Winter 2011 TCA Press Tour: Top 5 Quotes from Day 5 (+ 1 Great Anecdote)

Day 5 of the Winter 2001 TCA Press Tour felt mildly anticlimactic after the previous day, with its strong focus on entertainment-related panels. I still maintain my “PBS rocks” mantra, but all things being equal, it might’ve been nice if they’d mixed up the proceedings a bit more, maybe putting Jeff Bridges and the “Best of ‘Laugh-In'” panels on different days.

Instead, we started with a panel for “PBS Newshour,” moved into a via-satellite appearance by Placido Domingo for his “Great Performances” special, and then slid into several panels in a row which, God bless them, simply weren’t as scintillating overall as one would’ve liked them to be. “Black in Latin America” did had Wyclef Jean on hand, which was kind of cool, and I’m very intrigued by the concept of “NOVA: Smartest Machine on Earth,” about a computer that’s going to compete on an episode of “Jeopardy,” but I wouldn’t go so far as to say that either kept me riveted from start to finish. Ironically, though, a panel I’d planned on skipping – “American Experience: Freedom Riders” – turned out to be so fascinating that I stayed ’til the bitter end, thrilling to every word. From there, we got a few sneak previews of future PBS projects, most notably Ken Burns’ look into Prohibition, and had a long-winded but still entertaining panel from highly underrated talk show host Tavis Smiley, but after that, the triple-threat of “Frontline: Are We Safer,” “Where Soldiers Come From,” and “StoryCorps” was more than sufficient to leave me wishing and hoping for the evening event to arrive sooner than later.

Finally, the event did arrive, and, boy, was it worth the wait. “Great Performances: Hitman Returns – David Foster & Friends” features the imminent songwriter performing his songs with vocal help from several other artists, and we’d been forewarned that at least one of them would be turning up and joining him onstage for his TCA performance, but believe me when I tell you this: it’s one thing to know that Donna Summer’s going to be in the house, but it’s quite another to actually have her belting out “Last Dance” only a few feet away from you. The woman turned the Langham’s Venetian Ballroom into a discotheque, and it was fucking spectacular.

Best moment of the tour…? Try one of the best moments of any TCA tour ever.

And, now, on to our quotes…

1. “The world of conventional television recording has pressed down the length of a report from three minutes to two and a half minutes, to two, to one and a half, to now one minute and 10 seconds, becoming more like a radio spot on a lot of the network news, there are actually stories that need telling that can’t be told in a minute and 10. Sorry. You just can’t. You could be a clever journalist. You could be a good writer. You just can’t do it.

The (PBS) Newshour is a great place to do that, but also, because of the new online opportunities, a place to bring the tremendous cargo that you come back from the rest of the world with in your reporter’s notebook, in your camera, and find another way to tell ancillary stories, to tell stories that didn’t make it into the main report, to start a dialogue with viewers, and really to do the other part of coverage that you can’t necessarily do on television. And also because a flight from Maputo, Mozambique, takes 31 hours, you’ve got a lot of time to work on your reporter’s notebook on the way back.” – Ray Suarez, PBS Newshour

2. “You live almost a life of tragedy constantly on the stage and you are rehearsing those big dramas, but, of course, you concentrate at the performance and even in the rehearsals, but doesn’t have to touch you. I know many people, many actresses, that were having problems after playing ‘A Streetcar Named Desire,’ for instance. And I believe that, after all, you are acting. You cannot let yourself in the suffering. That’s the reason I am a happy person.

Of course you have your sad moments in life, like we all have, like tragedies, losing dear people, dear relatives, parents, friends. But you live optimistically a life, which I like to live. But as I say, I love to be happy, but I love to suffer on the stage. On the stage it’s wonderful, the suffering. I like also the comedy, but I am better at suffering.” – Placido Domingo, “Great Performances: Placido Domingo – My Favorite Roles”

3. “As Watson’s developed over the years, it’s had a lot of silly answers. There’s quite a variety of them. I guess one of my favorites is we asked it what do grasshoppers eat and the answer was ‘kosher.'” – David Ferucci, “NOVA: Smartest Machine on the Planet – Can A Computer Win on ‘Jeopardy’?”

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TCA Press Tour, Summer 2010: Days 9 and 10

Although the TCA Press Tour actually ended on July 8th, there were so many things going on and so many different series and specials being covered that I simply didn’t have time to tackle them all while I was still out there. Plus, let’s be honest: once we get past the broadcast networks, do you really need full-fledged coverage on every single one of them?

Well, maybe you do…and if you do, then I’ll be glad to give it to you, since it’s never too late for a TCA member to delve back into the archives and produce the highlights of the tour’s various panels.

In the meantime, though, here’s a quick list of what was covered during the course of PBS’s two days of the tour, along with what the network itself has to say about the programs in question. If you want a straighter strain of dope on any of them, just say the word…

* American Experience: Freedom Riders:

Award-winning filmmaker Stanley Nelson returns to the Sundance Film Festival with his latest documentary “Freedom Riders,” the powerful, harrowing and ultimately inspirational story of six months in 1961 that changed America forever. From May until November 1961, more than 400 black and white Americans risked their lives—and many endured savage beatings and imprisonment—for simply traveling together on buses and trains as they journeyed through the Deep South. Deliberately violating Jim Crow laws, the Freedom Riders’ belief in non-violent activism was sorely tested as mob violence and bitter racism greeted them along the way.

“Freedom Riders” features testimony from a fascinating cast of central characters: the Riders themselves, state and federal government officials, and journalists who witnessed the rides firsthand. Despite two earlier Supreme Court decisions that mandated the desegregation of interstate travel facilities, black Americans in 1961 continued to endure hostility and racism while traveling through the South. The newly inaugurated Kennedy administration, embroiled in the Cold War and worried about the nuclear threat, did little to address domestic Civil Rights. Organized by the Congress of Racial Equality (CORE), the self-proclaimed “Freedom Riders” came from all strata of American society—black and white, young and old, male and female, Northern and Southern. They embarked on the Rides knowing the danger but firmly committed to the ideals of non-violent protest, aware that their actions could provoke a savage response but willing to put their lives on the line for the cause of justice.

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Each time the Freedom Rides met violence and the campaign seemed doomed, new ways were found to sustain and even expand the movement. After Klansmen in Alabama set fire to the original Freedom Ride bus, student activists from Nashville organized a ride of their own. “We were past fear. If we were going to die, we were gonna die, but we can’t stop,” recalls Rider Joan Trumpauer-Mulholland. “If one person falls, others take their place.” Later, Mississippi officials locked up more than 300 Riders in the notorious Parchman State Penitentiary. Rather than weaken the Riders’ resolve, the move only strengthened their determination. None of the obstacles placed in their path would weaken their commitment. The Riders’ journey was front-page news and the world was watching. After nearly five months of fighting, the federal government capitulated. On September 22, the Interstate Commerce Commission issued its order to end the segregation in bus and rail stations that had been in place for generations.

“This was the first unambiguous victory in the long history of the Civil Rights Movement. It finally said, ‘We can do this.’ And it raised expectations across the board for greater victories in the future,” says Arsenault.

“The people that took a seat on these buses, that went to jail in Jackson, that went to Parchman, they were never the same. We had moments there to learn, to teach each other the way of nonviolence, the way of love, the way of peace. The Freedom Ride created an unbelievable sense: Yes, we will make it. Yes, we will survive. And that nothing, but nothing, was going to stop this movement,” recalls Congressman John Lewis, one of the original Riders.

Says Stanley Nelson, “The lesson of the Freedom Rides is that great change can come from a few small steps taken by courageous people. And that sometimes to do any great thing, it’s important that we step out alone.” (Winter / Spring 2011)

* American Masters: LENNONYC:

This fall, as the world remembers John Lennon on what would have been his 70th birthday, and the 30th anniversary of his death, American Masters airs “LENNONYC,” a new film that takes an intimate look at the time Lennon, Yoko Ono and their son, Sean, spent living in New York City during the 1970s. “New York became a part of who John and I were,” said Ms. Ono. “We couldn’t have existed the same way anywhere else. We had a very special relationship with the city, which is why I continue to make this my home, and I think this film captures what that time was like for us very movingly.”

Following the breakup of the Beatles, Lennon and Ono moved to New York City in 1971, where Lennon sought to escape the mayhem of the Beatles era and focus on his family and private life. At the same time, he created some of the most acclaimed songs and albums of his career, most of them written at his apartment at The Dakota on Manhattan’s Upper West Side, including “Mind Games,” “Whatever Gets You Thru the Night,” “I’m Losing You,” and “Woman.” He also remained highly active in the anti-war movement as well as numerous other progressive political causes. As much as New York made an impact on Lennon and Ono by offering them an oasis of personal and creative freedom, so too did they shape the city. At a time when New York faced record high crime, economic fallout and seemed to be on the verge of collapse, Lennon and Ono became a beloved fixture in neighborhood restaurants, at Central Park, at sports events and at political demonstrations.

Lennon and Ono also bonded with millions of their fellow New Yorkers in their experience as immigrants. The film traces their struggle to remain in the U.S. when the Nixon administration sought to deport them, supposedly based on a narcotics violation, but which Lennon insisted was in response to his anti-war activities. “LENNONYC” features never-before heard studio recordings from the Double Fantasy sessions and never-before-seen outtakes from Lennon in concert and home movies that have only recently been transferred to video. It also features exclusive interviews with Ms. Ono, who cooperated extensively with the production and offers an unprecedented level of access, as well as with artists who worked closely with Lennon during this period, including Elton John and photographer Bob Gruen (who took the iconic photograph of Lennon in front of the skyline wearing a “New York City” t-shirt). (Nov. 22, 2010)

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