Either the prospect of speaking at Digital Surrey has made me all hyper-aware of groovy things to show people resulting in me leaping on loads of stuff without a moment’s notice or there’s something in what I’m proposing: that social media needs to ringfence the editorial talent out there on the web so as to underpin the effectiveness of future campaigns.
I’m still working on how to make that a punchier message. While I do, look at what former colleague and geeky pal The Gareth has unearthed.
This kind of stuff makes me weep. Strictly speaking, this isn’t hard-core editorial we’re talking about here, more raw talent. The kind of thing I imagine which emerges when someone is given the space to explore their innermost dreams, indulge themselves and insodoing reveal a slightly quirky, left-field sense of humour on things. After all, who but someone who loves music, loves to create and has a sense of humour would think of combining the theme from Shaft with the signature tune for the World Snooker championship?
South African model and former rugby player Jacques Snyman is touring schools in the USA over the next few weeks as part of the anti-bullying “It Gets Better” campaign running in schools there.
His ripped body is – inevitably – getting quite a lot of coverage across blogs and gay news sites. It is quite a jaw-dropping achievement. Musically however, his ‘promo video’ doesn’t make me think immediately think of him as new talent on the classical music scene. For me his voice lacks support at times – hence why it sounds quite insecure in quite a lot of places.
But, that isn’t the point for this particular tour.
Snyman is openly gay. And he clearly works out a great deal. In some respects he is the gay man muscle mary stereotype. And yet here’s a shining example of someone ticking the sport, music and gay boxes and doing so (for the most part) convincingly. It’s seeing the juxtaposition of his beefy frame with a delicate soundtrack and whispy vocal line which is what challenges the assumptions. And that’s a bold statement, not least because it makes sexuality a seemingly ridiculous notion to even consider when you’re staring at a pumped individual who also happens to be a counter-tenor. And in so doing he has brought himself to a wider audience.
There’s another video with a bit of background to Snyman’s campaign which might be worth a look.
Thanks to Will Norris at Orchestra of the Age of Enlightenment for bringing this to my attention.
However, there are times when Streisand’s self-obsession fits like a glove. The shameless big band accompaniment to Don’t Rain On My Parade is at times just the kind of musical equivalent of stoicism and resilience I need to get me through my day. In truth, I’ve been listening to it quite a lot this week.
Be sure to turn the dial to 11. Sit back. And superimpose your own visuals on top of the soundtrack.
Update Tuesday 6 September 2011: For more information on the Last Night of the Proms, Proms in the Park and to follow my live blog of proceedings on the day go here.
The BBC Proms Press and PR office makes me laugh a bit. They don’t intend to, I know. It’s twice now I’ve received a communication from them on a Sunday.
The first time I thought I’d done something wrong, something which warranted some poor soul to have to trek into Broadcasting House early on a Sunday morning and pen something scathing and threatening so that I didn’t say or do anything which might endanger the forthcoming season. When I read the email and discovered it proudly announced the statistics from the first day of ticket sales, I smiled. After all, didn’t the press intern have to go into Broadcasting House to send that email anyway? Because surely, them lot at BBC Proms Press and PR don’t have remote access, do they? Surely their budget gets ploughed into the season of musical entertainment.
I’m digressing. Digressing from the point of this post. Because having received an email from the same adorable lady again on a Sunday morning, I’m meant to be writing about the BBC Proms in the Park 2011 and the news that Westlife will be headlining the park-bound open air gig on Saturday 10 September 2011 which sisters the Royal Albert Hall Last Night just across the road.
Proms in the Park is always a bit how I imagine me being an older sibling would have been if I’d been one. I would have been in my late-teens still living at home during the University holidays, maintaining my bookishness, opting to watch late night documentaries on BBC Two about depleted stocks of cod in the North Sea while my younger brother played rock music in his pokey bedroom upstairs. We would meet for an evening meal every night and nod at each other because we had the same surname, but other than that he kept his space and I kept mine.
So it is with Proms in the Park. The most remarkable aspect of the BBC Proms for me. The truth is that in the fifteen years that Sir Terry Wogan has hosted the thing, I’ve never attended it. I’ve been happy to queue one year to attend the Proms in the Albert Hall on the last night – happy to queue to listen to any Prom concert in the season pretty much, but the idea of sitting in a park with an umbrella, some sausage rolls and a few bottles of Cava (for myself) doesn’t especially excite me. Proms in the Park just isn’t on my radar (some years, the Last Night in the Albert Hall isn’t either – it certainly wasn’t last year, as the video below will prove).
And yet, considerable numbers of people flock to the Hyde Park gig. It is – on a smaller scale compared to the likes of the Eurovision – an event all in its own right. It’s a party on a summer’s evening. An excuse for friends to get together and have a picnic, safe from anyone accusing them of being achingly middle-class. It’s the one night of the year it’s perfectly acceptable – perhaps even encouraged – to be middle class.
This year’s big pull – the big headline act – is Westlife. I know little about them, other than always getting them confused with Boyzone. They’re not a pull for me, but they might be for others. Glamorous soprano Katharine Jenkins – last seen splashed across BBC Television in the Christmas Doctor Who – has a spot in the show. So too tenor Russell Watson.
But the big attraction for the line-up is tenor Josh Groban (above). A hugely talented and sickeningly versatile singer who I first saw deliver an electrifying performance playing the Russian chess player in the Royal Albert Hall concert performance of Tim Rice and Benny/Bjorn’s concept musical Chess (there’s a version he performed on Swedish TV embedded below). The boy can sing masterfully with a microphone and proved himself more than capable to taking on the demanding role. He has a massive following in the States and the UK and appears to be able to turn his hand to anything. For my money, he’s not on TV enough in this country by any means.
One other notable appearance at the concert will be that of pianist Lang Lang who has a busy night on Saturday 10 September doing a stint inside the Royal Albert Hall as well as one in the open air for the park audience. You’d think his agent would have insisted the BBC used it’s considerable expertise in mounting a live relay so the pianist didn’t have to venture outside. Maybe it’s time for him to get another agent.
Information about buying tickets for the Proms in the Park is available here. I’m really not spelling it out on this blog post otherwise I risk looking like nothing but a mouthpiece for the BBC. And seeing as they don’t pay me for me using my personal blog to promote their content I am quite happy to make it the responsibility of you the reader to click somewhere else to find out the necessary information. Do though. It promises to be a nice night, just so long as it doesn’t rain.
The picture used of lovely Mr Groban in this blog post was taken from the Josh Groban website. If you want me to take it down then drop me a line. Don’t start getting your lawyers involved. I’m really quite approachable without any of that silly nonsense.The picture of the park full of Proms in the Parkers was taken in 2008 by Flickr User Chris Jobling and was used here in accordance with the Creative Commons wotnot that some Flickr users subscribe to. So there.
This is the first of what I hope will be a regular post, curating some of the stuff I’ve enjoyed reading over the week, the stuff which interests me and (I hope) stuff I you may not have already seen. All of it posted here in time for Sunday morning reading.
A joyous three page trip down memory lane in this feature article about Super 8 film on Slate.com, the way in which the format and it’s limitations forced young experimenters down a specific narrative path and how that in itself influenced the work of them later as film directors. Thought-provoking. A timely reminder that digital video wasn’t the first technical advancement in the field to make film-making a popular past-time.
If you’re a social media user and you work for a large scale organisation like say the BBC you could either listen to the College of Production podcast about ‘personal use of social media’ or you could take a leaf out of the book of personal etiquette the players of the BBC National Orchestra of Wales did this week.
They wrote to the musicians of the Orquestra Sinfonica Brasileira pledging their support for the Brazilian musicians who risked losing their jobs because of their conductor Roberto Minczuk wanting to cut the orchestra payroll. BBC NOW players advised their Brazilian counterparts they had urged their conductor to enter into negotiations to turn the situation around, the same conductor who stood on the platform to conduct the Welsh players later that day. Difficult for the BBC? Cause for ‘important’ people to suck in their teeth? No. Of course not. We’re all adults.
English National Opera’s online video (I refuse to call it a viral) promoting Nico Muhly’s new opera ‘Two Boys‘ is doing the rounds this week and for good reason. In promoting a new opera, ENO have made mainstream the notion most have understood for a long time (though perhaps not articulated) that the way to hook the audience’s interest is to not talk directly about the music, the story or the production itself. In promoting an opera (or any ‘serious’ music event) you’re best off talking about it or one of it’s themes in a slightly disconnected way.
So it is with this video (below) which takes social media functions and translates them into real life. The video looks ‘real’, but clearly every single person has in some way agreed to have their contribution included in the resulting edit. I mean, surely, ENO are obtaining permission for those contributions, aren’t they? Or are they all just brilliant actors?
I’ve downloaded the new TS Eliot The Wasteland iPad produced by Faber this week. It’s a deliciously simple example of how the tablet now affords producers the opportunity to collate and present content in a handy, seductive way. In the Guardian piece (a gratifyingly lengthy collection of talking heads) Faber are understandably keen to downplay this as ‘the saviour of the book’. I’m inclined to agree. It’s just a nice thing. A nice way to gain access to an art form I wouldn’t otherwise have considered. Yes. Really.
People are still writing about Glastonbury. In case you’re interested, I’m on the side of the doubters on the subject of the Womble signing. Shirley Bassey was understandable. But a bunch of guys in suits miming to a recorded track? That’s a step too far, even for me.
If you’re knitting – like I am – then you might be interested in American craft retail operation Hobbycraft’s social media operation encouraging knitting fans to post pictures of their creations on the company’s Facebook page. I am tempted. But I think I should probably get a few more rows in first.
The picture in this post is of some flowers good mate Leigh bought me and The Chap when she came to stay for a night this week. A lovely night spent chatting about shitty situations and how to turn them around.