My Beloved John Wilson Conducts The John Wilson Orchestra in a Swingin’ Christmas on BBC2, Christmas Day 2010

With singers Anna-Jane Casey, Seth MacFarlane, and Curtis Stigers. Mike Lovatt solos on the trumpet. Plus brazen hussy shimmy alert. Whoever would stifle that shimmy in years to come, my bonny, would stifle your spirit.

Swinging Christmas, 2010Above: The full audio of the BBC’s Swingin’ Christmas With the John Wilson Orchestra, 2010. Big Band medley selections are listed below. Find the complete show on YT here.

For the Big Band medley: “Skyliner” – Barnet / Charlie Barnet; “Take the A Train” – Billy Strayhorn and vocalist Joya Sherrill / Duke Ellington; “Let’s Dance” – Gregory Stone (based on von Weber’s “Invitation to the Dance”, orchestrated by Hector Berlioz) / Benny Goodman; “I’ve Got My Love to Keep Me Warm” – Irving Berlin / Ray Noble; “Begin the Beguine” – Cole Porter / Artie Shaw; “I’m Getting Sentimental Over You” – Ned Washington and George Bassman / Tommy Dorsey; “Midnight Sun” – Hampton and Sonny Burke / Lionel Hampton; “You Made Me Love You” – Monaco and McCarthy / Harry James; “Moonlight Serenade” – Miller / Glenn Miller; “Peanut Vendor” – Moisés Simons / Stan Kenton; “Woodchoppers Ball” – Joe Bishop / Woody Herman; “One O’Clock Jump” – Count Basie / Count Basie.

This is the kind of music ID-ing I used to do when I was 18 and a night solfeggist at ASCAP, John.

Composer Andrew Cottee is the show’s orchestrator-arranger.


The entire 2010 BBC Swingin’ Christmas With the John Wilson Orchestra is available to view on YT here.



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My Beloved John Wilson’s Concert Schedule March Through May 2022, Plus an Update on That E-album About an English Conductor

To those of you patiently awaiting the release of my text+audiolinks album JOHN WILSON AN ENGLISH CONDUCTOR: Sorry, you’ll have to wait a little while longer—my pdf software, which I’ve had no problems using when converting shorter works, is giving me grief because the collection of John’s work has grown sooo voluminous I’m going to have to make cuts. But where??? Now aiming for it to come out in time, in some shape or form, for my bonny lad’s fiftieth birthday. On va voir.

However, it also gives me time to refine my observations about John’s artistic path. Anyone who knows me from A POET FROM HOLLYWOOD: LOVE, INSANITY, STEPHEN GYLLENHAAL, AND THE CREATIVE PROCESS knows this is my real bag.

Ah, there’s the man whose every gesture makes my heart beat faster.

Meanwhile, here’s his concert schedule—including his appearance with the Royal College—for the next few months (with links to music):

John’s schedule for 5 November 2021 to 18 February 2022 can be found on my posting here.

Sun 6 March 2022 20:00
Berliner Philharmonie
Berlin, Germany
DSO Berlin

Thu 17 March 2022 19:30
Royal College of Music
London, UK
Royal College of Music Symphony Orchestra

Fri 8 April 2022 19:00
Sheffield City Hall
Sheffield, United Kingdom
BBC Philharmonic Orchestra
Louis Lortie (piano)

___

Sat 9 April 2022 19:30
The Bridgewater Hall
Manchester, United Kingdom
BBC Philharmonic Orchestra

___

Thu 21 April 2022
The Bridgewater Hall
Manchester, United Kingdom
Halle Orchestra

___

Fri 20 May 2022 19:30
Usher Hall
Edinburgh, United Kingdom
Royal Scottish National Orchestra
Louis Schwizgebel (piano)

___

Sat 21 May 2022 19:30
Glasgow Royal Concert Hall
Glasgow, United Kingdom
Royal Scottish National Orchestra
Louis Schwizgebel (piano)



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Safewords in Sex Bondage Games; Plus My Beloved John Wilson Conducts the CBSO at Symphony Hall, Birmingham, 1 December 2021 in a Matinee of Rachmaninoff and Glazunov

Birmingham is lucky to have you, dear, even though this is the place where you made that cheerfully meathead remark about Leonard Bernstein‘s excellent wife Felicia (which bordered on anti-female and anti-semitic but hey, you got away with it with the Brummies)…

Anyroad. Here’s the current program for this 2:15pm concert, including that change from Korngold to Glazunov:

The Rachmaninoff is the one that gets my attention. My bonny claims a special affinity with this mighty Russian, as is noted somewhere in that red link above.

John ExposedI’ve decided that our safeword, John, should be Ant-n-Dec. And don’t worry, because of/despite your movingly odd remarks about women (see my posting “Maria Ewing gives Richard Strauss’s Salome the Full Monty and Sings Bali Ha’i Exotically with the JWO, Just for My Beloved Conductor, John Wilson”) I still love you. Above John’s exposed braces(!!!): The “official” government (USSR) version, and a very good one, of Sergei Rachmaninoff’s Symphony No 3 (1936).


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Cantara Christopher as Simona Wing in the Porn Classic, Beyond Your Wildest Dreams (1981, Gerard Damiano director), Just for the Man I Love, BBC Conductor John Wilson

From 2020. Yesterday, Thanksgiving, a fan (thanks, Brian!) sent me a screenshot from one of my later movies, Beyond Your Wildest Dreams.

I’m looking at you, John Wilson.

Simona Wing in In Your Wildest DreamsAbove Dream Girl #1: Carlos Santana’s hit “Oye como va” which I danced topless to in the 70s. I have no idea who painted that fakey arm on my left, or why.


Lead in this feature was a fascinating woman named Juliet Anderson, a classroom teacher who, in early middle age (39), started in porn and quickly became a star due to her talent in enthusiastic penilingism, plus she photographed well doing it. I was a little more delicate going about it but I think no less effective as a wiggly little lovedoll. Fan Brian likens this pose to the one in “Cantara, 1973” except in 1973 I was 18 and this flick was shot 8 years later on a proper set.


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A Great American Songbook Song for My Beloved John Wilson, Conductor: Rodgers+Hammerstein’s “Some Enchanted Evening” from South Pacific, Sung by Jane Olivor

I like to post short little items like this when I’m in the middle of big writing, which is where you find me now (Mamoulian in Mind and Runes of Minneapolis). This was tremendously popular in the jukeboxes of the Castro, circa late 1970s, before and after AIDS first hit. So ubiquitous was Jane Olivor’s rendition novelist Armistead Maupin couldn’t ignore it—this was the song that brought Michael “The Mouse” Tolliver to tears in the first volume of Tales of the City. Put this on and there isn’t a dry eye in the room, whether you’re thinking of a dead lover or a living one. I think of both.

Jane Olivor First NightAbove: “Some Enchanted Evening” written for the 1947 stage musical South Pacific, music by Richard Rodgers, lyrics by Oscar Hammerstein II. A song has lyrics, John my love. This is how I speak to you.

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John Wilson and Orchestra at the Royal Albert and Holly Does Hollywood in Body Double, Written and Directed by Brian De Palma (Columbia, 1984)

The flick Holly Does Hollywood is fictional, of course, a fictional movie in the world of a real movie called Body Double, which was conceived and executed by the man who in an ideal world would be king of Hollywood, Brian De Palma.

De Palma’s affectionately knowing, utterly non-patronizing visit to pornland is a bit of a fantasy, of course. No flick I ever did or saw had a budget big enough to afford a mirror ball, let alone an MGM-sized dance floor (though Damiano’s later movies came close). But scale aside, De Palma understood the thing that kept nearly all of us, cast and crew, jazzed while we were being pushed to get out product, and that is: When you are making a porn movie, you are making a movie.

Now, every so often I’d remember this. I’d be in the middle of a take, and like a klieg wash switching on I’d suddenly become very aware of everything around me: the lights, the mikes, the crew, the director, the luxuriously gorgeous surroundings (half my films were done in those sumptuous private homes in Marin County), the smooth-skinned, sweet-smelling people touching me, the amused audience (most of the homeowners would hang around watching us film)—and the realization would thrill me so perceptibly I would be open to the moment and I’d like to think it showed up in my performance.

Which is the same jazzed-up open-to-the-momentness I thought I saw in John Wilson one evening when I was trawling online for classic show tunes and stumbled onto my bonny in a 2012 BBC-TV clip, commanding the podium in the middle of the Royal Albert, surrounded by an orchestra of eighty and an audience of 6,000, conducting a hot piece of Jule Styne and shimmying like a brazen hussy. And when I say shimmying like a brazen hussy, understand: I’m the brazen hussy he was shimmying like. I fell in love with him because I recognized him. I got his number. Or so it felt like…

Body Double 1984Above “Madeleine” (or is it???): Featured in Holly Does Hollywood is the Liverpool group Frankie Goes to Hollywood, who made their initial splash in 1984 (dig it) with the best stroke song ever written, “Relax”. Of course it was banned by the BBC.


And so for over three years I’ve been following my Tyneside lad’s career and person, not as a fan, really, but as an…interested party. So you know I’m going to sit up and take notice like I did when John, conducting in 2019 possibly the last John Wilson Orchestra concert ever at the Royal Albert for the BBC Proms, looked deadly serious, almost toothache-grim, at first when he commanded the stage. Especially when you compare him to that cocky whippersnapper who took the podium back in 2011

I don’t mean to read a lot into this, maybe he did have a migraine or a toothache at the start. But I think more probably he’s thinking differently (that is, more “seriously”) about things nowadays. Eight years have passed between those two appearances, after all, and I’m sure he’s gone through scads of internal changes during that time and made some interesting decisions we’ll all find out about, sooner or later. It’d be sad if it’s John himself who thinks it’s now “unseemly” for him to shimmy in public anymore (I’m way not the only one to have noticed his gorgeous limey shimmy); but it would be a sadder thing if John’s taking the nudge-nudge hints and advice of others to heart.


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“If Ever I Would Leave You” from Camelot by Lerner & Loewe, Played by The John Wilson Orchestra and Conducted by John Wilson, BBC Proms 2019

I don’t think I’ve ever been more in love with John than now, watching him surrender to the exquisiteness of Alfred Newman’s Oscar-winning orchestral arrangement. From the 2019 BBC Proms, which can be seen in entirety here. So recent I can see the silver in my bonny lad’s hair.

John Wilson Tryptich 2


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Rita Moreno and Jack Nicholson in the Ultimate Penilingism Scene in Carnal Knowledge (Mike Nichols director, AVCO 1971, rated X) Just for an Old Boyfriend

After Kevin (whose family attended Mass at the same church in Wilmington as Joe Biden’s) took me to this Jules Feiffer-penned movie playing at a local Manhattan arthouse he had me re-enact it. We kind of looked like this. Oh, I got him there.

(sensual sitar music playing)

carnal-knowledge-jack-nicholson-rita-moreno-1971

Louise: I don’t think we’re going to have any trouble tonight.
Jonathan: You don’t?
Louise: No, I don’t.
Jonathan: Are you sure?
Louise: You wanna bet?
Jonathan: How much?
Louise: A hundred?
(he takes bill from pocket, gives to her; she puts it away)
Jonathan: You sound pretty sure.
Louise: You’re a kind of man…why shouldn’t I be sure?
Jonathan: What kind of man am I?
Louise: (slowly, seductively, kneeling between his legs) A real man. A kind man. I don’t mean weak kind the way so many men are. I mean the kindness that comes from an enormous strength… From an inner power so strong that every act, no matter what, is more proof of that power… That’s what all women resent. That’s why they try to cut you down. Because your knowledge of yourself and them is so right, so true, that it exposes the lie which they, every scheming one of them, live by. It takes a true woman to understand that the purest form of love is to love a man who denies himself to her. A man who inspires worship. Because he has no need for any woman. Because he has himself. And who is better, more beautiful, more powerful, more perfect… You’re getting hard. More strong, more masculine, more extraordinary, more robust… (smiling) It’s rising. More viral, dominating…more irresistible… (happy laugh) It’s up. In the air.

Carnal Knowledge (AVCO 1971, Mike Nichols director) is available on Prime.



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Four (and More) by Richard Rodgers: “Slaughter On Tenth Avenue”; “Can’t You Do a Friend a Favor?”; “Falling In Love With Love”; and “I Have Dreamed” All For My Beloved English Conductor, John Wilson

Another weekend doddle before we celebrate the Fourth (Yanks 1-Brits 0). (Updated October 2021)



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My Beloved John Wilson Appointed to the Henry Wood Chair of Conducting at the Royal Academy of Music and Conducts the RAMSO in Arnold Schoenberg’s “Verklärte Nacht” (1899) at Snape Maltings, 6 June 2021

O sieh, wie klar das Weltall schimmert! / Es ist ein Glanz um alles her / Du treibst mit mir auf kaltem Meer / doch eine eigne Wärme flimmert von Dir in mich von mir in Dich… ~Richard Dehmel

Look, how brightly the universe shines! / Splendour falls on everything around / you are voyaging with me on a cold sea / but there is the glow of an inner warmth from you in me / from me in you…

John InterviewAbove my beloved: Leopold Stokowski conducts the 1943, final and most popular composer’s edit of the string orchestra version of this exquisite one-movement sextet based on Richard Dehmel’s poem. (The 1924 version was conducted by Edward Clark of the BBC in Newcastle that year.) Find the Hollywood String Quartet’s version here.

I adore John and The John Wilson Orchestra at the BBC Proms. Honest I do. All that thrill and spectacle. That fetching full dress. And a third of the numbers he’s plucked from The Great American Songbook no one could do better. But last January 2020 I got my wish when my bonny conducted a program of Dean, Prokofiev and Tchaikovsky at London’s Royal Academy of Music and for the very first time I got to watch him work entirely as a conductor rather than a showman. (The cover of JOHN WILSON: AN ENGLISH CONDUCTOR is himself preparing for the 4th movement of the RAM’s rendition of Tchaikovsky’s “Pathetique”. The magazine picture above is from the 23 October concert at RAM.)

It was not a revelation, I knew John was going to be wonderful and the orchestra was going to be wonderful. I’d heard the “Mars” part of Holst’s The Planets that he conducted in Leeds with the National Youth Orchestra of Great Britain (see John above wearing the bright blue NYOGB hoodie) and was impressed with its energy. RAM trumpet Rebecca Toal (heard in Brett Dean’s “Komarov’s Fall”) had this to say about my dear one:

John is particularly generous with his energy and he’s so committed. I think I’ve done one project with him before, and both times he’s just thrown himself into the projects. It’s so nice to have people come in from the outside and completely splash their energy everywhere and leave you feeling on a high and motivated, even after they’ve left.”

And I think this young player has hit it. John [continued at “John Wilson Conducts the Royal Academy of Music Symphony Orchestra in Barber, Delius and Ravel, July 2021 Live/Streamcast on YouTube”]


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Vincent Price Makes Love to Coral Browne in Theatre of Blood (United Artists, 1973)

In an earlier posting (“A Sexy NYC Memory to Celebrate the 3rd Anniversary of Falling in Love with Conductor John Wilson; Plus the BBCSO Doing Elgar’s Bach Fantasia; and Theatre of Blood, United Artists, 1973 Complete”) I mentioned TofB, which came out the summer I moved to Greenwich Village. Recently I discovered a new bio of Vincent Price entitled Vincent Price: The British Connection (Telos, 2020) where, to my delight, Gateshead-based author Mark Iveson reveals the torrid affair between Price and the noted Australian-born actress, Coral Browne:


The entire film Theatre of Blood with Vincent Price, Diana Rigg, Coral Browne, Robert Morley, and a cast of British stalwarts, is available on YT here.


Theatre of BloodAbove Diana Rigg, Coral Browne and Vincent Price: Michael J Lewis’s excellent, elegant opening music for Theatre of Blood.


Price’s infatuation intensified, regarding Coral as “the Great Barrier Reef—beautiful, exotic and dangerous. I was like a bird dog!”

“I remember he electrocuted me on my birthday,” Browne recalled when she performed her death scene with Price. Ironically her acting isn’t very good in this scene because she doesn’t look even remotely terrified of her murderer. Instead, she prefers gazing into his eyes instead of screaming in fear.

After the day’s filming, Price once again approached Diana Rigg for advice. “I said to Diana, ‘I understand it’s Ms Browne’s birthday. What could I get her?’ And Diana said, ‘Well, you know what she wants. You!” 

And from then on,” added Rigg, “they never looked back. I think they fell into bed and I think it was a wildly sexual relationship. Incredibly sexual. I remember Coral saying that they worked out their combined ages were 120-something, and when you saw these absolutely shagged out people on the set, it was really quite funny. And that was the start of it.”


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The Silent Musician by Mark Wigglesworth, Richard Wagner, Cosmic Sex, and My Beloved Conductor John Wilson

In an earlier post I mentioned that, since May a couple years ago, I’ve been reading books by orchestra conductors on conducting, in order to better glimpse into the unfamiliar heart and mind of my beloved John Wilson. That classic tome written by Richard Wagner was far out, of course, and going back to some of Leonard Bernstein‘s early writings was deeply nostalgic.

But it was my treatment of a book my bonny conductor had on his public Facebook Likes list that done me in—a thin, and thinly humorous, volume written by a coeval of John’s who let out his dirigental insecurities in a tirade of snark that I answered in kind in a long, 4-star Amazon review that I thought was hilarious, which it was, although apparently only to me. I did this to get John’s attention. I got it. John did not like what I wrote. Hence, he learned how to spell my name ab-so-lute-ly correctly.

Now, Mark Wigglesworth has a 30-year career conducting a number of the great operas and a number of the great symphony cycles, to much acclaim. If there is one thing that John’s friend’s book made evident, in its perverted way, it’s the importance of a conductor being holistically grounded, and Wigglesworth is, as we used to say in the 70s, a grounded guy. Not surprising for someone who has Alan Watts on his bookshelf; and since the English-born psychedelic Zen guru of San Francisco is one of my guiding lights too, it was a deep pleasure to read The Silent Musician, Wigglesworth’s musings on his inner/outer artistic journey as a conductor. Wigglesworth, from Sussex, is an acclaimed interpreter of Gustav Mahler as well as Wagner, two creative heavyweights who positively require those who would approach their work to have had a fair look first into their own personal psychological-spiritual makeup. Consider Daniel Barenboim—one artist on the world stage I respect the hell out of—and his own moral / philosophical / logistical grapplings with the Architect of Bayreuth (download his “Wagner and Ideology” here and let me just say, if Barenboim figured it out I’m satisfied).

Speaking of Wagner, a few years ago Wigglesworth conducted the overture to a Wagner opera I’ll bet you’ve never heard of: Das Liebesverbot, or, The Ban on Love. I only know about this one because I took the mandatory survey course at music school at the university and never ran into it again till now. So this is the first and only thing I’ve ever heard from this opera:

Overture to Das Liebesverbot (1836)
Richard Wagner
Mark Wigglesworth, conductor
BBC Orchestra Wales

Or will ever hear, ever again. Just a bit…Mediterranean, wouldn’t you say?

But what amazes me more is the libretto, because Wagner—get this—chose for his source material the scuzziest, meanest sex comedy ever written, which is, of course, Measure by Measure by William Shakespeare. Yes, at the end hypocrisy is vanquished and everyone gets laid, but eeeeuuwww…

Now, think on the twenty-three year psychological-spiritual journey from Das Liebesverbot to this:

“Mild und leise” from Tristan and Isolde (1859)
Richard Wagner
Daniel Barenboim, conductor
Waltraud Meier, soprano
Beyreuth, 1995

I’m sorry, but when I hear that tune I want to see John’s dear face.

For the rest of you, behold Maestro Wagner.

Richard Wagner.jpg


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Lovelace the Film, Or How to Give Penilingism a Bad Name and The First Porn Movie I Ever Did, 4

I only caught this flick on Prime because Peter was in it, and Peter’s the only Gyllenhaal I think I’d actually enjoy having a beer with even now. The last time we met in New York he had just done Jarhead. Maggie was six months pregnant and being fussed over by her mother, Stephen was in the men’s room on his Blackberry talking to his analyst, and Jake was skulking outside the restaurant—we were at Balthazar—wearing a hoodie and hiding in the shadows. It was that kind of family.

Peter Sarsgaard in LovelaceYes, teenage Cantara made out in early 70s Minneapolis with males who looked and dressed exactly like this. Peter Sarsgaard in Lovelace (2013).


One of the first things Peter did, after we were introduced and he gave first Mister Grumble then me a firm friendly handshake, was try to engage us in a conversation about Melungeons. “You know,” he told us mock-confidentially, “Elvis was a Melungeon.” I evinced surprise and interest—I’d never heard the term before, ever—and Peter obviously was about to launch into a carefully-considered patter about Melungeons, when Maggie came over to fetch him. He smiled at us a dazzling smile, excused himself and trotted off with her.

So for now, enough of Peter and on to the movie he was in: Lovelace, a 2013 indie based on the book Ordeal by Linda Boreman aka Linda Lovelace, which is chiefly about her experience making the influential porn classic Deep Throat (1972). As a movie it doesn’t play too badly; some hack wrote the script, but the same politically savvy gay filmmakers who produced/directed The Life and Times of Harvey Milk, Howl, The Celluloid Closet, etc evidently had a lot of artistic control over this project. So there’s quite a lot of fooling around with the narrative structure and other arty bullshit like that, but it’s not enough to hide the fact that there’s really no core idea or message. Not to mention there’s not a lot of entertainment value, either… Nope, in this package there’s absolutely nothing clever, insightful, sensitive, or aesthetically satisfying—all screen values, incidentally, which would NOT be out of place in a porn movie.

Peter was good, but Peter’s always good at playing soft-spoken villains. What really interested me was Hank Azaria’s portrayal of one of my directors, Gerard Damiano. A small role but well-executed. Mr Damiano himself was soft spoken, I remember, and very patient. His was the last word on the set. Everyone respected him. He also paid me a compliment I immediately put into my mental jewelry box, and there it’s stayed ever since…

Part 1 “Full Dress” here.
Part 2 “Zombie Love Slave” here.
Part 3 “Hot Tub” here.
Part 5 to come…


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Directed by My Old Boss, Rouben Mamoulian: Love Me Tonight (Paramount, 1932) Just for My Beloved Conductor John Wilson

That snooty critic fart Andrew Sarris once mock-praised my old boss Rouben Mamoulian for his early cinema innovations that never quite caught on. Hah! When’s the last time you were so proud of your old boss’s work you wanted to make sure the world never forgot it? So—here’s the most audacious musical film sequence ever directed, which magically links up the movie’s two singing stars Maurice Chevalier and Jeannette MacDonald:

“Isn’t It Romantic?”
from Love Me Tonight
Rouben Mamoulian, director
Nat Finston, music director-arranger
Songs by Rodgers & Hart

Isn't It Romantic.jpgAbove the music master and Ruritanian soldiers: Ella Fitzgerald sings this Richard Rodgers+Lorenz Hart perennial, which was scaled down from its operetta length for inclusion in The Great American Songbook.

And if you’re still in doubt about Mamoulian’s genius, check out this opening scene which I uploaded especially for my bonny John Wilson for the beat:

“City Wakes”
from Love Me Tonight
Rouben Mamoulian, director
Nat Finston, music director-arranger

If I had seen Love Me Tonight before I went to work for The Old Man I would’ve been more patient with him. But I was only 23.


The entire film Love Me Tonight is available on my YT channel here.



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