Colin Davis in His Own Words

MUSIC: "Symphony No. 2" by Elgar

Bernard Levin once wrote that the final piece of music he wanted

to hear before he died, provided he had sufficient notice,

four or five hours, was Wagner's Die Meistersinger.

HE LAUGHS Good heavens!

Is there a piece that would fall into that category for you?

I haven't... I've thought a lot about dying, but not...

but haven't given much thought to the programme.

When you say you've thought a lot about dying, in what way?

Well, it's...

It's a universal problem, isn't it?

And I think it should be spoken about quite openly and not made such

a dreadful future experience which you don't want to think about.

'It's been going on a long time.

'An awful lot of people have managed to die quite decently.

'I think, probably,'

I'd have Mozart's string quintets.

For as long as it takes!

# Surely

# Surely

# He hath borne... #

Now, if you watch me... Would you please watch, all of you?

And then you won't sing that note too short, because...

For the thousands of amateurs who sang with him

during his 62 years as a conductor,

rehearsing with Sir Colin Davis was an unforgettable,

life-enhancing experience.

You know how this goes...

# Surely

# Surely

-# He hath borne... #

-Great big crescendo!

# Our griefs... #

-Crescendo...

-# And carried our sorrows

# Surely

# Surely

-# He hath borne... #

-Basses, crescendo.

# Our griefs

# And carried our sorrows... #

That's great. Now...

'Have you yourself sung in a large choir?'

'Yes, when I was young, I was lucky enough to be given a lot of singing lessons,'

and he said, "You've got to learn not to be afraid of your own voice...

"..but nobody will ever come to hear you sing."

Oh, that was perfectly true.

Oh, dear. Oh, dear.

What I thought we would do

is to play each movement without stopping.

If there are any big catastrophes, we'll put them right.

If there aren't any, we'll go on to the next one.

So we get a feel of what it's like.

As the years began to catch up with him,

Sir Colin devoted more and more of his time to the young.

HE HUMS

Pa-pa!

Pa-pa!

HE HUMS

When the tree is dying,

it suddenly produces enormous quantities of fruit.

Maybe that's the stage we're in.

HE HUMS

'We don't see any decline in the numbers who take up classical music,

'going to these fantastic youth orchestras

'which play so amazingly well.'

And the standard of orchestras has gone up in the same way

over the last 30 years.

'The way people talk about it, the tree is dying.'

You look so solemn! I hope it's fun, good lord!

Now, we'll have a rest.

But I don't think it is dying.

Colin Davis was one of seven children.

Both his parents were musical, but it wasn't until the age of 13,

when he was at school at Christ's Hospital in Sussex,

that he became hooked.

My brothers had come home with a bag of records,

and amongst which were discs of the Eighth Symphony of Beethoven.

And when I heard that, then...

I really knew I had to be a musician.

MUSIC: "Eighth Symphony" by Ludwig van Beethoven

It's bang, isn't it? It's...

It's as if Beethoven just burst through the door.

MUSIC CONTINUES

It wasn't the only piece of music that I knew,

but it was the point at which there was no help for it any more.

Why was that?

Oh... I don't know.

Do you?

Why it is... What happened to Saint Paul on the way to Damascus?

Was there any live music at home?

No.

No.

Nobody played anything, except...

..I peeped on the clarinet.

That was the only instrument.

Some nice chamber music moments there,

because I was in a string quartet...

..at Christ's Hospital.

So we played the Mozart Quintet.

Once you sit in an orchestra, the...

It's such a bewildering mixture of sounds when you start,

and you've got to count your bars,

and that doesn't seem to have much to do with the music.

But...it's part of learning what it's like to be musician.

His conducting career took him all over the world,

with regular dates across Europe, and then the United States.

He came to fame in the 1960s

as Sir Malcolm Sargent's successor at the Proms

and went on to run the music at the Royal Opera House, Covent Garden.

He was more or less self taught,

but the veteran conductor Sir Adrian Boult did give him some advice

after attending one of his concerts.

He came to me afterwards

and said, "My dear boy, you'll be a cripple if you go on like that.

"You must go and see Barlow."

Doctor Barlow lived opposite the stage door of the Albert Hall.

And that's when I started an acquaintance with the Alexander technique.

I used to go to the LPO office,

where Adrian Boult had a disc, and so on.

He said, "Just throw the juice over them like that.

"Imagine you have a water cannon and you go, "Phoot!""

And it's certainly true.

-There was a passionate side to Boult, wasn't there?

-I think so, yes.

I think he was underestimated as a conductor.

He was a very important figure in the lives of those who were...

..at school during the war.

I mean, the only music we could get hold of was through the BBC,

mostly conducted by Boult.

And he did not maltreat music.

If you wanted to hear what a Brahms symphony sounded like,

it was just better to listen to him

than to somebody else who had freakish ideas about it.

What was Boult like to meet?

He was very charming.

Except when you mentioned the words "smug" and "Sargent".

Then, he flew into this terrible rage.

I didn't know what the history of that was,

it was something to with Sargent getting me out of the BBC.

There was some intrigue with the women, I think, there.

So, we didn't talk about that kind of thing.

Why he was so irascible, I have no idea.

But I think we all go through that,

and I am as old as he was when I knew him a bit.

I can see how old age calms one down.

Let's stop there. Can we go back to 214?

The first note...

HE HUMS

However short any of the notes are, I think we should make them...

As a young man, David had his problems with orchestras,

who often found him arrogant and impatient.

He ended up as the LSO's longest-serving principal conductor.

But his early years with them were sticky.

Not least because he felt they didn't know how to play Stravinsky.

The LPO was a bit bloody-minded,

I tried stupidly to do the symphony in C

and they can't... And they...

They didn't like me either.

But that's the hazard of going through existence.

What did you do in that situation?

Soldier on.

Just going home in a huff...

And it's no use lecturing the orchestra -

they all behaved themselves

and tried to play the damn thing.

So you just had to live through it.

Did you feel in those days you made enemies?

Of course.

Yes.

There was one who I never identified.

This was at Maida Vale, you know, remember the canteen there?

And I bought some lunch and I left it on the table

and I went... I don't know, I washed my hands or something.

And when I came back, it was gone.

Somebody had taken the trouble to deprive me of my lunch,

so I thought it was fairly mean.

'Can we phrase the...'

HE SINGS

..please, from two to nine?

The fact that you did make enemies, was that your fault or theirs?

I'm sure it was mine.

Or maybe my...simple existence irritated them.

How does one know?

What sort of person were you then?

What a question!

How the hell do I know?

I've only been told that I was impossible.

And I am ready to believe anything, since I don't know.

Never mind.

One of the things we might...try...

'But there came a point when you decided to change course and to...'

'Yes, there was.'

I was wandering along Camden Passage...

..feeling pretty gloomy,

and I...then decided...

..I would rather be a decent human being...

..than an idiot conductor.

I would have been about 35 then.

So that was a really long journey.

What I did...

..was I married and had a family.

Which was probably the, the biggest...

..step in that direction.

I had been married before, so I knew...

And that did really not come to a very good end.

So I started again.

And we had five children.

When I say that to young people now,

they say, "Five children! How did you manage that?"

And then, again, I have to say, "I really don't know."

HE CHUCKLES

Except there was the determination to do it.

His passion for making music with children lasted into his 80s,

when he launched the School's Orchestra, in London.

Some of them were only nine years old.

They meet once a year, towards the end of the summer term, I think,

after all the exams are over. They tackle quite difficult music.

Well, it's pretty well the hardest work you ever do.

Cos they've got to learn to listen, which is the hardest thing, perhaps.

You're quite demanding of them, though, aren't you?

Well, of course, why not? It's no use talking down to kids, I don't think.

I think you should just confront them with what it is they have to do.

Are they quite responsive?

Oh, yes. I mean, they try very hard.

Some of them don't know how to respond,

because they don't know what they're being asked to do.

But you've got time to tackle all that, as far as you can.

But they did improve enormously.

And what is so gratifying is that it's still going.

Colin Davis became almost a household name some 40 years earlier,

when he took over the Proms season from Sir Malcolm Sargent,

who was dying of cancer.

Davis had little time for the hijinks of the Last Night,

whereas Sargent had loved every moment.

There's been one conspicuous absentee from these celebrations...

in...

as you know, Sir Malcolm Sargent.

Now, before you say anything at all,

I have a great pleasure in telling you...

INDISTINCT SHOUTING

Don't be so rude!

CHEERING

I was going to say...

that Sir Malcolm Sargent is in fact here,

and I know that you would like to pay to him your respects.

And I will go and get him.

RAPTUROUS APPLAUSE

'When he insisted on coming to make that speech, at the Last Night...'

..when he could hardly walk... I mean, he died a few days later.

'And we were all afraid he was going to fall over,'

so I was told to stand there, "And you can catch him."

I feel tonight I'm an intruder.

-Rubbish!

-UPROAR

I'll tell you why.

I didn't win a seat in the ballot and I haven't bought a ticket.

LAUGHTER

Whose idea was it?

His, I'm sure. Absolutely certain.

'He lived for it, he lived for the adulation of the audience.'

I had a charming letter from somebody who said, "Just like you,

"the young conductors stand, waiting for him to die and get into his place."

And I was astounded that people could be so offensive.

You must have picked up some vibes from the orchestral musicians

-as to what...

-Well, nobody liked him, no.

I mean, one doesn't want to say that, but they didn't.

I mean, he was full of nonsense, because he lived in a flat...

opposite the stage door of the...

..of the Albert Hall, and he insisted on making that 50-yard journey

in a Rolls, so that he could turn up like some kind of royalty.

When he was ill, in hospital, in the end of his life,

and he had all his scores there, on the bed,

and every conceivable free spot on the...

..opening pages of the score,

he printed his name... from a rubber stamp, or he wrote it.

Extraordinary thing to do.

What we have to try to do here is to set up the most saturated string sound. Excuse me.

No lifting of the bow, no slowing down at either end.

It must go right through.

Ignore the lines, they're just long notes.

Start once more.

Not to stop the bow, anybody -

please don't stop the bow from sounding on the strings,

so there is no possibility for any of the notes being detached from any other.

HE HUMS

'Music is, of course, very little to do with beating time.

'Anyone can beat time, and it's extraordinarily boring.

'But what you can do with a baton is quite extraordinary.

'You can indicate the kind of way you want people to play.'

Very slow crotchets. HE SINGS

'It is the key to playing together and making shapes and sizes

'and all the things you can do with something

'which is partly a rapier, partly an arrow, partly a bow, and so on.'

HE SINGS

'It takes a lot of doing. It's not easy.'

Now, in the next bit, will you change your bow where you feel like it?

Good.

A lot of conductors now don't use the baton at all

-and use just their hands.

-Mm-hm.

-Is that something...?

-I tried that.

Because I was trying to find out how to do anything.

But it just means you have to move your arm much more,

and that's not a good use of energy, really.

It's really wasteful and rather confusing sometimes.

Now, more crescendo, can you?

If you're in a time of 4/4 and you're playing fairly slowly,

beating time is not expressive - it just goes like that.

And that doesn't tell anybody anything about the way you want them to play,

whereas if you drag your stick around

as though you're pulling it through some thick liquid, like honey...

..you can pull the bows through the music that way, for example.

And if you want to have a forte piano, you can go...

And you keep quite still.

Eventually, they will do it, they will...

..strike the bow on the string and stop the speed of it.

It's a very dramatic effect. I'm just saying these are things you can do.

And, in fact, most music - especially fast music -

doesn't consist of downbeats at all. They're all up.

One, two, three...

One, two...

They're not down and up.

Downbeats are... They tend to bring things to a stop.

But to keep the music off the ground,

you're mostly going upwards, like that.

People often think, well, do conductors stand in front of a mirror, practising?

Maybe they do.

I don't know.

Standing in front of a mirror is a totally narcissistic effort, I think.

And that will certainly not help you.

Have you ever done it yourself?

I can't remember.

Standing in front of a mirror? No, I don't think so. I mean...

..you inevitably look in the mirror to see that your zip isn't undone

and your tie isn't fluttering away where it shouldn't.

But you don't, er...

Most normal musicians wouldn't do that.

-The other thing is...

-Fifth... 36, yeah, 36.

I don't know what my friends think, but when I look at you,

too many of these, they are like downbeats.

-One, two... And sometimes, I don't know where you are.

-OK.

I mean, keep the plan of action and it'll help enormously.

Good. 36.

'All I do is I suggest ways of doing things.

'But usually, the young men or young women, they are so - quite properly -

'daunted by having to appear in front of the London Symphony Orchestra

'that they, er, they get panicky and they do only what they think...

'what they have learnt to do.

'I mean, they are not flexible in their movements.'

You see, what happened was this bar just sort of...

It's still waiting for you to do something,

instead of leading us into the next one.

Do you see what I mean?

OK. 36. And we'll lead.

'Using a speaking stick, an acting stick, gets the music out of you.

'If you don't get it out of yourself, it gets locked in there and you're

'not expressing anything to them, you are expressing yourself to yourself.'

The greatest hindrance in a performer is to, er...

not to discipline his ego.

'You're there for the musicians.

'Of course you're there for yourself and you love doing it,

'but that has nothing to do with the music at all.

'That's your own particular self-indulgence.'

That's it. Yes, but then you bullied it, you see,

it's not pushing it forward, but it's not letting it hang back.

That's all.

And I know I'm a sentimental old man,

but if you do the bar before C, please...

HE SINGS ALONG

It's one of those magical cadences, because it's a dominant

and a sub-dominant all at once, you've got all three,

it's always so beautiful, don't you think so?

The whole thing's a love song about the countryside or whatever,

it seems to be a huge pastoral symphony, doesn't it?

'The problem is, learning music is difficult enough,

'but it's dealing with all those people that's the problem.'

Because you can't have an orchestra which is talking all the time,

or grumbling, or not paying any attention.

Because that's not what they are there for.

We are all there to co-operate with one another,

and I think that is a bit of the miracle of orchestras.

All these people come from diverse backgrounds,

completely different temperaments,

a lot of them very highly intelligent,

and they hang up their jackets and their egos

and they march onto the platform and agree to play some vast symphony.

Every man and woman in that orchestra has to be listening the whole time,

as well as playing all the notes.

And I think that many people, perhaps politicians are obvious ones,

might learn a bit from that.

If I were the Prime Minister...

When do they open Parliament in the morning?

I don't know, is it 10:30 or 11 or something?

And they would have to sit down and listen to the first movement

of a string quartet, to stop them talking!

Because, you know, all this talk, such wasteful rubbish.

I know you think I've gone a bit crazy now,

but, I mean, I think it would be a rather good effect!

MUSIC: "Grande Messe des Morts" by Hector Berlioz

Throughout his career, Sir Colin championed the music of Berlioz.

50 years ago, he launched the first City of London Festival

in St Paul's Cathedral with his thrilling Requiem.

Last June, at the age of 84, he conducted it again.

It was to be his final concert with the London Symphony Orchestra.

THEY SING IN LATIN

Where did you first discover Berlioz?

It was at summer school at Bryanston.

We had, as part of the menu, the second part of Childhood of Christ.

And I had never heard this music before, I was completely

blown away by the melodies

and the delicacy of the whole work.

So, that's when that started. So I had to find out more about Berlioz.

Of course, that led to wonderful experiences, like doing

the Trojans, and the Requiem,

in big cathedrals and so on.

THEY SING IN LATIN

Does anybody know what all that fuss about Berlioz was?

I suppose it was the academics.

Yes, the people who think you ought to write music like this, or...

..you know, there is only one way of doing anything.

THEY SING IN LATIN

What sort of man would he have been like to meet, do you think?

Berlioz? Goodness knows.

Impatient, arrogant. Very witty.

He was a very, very intelligent man, after all.

And I think Howard would have kept very quiet!

But perhaps some of those... Some of those adjectives might have

applied to you when you were very young?

-Which ones do you mean?

-Impatient, arrogant.

-Yes, yes.

-Witty?

Well, I'm not claiming that.

I think most young people are...

..given to overweening ambition and...

..showing off. And aren't they?

I think Berlioz was a real performer in that direction.

But it's just as well that he doesn't go on like that very long.

And Mozart was as bad as anybody.

He was going to show the world. In the end, he just wrote music.

Thank God!

SHE SINGS IN GERMAN

HE SINGS IN GERMAN

Lovely!

He was the most obviously gifted composer.

He could write anything, any length.

He had all kinds of deviousnesses

and...hidden melancholy.

He didn't have to hammer out music, like Beethoven did.

And he wrote, on the whole, more profoundly than Haydn.

And he found composing pretty...

He says he found it very difficult to write string quartets, but, er...

And I guess if he found something difficult, then it really was.

THEY SING IN ITALIAN

Mozart was the other constant thread in Davis's life.

His opera Don Giovanni was the first piece he conducted in public,

at the age of 22.

A few years later, still relatively unknown,

he stepped in at the last minute to conduct it in London.

He never looked back.

It is Mozart who finally makes us

feel that we are acceptable human beings.

Without his music, we would go home feeling unclean.

With his music, we go out of the theatre, dancing.

I've never seen a production of Don Giovanni that I really liked.

Now, that's an impossible opera for you.

Figaro is wonderful, I mean, you can hardly ruin that.

I think, wasn't it Brahms who said, looking at the score of Figaro,

he said, "How does a man like this write one masterpiece

"after another, and keep it up?" Which he did.

Amazing.

For you, Maestro!

Davis was a controversial choice to succeed

Sir Georg Solti as Music Director at the Royal Opera House.

At first, he was besieged by critics,

unimpressed by his love of Mozart and Berlioz.

They wanted much more Verdi, Puccini and Wagner.

No, they didn't like me. For some reason.

I wasn't sufficient of a personality, I think.

They howled at me and booed me, all those kind of things.

They used to shout at me when I came out of the stage door.

HE CHUCKLES Oh, dear.

I was extremely upset, some of the time.

I think on one occasion when you were being booed onstage,

you stuck out your tongue at the audience.

Jolly good! Did I? I hope so.

What about Peter Grimes?

Yes, that was another memorable occasion.

Of course, we had John Vickers,

who was the personification of Peter Grimes.

Terrifying.

Wonderful piece.

It was a very, very cheap production.

It was one of the best.

It lasted ages.

I don't think Benjamin Britten liked it. That I can assure you.

How do you know that?

He came. He didn't like it.

But he sent me a letter.

Was he critical, then?

Yes, he always was.

But we had a feeling that he...

He hadn't quite realised what he'd let loose.

It's a very violent piece

but it has some wonderful music.

I think he thought I took much too much freedom with it.

# For we, like sheep

# For we, like sheep... #

Be confident that that's what you are.

# For we, like sheep... #

And if you didn't hear it the first time...

# For we, like sheep

# Have gone astray... #

That's it. Now, all of those going astray have to be legato. Not...

# Astray... #

But legato as anything. Just on the voice. Let it blow. Away you go.

Can we go from...

# Eh uh, bum, da da di di di... #

And one...

# He have turned

# Everyone to his own way... #

Crescendo, tenors.

# His own way

# All we, like sheep... #

I can't hear the first note of "all".

# Have gone astray... #

No, no. Legato, legato. Not...

# Bum bum beem bum ba ba, te ah... #

And I didn't realise how long it takes to get a voice

to actually speak.

So, what they tend to do is they keep to the music, because they're reading

very carefully, and they start to sing on the downbeat, and that's too late.

Because the voice won't be functioning

until a couple of seconds later.

-# We have turned

-# We have turned

-# We have turned

-# We have turned

-# We have turned

-# We have turned

-# We have turned

-# We have turned

# Everyone to his own way... #

The secret of singing is always to breathe early enough so you...

The voice is actually available when it's got to be there.

But there are an awful lot of professionals who fail us

in that respect.

# La mi dirai di si

# Mi trema... #

More "M".

A little earlier. Yeah?

La mi dirai...

# La mi dirai di si

# Mi trema un poco il cor... #

More "M". Mmm...

Mmm...

One week before!

# La mi dirai di si

# Mi trema... #

Sing only the M. Only "mmm".

Mmm. Mm-hm.

# La mi dirai di si

# Mi trema un poco il cor

# Partiam ben mio, da qui

# Ma puo burlarmi ancor... #

If you want to sing "miserere",

you can pitch the M the same note as you are going to sing E.

WITH CONSTANT PITCH: # Miserere... #

You can have that, which is a very, very...convenient thing.

There are certain unvoiced consonants, of course,

but you can imagine singing the word "sing".

WITH CONSTANT PITCH: # Sing... #

You can almost pitch it.

But if you go...

WITH VARYING PITCH: # Sing... #

..it's that sound that one can't bear.

People don't start on the note, they start somewhere else

and congregate after the note has gone.

# Rex tremendae majestatis

# Rex tremendae majestatis... #

If you are singing "Rex tremendae",

the R of "Rex" comes before the orchestra.

It's a big solo, and things like "tremendae" take a lot of time.

So you've got to cheat the music and the language

so that they fit together.

# Rex tremendae majestatis... #

The technique of actually singing in a chorus is more complicated

than one would think.

And very rewarding, actually, when you can achieve that.

Oh, it's fantastic, yes. It's wonderful.

It's worth slogging away at it.

Are you a religious man?

I don't know.

I don't go to church and...

But I am deeply moved by the great religious music that we have.

It's very interesting, isn't it, that the...

great romantic religious music is all about the requiem.

And the last great mass was Beethoven's D Major Mass.

And when I'm doing those pieces, I really...

I do believe in the whole thing.

# Gloria in excelsis Deo

# Gloria in excelsis Deo

# Gloria in excelsis Deo

# Gloria in excelsis Deo

# Gloria! Gloria!

# In excelsis

# Gloria! Gloria! Gloria!

# Gloria in excelsis

# Deo

# In excelsis Deo... #

The curious thing about those people, Mozart and Beethoven,

Verdi, Berlioz -

they'd all been brought up in the church.

They'd all rejected it.

They sort of concocted a private religion, I think.

They were not conventional religious people.

And I think...

..I really belong in that class.

# Gloria in excelsis Deo

# Gloria! Gloria!

# In excelsis Deo

# Gloria...

# Gloria! Gloria!

# Gloria! #

I was very fortunate to go to public school, where we had...

We went to chapel every day, and twice on Sundays.

So after six or seven years,

you'd heard a great deal of the Scriptures, which was good.

You may not believe in the God

we're expected to believe in,

but you do believe that, for example,

if you take the practical precepts

of Christ's teaching,

it's quite rational to apply them to one's life.

The important thing, after all,

is to rescue one's own corner of the world,

which, of course, if everybody did that,

we'd have a much better place to live in.

It sounds simple.

But there appear to be what are conventionally called

the forces of evil who don't want to do that.

They want to make as much mayhem, bloodshed

and all the rest of it before they themselves have to die.

Do you read the Bible sometimes?

Yes, and goodness me, what a thing that is!

We were doing Samson and Delilah

and I was reading around that story...

..really to discover that the people around at that time

were simply thugs. They were dreadful.

And the complaint in Kings 11, where there are two women.

There was a frightful siege of the city they were in

and they came to a compact whereby they would eat one child,

belonging to its mother, first,

and then when they'd eaten that one,

they would move on to the other mother's child.

And...

there's a frightful quarrel,

because the second mother refused to do it in the end.

Do you feel the world is a better place now, then?

I don't think so, no.

Obviously, we have dubious machines like motorcars,

and we have nice bathrooms

all the things they didn't have,

but I fear that the internal world of human beings

is exactly the same as it was 10,000 years ago.

The barbarity of what's taking place as we speak

is not to be believed, is it?

There's this lust for destruction, hidden away somewhere.

And the best weapon against the whole thing is music. Something like that.

# Peccata mundi... #

Are there parts of music that you still would like to explore?

Don't think so.

I think if I couldn't go to work any more,

and I can still hear,

I would listen to all kinds of other music

which I don't have time for now.

Pre-classical church music.

And...

to sit down and study the Beethoven piano sonatas,

which I've never done.

And I vowed I'd read the whole of Shakespeare again before I die,

so I thought it about time I started on that.

I did read it once before, because I thought,

"Well, I can't last much longer."

But that's a long time ago. So I started again.

And is there a piece you'd like to have conducted

last of all, as it were?

Good Lord!

No, I don't have sort of fantasies of that kind.

It's very hard to arrange that, because...

..it takes two years to plan a piece,

and death isn't amenable to our timetables.

I'll take it, whatever happens, when it happens.

Does it frighten you, the thought of death?

No.

Of course, like most people, I would like to die suddenly

of a stroke or something like that, and not hang around, decaying slowly.

But not being able to make an exit, that's dreadful.

-And what do you think will happen?

-When?

-At death.

I've no idea. I mean...

..nobody knows.

Can you give me any help?

I was just wondering if you think...

Does it mean silence? Do you think music will have a place after death?

I never thought about that. The most I can imagine is silence.

But then whatever one says,

one is implying that one is going to experience whatever it is one says.

One isn't.

So there's no point even talking about it.

If there's silence, there's got to be somebody to notice it.

It's... It's in short supply, this side of the grave.

APPLAUSE

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