Watching the Eurovision Song Contest on my computer yesterday in the middle of a sunny afternoon in New Hampshire was odd. It’s the kind of live event for which people in Amsterdam and all over Europe have parties, or gather in bars to drink and scream at the television. It’s the most kitsch, gayest, pop-culture must-see TV of the year. And an audience of some 180 million people in 45 countries watched as a torch-singing bearded drag artist from Austria took home the coveted prize.
Here in the USA most people have never heard of Eurovision, or think it’s a brand of eyeglasses. And it’s hard to explain. “Like American Idol?” they ask. Um, no. I tell them it launched the careers of Abba and Celine Dion. “Like America’s Got Talent?” Nope. I try to make clear national pride is at stake, with a geopolitical element in the voting that runs parallel to the music competition. Their eyes glaze over in confusion. Not for the first time in almost thirty years of living abroad, I feel more than a little European.
After a series of personal tragedies Gustav Mahler composed what he called his most personal work, which he based on Chinese poetry. A few years later, still suffering from serious depression, Mahler traveled to Leiden in the Netherlands to consult with Dr. Sigmund Freud. The date was August 26, 1910.
Click on the link below for more, including 30 minute audio feature I produced in January 2005 for the series Vox Humana. It was a finalist at the New York Festivals & the Prix Marulic Festival in Croatia.
via Song of a Troubled Heart | Radio Netherlands Worldwide.
Nicole Lewis flashes a mischievous grin as she hands me a plate of freshly made blueberry oatmeal pancakes. “I’m warning you. They’re very healthy.” It’s not my usual breakfast of coffee and a cigarette, but change is good. Nicole and I agree on that. It’s part of why we’ve become friends. We met when she arrived in New Hampshire in June to direct a play at the Weathervane Theatre. I arrived a month earlier to visit my college friend Joanne who owns the Inn at Whitefield, right next door.
The Inn at Whitefield
The Inn is quiet again but for the rat-a-tat-tatting of rhythmic rain on the roof, Mother Nature’s own percussive washboard. It was a musical weekend with New Bedford band Pumpkin Head Ted visiting the North Country. Morning coffee on the terrace was accompanied by strumming of an acoustic guitar. A noontime flute trilled along the upstairs hallway. Hours before customers arrived, an impromptu session filled the pub with gentle harmonies. But I’d been thinking more discordant thoughts.
Rite of Spring, Joffrey Ballet
(1913 costume design, Nicholas Roerich)
Paris, 29 May 1913
Everything was beautiful at the ballet. Romantic melodies by Chopin, graceful sylphs shimmered in white, Russian dreamboat Nijinsky danced in the moonlight. The first act at the brand new Théâtre des Champs-Elysées was what everyone expected. But as the music of Igor Stravinsky’s Le Sacre du Printemps (The Rite of Spring) began the second part of the program, the audience twitched, twittered and turned hostile.
“One literally could not, throughout the whole performance, hear the sound of music,” said Gertrude Stein (who actually saw the second performance four days later.) Popular composer Puccini (also attending the second night) called the music cacophonous, “the work of a madman.” Suddenly everyone who was anyone in Paris wanted to see what kind of ballet had caused a riot in the theatre on its opening night.