Two Horror Queens: Composer Elisabeth Lutyens (1906-1983) and Actress Veronica Carlson (1944-2022)

She was eaten by cannibals, bitten by Dracula, and raped by Victor Frankenstein. I adore her.

I am talking of course about English model-turned-actress Veronica Carlson, the most delectable of all of Count Dracula’s victims. Her movie career wasn’t long, but she made a lasting impression on countless adolescents in the 60s, many of whom, now grown, still look forward to watching Dracula Has Risen from the Grave for a really good stroke session.

Hammer, the film studio where Carlson did her best-known work, worked wonders when it came to dignifying luridness, which is what you’d expect from the Brits, wouldn’t you? The British were never sexier than in the 60s. I miss that.

Veronica Carlson, Peter Cushing.jpgIt’s Veronica Carlson’s deeply sexy love-trance gaze at kindly Peter Cushing that makes this publicity pic spring to life. Photo session was done following shooting of their utterly gratuitous, dramatically unfeasible but vigorous rape scene in Frankenstein Must Be Destroyed (1965, Terence Fisher, dir), which made the most of the gorgeous Hammer star’s drawing power.

As for Elisabeth Lutyens, she tells her own story in this short interview with the BBC. Her work for Amicus films is best exemplified by her theme for Dr Terror’s House of Horrors, above. But this short piece is much more to my liking and demonstrates her superior musical gift.

 “Lament of Isis on the Death of Osiris”
composed by Elisabeth Lutyens, 1969


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On Conductor John Wilson’s Full Dress and The First Porn Movie I Ever Did, 1

From 2019: For those of you who know that, as well as being a retired porn actress, I also write porn for pleasure (actually genteel erotica but you know and I know it’s porn, lady porn, but PORN), Full Dress being a riff on my old boss Rouben Mamoulian’s classic The Song of Songs—you know, the one where Marlene Dietrich has a rich would-be composer for a husband and a young, sensitive, bespectacled conductor for a lover, inspiring them both to artistic heights through her Mighty Marlene Power. Oh, baby. This is the movie that inspired me to emulate you in my youth.

But just so you don’t go on thinking this is some kind of fanblog (really, I’m not a fan*, just crazy in love with the bloke below) I thought I’d spend a posting to tell you all how I got my first gig in pictures.

John ExposedAbove John’s arousingly exposed suspender: Nina Simone sings Cole Porter’s “All of You” just for my wild Geordie lad.


This happened in San Francisco—in the 70s a paradise for the sexually adventurous—and coming after the time I worked as classic film director Rouben Mamoulian‘s amanuensis, which was after the time I posed nude for a blind sculptor in St-Paul-de-Vence, which was after the time I danced topless in a mob-run bar in Red Hook, which was after the time I was the night solfeggist at ASCAP

So anyway. One lovely summer evening about six weeks after I hit the city I went with a (legit) actress friend to a house party up on Potrero Hill, mostly because she enticed me with the information that the party would be featuring a hot tub. (Am such a pushover for hot tubs.) Well, at the party there was this cute but obvious older guy from London (trimmed ginger beard, open shirt, bead bracelet—no one goes California like the English) named Paul, who owned the house and who invited me seulement for a session of coke+quaaludes and a nice soak later, after all the other guests have left. Then he gave me his card. (This was only the second time a man ever gave me his business card before we had sex, and it wouldn’t be the last)…

Part 2 “Zombie Love Slave” here.
Part 3 “Sausalito Hot Tub” here.
Part 4 “Lovelace” here.

*No, really, I’m in love with John but he plows through Gershwin like a bull moose and treats Bernstein like Bernstein’s Saruman and he’s Frodo. How could any red-blooded American woman countenance such effrontery to our national treasures?**

**He does, however, conduct Elgar and Vaughan Williams like an angel.


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Valentine’s Day 2024 for My Bonny Lad Across the Ocean, Conductor John Wilson

February 14. Greetings of the day, my love. This is my gift to you this year: A sexy song by Erik Satie, plus a mashup of you conducting Vaughan Williams’s “Sea” Symphony in Birmingham with the classic print by Hokusai (1760-1849), “The Great Wave off Kanagawa”, which is actually getting some likes over at my DeviantArt gallery.


Hosukai and John Wilson

Above the mashup of Hosukai + John conducting Vaughan Williams’s “Sea” Symphony, find counter-tenor Yoshikazu Mera’s exquisite rendering of Erik Satie’s cafe melody, “Je te veux”.


Ars gratia artis. Or art for the sake of the artists*. I love you today and all days.

*Ars propter artificum.

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My Beloved John Wilson Conducts The John Wilson Orchestra in a Swingin’ Christmas on BBC2, Christmas Day 2010

With singers Anna-Jane Casey, Seth MacFarlane, and Curtis Stigers. Mike Lovatt solos on the trumpet. Plus brazen hussy shimmy alert. Whoever would stifle that shimmy in years to come, my bonny, would stifle your spirit.

Above: The FULL 1h23m audio of the BBC’s Swingin’ Christmas With the John Wilson Orchestra, 2010. Big Band medley selections are listed below. Find the (incomplete) show on YT here, or watch the longer version (with a less clear picture) below. To my regular readers: Changed the picture to show how handsome John was, in a limey weed kind of way, back when he was in his late 30s. He’s not a limey weed anymore but I love him more than ever, now that I’m getting a fuller sense of his musical life.

For the Big Band medley: “Skyliner” – Barnet / Charlie Barnet; “Take the A Train” – Billy Strayhorn and vocalist Joya Sherrill / Duke Ellington; “Let’s Dance” – Gregory Stone (based on von Weber’s “Invitation to the Dance”, orchestrated by Hector Berlioz) / Benny Goodman; “I’ve Got My Love to Keep Me Warm” – Irving Berlin / Ray Noble; “Begin the Beguine” – Cole Porter / Artie Shaw; “I’m Getting Sentimental Over You” – Ned Washington and George Bassman / Tommy Dorsey; “Midnight Sun” – Hampton and Sonny Burke / Lionel Hampton; “You Made Me Love You” – Monaco and McCarthy / Harry James; “Moonlight Serenade” – Miller / Glenn Miller; “Peanut Vendor” – Moisés Simons / Stan Kenton; “Woodchoppers Ball” – Joe Bishop / Woody Herman; “One O’Clock Jump” – Count Basie / Count Basie.

This is the kind of music ID-ing I used to do when I was 18 and a night solfeggist at ASCAP, John.

Composer Andrew Cottee is the show’s orchestrator-arranger.


The ENTIRE 1h23m 2010 BBC Swingin’ Christmas With the John Wilson Orchestra is available to view here (thanks, Jayne Anne Strutt!)


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Silly Sexy Love Songs: “You Can Leave Your Hat On” Written by Randy Newman and Sung by Tom Jones; Plus Cultural Jamming Through Banksy! Just for My Beloved English Conductor John Wilson

Dedicated to he who makes my heart beat at 60 per.

John Wilson Banksy.gifConstructed from pic stolen from John, 2019. Source photo by Banksy

FREE DOWNLOAD! CULTURAL JAMMING THROUGH BANKSY


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My 2nd Anniversary of Being In Love with John Wilson, Royal College of Music Alumnus, Who Conducts His Alma Mater’s Symphony Orchestra in 2018, and the Sinfonia of London in 2022, in Ravel’s “La valse”

From 4 May, 2020. For two years, longing for my beloved John Wilson has impinged on my usual output of actual writing, which once dealt mostly with The Assassinations+the occult and I have got to channel that particular energy somewhere

Now, on the second anniversary of The Day I Fell In Love With John Wilson, what should I stumble upon but this video of the Royal College of Music playing Ravel conducted by my beloved alumnus (1990-94).

RCM Symphony John Wilson.jpgMaurice Ravel described his work, written in 1919: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees at letter A an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth at the fortissimo letter B. Set in an imperial court, about 1855.” In the accompanying podcast bonny John asserted that “La valse” is about social disintegration. Another reason for me to get into his head. Above: Audio of John conducting the Sinfonia of London in this piece for Chandos (2022).


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“If Ever I Would Leave You” from Camelot by Lerner & Loewe, Played by The John Wilson Orchestra and Conducted by John Wilson, BBC Proms 2019

I don’t think I’ve ever been more in love with John than now, watching him surrender to the exquisiteness of Alfred Newman’s Oscar-winning orchestral arrangement. From the 2019 BBC Proms, which can be seen in entirety here. So recent I can see the silver in my bonny lad’s hair.

John Wilson Tryptich 2


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Gordon Cole: The Link Between Twin Peaks and Billy Wilder; Plus “The Emperor Waltz” by Johann Strauss II, Conducted by Daniel Barenboim with the Berliner Philharmoniker, 2013

What is the connection between David Lynch and Billy Wilder?

Goddammit, I’ve posed this question to all my Twin Peaks groups on Facebook, and nobody got it. Now I’m going to give it to you.

“The Emperor Waltz”: the music and the film.

Assistant Deputy Director Gordon Cole of the FBI is a character on Twin Peaks.

Assistant Producer Gordon Cole of Paramount Pictures is an unseen character in Sunset Boulevard. Gordon Cole wanted to borrow Norma’s classic car for a “Crosby picture”—Billy Wilder’s 1949 film The Emperor Waltz, starring Bing Crosby and Joan Fontaine.


The entire film THE EMPEROR WALTZ directed by Billy Wilder is available to watch here


But that’s not all. There’s an artistic, almost metaphysical link, to the David Lynch work and the Billy Wilder work. For all its color and seeming frothiness, The Emperor Waltz the film barely conceals the same awful truth Lynch made clear in episode 8 of the third season of Twin Peaks: that at a particular point during the middle of the 20th century, Evil partnered with the willing Spirit of Man to try to annihilate the human race. Joe McBride you big fat blowhard, I got that drowning mongrel puppies thing too. I was just a little girl when I first saw this movie and the drowning puppies bit shocked me at once—because, you know, puppies. But also because of what Mrs Weisberg taught us in 4th grade class. And, you know, Anne Frank.

David Lynch and Billy WilderAbove David Lynch and Billy Wilder: Daniel Barenboim conducts the Berliner Philharmoniker in Strauss’s grandest waltz.


In the Revolution of 1848, Johann Strauss II (or Jr) had sided with the dissidents—the anti-Habsburg faction—while Strauss Sr his father had been an avowed royalist, composing the Radetsky March in honor of the great general who played a large part in suppressing the Revolution. For some time the court looked with misgivings and suspicion at Strauss Jr, however important he proved to the Austrian image.

There’s a file of a police interrogation where the younger Strauss was asked why he had dared to play the Marseillaise. In an Austria of strict censorship, that was a loaded question. Strauss answered, “Because it is good music and good music is what concerns me.”

But the wounds of the revolution gradually healed. Soon Austria had a new emperor. When the emperor celebrated the 40th anniversary of his accession in 1888, Strauss composed a waltz in honor of Franz Josef.

My signal, my flame, my beloved John Wilson conducted this piece in Stockholm 29 March 2019.


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The Music of Humoresque (Jean Negulesco dir, Warner Bros 1946): Lalo, Waxman, Wagner etc; Plus My Persistent Desire for BBC Conductor John Wilson

This is Joan Crawford at her witchiest, which could only be brought out by operatically tragic love. Of course it’s over a musician.

It also has Oscar Levant. Oscar Levant! Novelist Nora Johnson’s object of primal teenage lust!

And it’s just a gorgeously-shot movie (by Ernest Haller, a good friend of Crawford).


The entire film HUMORESQUE (1940) is available to watch here


Fourthly, the music (see below)…

Humoresque

Above: “City Montage” from Humoresque by Franz Waxman. John Musto, Russell Warner arrangers; Andrew Litton conducts the London Symphony Orchestra.


I’ll add links as I find them and like them one of these days:

  • Antonín Dvorák / Humoresque, op 101 no 7 in G-flat major
  • Howard Dietz+Arthur Schwartz / I Guess I’ll Have To Change My Plan
  • Richard Rodgers+Lorenz Hart / My Heart Stood Still
  • Cole Porter / You Do Something to Me
  • Cole Porter / What Is This Thing Called Love?
  • James F Hanley / Zing! Went The Strings Of My Heart
  • Al Dubin+Harry Warren / Don’t Say Good-Night
  • George+Ira Gershwin / Embraceable You
  • George Gershwin / Prelude II
  • George Gershwin / Prelude III
  • Frederic Chopin / Etude in G-flat major op 10 no 5
  • Frederic Chopin / Ballade No 4 in F minor op 52
  • Richard Wagner / Liebestod from Tristan und Isolde
  • Georges Bizet, Franz Waxman arr / Carmen Fantasie
  • Edouard Lalo / Symphonie espagnole in D minor op 21
  • Felix Mendelssohn / Violin Concerto in E minor op 64
  • Franz von Suppé / Poet and Peasant Overture
  • Pablo de Sarasate / Zigeunerweisen (Gypsy Airs) op 20
  • Pyotr Ilyich Tchaikovsky / Violin Concerto in D major op 35
  • Henryk Wieniawski / Violin Concerto No 2 in D minor op 22
  • César Franck / Sonata for Violin and Piano in A major
  • Edvard Grieg / Piano Concerto in A minor op 16
  • Sergei Prokofiev / Piano Concerto No 3 in C major op 26
  • Dmitri Shostakovich / Polka from the ballet The Golden Age op 22
  • Johannes Brahms / Waltz in A-flat major op 39 no 15
  • Johann Sebastian Bach / Sonata No 1 in G minor BWV 1001
  • Nikolai Rimsky-Korsakov / Flight of the Bumblebee

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My First Music: Friday Night Is Music Night with the BBC Concert Orchestra, Conducted by the Oh-So-Kissable John Wilson, August 2005

At around the same time of life the oh-so-kissable John Wilson was a wee bairn in Gateshead falling out of his high chair in excitement over the brand-new BBC news theme, I was in my playpen in the living room of the old one-bedroom apartment in South Minneapolis jumping up and down in excitement to the theme of Captain Kangaroo on TV.

Now here we are with my darling 33-year-old (in 2005) lad on the podium in the first televised broadcast of this longtime radio fixture, and I get to find out the titles of all those excerpts and show themes I’ve heard on the Beeb for years. The sign-in music, incidentally, is Charles Williams‘s “High Adventure.”

A Little Light MusicI will never understand the English tradition of drag. Now, the American tradition of drag, like future husband Mister Grumble doing his Twiggy impersonation at a gay revue in Dallas back in 1964—THAT’s hot. Above John and his admirer: Audio of the entire Friday Night Is Music Night program, “A Little Light Music”.


The program: “The Devil’s Galop” (Dick Barton Special Agent, Monty Python) / Charles Williams; “Portrait of a Flirt” / Robert Farnon; “The Lion and Albert” (comic verse) / Marriott Edgar; March from “Little Suite” (Dr Finlay’s Casebook) / Trevor Duncan; “Barwick Green” (The Archers) / Arthur Wood; “The Typewriter” (The News Quiz) / Leroy Anderson; “Roses of Picardy” / Haydn Wood; “Calling All Workers” (Music While You Work) / Eric Coates; “By the Sleepy Lagoon” (Desert Island Discs) / Eric Coates; “A Canadian in Mayfair” / Angela Morley; “In a Party Mood” / Jack Strachey; “Sailing By” (The Shipping Forecast) / Ronald Binge; “Charmaine” (Monty Python) / Erno Rapee; “Puffin’ Billy” (Captain Kangaroo!!!) at 47:00 / Edward White; “Birdsongs at Eventide” / Eric Coates; “The Dam Busters” March (from the 1954 film) / Eric Coates. Janis Kelly, soprano. Roy Hudd, host.


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Wide Sargasso Sea by Jean Rhys; Soundtrack Score for the 1993 Film by Stewart Copeland

When I was a teenager I read all of the Brontë novels, including The Professor, Shirley, Villette, Agnes Grey, and The Tenant of Wildfell Hall. When I was 19 I read all of Jean Rhys‘s novels, including this one. Whyd’you think Charlotte Brontë mutilated and blinded that racist bastard Mr Rochester anyway?

Above: Stewart Copeland’s weird, haunting music for the 1993 film


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My Darling John Wilson Conducts The John Wilson Orchestra in Jule Styne+Sid Ramin+Red Ginzler’s Overture to Gypsy (1959) at the BBC Proms, 2012

The indication “burlesque strip stylewas actually written on the music right around 4:00. Both Ramin and Ginzler cut their teeth writing swing arrangements; lead trumpet in the original Gypsy pit was Dick Perry, late of the Tommy Dorsey Orchestra. Solo trumpet Mike Lovatt here lays it down fine. Some people obviously know something about burlycue. Composer Jule Styne was pleased with this overture’s orchestration.


The entire 2012 BBC Proms concert The Broadway Sound with The John Wilson Orchestra is available on YT here


John Wilson SOLAbove the man of my desire: The entire audio recording of The Broadway Sound…plus at 4:00 of this clip on YT of the Overture John shimmies like a brazen hussy. That was the moment I fell in love with you, John mi vida. That lovely luscious moment when I stumbled onto that clip of you at the Royal Albert and got your number


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From The Patrick and Maureen Maybe Music Experience, Written and Performed by Patrick Barlow, with Imelda Staunton

On BBC radio 1999, so I guess that makes this show 24 years old.

The Patrick and Maureen Maybe Exprience.jpg

Patrick: This is Irina, the performance artist from Praha.
Maureen: Where?
Irina: Praaa-ha.
Maureen: Yes, I think we know where she comes from. Does she normally wear that?
Irina: I wear very little. There is a saying in my country, “Music is like the body. The more it is exposed, the more it can arouse.” Another expression we have in Czech, “Music is like sex—if we do not have it, WE DIE!!!”
Maureen: (alarmed) Sex. She said sex!
Irina: My music is like my sex. It come from the dark inside of my wooomb of my sex! Yearning to receive the seed of the dark black innards of my inward being… Dark, black, and hot, they copulate in the tone of the music of the fire that meets and heats, and in the heat is born the sacred coming of the sex of my body, is sex and my body is music, on and in, and in and on, my body is the sex of my heat, and my music, my heat, my body is on…
Maureen: Heat?
Irina: Of course. Always. Or as we say in my country, “[something-something-sex in Czech]”… Now I tune and prepare. (plays violin, orgasming loudly to music)
Maureen: Well, that was quite unusual.
Irina: (panting) Thank you.
Patrick: Um, did you actually achieve…?
Irina: (more panting) Orgasm? Of course.
Maureen: So, any other questions you’d like to ask, Patrick…? Any tips? Sorry, the producer’s flashing me. (in headset) Yup! Sorry? Yes yes, I know, well, he’s had her on, it wasn’t my idea…
Patrick: I did not get her on! I was under the impression we agreed we needed an example of the solo fiddle…
Maureen: Yes yes, you would like a fiddle wouldn’t you? (in headset) Yes, yes, all right. (hangs up headset) I’m afraid this is the BBC and we can’t have people having orgasms on it. Can we, Patrick?
Patrick: (deflated) No, no, I’m afraid not.
Maureen: (to Irina) So please leave. Now our next guest…

The battling couple then go on to humiliate Juliet Stevenson.


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Letter to Leonard Bernstein from Felicia Montealegre, Late 1951

An extremely private but deeply moving letter, published in a collection by Yale U Press in 2013. This was written around the time she had just married Bernstein and was still acting in television (watch Felicia as Mildred in Of Human Bondage on Studio One on my YT channel here):

Lenny and FeliciaAbove the newlyweds: Bernstein’s early piano composition, “Four Anniversaries: 1. For Felicia”

Darling,

If I seemed sad as you drove away today it was not because I felt in any way deserted but because I was left alone to face myself and this whole bloody mess which is our “connubial” life. I’ve done a lot of thinking and have decided that it’s not such a mess after all.

First: we are not committed to a life sentence—nothing is really irrevocable, not even marriage (though I used to think so).

Second: you are a homosexual and may never change—you don’t admit to the possibility of a double life, but if your peace of mind, your health, your whole nervous system depend on a certain sexual pattern what can you do?

Third: I am willing to accept you as you are, without being a martyr or sacrificing myself on the L.B. altar. (I happen to love you very much—this may be a disease and if it is what better cure?) It may be difficult but no more so than the “status quo” which exists now—at the moment you are not yourself and this produces painful barriers and tensions for both of us—let’s try and see what happens if you are free to do as you like, but without guilt and confession, please!

As for me—once you are rid of tensions I’m sure my own will disappear. A companionship will grow which probably no one else may be able to offer you. The feelings you have for me will be clearer and easier to express—our marriage is not based on passion but on tenderness and mutual respect. Why not have them?

I know now too that I need to work. It is a very important part of me and I feel incomplete without it. I may want to do something about it soon. I am used to an active life, and then there is that old ego problem.

We may have gotten married too soon and yet we needed to get married and we’ve not made a mistake. It is good for us even if we suffer now and make each other miserable—we will both grow up some day and be strong and unafraid either together or apart—after all we are both more important as individuals than a “marriage” is.

In any case my dearest darling ape, let’s give it a whirl. There’ll be crisis (?) from time to time but that doesn’t scare me any more. And let’s relax in the knowledge that neither of us is perfect and forget about being HUSBAND AND WIFE in such strained capital letters, it’s not that awful!

There’s a lot else I’ve got to say but the pill has overpowered me. I’ll write again soon. My wish for the week is that you come back guiltless and happy.

~F

from The Leonard Bernstein Letters
edited by Nigel Simeone
Yale University Press, 2013


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