilling to check their Twitter feeds).
LBC: “In an interview that has been described in the media as “car-crash radio”, “brutal” and “forensic”, Mr Farage looked rattled before his Director of Communications Patrick O’Flynn interrupted and called an end to the debate.”
The bourgeois media finally does its job re UKIP; about bloody time too.
Congrats to forensic, dead-pan interviewer James O’Brien, who refuses to be deflected by Farage’s bullshit and bluster:
Still, at least UKIP didn’t call the cops.
Thomas with wife Caitlin
For no particular reason that I can fathom (the centenary of his birth is not until this coming October), BBC Radio 3 has decreed today ‘Dylan Thomas Day’. Oh well, this gives me an excuse to republish Kingsley Amis’s account of a meeting with Thomas in 1951. Amis had little time for Thomas either as a man or as a poet, as the following account makes clear. Surprisingly, and under circumstances that have never been made clear, Amis was appointed executor of Thomas’s estate.
This account was first published in the Spectator in 1957, republished in 1970 as part of the Amis anthology What Became of Jane Austin? and finally appeared again in modified form in Amis’s 1991 Memoirs. What appears below is from the latter, with the 1957 conclusion appended:
I met Dylan Thomas on a single evening in the spring of 1951, when he had accepted an invitation to give a talk to the English Society of the [University] College [of Swansea]. The secretary of the society, a pupil of mine, asked me if I would like to come along to the pub and meet Thomas before the official proceedings opened. I said I would like to very much, for although I had lost all my earlier enthusiasm for his writing, I had heard a great deal, not only in Swansea, of his abilities as a talker and entertainer of his friends. I arranged with my wife and some of our own friends that we would try to get Thomas back into the pub after his talk and thereafter to our house just up the street from there. I got down the pub about six, feeling expectant.
The foregoing paragraph is based on a brief account I wrote of this meeting in the Spectator in 1957. If I had known about him then what I have since learnt, I would still have turned up, but with different expectations. For one things, I would certainly not have entertained the idea of getting him along to my house then or at any other time, indeed, would have done my best to conceal its location from him. I will now go on with a version of what I went on to write then, cut and amended where necessary.
Thomas was already in the pub, a glass of light ale before him and a half-circle of students round him. The impression he made was of apathy as much as anything. Also in attendance was, I said in 1957, a Welsh painter of small eminence whom I called Griffiths. In fact this person was a Welsh poet of small eminence by the name of John Ormond Thomas and later known professionally, I understand, as John Ormond. In the course of the session he told us several times that he had that day driven down from his house in Merionethshire (north Wales, now part of Gwynedd) on purpose to see Thomas, whom he had known, he said more than once, for several years. Thomas seemed very sedate, nothing like the great pub performer of legend. He was putting the light ales down regularly but without hurry. After some uninspired talk about his recent trip to America, he announced, in his clear, slow, slightly haughty, cut-glass Welsh voice, ‘I’ve just come back from Persia, where I’ve been pouring water on troubled oil.’
Making what was in those days my stock retort to the prepared epigram, I said boyishly, ‘I say, I must go and write that down.’ What I should have said, I now realise, was something much more like: ‘What? What are you talking about? That means nothing, and it isn’t funny or clever, it’s infantile playing with words, like that silly line of yours about the man in the wind and the man in the west moon. Or the phrase in that story about Highlanders being piping hot. They weren’t hot or piping hot, but saying so is a bit naughty, I agree. Taff.’
Following on from similar focuses devoted to Mozart, Beethoven, Bach, Schubert and Webern, March 7 will celebrate the great impressionist’s music through recordings dating from the 1930s to the present day.
Performers involved include pianists Pascal and Ami Rogé in a recital from Wigmore Hall (including a two-hand arrangement of Boléro), the Nash Ensemble, and New Generation Artist mezzo Clara Mouriz. There will also be a series of downloads called Ravel Revealed exploring aspects of his life.
Now, of course, there’s a lot more to Ravel than Boléro (my personal favourite is Daphnis et Chloé) but I couldn’t resist bringing you this 1934 film (below) as a foretaste:
Better than Torville and Dean, eh? George Rafters all round!
In general, I’m one of those listeners who objects to music on Radio 4 – especially the infuriating Mastertapes with the annoying rock fan John Wilson, who – frankly – should just fuck off to Radio 2, where he belongs. However, I’m happy to make an exception for Soul Music, which this week featured the strangely melancholic Christmas song, ‘Have Yourself A Merry Little Christmas.’
It was written in 1944 by one Hugh Martin for the film Meet Me In St. Louis, in which it was sung by the film’s star, Judy Garland. It comes at a particularly sad moment in the film, and Garland felt its original lyrics (read out for us in the Radio 4 programme) were altogether too depressing, and eventually Martin was persuaded to replace them with slightly more upbeat (but still hardly jolly) words. Later on Frank Sinatra got Martin to change them again, this time replacing “until then we’ll have to muddle through somehow” with “Hang a shining star upon the highest bough.”
As always with Soul Music, the programme discusses not just the song’s lyrics, but also its (surprisingly sophisticated) harmonic structure and chord changes, interspersed with the thoughts and reminiscences of people for whom it carries a special meaning and/or memories. James Taylor’s pensive version, recorded shortly after 9/11, quite rightly receives a special mention:
My favourite version, by Ella Fitzgerald, doesn’t feature in the programme, perhaps because Ella’s voice is almost too good and (combined with the relatively up-tempo swing arrangement) doesn’t quite convey the pathos that the lyrics seem to demand. Never mind: it’s Ella and it’s beautiful. So here’s wishing A Merry Little Christmas to all of you!
Felix Dexter 26 July 1961 – 18 Oct 2013
Charlie Higson and Paul Whitehouse pay tribute here
Above: Charles Lindbergh puts the Stop The War case for non-intervention in WW2
BBC Radio 4’s ‘Any Questions’ is a pretty reliable barometer of middle-England, middle class opinion. These days, anyone on the panel who denounces intervention of any kind in overseas conflicts, can be guaranteed a big round of applause, regardless of whether the speaker is from the isolationist right or the ‘anti-imperialist’ left.
This week’s programme, inevitably, included a question about Syria, and the panel was unanimous in opposing the idea of arming the opposition, to the obvious approval of the audience. Right wing Tory isolationist Daniel Hannan put the non-intervention case most succinctly when he said “It’s not our business… in Syria we have no connections …we have no particular interest.”
Smug, shallow leftist commentator Mehdi Hasan (New Statesman and Huffington Post) chimed in with his familiar, sanctimonious riff along the lines of one sides’s as bad as the other … both sides have been accused of using chemical weapons … sending the rebels weapons or imposing a no-fly zone will just make matters worse…etc. etc…
Hannon, who made it clear that he agreed with Hasan’s isolationist conclusions, was honest enough to chip in with the following:
“A one-sided arms embargo is a form of intervention, as it was in Bosnia, as it was in the Spanish Civil War. If you’re allowing one side free access to global weaponry and denying the other [weapons] then you are in practice intervening.”
An important point, that the isolationist movement of both left and right rarely acknowledge. The assumption, all too often, is that only military intervention costs lives, while staying out of it saves lives. Patent nonsense, once you think about it, but that’s the presumption upon which people like the so-called Stop The War Coalition and their media stooges, expect us to accept their case.
Hopi Sen puts the contrary view very well in a recent piece on the cost of non-intervention in Syria:
The last decade has been a steady retreat from intervention.
We know why. We saw the terrible costs of intervention first hand, while the deaths of the Marsh Arabs, the repression of the Kurds, the brutality of Saddam’s regime (and yes, our real-politik driven complicity in that regime) were somehow forgotten. We even managed to forget that the cost of containment was a society trapped by sanctions, a price worth paying for the containment of a regime we did not wish to overthrow.
Yet now, in Syria, we also see the price of inaction.
I make the following comparison not to compare the loss, or the war, or the justice of either, but to compare our reaction to each.
The rate of violent death in Syria is already more than double that in the bloodiest year of the Iraq war. Around 170,000 have died in Iraq in the decade since the war. More than half that are dead in Syria already, and the violent deaths are increasing rapidly. Where is the outrage of the humanitarian left? Where are the marches and the vigils? The petitions and the disbelief? Where are the Anti-War Marches?
Further, doing nothing has increased regional instability. Already Hizbollah are killing Syrian rebels, with who knows what consequences for Lebanon. Israel is both nervous of Islamism and of an unstable Syrian government. Turkey, Iraqi Kurdistan and Jordan are having to cope with some one and a half million refugees.
These are the results of the policy we chose.
Would things have been better if we had intervened directly? Would the slaughter have been less with a No Fly zone, or airstrikes on Syrian forces mounting aggression, or if we had supported secular, moderate rebels early? Would things have been better if we had even made it clear to Russia that there was some action that we would not tolerate?
That I can’t know, just as I cannot know what would have happened in Iraq this past decade if Saddam had been left to imprison and murder his people under a sanctions regime that killed innocent civilians in order to constrain their torturers.
No-one can really know “what if“.
The awful truth is that inaction and intervention both have terrible costs, and those who decide between them cannot ever truly know what will result. Some forgot that in the last decade, choosing to believe that only intervention could have a terrible price. I don’t forget the reverse now.
Just because the policy we have pursued has become a catastrophe does not mean the policy was undoubtedly and obviously wrong.
But by God, I wish we felt more shame for what we have not done for the people of Syria.
(Read the full article here)
BBC Radio 3 starts a week of Wagner in commemoration of the 200th anniversary of the composer’s birth.
It begins with:
Wagner In Zurich: 12.15, Saturday 18 May
Tom Service travels to Zurich, where Richard Wagner the revolutionary lived in exile for nine years, and finds a city which played a crucial role in the development of the composer’s thinking and provided fertile ground for his Ring Cycle, and which is marking the 200th anniversary with a festival including a new musical theatre piece by the director Hans Neuenfels. Tom visits the home of the Wesendonck family, where Wagner was inspired to write Tristan und Isolde and his Wesendonck Lieder, and also the idyllic Tribschen district of Lucerne, where Wagner later lived and composed his Siegfried Idyll as a birthday gift to his second wife, Cosima. It was from Germany’s 1848 revolutions that Wagner had fled to Switzerland, and from Leipzig, Wagner’s birthplace and a city which is central to this year’s anniversary celebrations, the BBC’s Berlin correspondent Stephen Evans reports on the composer’s controversial place in German culture today.
Saturday Classics: 3.00pm, Saturday 18 May
The great English operatic bass Robert Lloyd joins Radio 3’s celebration of the 200th anniversary of Wagner’s birth with selections from his favourite Wagner operas.
Mastersingers of Nuremberg
Duration: 58 minutes: 1.00pm, Sunday 19 May
Immortalised by Wagner in his famous opera, Lucie Skeaping looks back on the life and music of the real Hans Sachs and his fellow Mastersingers in 17th Century Germany.
Wagner and His World
At 12.00 pm throughout the week Donald Macleod explores the connections and relationships that helped establish Wagner as the most revolutionary musical thinker of the 19th century. Includes:
One Winter’s Afternoon
8.00 pm, Sunday 19 May
The story of the great operatic rivalry between Guiseppe Verdi and Richard Wagner in the year marking the bicentenary of their births. In real life, the two great composers never met.
There’s no denying the fact that Richard Wagner wrote some sublime music. But never forget this, either:
From Just Jazz magazine:
Three tenors: Herschel Evans (left), Eddie Miller (centre), Lester Young (right) in 1941
Lester Young? Surely not!
By James Hogg
You wouldn’t think anyone could mistake Herschel Evans for Lester Young, but BBC Radio 4 managed it in a recent ‘Archive on Four’ programme on the history of the saxophone. I understand that amongst those who spluttered into their Horlicks on hearing the howler was Wally Fawkes, who should be protected from such shocks.
The irony was that the presenter, Soweto Kinch, had reached a point in the programme where he wasa discussing with Courtney Pine the particular qualities that made Lester unique. And up comes the somewhat different sound of Herschel doing his featured number Blue And Sentimental. Producer’s clanger, definitely! The guilt of the two speakers has to remain ‘unproven’ because we don’t know whether they heard their words juxtaposed with the wrong recording or not.
The BBC has form in misidentifying Lester Young – incredibly for one of the most distinctive voices in all of jazz. Dave Green recalls a similar instance: “the ‘Archive on 4′ fiasco reminds me of a story that Humph once told me about Steve Race. Apparently Race played Humph a pre-transmission tape of a programme he had just done on Lester Young using one particular tune as an example of Lester’s Style – it may even have been Blue and Sentimental. Humph pointed out about half way through that it was a very good analysis, but the only problem was that it wasn’t Lester playing, it was Herschel Evans. Race’s response was: ‘Oh, it’s too late to do anything about it now, it’ll have to go out as it is’ – and it did.”
I suggest that in expiation Radio 4 should broadcast a whole programme on Lester Young entitled ‘Lester Leaps In – At Last.’
JD adds: The great irony of this repeated misattribution of the tenor playing on Blue and Sentimental to Pres is that he and Herschel Evans were great rivals and competitors when they sat alongside each other in the sax section of the Basie band. Indeed, they were considered to represent polar opposites in tenor playing: Pres with his light, airy almost delicate sound, and Evans with a big, heavy, ‘muscular’ tone. Billie Holiday described the relationship between the two, thus: “Pres and Herschel Evans were forever thinking up ways of cutting the other one. You’d find them in the band room hacking away at reeds, trying out all kinds of new ones, anything to get ahead of the other one. Once Herschel asked Lester, ‘Why don’t you play alto man? You got an alto tone.’ Lester tapped his head, ‘There’s things going on up there, man,’ he told Herschel. ‘Some of you guys are all belly.'”
Compare and contrast Herschel’s playing on Blue and Sentimental (above, recorded 1938) with Pres playing Ghost of a Chance (below, recorded 1944):
Radio 4’s excellent Soul Music series today dealt with Peggy Lee’s 1969 recording of ‘Is That All There Is?’, one of the strangest and most enigmatic chart hits ever.
Soul Music takes takes a piece of music or a particular performance, and simply carries interviews with people (some directly connected to the music/performance, others not) about what it means to them. It’s often very moving.
The interviewees today had very different interpretations of what the song, and Ms Lee’s performance, meant…
Hope or despair? For or against suicide? Existential angst or a simple statement that friends and family are all that really matter in the end?
One person we didn’t hear from was Peggy Lee herself: she died in 2002. But here’s what she wrote in her autobiography:
‘Is that all there is, is that all there is?
If that’s all there is my friend, then let’s keep dancing
Let’s break out the booze and have a ball,
If that’s all there is…’
I picked up the needle from the demo record on the turntable and said to Snooky Young, ‘Isn’t that wonderful?’
‘Thats’s a weird song,’ he said. ‘You going to sing that?’
‘Yes, I think so. I can’t get it off my mind.’
‘Well, you do all those kind of arty songs and people seem to love them…’
I thought of ‘Don’t Smoke in Bed’ and a few others and remembered how I often had to fight to get to do things I believed in, but little did I know at the time what a battle I’d have with ‘Is That All There Is?’ Before this, its authors, Jerry Leiber and Mike Stoller, had written ‘I’m A Woman’, truly my cup of tea, and, of course, their huge success, Elvis Presley’s record of ‘You Ain’t Nothing But a Hound Dog’ (although I still think ‘I’m a Woman’ was more colourful, filled as it was with word-pictures, and it did swing).
When I came to record ‘Is That All there Is?’ there was resistance everywhere. They said it was too far out, they said it was too long, they said and they said … So I went to Glenn Wallichs with a demo record (something I hadn’t done before), and Glenn seemed embarrassed. ‘Peggy, you don’t have to play a demo, you helped build this Capitol Tower. You just record anything you want.’
Delighted to hear it, Jerry and Mike and I set about doing just that. Earlier, Johnny Mandel had brought me one of Randy Newman’s very first albums, telling me, ‘You’ll love this fellow,’ which I did, and asked him to write the arrangement. It turned out to be perfect for his style.
So now the record was made, our faith in it ran high — I couldn’t believe my ears when Capitol Records said they were turning thumbs down on it.
Is that all there is?
No, because, fortunately, there was a television show they wanted me to do, which I wasn’t keen about. Well, you know what I did. I said, ‘Yes, if you’ll release this record, I’ll do the show,’ and they agreed.
Hallelujah. It became a hit, went ‘across the board’, but that’s not all there is to it. It dramatized for me what my life had been and would continue to be, a struggle, sometimes for things more serious than a song, but the lesson was there — stick to your guns, believe, and more than you ever imagined can happen.
Wikipedia, however, states:
The song was inspired by the 1896 story Disillusionment (Enttäuschung) by Thomas Mann. The narrator in Mann’s story tells the same stories of when he was a child. A dramatic adaptation of Mann’s story was recorded by Erik Bauserfeld and Bernard Mayes …
One difference between the story and the song is that the narrator in Mann’s story finally has a sensation to feel free when he sees the sea for the first time and laments for a sea without a horizon. Most of the words used in the song’s chorus are taken verbatim from the narrator’s words in Mann’s story.
Judge for yourself: