Backstabbing, faux-sincerity, clawing one's way to the top, class division, those at the top thumbing their noses at those further down the ladder....all political concepts, right? Actually, all of this is in
reference to the 1975 Robert Altman film “Nashville” about the
country music scene....which in itself serves as a political
allegory.
 Welcome to episode 132 of See Hear.
 In the early seventies, Robert Altman was becoming known as a director of ensemble pieces without the usual approach to narrative. He could be seen as being part of the New Hollywood that emerged in the late 60s, but truth is, he was a film maker unto himself....as different from everything else that was going on as other directors that emerged in this period were to what came before. He already had some hugely important films like M*A*S*H and The Long Goodbye, but to many, Nashville is considered his masterpiece. 

It featured multiple storylines surrounding musicians, hangers on, lovers, and political strategists. The film takes place over 5 days leading up to a concert supporting a presidential candidate. In between, we musical performances that reflect the political era – some in bars, some in the Grand Ol' Opry, some in hotel rooms. The film shows many of these people in a poor light – some are greedy, some are deluded, all are desperate. Many of the songs in this film were composed by the
actors, leaving the Nashville music fraternity annoyed that they
weren't consulted, and that these pesky Northerner actors thought
they could understand what country music was about. Altman must have been forgiven as his final film many years later was A Prairie Home
Companion (a very early See Hear podcast focus).
 Tim is taking a few shows off, so wasn't available, but Kerry and I were thrilled to be joined by co-host of the Stinking Pause Podcast (and occasionally Reel Britannia) Charlie Mahoney. He's a confessed Altman fan and brought some wonderful conversation and insight. We look forward to welcoming him back to future shows.
 
If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....
 
See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com
 
Send us feedback via email at seehearpodcast@gmail.com
 
Join the Facebook group at http://facebook.com/groups/seehearpodcast
 
You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).
 Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a>

<description>Backstabbing, faux-sincerity, clawing one's way to the top, class division, those at the top thumbing their noses at those further down the ladder....all political concepts, right? Actually, all of this is in
reference to the 1975 Robert Altman film “Nashville” about the
country music scene....which in itself serves as a political
allegory.

Welcome to episode 132 of See Hear.

In the early seventies, Robert Altman was becoming known as a director of ensemble pieces without the usual approach to narrative. He could be seen as being part of the New Hollywood that emerged in the late 60s, but truth is, he was a film maker unto himself....as different from everything else that was going on as other directors that emerged in this period were to what came before. He already had some hugely important films like M*A*S*H and The Long Goodbye, but to many, Nashville is considered his masterpiece. 


It featured multiple storylines surrounding musicians, hangers on, lovers, and political strategists. The film takes place over 5 days leading up to a concert supporting a presidential candidate. In between, we musical performances that reflect the political era – some in bars, some in the Grand Ol' Opry, some in hotel rooms. The film shows many of these people in a poor light – some are greedy, some are deluded, all are desperate. Many of the songs in this film were composed by the
actors, leaving the Nashville music fraternity annoyed that they
weren't consulted, and that these pesky Northerner actors thought
they could understand what country music was about. Altman must have been forgiven as his final film many years later was A Prairie Home
Companion (a very early See Hear podcast focus).

Tim is taking a few shows off, so wasn't available, but Kerry and I were thrilled to be joined by co-host of the Stinking Pause Podcast (and occasionally Reel Britannia) Charlie Mahoney. He's a confessed Altman fan and brought some wonderful conversation and insight. We look forward to welcoming him back to future shows.



If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....



See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com



Send us feedback via email at seehearpodcast@gmail.com



Join the Facebook group at http://facebook.com/groups/seehearpodcast



You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).


Learn more about your ad choices. Visit megaphone.fm/adchoices</description>

Kerry and Maurice are joined by Charlie Mahoney of the Stinking Pause Podcast to discuss the 1975 Robert Altman film, Nashville.

Backstabbing, faux-sincerity, clawing one's way to the top, class division, those at the top thumbing their noses at those further down the ladder....all political concepts, right? Actually, all of this is in
reference to the 1975 Robert Altman film “Nashville” about the
country music scene....which in itself serves as a political
allegory.

Welcome to episode 132 of See Hear.

In the early seventies, Robert Altman was becoming known as a director of ensemble pieces without the usual approach to narrative. He could be seen as being part of the New Hollywood that emerged in the late 60s, but truth is, he was a film maker unto himself....as different from everything else that was going on as other directors that emerged in this period were to what came before. He already had some hugely important films like M*A*S*H and The Long Goodbye, but to many, Nashville is considered his masterpiece. 


It featured multiple storylines surrounding musicians, hangers on, lovers, and political strategists. The film takes place over 5 days leading up to a concert supporting a presidential candidate. In between, we musical performances that reflect the political era – some in bars, some in the Grand Ol' Opry, some in hotel rooms. The film shows many of these people in a poor light – some are greedy, some are deluded, all are desperate. Many of the songs in this film were composed by the
actors, leaving the Nashville music fraternity annoyed that they
weren't consulted, and that these pesky Northerner actors thought
they could understand what country music was about. Altman must have been forgiven as his final film many years later was A Prairie Home
Companion (a very early See Hear podcast focus).

Tim is taking a few shows off, so wasn't available, but Kerry and I were thrilled to be joined by co-host of the Stinking Pause Podcast (and occasionally Reel Britannia) Charlie Mahoney. He's a confessed Altman fan and brought some wonderful conversation and insight. We look forward to welcoming him back to future shows.



If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....



See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com



Send us feedback via email at seehearpodcast@gmail.com



Join the Facebook group  at http://facebook.com/groups/seehearpodcast



You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).


Learn more about your ad choices. Visit megaphone.fm/adchoices

See Hear Podcast Episode 132 - Nashville

So many biopics feature the story of an artist from cradle to
grave....all in 2 hours. Those of you who know me or have listened to
the show before know I'm....uh....not a fan of these types of pods.
They're often a cherry picked list of moments in the artist's life
until the moment of triumph – artistically and in overcoming
personal obstacles. 

Springsteen: Deliver Me From Nowhere does it backwards.
 
Welcome to episode 131 of See Hear Podcast.
 
In Springsteen: Deliver Me From Nowhere, we find Bruce at an
artistically satisfying place and being hugely popular (though not as
popular as he would get). What does an ambitious artist do following
a number 1 record with one of the greatest working bands in America?
He goes into a bedroom with a 4 track recorded (new technology for
the day), records a bunch of dark personal songs about troubled
people....and insists on putting these songs (FROM A CASSETTE) out as
his new LP. The film follows the book by Warren Zanes “Deliver Me
From Nowhere” which covers the period in exquisite detail. It
covers Springsteen's fascination with a serial killer and classic
cinema, and how they helped influence his songwriting of the period.
The story behind Nebraska is not what you'd expect from a Hollywood
film...not about the man who was simultaneously recording the biggest
album of his career while he was recording the most personal. The film starts with a superstar who has mental health issues, and needs to deliver something small.
 
If we were doing bonus / Patreon shows, this would most likely be
classified as one of those. Instead of badgering my partners Kerry
and Tim into seeing this new Springsteen biopic, I went with 4
willing folks to a local cinema, then adjourned to a nearby cafe'.
Loaded up with coffee and cake, I plugged in an external microphone
into my phone, turned on the voice recorder software, then had a
conversation about with my wife Joanne, and our friends Kate and
Geoff about the film we had just watched – no time to fashion our
thoughts....just an instant gut reaction. Sadly, Joanne couldn't be
picked up on the mic with the constant background noises one hears in
a busy cafe, so she's been edited out. This episode is short, and we
surely missed out salient points that further contemplation might
have bought – that doesn't matter. This is an honest reaction. Next
month, Kerry, Tim and I will return to the style of show you're
familiar with.
 If you’ve been enjoying the show, please consider giving us a
favourable review on iTunes and let your friends know that our show
exists. If you don't enjoy the show, tell your adversaries to tune
in. We don't care who listens..... 

See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com 

Send us feedback via email at ⁠seehearpodcast@gmail.com 

Join the Facebook group at http://facebook.com/groups/seehearpodcast 

You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). 
 Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a>

<description>So many biopics feature the story of an artist from cradle to
grave....all in 2 hours. Those of you who know me or have listened to
the show before know I'm....uh....not a fan of these types of pods.
They're often a cherry picked list of moments in the artist's life
until the moment of triumph – artistically and in overcoming
personal obstacles. 


Springsteen: Deliver Me From Nowhere does it backwards.



Welcome to episode 131 of See Hear Podcast.



In Springsteen: Deliver Me From Nowhere, we find Bruce at an
artistically satisfying place and being hugely popular (though not as
popular as he would get). What does an ambitious artist do following
a number 1 record with one of the greatest working bands in America?
He goes into a bedroom with a 4 track recorded (new technology for
the day), records a bunch of dark personal songs about troubled
people....and insists on putting these songs (FROM A CASSETTE) out as
his new LP. The film follows the book by Warren Zanes “Deliver Me
From Nowhere” which covers the period in exquisite detail. It
covers Springsteen's fascination with a serial killer and classic
cinema, and how they helped influence his songwriting of the period.
The story behind Nebraska is not what you'd expect from a Hollywood
film...not about the man who was simultaneously recording the biggest
album of his career while he was recording the most personal. The film starts with a superstar who has mental health issues, and needs to deliver something small.



If we were doing bonus / Patreon shows, this would most likely be
classified as one of those. Instead of badgering my partners Kerry
and Tim into seeing this new Springsteen biopic, I went with 4
willing folks to a local cinema, then adjourned to a nearby cafe'.
Loaded up with coffee and cake, I plugged in an external microphone
into my phone, turned on the voice recorder software, then had a
conversation about with my wife Joanne, and our friends Kate and
Geoff about the film we had just watched – no time to fashion our
thoughts....just an instant gut reaction. Sadly, Joanne couldn't be
picked up on the mic with the constant background noises one hears in
a busy cafe, so she's been edited out. This episode is short, and we
surely missed out salient points that further contemplation might
have bought – that doesn't matter. This is an honest reaction. Next
month, Kerry, Tim and I will return to the style of show you're
familiar with.

If you’ve been enjoying the show, please consider giving us a
favourable review on iTunes and let your friends know that our show
exists. If you don't enjoy the show, tell your adversaries to tune
in. We don't care who listens..... 


See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com 


Send us feedback via email at ⁠seehearpodcast@gmail.com 


Join the Facebook group at http://facebook.com/groups/seehearpodcast 


You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). 

Learn more about your ad choices. Visit megaphone.fm/adchoices</description>

Maurice is joined by his friends Kate and Geoff to have a quick chat about Springsteen: Deliver Me From Nowhere 15 minutes after leaving the cinema.

So many biopics feature the story of an artist from cradle to
grave....all in 2 hours. Those of you who know me or have listened to
the show before know I'm....uh....not a fan of these types of pods.
They're often a cherry picked list of moments in the artist's life
until the moment of triumph – artistically and in overcoming
personal obstacles. 


Springsteen: Deliver Me From Nowhere does it backwards.



Welcome to episode 131 of See Hear Podcast.



In Springsteen: Deliver Me From Nowhere, we find Bruce at an
artistically satisfying place and being hugely popular (though not as
popular as he would get). What does an ambitious artist do following
a number 1 record with one of the greatest working bands in America?
He goes into a bedroom with a 4 track recorded (new technology for
the day), records a bunch of dark personal songs about troubled
people....and insists on putting these songs (FROM A CASSETTE) out as
his new LP. The film follows the book by Warren Zanes  “Deliver Me
From Nowhere” which covers the period in exquisite detail. It
covers Springsteen's fascination with a serial killer and classic
cinema, and how they helped influence his songwriting of the period.
The story behind Nebraska is not what you'd expect from a Hollywood
film...not about the man who was simultaneously recording the biggest
album of his career while he was recording the most personal. The film starts with a superstar who has mental health issues, and needs to deliver something small.



If we were doing bonus / Patreon shows, this would most likely be
classified as one of those. Instead of badgering my partners Kerry
and Tim into seeing this new Springsteen biopic, I went with 4
willing folks to a local cinema, then adjourned to a nearby cafe'.
Loaded up with coffee and cake, I plugged in an external microphone
into my phone, turned on the voice recorder software, then had a
conversation about with my wife Joanne, and our friends Kate and
Geoff about the film we had just watched – no time to fashion our
thoughts....just an instant gut reaction. Sadly, Joanne couldn't be
picked up on the mic with the constant background noises one hears in
a busy cafe, so she's been edited out. This episode is short, and we
surely missed out salient points that further contemplation might
have bought – that doesn't matter. This is an honest reaction. Next
month, Kerry, Tim and I will return to the style of show you're
familiar with.

If you’ve been enjoying the show, please consider giving us a
favourable review on iTunes and let your friends know that our show
exists. If you don't enjoy the show, tell your adversaries to tune
in. We don't care who listens..... 


See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com 


Send us feedback via email at ⁠seehearpodcast@gmail.com 


Join the Facebook group at http://facebook.com/groups/seehearpodcast 


You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). 

Learn more about your ad choices. Visit megaphone.fm/adchoices

See Hear Episode 131 - Deliver Me From Nowhere (first reaction)

History is full of famous tales that are told from one perspective. As we all know, everyone has their own version of how something went down....even if it doesn't contradict the popular narrative, there's always something that happened in the background whose importance is diluted or not told at all.
 Welcome to episode 130 of See Hear Podcast.
 
In 1974, a German teenage jazz fan named Vera Brandes was inspired to book jazz pianist Keith Jarrett to perform at the Koln Opera House. This seemed like a gigantic task however you look at it. Vera had gained a little experience in helping touring musicians perform around Germany
(already a big task) but getting one of the then new leading lights
in jazz to perform a large venue like the Koln Opera House at the age
of 18???? Adding to the degree of difficulty, Jarrett arrived in Koln
to discover that there was only an out of tune, broken pedal baby
grand with stuck keys. Things happened, the concert was recorded, and
the resulting album sold more than any other solo piano jazz album in
history.
 The thing is....everyone talks about Jarrett's ability to improvise on a
(partly repaired) piano for an hour and create wonderful art. The
part that is often missing or diluted from the story is how Vera
Brandes made this happen at all. If she hadn't been so inspired to
promote this show, the biggest selling piano jazz album ever, belongs
to someone else.
 
Director and writer Ido Fluk was so inspired by this story, he decided to make a film to tell it from Vera's side of the tale. Sure, Jarrett is a strong part of the filmed version of events, but make no mistake – this is Vera's
story. She went on to be a successful album producer and music
promoter, but this is the tale she wanted told. As the analogy is
made in the film, sometimes you have to tell the story of the
scaffolding to appreciate the story of painting the Sistine Chapel
ceiling.
 On the latest episode of See Hear, Tim, Kerry and I were thrilled to chat with Ido about what the definition of success is, how making great art is not always about the artist solely, and how his own journey to write the tale in some ways reflected Keith's approach to improvisational music
composition. Mala Emde as Vera and John Margaro as Keith are real
revelations. Both actors reveal their characters as 3 dimensional in
a way that may not have been in lesser hands. Ido is an incredible
director who really knows how to tell a story and how to get the best
out of his cast.
 The film has already had festival screenings in Europe and the US, and is about to get a wider cinema release there. Hopefully, it gets wider worldwide release, before landing on streaming or physical media in the not too distant future. Trust me – you can listen and enjoy this
conversation independently of seeing the film....but rush to it first
chance you get.
 
Our huge thanks to Ido for his generosity of time and conversation, and to publicist Sasha Berman for making it happen.
 
If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....
 
See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com
⁠
Send us feedback via email at ⁠seehearpodcast@gmail.com
⁠
Join the Facebook group 
at ⁠http://facebook.com/groups/seehearpodcast
⁠
You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a>

<description>History is full of famous tales that are told from one perspective. As we all know, everyone has their own version of how something went down....even if it doesn't contradict the popular narrative, there's always something that happened in the background whose importance is diluted or not told at all.

Welcome to episode 130 of See Hear Podcast.



In 1974, a German teenage jazz fan named Vera Brandes was inspired to book jazz pianist Keith Jarrett to perform at the Koln Opera House. This seemed like a gigantic task however you look at it. Vera had gained a little experience in helping touring musicians perform around Germany
(already a big task) but getting one of the then new leading lights
in jazz to perform a large venue like the Koln Opera House at the age
of 18???? Adding to the degree of difficulty, Jarrett arrived in Koln
to discover that there was only an out of tune, broken pedal baby
grand with stuck keys. Things happened, the concert was recorded, and
the resulting album sold more than any other solo piano jazz album in
history.

The thing is....everyone talks about Jarrett's ability to improvise on a
(partly repaired) piano for an hour and create wonderful art. The
part that is often missing or diluted from the story is how Vera
Brandes made this happen at all. If she hadn't been so inspired to
promote this show, the biggest selling piano jazz album ever, belongs
to someone else.



Director and writer Ido Fluk was so inspired by this story, he decided to make a film to tell it from Vera's side of the tale. Sure, Jarrett is a strong part of the filmed version of events, but make no mistake – this is Vera's
story. She went on to be a successful album producer and music
promoter, but this is the tale she wanted told. As the analogy is
made in the film, sometimes you have to tell the story of the
scaffolding to appreciate the story of painting the Sistine Chapel
ceiling.

On the latest episode of See Hear, Tim, Kerry and I were thrilled to chat with Ido about what the definition of success is, how making great art is not always about the artist solely, and how his own journey to write the tale in some ways reflected Keith's approach to improvisational music
composition. Mala Emde as Vera and John Margaro as Keith are real
revelations. Both actors reveal their characters as 3 dimensional in
a way that may not have been in lesser hands. Ido is an incredible
director who really knows how to tell a story and how to get the best
out of his cast.

The film has already had festival screenings in Europe and the US, and is about to get a wider cinema release there. Hopefully, it gets wider worldwide release, before landing on streaming or physical media in the not too distant future. Trust me – you can listen and enjoy this
conversation independently of seeing the film....but rush to it first
chance you get.



Our huge thanks to Ido for his generosity of time and conversation, and to publicist Sasha Berman for making it happen.



If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....



See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com

⁠

Send us feedback via email at ⁠seehearpodcast@gmail.com

⁠

Join the Facebook group 
at ⁠http://facebook.com/groups/seehearpodcast

⁠

You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).
Learn more about your ad choices. Visit megaphone.fm/adchoices</description>

Tim, Kerry and Maurice speak with Ido Fluk, director of the film Koln 75. This film tells the incredible story behind Keith Jarrett's Koln Concert album......except that it gives us the perspective of teenage  jazz fan Vera Brandes whom without the biggest selling jazz piano album ever doesn't exist...or at least, it's not by Keith Jarrett.

History is full of famous tales that are told from one perspective. As we all know, everyone has their own version of how something went down....even if it doesn't contradict the popular narrative, there's always something that happened in the background whose importance is diluted or not told at all.

Welcome to episode 130 of See Hear Podcast.



In 1974, a German teenage jazz fan named Vera Brandes was inspired to book jazz pianist Keith Jarrett to perform at the Koln Opera House. This seemed like a gigantic task however you look at it. Vera had gained a little experience in helping touring musicians perform around Germany
(already a big task) but getting one of the then new leading lights
in jazz to perform a large venue like the Koln Opera House at the age
of 18???? Adding to the degree of difficulty, Jarrett arrived in Koln
to discover that there was only an out of tune, broken pedal baby
grand with stuck keys. Things happened, the concert was recorded, and
the resulting album sold more than any other solo piano jazz album in
history.

The thing is....everyone talks about Jarrett's ability to improvise on a
(partly repaired) piano for an hour and create wonderful art. The
part that is often missing or diluted from the story is how Vera
Brandes made this happen at all. If she hadn't been so inspired to
promote this show, the biggest selling piano jazz album ever, belongs
to someone else.



Director and writer Ido Fluk was so inspired by this story, he decided to make a film to tell it from Vera's side of the tale. Sure, Jarrett is a strong part of the filmed version of events, but make no mistake – this is Vera's
story. She went on to be a successful album producer and music
promoter, but this is the tale she wanted told. As the analogy is
made in the film, sometimes you have to tell the story of the
scaffolding to appreciate the story of painting the Sistine Chapel
ceiling.

On the latest episode of See Hear, Tim, Kerry and I were thrilled to chat with Ido about what the definition of success is, how making great art is not always about the artist solely, and how his own journey to write the tale in some ways reflected Keith's approach to improvisational music
composition. Mala Emde as Vera and John Margaro as Keith are real
revelations. Both actors reveal their characters as 3 dimensional in
a way that may not have been in lesser hands. Ido is an incredible
director who really knows how to tell a story and how to get the best
out of his cast.

The film has already had festival screenings in Europe and the US, and is about to get a wider cinema release there. Hopefully, it gets wider worldwide release, before landing on streaming or physical media in the not too distant future. Trust me – you can listen and enjoy this
conversation independently of seeing the film....but rush to it first
chance you get.



Our huge thanks to Ido for his generosity of time and conversation, and to publicist Sasha Berman for making it happen.



If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....



See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com

⁠

Send us feedback via email at ⁠seehearpodcast@gmail.com

⁠

Join the Facebook group 
at ⁠http://facebook.com/groups/seehearpodcast

⁠

You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).
Learn more about your ad choices. Visit megaphone.fm/adchoices

See Hear Episode 130 - Interview with Ido Fluk, director of Koln 75

Punk music branched out in the late 70s / early 80s into a harder, faster,
thrashier style than its earlier predecessor. If (as is often
claimed) the original wave of punk was a reaction to the complexity
of prog and the lack of danger in other forms of popular music, then
hardcore was the next phase of that during the era of post-punk. It
was about catharsis and screaming out about injustice.
 
Then there was Bad Brains.
 
Welcome to episode 129 of See Hear Podcast.
 
Tim has selected the 2012 documentary Bad Brains: A Band In DC for round table discussion. Bad Brains brought something different to the table for their time. In America in the early eighties, punk bands
generally weren't playing reggae music as a regular part of their
sets. Certain British bands were combining punk energy with a reggae
outlook in their music. Bad Brains had gone from being influenced by
the jazz fusion stylings of Return To Forever to being converted to
punk via the Sex Pistols (already making them unique). Seeing Bob
Marley perform made them convert to Rastafarianism and incorporate
reggae as well as hardcore punk into their music – not a hybrid,
but two sides of the same coin.
 The documentary goes back and forth between current day events (at the
time of filming) and archival footage of the band to tell their story. We get a worrisome start with a “how-did-we-get-here?” approach to the rest of the film.....a trope I'm quite fond of. In a way, the Bad Brains tale could be the story of millions of bands, but they're seen as hugely exciting pioneers of what they do. Many important bands that followed sang their praises as an influence (Beastie Boys, Nirvana, Black Flag....) 

HR, their “lead throat” gradually became more and more unstable in
his behaviour, and in a time where no one was using the expression
“mental health”, his behaviour was probably explained away as
“that's just HR”, rather than investigating if there was something wrong.
 
Sadly, Kerry wasn't available, but Tim and I discussed positive mental
attitudes, wearing motorcycle helmets on stage, not showing up to
gigs, punk that wasn't nihilistic, and much more. The film may be
found online at: <a href="https://www.dailymotion.com/video/x6e5wnw">https://www.dailymotion.com/video/x6e5wnw</a>
 If you’ve been enjoying the show, please consider giving us a
favourable review on iTunes and let your friends know that our show
exists. If you don't enjoy the show, tell your adversaries to tune
in. We don't care who listens.....
 See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at ⁠<a href="http://pantheonpodcasts.com/">http://pantheonpodcasts.com</a>
⁠
Send us feedback via email at ⁠<a href="mailto:seehearpodcast@gmail.com">seehearpodcast@gmail.com</a>
⁠
Join the Facebook group at ⁠<a href="http://facebook.com/groups/seehearpodcast">http://facebook.com/groups/seehearpodcast</a>
⁠
You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a>

<description>Punk music branched out in the late 70s / early 80s into a harder, faster,
thrashier style than its earlier predecessor. If (as is often
claimed) the original wave of punk was a reaction to the complexity
of prog and the lack of danger in other forms of popular music, then
hardcore was the next phase of that during the era of post-punk. It
was about catharsis and screaming out about injustice.



Then there was Bad Brains.



Welcome to episode 129 of See Hear Podcast.



Tim has selected the 2012 documentary Bad Brains: A Band In DC for round table discussion. Bad Brains brought something different to the table for their time. In America in the early eighties, punk bands
generally weren't playing reggae music as a regular part of their
sets. Certain British bands were combining punk energy with a reggae
outlook in their music. Bad Brains had gone from being influenced by
the jazz fusion stylings of Return To Forever to being converted to
punk via the Sex Pistols (already making them unique). Seeing Bob
Marley perform made them convert to Rastafarianism and incorporate
reggae as well as hardcore punk into their music – not a hybrid,
but two sides of the same coin.

The documentary goes back and forth between current day events (at the
time of filming) and archival footage of the band to tell their story. We get a worrisome start with a “how-did-we-get-here?” approach to the rest of the film.....a trope I'm quite fond of. In a way, the Bad Brains tale could be the story of millions of bands, but they're seen as hugely exciting pioneers of what they do. Many important bands that followed sang their praises as an influence (Beastie Boys, Nirvana, Black Flag....) 


HR, their “lead throat” gradually became more and more unstable in
his behaviour, and in a time where no one was using the expression
“mental health”, his behaviour was probably explained away as
“that's just HR”, rather than investigating if there was something wrong.



Sadly, Kerry wasn't available, but Tim and I discussed positive mental
attitudes, wearing motorcycle helmets on stage, not showing up to
gigs, punk that wasn't nihilistic, and much more. The film may be
found online at: https://www.dailymotion.com/video/x6e5wnw

If you’ve been enjoying the show, please consider giving us a
favourable review on iTunes and let your friends know that our show
exists. If you don't enjoy the show, tell your adversaries to tune
in. We don't care who listens.....

See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at ⁠http://pantheonpodcasts.com

⁠

Send us feedback via email at ⁠seehearpodcast@gmail.com

⁠

Join the Facebook group at ⁠http://facebook.com/groups/seehearpodcast

⁠

You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).
Learn more about your ad choices. Visit megaphone.fm/adchoices</description>

Tim and Maurice discuss the 2012 documentary Bad Brains: A Band In DC.

Punk music branched out in the late 70s / early 80s into a harder, faster,
thrashier style than its earlier predecessor. If (as is often
claimed) the original wave of punk was a reaction to the complexity
of prog and the lack of danger in other forms of popular music, then
hardcore was the next phase of that during the era of post-punk. It
was about catharsis and screaming out about injustice.



Then there was Bad Brains.



Welcome to episode 129 of See Hear Podcast.



Tim has selected the 2012 documentary Bad Brains: A Band In DC for round table discussion. Bad Brains brought something different to the table for their time. In America in the early eighties, punk bands
generally weren't playing reggae music as a regular part of their
sets. Certain British bands were combining punk energy with a reggae
outlook in their music. Bad Brains had gone from being influenced by
the jazz fusion stylings of Return To Forever to being converted to
punk via the Sex Pistols (already making them unique). Seeing Bob
Marley perform made them convert to Rastafarianism and incorporate
reggae as well as hardcore punk into their music – not a hybrid,
but two sides of the same coin.

The documentary goes back and forth between current day events (at the
time of filming) and archival footage of the band to tell their story. We get a worrisome start with a “how-did-we-get-here?” approach to the rest of the film.....a trope I'm quite fond of. In a way, the Bad Brains tale could be the story of millions of bands, but they're seen as hugely exciting pioneers of  what they do. Many important bands that followed sang their praises as an influence (Beastie Boys, Nirvana, Black Flag....) 


HR, their “lead throat” gradually became more and more unstable in
his behaviour, and in a time where no one was using the expression
“mental health”, his behaviour was probably explained away as
“that's just HR”, rather than investigating if there was something wrong.



Sadly, Kerry wasn't available, but Tim and I discussed positive mental
attitudes, wearing motorcycle helmets on stage, not showing up to
gigs, punk that wasn't nihilistic, and much more. The film may be
found online at: https://www.dailymotion.com/video/x6e5wnw

If you’ve been enjoying the show, please consider giving us a
favourable review on iTunes and let your friends know that our show
exists. If you don't enjoy the show, tell your adversaries to tune
in. We don't care who listens.....

See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at ⁠http://pantheonpodcasts.com

⁠

Send us feedback via email at ⁠seehearpodcast@gmail.com

⁠

Join the Facebook group at ⁠http://facebook.com/groups/seehearpodcast

⁠

You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).
Learn more about your ad choices. Visit megaphone.fm/adchoices

See Hear Podcast episode 129 - Bad Brains: A Band In DC

There’s a moment in Mel Brooks’ “History of the World Part 1” where we’re told that shortly after the first artists came the first art critics…..I’ll leave you to determine what happens….
 
The music world is certainly not short of people with opinions in regards to others’ ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There’s no shortage of classical soloists who’ve captured the wider public’s imagination, yet have their critics as well.
 
Welcome to episode 128 of See Hear Podcast.
 
Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn’t unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould’s approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould’s approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you’re going to upset people. Glenn Gould upset some people.
 
BUT….the reason he is still being talked about was for what he DID, not what he didn’t do. He’s most famous for his first and last released recordings, Bach’s Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He’s also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials.
 
In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould’s character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography.
 
June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn’t coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating.
 
If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....
 
See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at <a href="http://pantheonpodcasts.com/">http://pantheonpodcasts.com</a>
 
Send us feedback via email at <a href="mailto:seehearpodcast@gmail.com">seehearpodcast@gmail.com</a>
 
Join the Facebook group at <a href="http://facebook.com/groups/seehearpodcast">http://facebook.com/groups/seehearpodcast</a>
 
You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).
 
 Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a>

<description>There’s a moment in Mel Brooks’ “History of the World Part 1” where we’re told that shortly after the first artists came the first art critics…..I’ll leave you to determine what happens….



The music world is certainly not short of people with opinions in regards to others’ ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There’s no shortage of classical soloists who’ve captured the wider public’s imagination, yet have their critics as well.



Welcome to episode 128 of See Hear Podcast.



Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn’t unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould’s approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould’s approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you’re going to upset people. Glenn Gould upset some people.



BUT….the reason he is still being talked about was for what he DID, not what he didn’t do. He’s most famous for his first and last released recordings, Bach’s Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He’s also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials.



In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould’s character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography.



June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn’t coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating.



If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....



See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com



Send us feedback via email at seehearpodcast@gmail.com



Join the Facebook group at http://facebook.com/groups/seehearpodcast



You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).




Learn more about your ad choices. Visit megaphone.fm/adchoices</description>

Maurice speaks with Canadian director Francois Girard about his 1993 film, "Thirty Two Short Films About Glenn Gould", as well as the nature of creativity.

There’s a moment in Mel Brooks’ “History of the World Part 1” where we’re told that shortly after the first artists came the first art critics…..I’ll leave you to determine what happens….



The music world is certainly not short of people with opinions in regards to others’ ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There’s no shortage of classical soloists who’ve captured the wider public’s imagination, yet have their critics as well.



Welcome to episode 128 of See Hear Podcast.



Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn’t unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould’s approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould’s approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you’re going to upset people. Glenn Gould upset some people.



BUT….the reason he is still being talked about was for what he DID, not what he didn’t do. He’s most famous for his first and last released recordings, Bach’s Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He’s also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials.



In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould’s character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography.



June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn’t coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating.



If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens.....



See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com



Send us feedback via email at seehearpodcast@gmail.com



Join the Facebook group at http://facebook.com/groups/seehearpodcast



You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify).




Learn more about your ad choices. Visit megaphone.fm/adchoices

See Hear Podcast Episode 128 - Interview with Francois Girard about "Thirty Two Short Films About Glenn Gould"

See Hear is a monthly podcast dedicated to the discussion of musically themed films - narratives or documentaries. Join hosts Tim, Kerry and Maurice as they tenuously connect .Hated: The GG Allin Story and Yellow Submarine. Proud part of Pantheon - the podcast network for music lovers.

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