Tag: National Public Radio (NPR)

The Last Sane Man on Earth

 

“You hear the applause at the end of the routine, the people are actually applauding themselves. What I’m saying is not necessarily funny. It’s what you don’t hear that’s funny, and the audience supplies that. It presumes a certain intelligence on the part of your audience, and I think they appreciate that.”
— Bob Newhart speaking in an interview on National Public Radio’s Morning Edition in May 2014.

 

Happy 90th birthday to comedian and actor Bob Newhart, who was born in Oak Park, Illinois, a suburb outside Chicago, on September 5, 1929. Anyone who has ever enjoyed Mr. Newhart’s comedy knows he doesn’t talk down to his audience, and neither does he go way over their heads. His best friend, another comedian and actor, Don Rickles, placed Mr. Newhart’s appeal best when he nicknamed him “Charlie Everybody”.

Newhart show cast 1977
A June 1977 publicity photo of the cast of The Bob Newhart Show. Standing, from left: Bill Daily (Howard Borden), Marcia Wallace (Carol Kester), Peter Bonerz (Jerry Robinson). Seated, from left: Bob Newhart (Bob Hartley), Suzanne Pleshette (Emily Hartley).


Bob Newhart portrayed Major Major Major Major in the 1970 film Catch-22, adapted by Buck Henry from Joseph Heller’s novel, and directed by Mike Nichols. Norman Fell portrayed Major Major’s orderly, Sergeant Towser.

Bob Newhart has made a career of understatement and staying sane while quirky characters and peculiar events swirl around him, and his style allows his audience to come along with him rather than merely spectate. His straight man “Charlie Everybody” reactions heighten the comedy by letting absurdity seep in and speak for itself, and that requires a delicate sense of timing and a feeling for the oddity in everyday life, a talent he has that is neither as easy to come by nor as simple to share as he makes it seem. Hi, Bob, and happy birthday! Thanks for helping us laugh, and feel good, too, remembering the first is a passing reaction to an event or situation, while the second lingers with us long after the laughter fades.


— Ed.


Bob Newhart remembers his best friend, Don Rickles, in this August 2017 interview with Conan O’Brien. Don Rickles died in April 2017, and the two had been friends since their days as entertainers in Las Vegas in the 1960s. Seated on the couch with Mr. Newhart is Peter Bonerz, one of his co-stars from The Bob Newhart Show and, earlier, from Catch-22. Warning: foul language.

 

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Zippity Doo Dah

 

In a perfect world where people are always well-behaved and courteous and the bluebird of happiness accompanies them throughout their day, the zipper merge would work as harmoniously as traffic engineers envision it working. In practice, the zipper merge rarely works well, and instead it becomes a place where jerks can take advantage of the polite behavior of others in order to cut in line. Everyone who drives is familiar with the traffic setup, but not everyone may be acquainted with the term “zipper merge”.

 

A zipper merge refers to the area of road where one or more lanes end, and all traffic must move into the remaining open lane or lanes, such as in a construction zone. A similar situation presents itself where one lane of a road becomes an exit, with warning signs posted that the lane is for exiting only. Traffic engineers refer to these areas as zipper merges because ideally that is how they want drivers to conduct themselves where a lane closes down or where an exit lane is about to leave the main roadway. Like a closing zipper, cars in adjacent lanes should politely alternate merging together into the one open lane, making use of the closing lane as much as possible.

Construction Barrels (14173532670)
Every driver recognizes these orange barrels as the lane markers in road construction zones, but not every driver reacts to them the same way, much as traffic engineers would like them to.

It’s a neat theory, and when it works as proposed it is a fine thing. “After you, sir.” “No, I insist, madam, you go first.” “Ah, very well, I shall do so then, and a fine day to you, sir.” “My pleasure, madam.” And a tip of the hat to you, too. Usually, however, most drivers who see the warning signs about a lane closure will move over to the through lane early, queuing up. The zipper merge happens in a sense, but farther back from the closure than engineers envisioned it. This polite behavior by most drivers is admirable because it invokes the manners ingrained in many people from early in life, but it has the effect of leaving a stretch of open road in the closing lane, and that is a temptation for jerks.

Not all drivers who take advantage of the open lane are jerks in their own eyes, because it is as hard for a jerk to recognize his own jerky behavior as it is for a fish to understand it is swimming in water. There are many rationalizations available to jerks, after all, the most prominent one provided by the traffic engineers who designed this scenario. The jerk reasons as he zips past everyone waiting patiently in line and then cuts in at the front “We’re supposed to use all of the closing lane up until the very end, but the idiot sheep lined up over there don’t understand that!” he would be more hesitant to try the same maneuver in a long store checkout line, but here in this situation traffic engineers have by default endorsed predatory driving, and therefore the jerk sees it as okay.

The exit lane situation is designed into the roadway, rather than being an ad hoc situation due to construction, but it promotes the same kind of selfish behavior. A multiple lane road in town loses one lane to an exit, and at times when the traffic is heavy there may be a long line of slowly moving cars in the lane which will eventually veer off the main road. The opportunistic jerk assesses the situation and, instead of dropping into line at the back, where cars are moving slowly and obviously intend to exit, continues at speed in the lane adjacent to the exit lane until he sees his opening near the front, shortly before the exit lane leaves the road, and swoops in, as often as not using his turn signal, as if that made his shark move alright. “Hey, I’m signaling! Let me in!”

There’s not much that can safely be done about zipper merge jerk behavior other than rage against it or hope that traffic engineers get their heads out of the clouds and figure out a better way to design merge zones, one that takes into account actual human behavior in the real world. Tom and Ray Magliozzi, the auto mechanic brothers who conducted the Car Talk call-in radio program on NPR until 2012, when elder brother Tom’s failing health forced them to discontinue the show, had a caller on one show that they reran in 2015 who had a question for them about using the open lane in a zipper merge. The show was Episode 1538: “Aberrant Behavior Syndrome”, and the caller was Brian, from Kentucky, who called in at about the 11:30 mark of the show. Brian wasn’t absolutely a jerk, even if he did rationalize using the open portion of a closing lane at the expense of his fellow drivers, but Tom and Ray – especially Tom – set him straight in a most definitive and entertaining manner, and their reasoning goes beyond the misconceptions of traffic engineers and the pushiness of jerks who look out only for themselves.
— Ed.

 

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Thumbs Up

 

BBC Radio 4 this month is airing a new, sixth series of The Hitchhikers Guide to the Galaxy, 40 years after the broadcast of the first series in 1978. Fans in the United States might have an easier time downloading the podcast from a client based here rather than trying to listen directly from BBC Radio 4. The Stitcher podcast client, for instance, offers several BBC Radio 4 programs, among them Comedy of the Week. Enthusiastic fans of the series will find a way to listen.

 

The complete first series from BBC Radio 4 is available for listening, and it truly does the best job with the material of all the different formats, radio or television or print or motion picture. Douglas Adams wrote The Hitchhiker’s Guide to the Galaxy for the 1978 radio presentation, and the other formats followed. The BBC made it into a very good television program in 1981. The 2005 motion picture was not popular. In this country, public radio rebroadcast the BBC Radio 4 series, and public television did the same for the BBC television adaptation.

The Hitchhiker's Guide to the Galaxy, english
A representation of the personal electronic device used by Arthur Dent in The Hitchhiker’s Guide to the Galaxy. Computer graphic by Nicosmos.


From the 1981 BBC television adaptation of The Hitchihker’s Guide to the Galaxy, protagonist Arthur Dent meets the planet designer, Slartibartfast.

Rebroadcast in this country of original BBC radio programming is nothing new now, but in the 1970s and 80s it was fairly novel because at that time there was still some original programming being produced for radio by American public broadcasters and private outfits. There was Earplay on NPR, which were dramas based on original material and adaptations, and there was the CBS Radio Mystery Theater, a program of thrillers. Those American radio programs shut down in the 1980s, and since then very little original programming has come out of America. Britain, on the other hand, has a comparatively lively radio program production lineup, and as proof there is the sixth series of The Hitchhiker’s Guide to the Galaxy (with a cameo by renowned cosmologist Stephen Hawking no less), airing in March 2018, forty years on from the first series. Fans of the show on this side of the Atlantic are glad the BBC radio crews are still at it, and if the latest series is anywhere near as enjoyable a listen as the first series, then their efforts will have been well worthwhile.
— Techly

 

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What’s in Your Head?

The Cranberries (6856973494)
Dolores O’Riordan of The Cranberries performs at the Sydney Entertainment Centre in Australia in March 2012. Photo by Eva Rinaldi.
The title of this post is taken from a line in the 1994 song “Zombie”, written by Dolores O’Riordan and performed by her and her band mates in The Cranberries, namely Noel Hogan, Mike Hogan, and Fergal Lawler, on their album No Need to Argue. She wrote the song in response to news of an Irish Republican Army (IRA) bombing in 1993 that killed two children and injured dozens of bystanders. The zombies of the song are those emotionally hollow, walking dead who will not let go of old political grudges and slights, and persist in their violent ways without concern for whom they harm. The song exerted a large influence in pushing the warring sides in Northern Ireland toward peace. Dolores O’Riordan died unexpectedly Monday at a hotel in London, where she was staying while she worked on a short recording session. She was 46.

The original music video of “Zombie”, which has made an enormous impression around the world since its release in 1994.
The notable thing about Ms. O’Riordan’s singing voice, besides her range, her clear enunciation in an Irish accent, and her use of keening and wailing, was her honest, unaffected vocal presence. There are so many recording tricks available to music producers now that things like a poor, thin voice can be masked with production and electronic effects, and the lyrics can be lost in all of it, though for some songs and performers listeners may not care about that. But while The Cranberries and their producers, notably Stephen Street for the early albums, took advantage of such effects as layering Ms. O’Riordan’s voice with multiple recordings, they never appeared to do so in an effort to disguise a lack of talent, but in the interest of adding depth and harmony to a song. Listening to her sing in settings where no recording gimmicks were available confirms that sense. The tremolo in her voice when she sings parts of “Linger” is all from her and her talent and her capacity for investing emotionally in the lyrics she wrote.

A 2012 visit to the NPR studios showcased the quality of Dolores O’Riordan’s voice and the musicianship of The Cranberries. The set list of five songs from first to last was comprised of “Linger”, “Tomorrow”, “Ode to My Family”, “Zombie”, and “Raining in My Heart”.
Something Else, the last album Dolores O’Riordan and The Cranberries made, was a 2017 collection of some of their hits along with a few new songs, all done acoustically with the accompaniment of the Irish Chamber Orchestra. For almost any other rock band such a presentation might come across as a pretentious, formulaic repackaging done primarily to generate revenue by capitalizing on past success. The Cranberries could get away with it because they were unassuming musicians surprised by their own success, whose sincere desire was to record an album of something genuinely new for themselves and for their fans. The songs they crafted were their own style, despite the pigeonholing common in the music business, where styles are called grunge or pop or folk or rock. They were some of all those things, not wholly invested in any one style. They were who they were (and remain, of course, while three of the four band mates live), young people from working class families in and around Limerick, Ireland, without grand desires to upend the world of music, which they did not do in any event. No matter. They worked steadily at crafting some great music while saying worthwhile things in their tunes, and the Irish songbird Dolores O’Riordan was not just a singer and guitarist and songwriter for the band, but an exemplar for them and us of a true original.
― Techly

 

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