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Oh man, I knew Jens was going to give me a hard time about this.  Look, we were *all* far more impressed with her character and performance over Jack Lord's...yet he's famous and she's not, really...so I went to her IMDb page and was reading some of her credits as we recorded (including her long running TV series role as pictured by you, as well as not one but two stints playing a middle eastern princess) and also found her IMDb trivia page, with those rather silly marketing nicknames her studio was trying to give her.
I'll admit to being a bit smitten, but that was as much for her persona as a capable, intelligent, take-charge woman (and by far the more interesting of the two main characters) as her looks. I like strong women! Though the episode still had some uncomfortable moments of 50s sexism (of course at the end of the episode, Jack Lord is going to dictate the police report to her while she dutifully types it out like she's his secretary) and a lot of other awkwardness, I felt Peggy Castle still overall shone through in her portrayal of a strong female cop who used others' expectations to her advantage. I would've liked to have seen where she could have taken the character if the show had gone to series, even for a single season.
Incidentally, there's not a single scene in the pilot like that publicity photo Jens used for his album cover, with her gripping her tough male protector like that. In fact, she's the one who physically saves *him* at the end. This was honestly a pretty progressive show for 1958, which is maybe why it didn't get picked up to series. But in the years since we've had many male/female crimesolving duos on popular shows like Monk, Castle, and Bones...Elementary even recasts Sherlock Holmes's Doctor Watson as a woman! So I think that The Sergeant and the Lady, despite its faults, was in fact quite a bit ahead of its time.
Yavar
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We bid adieu to the 50s with our biggest episode yet, a huge extravaganza with lots of rare music (some unreleased) you won't hear anywhere else! This is the second time (after A Marriage of Strangers) we've incorporated clips of Jerry speaking, and there's a big surprise in store near the end for folks as well. All serious fans will not want to miss this...
http://goldsmithodyssey.buzzsprout.com/159614/735335-episode-8-fifties-roundup
Yavar
P.S. As it turns out the CBS Library music cues we are saving for a later podcast dedicated just to them, before anyone brings it up. The reason is a good one...
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We bid adieu to the 50s with our biggest episode yet, a huge extravaganza with lots of rare music (some unreleased) you won't hear anywhere else! This is the second time (after A Marriage of Strangers) we've incorporated clips of Jerry speaking, and there's a big surprise in store near the end for folks as well. All serious fans will not want to miss this...
http://goldsmithodyssey.buzzsprout.com/159614/735335-episode-8-fifties-roundup
Yavar
P.S. As it turns out the CBS Library music cues we are saving for a later podcast dedicated just to them, before anyone brings it up. The reason is a good one...
Super psyched for the show!!!!
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Super psyched for the show!!!!
Not as psyched as we three are to hear what you and others think of it! This was a really tough episode to produce because of all the odds and ends, but I think it came together really wonderfully and actually has cohesion instead of being all disorganized like I was worried it might be. Jens did a great job on the editing (and cover art).
I don't think it's our *best* podcast to date (I'd say that's 3 or 5, with 7 being our most fun and enjoyable) but I do think it's an internal candidate among the three of us for "most impressive" in terms of how happy we are that it actually came off well, considering it was probably our most difficult to date and required a great deal of prep.
Yavar
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Yavar, don't be ranking our podcast episodes in public! It's unbecoming.
Wasn't going to actually rank them (that was just between us) but surely you can't object to me mentioning my very favorites?
I was hoping you'd share that cover for The Tunnel -- you should put it in the custom covers thread too!
Joan, as always your feedback means a great deal. Thank you for taking the time to share it. I have usually found that the size of the orchestra does not matter when it comes to complexity and worth, as long as we are talking about talented composers. Sometimes they're even more complex, since there are fewer musicians and they are usually the most virtuosic (the smaller the ensemble, the easier to play perfectly in sync with complex music, I suspect). And chamber forces strip away the writing so its really exposed, so you get to appreciate the complexity more in many ways.
Jens has the best and most infectious laugh. I'm glad it's been coming out more and more as we get further along in our Odyssey.
Yavar
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Posted: |
Jun 30, 2018 - 10:56 AM
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By: |
Graham Watt
(Member)
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I'm about an hour through it. Will have a rest then come back for more. I'm making it sound like a challenge, but it ain't that hard - I like you guys' enthusiasm. That comes through clearly. As I mentioned when talking about an earlier podcast, it is nice to get a context, but I'm not super-crazy about the plot details you give. I mean, I'm never going to watch those shows! But it's more than just about me, so carry on.
While I sound like I'm quibbling, I may as well slip in another observation. I know it was unintentional, but "your" (whose?) comments about Gaetano's MIDI reconstruction of Playhouse 90's "The Tunnel" came across as slightly mocking. You'll never get a MIDI trumpet to sound like a real trumpet, and thanks to your link to the whole thing on YouTube, we can hear that that's really the weakest thing in it, but it was unavoidable. I just feel for my old pal Gae, who slaves away endlessly (I don't think he ever sleeps), working sometimes from ear and sometimes (as in this case) from sheet music, producing seemingly hundreds of hours of great music for nothing except the fulfillment of his passion. If you'd been a little snarky about a LeRoy Holmes re-recording it might not have left such a bitter taste.
One more thing. Sometimes it's difficult to keep track of what has and hasn't already been said in the podcasts, but regarding the sassy jazz from (I think) the second episode of "The Lineup", one of you talked about how similar it is to part of John Barry's THUNDERBALL. Maybe it'll appear later in the podcast, unless it has already been mentioned, but to my ear all of that jazz style that Goldsmith was using back then came directly from Alex North. I don't believe you've said anything about the enormous influence of North on Goldsmith, but you're going to have a hard time avoiding it during the next several decades worth of podcasts!
I'll try to get the last 45 mins of this one in tonight. Good luck to you all with the future ones.
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Posted: |
Jun 30, 2018 - 12:33 PM
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By: |
Jens
(Member)
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I regret hearing that we came off as snarky to you regarding the MIDI reconstruction of The Tunnel. Yavar and Clark just really seem to dislike that artificial sound, but I have no problem with it and was doing my best to compensate for their lack of enthusiasm with my own, because I love The Tunnel and I love the reconstruction. I listened to it a lot and wanted to play more of it on the show.
We did talk about North a little on our City of Fear podcast, and I think he also briefly came up when discussing the main theme to Face of a Fugitive (though we talked more about the Rozsa influence there). I'm pretty certain that at some point in the 12 hours or so of podcast so far, one of us said something along the lines of "Alex North was Jerry's mentor and favorite composer, and a big influence on his early work."
Here's the thing though: I'm not personally going to be able to make a lot of direct comparisons to North. Whereas I spotted the Insurrection motif in The Tunnel immediately, I would never be able to say "This bit sounds like The Sound and the Fury" or whatever because I'm just not in very deep when it comes to that stuff.
Oh, and about the plot synopses, here's where I'm coming from: Growing up as a Goldsmith fan looking at his filmography, especially the very obscure early stuff, I would always wonder what the heck those things were. I really really wanted to know just what these projects were all about, even or especially if I'd never get to see them. I'm kinda thinking of myself 10-15 years ago with that part of the podcast. I realize not everybody feels that way, and I hope there's still enough other good stuff in there to tide those listeners over.
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Posted: |
Jun 30, 2018 - 3:55 PM
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By: |
Graham Watt
(Member)
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Hi Jens, you (plural) don't have to regret coming over as snarky on the Midi reconstructions thing. I like the conversational, informal "man down the pub" style. And we've all put our foot in it there. Tee hee. It's no big deal. I just hope that Gae hasn't listened in and committed suicide, though I'm sure he's made of sterner stuff. He ought to be learning the LeRoy Holmes "water off a duck's back" technique by now, but my gut feeling is that he's got a bit less cash and mansions at the moment for hurtful comments to seem less painful.
Funny you should mention North's THE SOUND AND THE FURY. That is exactly the score (apart from STREETCAR) that I pinpoint as having the biggest direct influence on JG's early period. Of course, all of that would shortly manifest itself in things like STUDS LONIGAN and, a bit later, THE STRIPPER amongst many others. But I'm running ahead too fast.
About the plot details - yeah, I sometimes fast-forward them, but that's the beauty of the FF button. I actually do more often than not sit through the whole thing, twiddling my thumbs, but there is indeed, as you hope, still enough good stuff to tide things over. And more.
Why am I typing all this? I haven't even heard the last part of the podcast yet. Back soon with more criticisms.
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Hi. I was really taken with the unreleased cues from the 2nd Goldsmith Lineup episode that Yavar had put together. I think he should put up a suite on YouTube! Or better yet, since the music exists, urge a label to do a Lineup CD. Maybe pair it with the Goldsmith Perry Masons.
I've been listening to the podcast with great interest. My involvement in really old Goldsmith material has always been minimal, I've always seen it as a little too embryonic of work he'd do later. But I'm realizing that even in the 50's, what we admire about Goldsmith's work was still there! The downside is that it's also incredibly frustrating, knowing that there's just so much music that's lost to the ages.
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