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Thursday, 19 January 2017

Words for the Music 009: VICTORIA WOOD


VICTORIA WOOD
19 May 1953 – 20 April 2016
 
 



LET'S DO IT
(THE BALLAD OF FREDA AND BARRY)
VICTORIA WOOD
Victoria Wood's Mid-Life Christmas
BBC TV – 1988 version






 
 
 
LET'S DO IT 
(THE BALLAD OF FREDA AND BARRY)
2009 Version
 
 
 
This is NOT the version featured in the YouTube clip.
Sadly, that was removed by the 
BBC for copyright reasons
 



 

Freda and Barry sat one night
The sky was clear, the stars were bright
The wind was soft, the moon was up
Freda drained her cocoa cup
She licked her lips, she felt sublime
She switched off Gardener's Question Time
Barry cringed in fear and dread
As Freda grabbed his tie and said:

 

'Let's do it, let's do it, do it while the mood is right
I'm feeling appealing, I've really got an appetite
I'm on fire with desire
I could handle half the tenors in a male voice choir
Let's do it, let's do it tonight!'

 

But he said:
'I can't do it, I can't do it, I'm not exactly Russell Brand
You're thwarted, I'm sorted, got me evening's telly planned
It's a pity, the nitty gritty, 
I've taped eleven episodes of Holby City
Can't do it, can't do it tonight!'

 

So she said:
'Let's do it, let's do it, do it till our hearts go boom
Go native, creative, living in the living room
This folly is jolly
Bend me over backwards on me Hostess trolley
Let's do it, let's do it tonight!'

 

'Can't do it, can't do it, me heavy breathing days are gone
Niagara, Viagara, nothing really turns me on
Stop stewing, boo-hooing
I've had a good look down there and there's nothing doing
Can't do it, can't do it tonight!'

 

'Let's do it, let's do it, while I'm really in the mood
Three cheers, it's years since I caught you even semi-nude
Get drastic, gymnastic
Wear your baggy Y-fronts with the loose elastic
Let's do it, let's do it tonight!'

 

'Can't do it, can't do it, it's really not my cup of tea
I'm harassed, embarrassed, wish you hadn't picked on me
Don't choose me, don't use me
My mother sent a note to say you must excuse me
Can't do it, can't do it tonight!'

 

'Let's do it, let's do it, I really absolutely must
I won't exempt you, want to tempt you
Want to drive you mad with lust
No cautions, just contortions
Smear an avocado on me lower portions
Let's do it, let's do it tonight!'

 

'Can't do it, I can't do it, I must refuse to get unzipped
I'm tearful, I'm fearful, worried that I'm ill-equipped
Don't bully, I can't fully 
Guarantee to cope without a rope and pulley
Can't do it, can't do it tonight!'

 

'Let's do it, let's do it, I really want to run amok
Let's wiggle, let's jiggle, let's really make the rafters rock
Be mighty, be flighty
Come and bite the buttons off me flame-proof nightie
Let's handle some scandal
Come and sip Ribena from my peep-toe sandal
Surprise me, chastise me
Let's be Fern and Phil and you can patronize me
Let's do it, let's do it tonight!'

 

Get festive, get restive
Dunk me in a duvet like a big digestive
Just humour a late bloomer
Stuff my Christmas stocking with your big satsuma
Not meekly, not bleakly
Beat me on the bottom with the Women's Weekly
Let's do it, let's do it tonight!'



 
 
Words and music © 2009  
Victoria Wood






 

The death of writer, director, composer, actor and comedian Victoria Wood on 20 April 2016 robbed Britain (and the world) of a unique and special talent.  Wood was adept at taking the mundane and sometimes painful aspects of life and turning them into a kind of hilarious verbal ballet that never loses sight of the fact that our realities only very rarely match our expectations.  As she once so humorously observed:  'Life's not fair, is it?  Some of us drink champagne in the fast lane, and some of us eat our sandwiches by the loose chippings on the A597.'

 

Wood's most enviable gift was her finely tuned ear for spoken language and her ability to discover humour in even the dullest and most commonplace of human activities.  Her 1998-2000 BBC sitcom Dinnerladies remains, to my mind, the perfect showcase for her genius and one of the greatest comedy programs ever produced in Britain or, for that matter, anywhere else.  Set in the staff canteen of a struggling components factory in her native Manchester, Dinnerladies focuses on the friendship of five female canteen workers (the 'ladies' of the title), their two male colleagues and various eccentric (but never overplayed) characters who flit in and out of their lives during the course of one eventful year.  The show –– which was twice nominated for a BAFTA for Best Comedy Series but mysteriously never won –– manages the rare feat of being consistently hilarious, sharply satirical and, at times, poignant in a way that few sitcoms ever have the courage to be.  It also features a stellar performance by Wood's close friend and long time associate Julie Walters as Petula –– the flatulent, alcoholic, food-and-money scrounging mother of her character Brenda whose days are spent chasing younger men and telling outlandish tales about celebrities she's never actually met.  As great as Walters is, the show remains a textbook example of ensemble acting at its finest and will be a treat for anyone who has never had the pleasure of watching it. 

 

Let's Do It (or The Ballad of Freda and Barry as the tune is also known) stems from the same sharp observation that guided Wood's best television work, taking something –– the declining libidos of long-married couples –– that, at first glance, may appear to be unpromising material for a jaunty comic song lasting more than five minutes.  Yet Wood makes a triumph of it, juxtaposing the ordinary and the surreal, the tedious and the bizarre, as Freda's enthusiasm encroaches ever more dauntingly on the personal space of the disinterested and increasingly panicked Barry.  It's less a song than a slice of life wittily set to music, served up with a very British kind of cheekiness and an infectious tune which recalls the golden days of variety and music hall while remaining completely contemporary, relevant and, best of all, laugh out loud funny.  
 
 

 
 
 
Use the link below to read a 2011 interview with British entertainer VICTORIA WOOD:
 
 
 
 


 

 

This version of Let's Do It comes from the 2009 Christmas Special Victoria Wood's Mid-Life Christmas.  It is not the version featured in the YouTube clip above.  Sadly, that version was removed by the BBC for copyright reasons.

 

 

 

Special thanks to everyone who takes the time to upload music to YouTube.  Your efforts are appreciated by music lovers everywhere. 

 

 

 

 

 

You might also enjoy: 

 
 

 

Words for the Music 006: DAVE FRISHBERG

 
 

 

Some Books About… TONY HANCOCK

 
 

 

'Strike Me Lucky!' REMEMBERING ROY 'MO' RENE

 

 

 

Last updated 5 April 2021 

 

 

Thursday, 12 January 2017

The Write Advice 088: DOROTHY M RICHARDSON


While I write, everything vanishes but what I contemplate.  The whole of what is called 'the past' is with me, seen anew, vividly… It moves, growing with one’s growth.  Contemplation is adventure into discovery; reality.  What is called 'creation,' imaginative transformation, fantasy, invention, is only based on reality.  Poetic description a half-truth?  Can anything produced by man be called 'creation?'

Source unspecified


Use the link below to read more about British novelist DOROTHY M RICHARDSON:

 

http://neglectedbooks.com/?p=3885

 

 

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The Write Advice 077: ELIZABETH JANE HOWARD

 
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Thursday, 5 January 2017

Think About It 021: ROLLO MAY


Freud, Rank, and others have suggested that all anxiety may be, at bottom, separation anxiety.  And thus loneliness –– the awareness of separation –– may well turn out to be the most painful conscious and immediate form of anxiety.  The cultural values of conformity, the adjustment of the 'radar type' who reflects his signals from the crowd around him, are related to the prevalence of loneliness in our day… Loneliness is a common experience of those who conform, for while on one hand they are driven to conform because of loneliness, on the other, the validating of the self by means of becoming like everybody else reduces their sense of self and their experience of personal identity.  The process makes for inner emptiness, thus causing greater loneliness.

 

Psychology and the Human Dilemma (1967)


 

 

 

Use the links below to read a short introduction to the theory and practice of Existential Psychotherapy and watch a 10 minute video that explains the work of North American Existential Psychotherapist ROLLO MAY:

 

 

http://www.psychologytoday.com/blog/evil-deeds/201101/what-is-existential-psychotherapy

 

 

https://www.youtube.com/watch?v=wms_RXEta5c


 

 

 

 

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Think About It 010: ROLLO MAY

 

 
Think About It 001: ROLLO MAY

 

 
Think About It 018: NANCY JO SALES

 

 

Thursday, 29 December 2016

The Write Advice 087: EUGENE O'NEILL


Altogether too much damn nonsense has been written since the beginning of time about the dissipation of artists.  Why, there are fifty times more real drunkards among the Bohemians who only play at art, and probably more than that among the people who never think about art at all.  The artist drinks, when he drinks at all, for relaxation, forgetfulness, excitement, for any purpose except his art…You've got to have all your critical and creative faculties about you when you're working.  I never try to write a line when I'm not strictly on the wagon.  I don't think anything worth reading was ever written by anyone who was drunk or even half-drunk when he wrote it.  This is not morality, it's plain physiology.

Quoted in Eugene O'Neill: The Man and His Plays (1944) by BARRETT H CLARK


 

Use this link to visit eOneill.com, an electronic archive designed to celebrate the life and preserve the work of playwright EUGENE GLADSTONE O'NEILL (1888–1953), the writer who almost singlehandedly invented modern North American theater.

 

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The Write Advice 065: SHUKRI AL MABKHOUT

 
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The Write Advice 079: ANTON CHEKHOV 

Thursday, 22 December 2016

Words for the Music 008: LORENZ HART




LORENZ HART
2 May 1895 – 22 November 1943





 
I WISH I WERE IN LOVE AGAIN
 
Written by LORENZ HART and RICHARD RODGERS
 
Performed by FRANK SINATRA
 
from the 1956 Capitol LP  
 
A Swingin' Affair






 
 
I WISH I WERE IN LOVE AGAIN


 
The sleepless nights, the daily fights
The quick toboggan when you reach the heights
I miss the kisses and I miss the bites
I wish I were in love again

 
The broken dates, the endless waits
The lovely loving and the hateful hates
The conversation with the flying plates
I wish I were in love again

 
No more pain, no more strain
Now I'm sane but
I would rather be punch-drunk

 
The pulled out fur of cat and cur
The fine mis-mating of a him and her
I've learned my lesson but
I wish I were in love again

 
The furtive sigh, the blackened eye
The words 'I love you till the day I die'
The self-deception that believes the lie
I wish I were in love again

 
When love congeals it soon reveals
The faint aroma of performing seals
The double-crossing of a pair of heels
I wish I were in love again

 
No, no more care, no, no despair
Now I'm all there now but
I'd rather be punch-drunk

 
Believe me sir, I much prefer
The classic battle of a him and her
I don't like quiet and
I wish I were in love again
In love again
In love again 







Words by Lorenz Hart
Music by Richard Rodgers
© 1937 Chappell & Co Music/Williamson Music ASCAP
from the musical Babes In Arms






 
 
What makes a lyricist a genius?  Is it their ability to dazzle us with their extensive vocabulary?  Or is it their artful use of everyday language to astonish, amuse and genuinely move us by combining unexpected words and phrases to create something that resists cliché and categorization even as, in another sense, it might appear to embrace if not define those over-utilized tropes?  


A song like I Wish I Were In Love Again proves, beyond any shadow of a doubt, that Lorenz Hart was the latter type of artist –– a sensitive, educated, highly articulate individual who possessed a faultless understanding of modern North American vernacular and used this knowledge of it to create instantly memorable works of art which, in his time, were often dismissed as popular entertainment that, of course, would 'never last.' 

How many lyricists, then or now, are able to combine words like 'toboggan,' 'mis-mating,' 'self-deception,' 'furtive' and, my favorite, 'congeals' in such a seamless way while simultaneously managing to be riotously funny even as they suggest a sophisticated but world-weary form of loneliness?  If Hart had never written anything besides the lines 'When love congeals/it soon reveals/The faint aroma of performing seals/The double-crossing of a pair of heels' he would still be the greatest lyricist to emerge from the Broadway/Tin Pan Alley tradition despite having some formidable competition in the likes of Harold Arlen, Dorothy Fields, Ira Gershwin, Frank Loesser, Cole Porter and many others whose names are not as well known as they should be despite the fact their songs continue to serve as the soundtracks to many of our lives.  

There is a reason people keep performing Rodgers and Hart material decade after decade.  It is the same reason directors keep staging productions of Shakespeare and actors keep lining up to perform in them –– to live with and inside that glorious language for a while and be reminded that true wit, like true talent, is as fine as gossamer and just as difficult to find.   


 

 
 
Use the links below to read more about the life and work of North American lyricist LORENZ HART (1895–1943) and a 2013 article about his successful but often tempestuous partnership with RICHARD RODGERS:
 
 
 
 
 


 

 

 

Special thanks to everyone who takes the time to upload music to YouTube.  Your efforts are appreciated by music lovers everywhere.

 

 

 

You might also enjoy:

 
Words for the Music 005: DAVE FRISHBERG

 

 
J is for Jazz 012: HELEN MERRILL

 

 
J is for Jazz 005: SARAH VAUGHAN

 

 

Last updated 5 April 2021