I've been eyeing this up for a while and finally booked a ticket. Going to anything in that London on a weekday evening is always complicated as the trains seem to stop remarkably early to me, but combined with a Friday at Lords watching Yorkshire play Middlesex kills 2 birds with one stone. 

ArrGee wrote:

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I was thinking of just turning up on the night and paying a fiver to get in. Only thing is how late it ends if it starts at 10.15pm.  I wonder if I go to the prom @ 7pm if they will let me stay there...  Better enquire.

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 There is a separate 10.15pm queue, but if you go to the earlier prom at 7pm you can reserve you place at the front of the 10.15pm queue.  Will wait and see if there is an underground strike.

link straight to jarvis on Today www.bbc.co.uk/programmes/p030n4wp

superchob wrote:

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Fran wrote:

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combined with a Friday at Lords watching Yorkshire play Middlesex kills 2 birds with one stone. 

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You rock

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 I might copy your idea

Here is a video interview with some mention of pulp

https://www.youtube.com/watch?v=j1pLdvwDE_g

 

www.bbc.co.uk/events/e5q5v2#b068tsj1 Or go to the Proms website on the bbc and follow the links. (Spoiler) He does a cover of "Song to the Siren". I started crying.

It's nice!!!!!!!!!!!!!
Can't wait for your report.

Thank you Fuss Free, it was really nice to read your impressions. Yesterday i listened to the show on the radio and you are right: Jarvis always impresses. I really liked his version of "Song to the Sirene" and I could understand. why SarahAWilson cried. What a lovely song and the story behind it fitted so well to the deathwish of the deepsea diving lay. I did a research on youtube for this song and was astonished how many versions exist. The version I liked most was this one:

www.youtube.com/watch

Maybe here in this forum are some experts who can download Jarvis version in a way?

I wanted to share it and sent it to a lot of people and guess who answered immidiatly (on an Saturday night): Panther. She was in the Albert Hall too and we had a really nice Skypemeeting after a long wile.

So, Jarvis always impresses!
Have a nice Sunday. Do you know when he starts his Sunday Service again?

You have to go a long way to top Elizabeth Fraser/This Mortal Coil's version.
The best by far.

It takes a while for things to sink in properly for me and I have been struggling to form my impressions beyond the nebulous "lovely" into something more coherent. It all seemed to go past incredibly fast, there was a lot to take in. I've listened to it all again on the iplayer since. 

I was quite excited for quite a while beforehand and kept hearing more press for it drip-feeding more details. I was slightly concerned that there wouldn't be much left for the night, but I have heard Jarvis do enough press for enough things now not to worry that everything would be trailed in advance, and that it would all be more imaginative than he was letting on. I think he likes to lead you up the garden path a bit to avoid giving away what's really going to happen, e.g. the trailing of the underwater/sub-concious theme including a submarine story along with a Beatles song (one interviewer went for Octopus's Garden!). The only sea-related Echo and the Bunnymen song I know is Seven Seas, but that wasn't the one either. So that was good. The people around me seemed like regular prommers who try to go to as many as possible and were more classical music lovers, and they didn't seem to have any idea what to expect. I heard the previous live Wireless Nights they did in Salford on the radio. I did wonder before then how on earth they were going to manage to do it live, but it worked out fine then. Apparently the orchestra were a bit frustrated at having to cram everything into half an hour for that, as it was literally a live episode of the normal programme, which is why they did this one which will be edited down later on for the Radio 4 version.

I always love the way Wireless Nights weaves together several stories into a greater whole. I really love a good story (don't most people), I look forward to the stories on the Sunday Service too and the strong narrative element to so many Pulp songs is one of the many things that makes them so special to me. There are quite often personal bits from Jarvis woven in, like the bit about his mermaid puppet, which are adorable. My husband is always going on about watchiing Stingray as a child, but I don't remember ever seeing it. I would be fascinated to know how it works between Jarvis and the producers, how they conceive these programmes and build all the elements together. I'm pretty sure they don't send him out interviewing all the contributors, but he clearly puts a lot more into it than a celebrity voice-over. There's also the references to shared cultural experiences that I find strangely comforting, the shipping forecast in this case. It is a bit of a mystery why the nation is quite so devoted to what would appear to be such a functional thing, but I've loved hearing it since I was a small child. I always put cricket on long wave if I can so that I also get the shipping forecast.

My husband said he listened to the first part live on the radio, until the stated objective of the programme was achieved (he fell asleep) and he enjoyed it, but he wasn't sure what trekking to London would have done to enhance the experience. As has already been said, the way they used the lighting was really effective in creating atmosphere without drawing attention to itself, maybe a bit like film music does. There was a lot to watch for me too. I am completely clueless about classical music, so I was watching the orchestra and the conductor, trying to work out who was doing what and they way they go almost into suspended animation when they're not doing anything. Jarvis had a high seat at the front he perched on and froze when the orchestra were playing, reminded me of the toys in Toy Story when a person comes into the room. I was amazed by the organ, not so much at how much noise and vibration it made during its second piece, which is more or less what I expected for something that takes up an entire wall of a large building, but how quiet and delicate it was in its first piece. As my seat was in the front row right near the stage I had a great view of everything, like Jarvis' cool crocodile skin shoes. I definitely felt very immersed in the whole experience.

As for the actual music, it was pretty much all new to me. I didn't know Ocean Rain, have never heard Song to the Siren before, don't know the first thing about any of the classical music. The shipping forecast tune and Good Night were pretty much the only things I recognised, so it's quite a lot for me to take in as I don't take in new music that quickly, but I think I will listen through a few more times because of that to let it all sink in more. But it did all blend in with the greater narrative and maybe for that reason, and that it was largely unfamiliar to me, none of it leapt out to me so strongly as individual pieces, but as part of the whole. I was quite surprised in the first of the live programmes when he sang a couple of songs. I wonder how that conversation went in the planning stages. He's always so ridiculously negative about his singing. I would never expect him to go on in some kind of Muhammed Ali "I am the greatest" style, but he does seem to go out of his way sometimes to belittle his own voice. I imagine that kind of setting might feel more exposed than in a normal pop band context. And note to Liam: they made him use a radio mic. 

Cricket was very relaxing too, despite Yorkshire only taking 3 wickets all day and Middlesex scoring a million runs, a very pleasant experience, and they even let us wander round the Lord's outfield during the lunch interval and stroke the grass. 

Thank you Fran, maybe someday it will land on youtube.
I was thinking about Marina, the mermaid. Is it the "baby" out of the first "Babies"-video? I watched

www.youtube.com/watch Jarvis Cocker 16 objects for the moon. It's number 4.
What do you think?
He also mentions Marina in Mondo Rosso.