Full House - BBC2 in 1973

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  • Lat-Literal
    Guest
    • Aug 2015
    • 6983

    Full House - BBC2 in 1973

    Having posted a clip of David Bedford's "100 Kazoos" on one of the music threads, I described it as having been on a programme for children in 1971. It now appears from a page of the Radio Times that it was on an adults' programme in 1973. "Full House" presented by Joe Melia was broadcast at 9pm on BBC2. Does anyone remember it and if so can you say to what extent it was stimulating or merely gimmicky? It looks quite interesting to me and not like anything we have now. Here is what it featured on 17 February of that year:

    "A live entertainment for Saturday, presenting a mixture of music, poetry, film, dance, comedy, the visual arts - and a few surprises.
    Introduced by Joe Melia with a little help from John Bird Among the main events:
    With 100 Kazoos
    (British premiere)
    For some contemporary composers, audience participation can produce a new kind of excitement. DAVID BEDFORD conducts the first performance in this country of an unusual work, in which a chamber ensemble of musicians will be joined by 100 kazoos, played by the studio audience.
    One street beyond justice or love
    MRS CAROL RUMENS wrote a sequence of poems during the time she was living on the New Addington housing estate near Croydon. Tonight she will read some of the poems that came out of that experience: and the studio audience will be invited to discuss questions raised by her work, about municipal housing in particular, and the quality of the environment in general.
    Soft Machine
    A group of four musicians whose brand of music defies categorisation, unique in having performed at the Newport Jazz Festival, a Henry Wood Promenade concert, and at rock centres throughout Europe and the USA.
    They are MIKE RATLEDGE , keyboards; HUGH HOPPER , bass guitar; JOHN MARSHALL , drums; KARL JEN KINS, keyboard, oboe, saxophone.
    10.10 Mass
    The artistic director of the London Contemporary Dance Theatre, ROBERT COHAN , has been working with composer VLADIMIR RODZIANKO on a new work, which combines dance and singing in a new form of music theatre. Mass is a fusion of Cohan's choreography and Rodzianko's score which will be sung by the dancers themselves.
    The Sisters
    A film adaptation of one of the - stories from Dubliners by JAMES JOYCE : with plus showgirls and shepherdesses, matadors and generals, ostriches, bears and turkeys: some unique fairground sculpture by master carvers that will be shown in the Full House studio.
    The Sisters: adapted by JOHN MCGAHERN Director STEPHEN FREARS
    Full House: Director VERNON LAWRENCE Producers NAOMI CAPON
    TONY CASH. MICHAEL MACINTYRE
    Assistant editor TONY STAVEACRE Editor BILL MORTON"
    Last edited by Lat-Literal; 13-09-15, 23:46.
  • greenilex
    Full Member
    • Nov 2010
    • 1626

    #2
    The seventies really were something special...

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    • burning dog
      Full Member
      • Dec 2010
      • 1511

      #3
      A magazine style Arts programme. Concentrated more on the "contemporary". There was a few satirical sketches in the style of TW3 IIRC

      I recall this one vividly


      "Full House" Episode #1.2 (TV Episode 1972) cast and crew credits, including actors, actresses, directors, writers and more.

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      • MrGongGong
        Full Member
        • Nov 2010
        • 18357

        #4
        100 Kazoos was published as part of the UE Music for Young Players series
        which also included Bedfords Balloon Music and pieces by John Paynter, Murray Schafer, George Self etc

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        • Serial_Apologist
          Full Member
          • Dec 2010
          • 37691

          #5
          Originally posted by MrGongGong View Post
          100 Kazoos was published as part of the UE Music for Young Players series
          which also included Bedfords Balloon Music and pieces by John Paynter, Murray Schafer, George Self etc
          I, er, believe Boulez had been commissioned to conduct its first performance at The Proms, but refused.

          I remember seeing Bedford's The Garden of Love at the Victoria Rooms in Bristol, and walking out in a huff somewhere around halfway through, although I liked Bedford's music on the whole and appreciated what he was trying to do at that time, and I still have and love the two Kevin Ayers LPs on which he was featured. That would have been earlier - probably 1971.

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          • MrGongGong
            Full Member
            • Nov 2010
            • 18357

            #6
            Originally posted by Serial_Apologist View Post
            I, er, believe Boulez had been commissioned to conduct its first performance at The Proms, but refused.

            I remember seeing Bedford's The Garden of Love at the Victoria Rooms in Bristol, and walking out in a huff somewhere around halfway through, although I liked Bedford's music on the whole and appreciated what he was trying to do at that time, and I still have and love the two Kevin Ayers LPs on which he was featured. That would have been earlier - probably 1971.
            I remember meeting him about 20 years ago and he said (in a slightly wistful voice) that the "best" thing he had ever written was the string arrangement for Madness's Our House. He probably earned more from that than anything else?

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            • Lat-Literal
              Guest
              • Aug 2015
              • 6983

              #7
              Some very interesting posts so far. Many thanks for them. I really hope that there will be more.

              Where I think "Full House" differs from current arts programmes is in its sense of anticipation. When I look at the combination of features listed in the original post, it says to me that the makers of the programme felt it was ground breaking, they didn't know which artists would be significant in the longer term and they probably didn't even care about that point. The excitement was in the new direction which, I think, they felt would become the norm. Well, if so, they were wrong as it all became geared towards the commercial.

              What I would suggest is that today's broadcasters not only ensure that everything they put out is tried and tested. Their approach is such that in forty years time no one will be asking why this or that was on the radio or television in 2015 because the majority of people will have been locked in to thinking exactly as they do now. Consequently, there will be no thought that today's Soft Machine - Radiohead? - were probably on Radio 3 too and, while understandable, that was probably a mistake. Nor will there be any notion that any successor to Mrs Carol Rumens of New Addington could ever have naturally been something other than a novelty on "The One Show". That is a pity given that the original Carol Rumens went on to be a professional writer, university academic, Poetry Editor for the publisher Quarto and the Literary Review and a Fellow of the Royal Society of Literature.

              Where "Full House" sat broadly in early 1973 was among the beginnings of "pressure groups", a term with which members of the public were only very slowly becoming aware, and in the advent of commercial radio which, while limited in scope and initially clumsy in its delivery, did produce some innovative and even artistic programmes for a very short while. I can just about remember that "vibe". It was distinct from the 1960s and what it comprised may just challenge modern notions that any idealism had totally ended by 1968-1969. Rather there was, I believe, a haphazard drift towards it all becoming a bit more organised. Additionally, as the link in burning dog's post shows - Adrian Mitchell, Cannonball Adderley etc - along with the reference to TW3, there was more of 1960s' broadcasting in "Full House" than one might have expected of a programme that was looking forward.

              One last point and it is an almost surreal observation but that TW3 reference gives me a useful hook. Joe Melia was a very respected and multi-talented professional who deserves the utmost respect. However, the similarity in his demeanour with that of Alan Partridge is uncanny and I am now sure that Partridge must have been based to some extent on him!

              David Bedford's "With 100 Kazoos" was commissioned by Pierre Boulez in the early 70s for his series of Roundhouse Proms. Believing that he had been asked to...
              Last edited by Lat-Literal; 14-09-15, 15:46.

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