Friday, October 9, 2020

IBMA Virtual World of Bluegrass - 2020 - Review


Since 2007, Irene and I have attended every IBMA World of Bluegrass save one, during which we were traveling. We always found the event to be invigorating, exciting, and enjoyable, meeting people on a professional level we only knew from CD’s, Sirius/xm radio, or festivals. Our first World of Bluegrass was held at the Nashville Convention Center in 2007. While our enthusiasm for the organization and the city of Nashville kept growing, it had become obvious that the powers that be in Music City weren’t as excited about hosting the convention as we were about attending. When the contract ran out, Raleigh was ready for us, and IBMA moved to a new, and more welcoming venue, in 2013. Each year, as the City of Raleigh and IBMA’s relationship ripened, the World of Bluegrass and the associated event hosted by the City called “Wide Open Bluegrass” grew, improved, became more attractive, and attendance blossomed. The positive effects on the City of Raleigh and IBMA were obvious to all. Then Covid-19 closed the country down, and the live event so many of us looked forward to each year was cancelled for 2020. 


Almost as soon as the cancelation of this year’s event was announced, the IBMA staff got down to work to plan a way to hold a virtual event designed to meet the professional and personal needs of the membership, as well as seeking to keep the organization alive and functioning while bluegrass music would undoubtedly be encountering an existential crisis. Slowly at first, and then with increasing momentum, a virtual World of Bluegrass Conference and Wide Open Bluegrass Musical event began to emerge in the planning and then the execution. 


From the pre-conference Leadership Bluegrass reception to the weekend’s IBMA Bluegrass Live!, the event proved itself to be a rewarding alternative for an audience whose greatest joy in the music can be found in jams and festivals. There were a range of sessions held in the business conference from Sarah Jarosz Keynote Address on  Monday September 28 to The Steep Canyon Rangers final performance on Saturday, October 3. IBMA chose a platform called Swapcard to present this complex event design. People wishing to attend the business conference had to pay, while, this year, music was presented free, but, sadly, is not available for replay due to copyright restrictions. 




Each component of this complex event contains recorded content consisting of interviews, discussions, musical events and/or a combination. Because the bands themselves were responsible for their own production quality, the showcases varied in quality at two levels, rather than simply the quality and attractiveness of the showcasing bands,. For instance, performance by Dobro great Jerry Douglas with his guest Odessa Settles had superb quality, both because of the quality of the performance and the wonderful recording from Jerry’s home studio. Other performances, however, did not reach this quality level, though most provided a strong musical experience and were acceptable as artistic presentations, too. Many of the featured performances at this year’s IBMA can be found by searching YouTube for IBMA World of Bluegrass 2020.

Paul Schiminger - IBMA Executive Director


Paul Schiminger, Executive Director of IBMA, said, “We are pleased the community reacted so positively about the experience.  It certainly was a herculean effort.  As with any IBMA World of Bluegrass, it required a large team of people to make it happen.  Certainly a huge amount of work was done by staff in overall management and direct implementation (too many areas to list).  We also have producers of each awards program and for the festival, as well as the Education Committee and many other committees.  The City of Raleigh was definitely involved as a close partner with the IBMA.  They provided support and help in various efforts.  It is terrific to have the City of Raleigh invested in the success of IBMA World of Bluegrass right alongside of us.”

Another example of the cooperation and coordination putting the festival together involves festival partner PineCone. David Brower, the Executive Director of PineCone, the Piedmont Council of Traditional Music, commented “ PineCone and the City of Raleigh were very much involved in the event.  PineCone again served as the producer for the festival Friday and Saturday.  We shot 8 different performances around Raleigh to make sure our city was one of the stars of the event.” Here’s an example of one of their venues. 


PineCone Promo


The virtual event proved to be a huge success for those who attended, but was also a gigantic financial drain to IBMA’s coffers. IBMA professionals and fans can help alleviate these costs and losses by supporting it. Contributions and donations support IBMA and the now merged IBMA Trust Fund, which is a 501(c)(3) charitable organization. 


PineCone IBMA Music Promo



What Can We Learn? There are many lessons to learn from the virtual IBMA in terms of strengthening the organization, increasing its outreach, and helping bluegrass artists, promoters, related businesses, and fans adjust to new realities.


The use of Zoom for presentations, break-out rooms, and performances showed the versatility of video sharing as an effective means of communication. For instance, four of us who have enjoyed breakfast together at the Marriot every morning during IBMA in Raleigh,  got together a couple of days ago to re-cap our experience and share ideas. We spent an enjoyable hour and decided to continue meeting in this delightful way. The random break-out rooms during the Leadership Bluegrass annual get-together were a successful, although too short, way to mix as if we were at a reception. 


On My Way Back to the Land of My Childhood - Virtual Jam - IBMA 2020


Zoom constituent meetings were better attended, better planned, and more interactive than many live presentations at the in-person conference have been. Finding ways, in the future, to mix live and virtual attendance could widen interest in the organization, proving productive for the future. Many people who might otherwise be interested in joining and participating in IBMA have been deterred by the expense and perceived exclusivity of the organization. Increased live online presence might prove important to future growth.

 For years, a long-term goal of IBMA has been to create and build local and regional affiliates capable of supporting, helping, organizing, and furthering their goals. This has not been accomplished, often because lack of funds made it impossible to hire and support regional outreach. One lesson growing from this year’s virtual experience may be that the organization and its reach can be grown digitally. This might take the form of regional online meetings, support for promoters wishing to work together to build their own events through cooperation with others, or other events I can only imagine. 

Bluegrass has been slow to embrace the power and potential of the Internet. As applications become more widely used and digital communication becomes easier and more flexible, IBMA has provided people who have previously relied on fliers, word of mouth, or other less engaging strategies with an introduction to strategies they can use to their own and the music’s benefit. Mutuality leads to strength. IBMA can grow when potential members - promoters, bands, merchandisers, recording companies, as well as interest organizations can more easily reach out to and communicate with each other. That may be the great gift the pandemic has given to IBMA and bluegrass music. 


IBMA Awards Show - 2020






Thursday, October 1, 2020

This Farming Life

 This Farming Life, which we began watching while we were looking for a light-hearted program to end our evening and calm down after streaming a mystery or a thriller, has turned into a go-to program filled with compelling characters, beautiful Scottish scenery, while singing a love song to rural living in a farm setting. Produced by the BBC Documentary Unit, which creates around 2000 hours of video material a year for national and international consumption, by thoughtfully assembling what emerges, in effect, as a lush visual love song to farming, family, and rural living. 


In Season 1 of This Farming Life, five families living in five quite contrasting regions of northern Scotland face the vicissitudes and victories, challenges and successes of life largely governed by the animals they love, the countryside they treasure, and the extremes of weather and climate they endure.  

Sandy Granville and his wife Ali are retired London lawyers who moved to The Isle of Lewis, an island several hours ferry ride removed from the mainland, where Sandy became a crofter, a herder of a flock living year-round outdoors in extremely rough country. The herd of sheep is annually put on boats to bring to his farmstead, where they shear sheep, thin the herd, and care for it.


Sandy Granville



Martin Irvine and his, now, wife Mel farm Limousin beef cattle on a farm near Drummuir on a rented estate where they also care for 600 ewes for the Lord of the manor. Their relationship develops through the year, culminating in a rousing wedding in the eleventh episode. Their campaign to sell cattle at local and regional fairs culminates in Scotland’s largest agricultural fair near the end of the first series.


Martin & Mel Irvine



Bobby and Anne Lennox’s Shantron Farm lies near Luss on Loch Lomond north of Glasgow. They are well known for their work with regional youth groups, especially young farmers. Also important in their enterprise is a bed and breakfast business associated with the farm. They and their ancestors have been farming the same land since the 1750’s.


Anne & Bobby Lennox




John and Fiona Scott’s family have farmed Fearn Farm for four generations on over 1100 acres they own plus over 650 additional acres they lease. On it, they raise sheep and cattle. John was named “Sheep Farmer of the Year” for 2015 in Scotland.


John Scott


During the first season, the ten episodes follow the families through the seasons, beginning with bringing their herds back to the barns for the winter and then following the seasons of the year along with the seasons of life, relationships, and the work itself. The series never condescends to the characters while accurately portraying the difficulty, danger, and rewards of the work. While their backgrounds are quite different, these are people committed to their work, their animals, and their relationships.


This Farming Life never shies away from aspects of farm life which could provide difficulties for some viewers. The cattle and sheep on these farms are useful for, basically, two things - meat and breeding. Sex and death are constant companions of daily life. This reality is never ignored or disguised, providing language and material which might never be heard or seen on American television screens. 


I highly recommend This Farming Life as entertainment and for education. Furthermore, the filming is absolutely beautiful. Scotland’s lakes, mountains, fields, and landscape help define the beauty of the region and lifestyle as well as the commitment to treasure it. Don’t miss this series running on BritBox. Currently there are four seasons available in the U.S. with more to come.

Saturday, September 5, 2020

The Inspector Lynley Mysteries - BritBox

 


Inspector Lynley Mysteries, based on the still emerging series of novels by Elizabeth George, the most recent one having been published in 2019, revolves around Inspector Lynley himself and his partner, DS Barbara Havers as they are assigned to the wide variety of locations, often beyond their Scotland Yard base, creating some tension with local police forces. Other points of conflict are often based on race, class, gender, education, and wealth, leading to an almost endless variety of possible stories. 

Nathaniel Parker as Lynley


Lynley, the eighth Earl of Asherton (played by the classically trained Nathaniel Parker), comes from a conflicted family of inherited wealth and position complicated by the effects of years of privilege. As “Tommy” Lynley, he has left his heritage behind for the challenge of becoming a police inspector, with whom many officers don’t seem to wish to work. In the first episode, he is joined by Detective Sergeant (DS) Barbara Havers (Sharon Small), a product of the working class who has risen  to her rank despite having a habit of irritating her superiors, mostly because of her quick insight and wit, as well as her awareness of her own worth as person. Such diversity creates a rich partnership within a fraught relationship, exactly the stuff creating lots of interesting dramatic opportunities. Their chemistry permits the duo to see situations from two viewpoints, often leading to greater insight into the crimes as trust between them grows and matures. 


Sharon Small



A Suitable Vengeance, episode 2.3, provides a portrait of Lynley’s background as he returns home with profiler Helen for their engagement party. As the story has progressed through a series of cases, Tommy’s background always moves between background (his origin story) and foreground (the cases) interspersed with his character. All this comes clearer in this single episode. However, he and (to a lesser extent) Havers emerge as the series continues. The growth of characters through the course of many dramatic series provides nuance, development, and familiarity with the characters, making them ever more irresistible. 


Lynsley's Family Estate


Lynley, himself, seems conflicted between his desire to shuck his aristocratic background of wealth and privilege, while simultaneously relying upon it. He’s frequently attracted to beautiful, but equally flawed, female characters who end up disappointing him (or dying). He cannot see or acknowledge the growing attraction and admiration he feels for Havers, whose humble background and lesser rank in the police force keeps him from seeing her qualities in full. This relationship forms the core of the series around which the crimes and their solutions are wound. The chemistry between the two central characters creates the tension driving viewers to return to this addictive series. 



English detective film is as much concerned with social class as American video deals with race, although both are available in generous helpings. I like the way different regions are portrayed in various parts of Great Britain as we watch these shows. Regional accents, a variety of historical settings, and always emerging characters and situations seem to provide an endless number of series now being introduced to new audiences. Suffice it to say there’s variety enough for all tastes. 





Since the Inspector Lynley Mysteries are based on a series of novels, I downloaded Elizabeth George’s For the Sake of Elena, a 464 page novel, the fifth of eighteen Lynley novels, from our local library’s digital lending collection.   I deliberately chose a sample we had already viewed in order to satisfy my curiosity. The first ten episodes of Lynley Mysteries were based on this crime series. Later shows used the George characters in films written specifically for television broadcast, not based on specific novels, but were based on original shows written for television.


 While I’m giving the source material for the Inspector Lynley Mysteries a read, the television films in no way rely on a viewer’s doing so. In fact, it might detract from your enjoying this very good television production. The television stories are excellent, and, as usual, I recommend watching the series in chronological order better to enjoy the writing quality and the imagination going into developing the program. You’ll find your time well spent.



Saturday, August 29, 2020

Postal Service Reform is Necessary .... Sometime




It’s well past due for this country to reform the US Postal Service. A postal service is required in the U.S. Constitution, which says, “The Congress shall have the power] to establish Post Offices and Post Roads.” Article 1, Sec.8. But Benjamin Franklin, our first Postmaster General had established post offices before the Constitution was adopted. Nothing appears in the Constitution suggesting the Postal Service must be self-sustaining. Since the earliest days of our republic, news and information has been delivered to homes and post offices. As we spread west, postage was delivered by Pony Express, Well Fargo station wagons, and RFD (rural free delivery established in the 19th century) to postal boxes at the end of lanes heading up driveways to farms, homes, and estates. 





Meanwhile, post offices, large and small, were established in such a way that every Member of Congress maintained a vested interest in keeping employees and services at work in order to service voters throughout their districts. This has come to mean that every elected official has an interest in keeping the Postal Service, post offices, and postal employees. They constitute a working crowd now consisting of over 600,000 employees and costing $71 billion dollars, serving every home and office in the country. These people and the institutions all affect people who vote. The Postal Service has long been in need of a major overhaul, but not this way and not now!





President Trump has chosen to make massive changes, with no particular plan in mind, let alone on paper, describing what his goals are or how he wishes to achieve them. Rather than undertake the legislative process necessary to make rational and needed changes or to prepare the population for them, he has staked his possible (but not likely) re-election on disrupting the postal delivery service by sabotage and fiat rather than by negotiation and compromise, which might take years to achieve. He has sown distrust in a system which most Americans have trusted, used, and revered. 


The biggest change affecting how we receive and exchange information, goods,  services, as well as money is the advent of the digital information age and widespread use of the Internet. The Covid-19 Pandemic has not only accelerated the urgent need for rethinking our communications and delivery systems, but forced many Americans to rely ever more completely on some sort of integration between old-fashioned mail, and ubiquitous electronic communication. But, sadly, those able to avail themselves of widespread electronic and postal services are only those who live in areas dense enough to have provided nearly universal services or who are wealthy enough to assure their becoming a fully integral part of our daily lives.

 


Banking, bill paying, investing, Christmas cards and birthday cards, personal and business correspondence, advertising, and a plethora of other communications which once arrived by mail now come to us through a variety of digital devices, each of which is built into one or another digital device which have now become ubiquitous, but certainly not universal. Until electronic services are as available to nearly everyone today as postal service was by the end of the nineteenth century and electricity by the mid-twentieth century, major changes in the US Postal Service will remain impossible. 


Families living without access by cable or, at least, cell-tower still cannot access the internet. However, as of 2019, according to a Pew Research Center report, that percentage had only reached 85% in rural areas.




Until we can provide, at a reasonable cost, nearly 100% availability to the Internet in America’s rural areas, we cannot undertake extensive overhaul of the U.S. Postal Service. Even if in large parts of the country there will be redundant availability of access to computers and supplies to those needing to use them as an adjunct to schooling, the Postal Service can be fully accomplished. Now, just before a hotly contested election in the midst of a pandemic when the country is more divided than ever surely cannot be the right time to begin work on accomplishing this enormous and enormously expensive national goal. 



While the USPS is no longer the source of innumerable patronage jobs for members of Congress to dispense to constituents, there are still post offices in all but the smallest hamlets in the nation. Taking those small village post offices, which function to deliver the mail as well as being a place where neighbors cross paths on a regular basis, would become contentious for those running for office. Eliminating this widespread source of jobs and information could make the thorough re-imagination of distribution and reduction in size of the Postal Service costly to any politician.


















Nevertheless, the ways we distribute goods and services, information, and entertainment have changed substantially in the last three decades or so. Changes in the scope and mission of the USPS in the face of these changes are inevitable and important. At the very least, such changes deserve thoughtful, considered decision-making and a full-fledged administrative and legislative cooperation. All this argues strongly against the immediate and politically oriented reduction to postal delivery we currently face. Finally, saving the postal system and integrating it properly will require striving for a level of consensus not currently existing in the country. It’s time to put such major changes on hold until more light and less heat is shed upon the many serious problems we face. 





 

Wednesday, August 19, 2020

Last Tango In Halifax - Review



Last Tango in Halifax available for streaming on Netflix consists of four seasons already released in the US, as well as a fifth season to be released in US on PBS starting on September 20, 2020 and, presumably later on Netflix. The story follows the adventures and misadventures of two families in Yorkshire, one urban and relatively comfortable, the other a rural family living on a sheep farm all brought together when their senior members, Alan and Celia,  meet through Facebook and re-kindle their stillborn relationship after more than sixty years of missing, lost love. Celia, played by Anne Reid and Alan, by the great Derek Jacobi, soon decide to  marry and we’re off to the races. 


Anne Reid & Derek Jacobi


Located and mostly filmed in and around Yorkshire, UK, the scenery is lovely, no matter the weather, as the tale wends its way through the physical year and the seasons of family dynamics in four generations of complex relationships involving assorted current and ex-partners. Together, the characters will grab your attention, keeping you focused on this not-always-lovable extended, but constantly intriguing and surprising, family as they go about living complicated and often difficult lives. The narrative takes on the full load of issues involved when living in contemporary society: elder sex, alcoholism, class differences, gender identity, race, fidelity and infidelity, family violence, and more. 


Large and Varied Cast


No character is without problems or flaws, each becoming more human and approachable because of their flaws rather than despite such foibles. Nicolla Walker, familiar to British detective series fans, is superb as the tortured almost accidentally nymphomaniacal Gillian. Sarah Lancashire plays Caroline, simultaneously vulnerable and arch as head of the local public (thus private) school finds herself confused in every corner of her life. And, of course, both Derek Jacobi and Anne Reid dominate as the aging risk takers willing to shoulder new commitments while reaching into their mid-seventies. The lovers and children all make this romp both believable, funny, and tragic. The series transcends situation comedy without ever becoming farce or tragedy, but always seeking to remain hopeful, emphasizing the ultimate humanity of each character. 


Sarah Lancashire & Nicola Walker



Playwright - Sally Wainwright


Currently available on Netflix and PBS PassportLast Tango in Halifax, written by Sally Wainwright, remains human and believable, as relationships rise and fall, even crumble while the characters learn and grow. Filled with laugh-out-loud comedy and eye-wetting tragedy, this is a hard series not to like or even to pace your viewing, as it encourages binging. Give yourself up to those few parts seeming unbelievable by sitting back and letting it all in. You'll love it that way.


Wednesday, August 12, 2020

Perry Mason - 2020

 

The criminal lawyer Perry Mason has stood for defending the innocent for nearly one hundred years. Author/lawyer Earl Stanley Gardner (1889-1970) wrote eighty Perry Mason novels and short stories, beginning with The Case of the Velvet Claws, published in 1933 and selling twenty-eight million copies in its first fifteen years. At the time of his death, he was the best selling American author...ever. Beyond the novels, six Perry Mason movies were made during the 1930’s, a radio show ran on CBS from 1943-1955, the television program starring Raymond Burr as Mason ran from 1957-1966. You can still view the first eight seasons of Perry Mason on CBS All-Access. 


Earl Stanley Gardner


Those of us of a “a certain age” all have Perry Mason in our backgrounds in some way or another. I remember the fifteen minute radio show, gathered around the radio in our third story New York apartment. In books as well as films and tv the formula of half a show dedicated to the investigation and the second half devoted to the trial, always ending in the accused being found innocent, is still the basic model for detective fiction and film. This formula for telling the Perry Mason story still dominates the current version, whose first season has just been completed on HBO Max, where it was green lighted for a second season before the first one ended. But the differences in style and substance are considerable, and perhaps not acceptable to some older Mason fans. 

Raymond Burr


The calm, self-possessed, Perry Mason played by Raymond Burr who inhabits the consciousness of so many of us, is not the current character at all. Perry Mason, played by Matthew Rhys, who you’ll remember as the two-lives spy in The Americans, is tortured by fear and doubt as a shell- shocked (now properly labeled as PTSD) WW I vet in 1931 Los Angeles. The series provides back-stories for all the major characters appearing in the books, on film, radio and television - Della Street, Hamilton Burger, Paul Drake - but they’re nothing like the mid-century cutouts you’d recognize. No Black characters appear in the original Perry Mason shows, while this iteration is filled with color, awareness of women’s concerns, ethnicity, and real language you’d never experience on television. 

Matthew Rhys


The plot, very broadly, concerns the kidnapping and murder of an infant child. Also, front and center is a  religious zealot looking and sounding a lot like the famous (notorious) evangelist, Amy Semple McPherson, who created a national sensation during the 1920’s and early thirties from her base in Los Angeles, played by Tatiana Maslany.  Mason is a down-at-the-heels private investigator doing the legwork for DB Jonathan, played by the always terrific John Lithgow. Included is a full-scale explanation of how the attorney Perry Mason emerges, as well as other familiar Mason characters like Della Street and Paul Drake. All the characters emerge as complex individuals, each coping with real issues complicating their lives while making them interesting as well as arresting. Cloaked in moral, sexual, and religious ambiguity, this story moves way beyond anything you might see on network television, even today, which remains one of the great gifts of streaming television.  

Juliana Rylance as Della Street


The settings are period Los Angeles, nighttime scenes are often dark and threatening while agricultural and desert surroundings brightly, even harshly lit. The film noir atmosphere provides a perfect setting for tortured, often violent lives of the characters. Car lovers will enjoy this series simply for the range and quality of antiques on display. The sets capture the period highlighting architecture, furniture, lighting fixtures, and more to create perfect settings for the hardship of the times. The script reflects the racism, sexism, police, and civil corruption into which Mason tries to bring his simple morality of right and wrong over what’s simply legal. 



Running for eight recently completed episodes on HBO Max, Perry Mason proved itself to be a highly rewarding, tension-filled police/legal procedural with plenty extra. Ratings were: IMDb = 8, Rotten Tomatoes = 75%. Irene sometimes found it to be “too talky,” but I enjoyed the pacing, development, and nuance of the plotting and acting added to the pleasure of the entire production. Perry Mason has been renewed for a second season, which I hope will lead to several more.