"We're here in Residence..............."

[DracoM]

So said Sarah M-P following the Sibelius 5 this evening - AT THE PROMS. Do you believe that?
I couldn't - well, I can believe it of SM-P, but..............

"In residence"
"Residency"
"The Blue Tent"
"Pop-up Studio"
"Dip into the BBC Proms"
"Live, in Concert"

Presenters of the younger sort seem to lurch from one cosy WIA [in all senses] cliché to another.
Invented why? Why do they do this?

[french frank]

Did it have a curator or an auteur?

[DracoM]

Woops, how could I have missed such zeitgeisty words!

[Flosshilde]

Ho hum.

[french frank]

Ho hum.

I think it's quite in order to point out the BBC's unwittingly amusing self parody.

Wouldn't pick on SMP, though. I'd like to see her given a 'reversioned' The Choir programme, possibly called Choirworks ……? About great choral music.

Most of the presenters need to be told not to try to speak as if they were talking casually to their friends (on the grounds, presumably, that they've been told to talk casually as if conversing with their friends = good broadcasting).

[Serial_Apologist]

Woops, how could I have missed such zeitgeisty words!

Just a high con.

[VodkaDilc]

:

Most of the presenters need to be told not to try to speak as if they were talking casually to their friends (on the grounds, presumably, that they've been told to talk casually as if conversing with their friends = good broadcasting).

One good feature of the lunchtime Prom today was that both Petroc T and Richard Sisson were very tightly scripted. It came over as slick and professional (why does the first word seem so approriate for PT?). It wasn't conversational - and gained a great deal because of that.

Interestingly, PT came over very well in his pre-broadcast chat to the audience - still pompous, but not unbearably so.

[Eine Alpensinfonie]

And there's this on the website:-

8 reasons to love the Proms

We could witter on and on and give you thousands, but if you will make us choose, here are the top reasons why we ruddy well love the Proms.
1. There's something for everyone
Whether you want to comment on the fine, thoughtful piano playing of Leif Ove Andsnes, shout “Where’s Benedict?” at the Sherlock prom, or feel the Ibiza vibes to a Pete Tong soundtrack, there’s room for every sort of music enthusiast.
2. Crowd control
Up to 6,000 people in the Royal Albert Hall who have politely queued, online or in real life, and looked forward to this moment, enjoying a musical delight together, in blissful harmony. It’s like a football crowd if both teams won.
3. Tradition
Like Wimbledon or cricket, the British summer wouldn't be the same without the Proms. Along with tutting, talking about the weather and apologising, it's a quintessential part of tradition. Tourists, locals and people from all over the country feel the same sense of history when they do the Proms.
4. Exuberance
Proms performers appear to be having as good a time as the audience. The drama of the conducting, for example, is an event in itself. From the power of Sakari Oramo (see picture above) to the wild hair-flinging of Simon Rattle and the emotional dynamism of Marin Alsop. Feel free to join in yourself (not really).
5. Dressing up
There is nothing…NOTHING…the British public likes more than dressing up. Large man who wants to dress as a 1920s flapper while wearing a Union Jack stetson? The Last Night of the Proms is the very place to do it.
6. A chance to be smug
There are 21 world premiere performances of new works this year. That's 21 individual opportunities to take the hipster high-ground and casually slip an 'I heard it first' into conversations to impress your friends. The chance for intellectual name-dropping it gives afterwards really are unsurpassed. It is a genuinely excellent way to introduce yourself to music you’ve never come across before. A contra-bassoon concerto? French modernism? Yes please.
7. Bargain!
Each prom has up to 1,350 standing/Promming places available on the day – world class performances for £5, and an opportunity to take part in one of the world’s greatest exercises in the democracy of music.
8. The rituals
Like every traditional event, the Proms has become shrouded in ritual. From the sociability of the queue and the bobbing up and down during Rule Britannia on the Last Night, to the call and response when stagehands bring a piano onto the stage and the arena prommers shout "heave!" and the audience shouts "ho!", it’s all part of the joy. And you have to take part. It’s the law, and we love it.

[Beef Oven!]

And there's this on the website:-

8 reasons to love the Proms

We could witter on and on and give you thousands, but if you will make us choose, here are the top reasons why we ruddy well love the Proms.

6. A chance to be smug
There are 21 world premiere performances of new works this year. That's 21 individual opportunities to take the hipster high-ground and casually slip an 'I heard it first' into conversations to impress your friends. The chance for intellectual name-dropping it gives afterwards really are unsurpassed. It is a genuinely excellent way to introduce yourself to music you’ve never come across before. A contra-bassoon concerto? French modernism? Yes please.

As a ninth reason as to why we ruddy well love the Proms - I'd add 'the whole is other than the sum of the parts' !!!!!!!!!

Regarding #6, I think that it's sad that they think that new music deserves this sort of commentary. What a regrettable attitude. No wonder so little new music barely gets beyond the premiere.

There is a very good reason why many of us have been so excited about new music and new programmes at the Proms down the years, and smug doesn't come into it.

I know it's a light-hearted list, but many a true word spoken in jest.

[Flosshilde]

The traditional forum thread about applause between movements would fit into both 3 and 6.