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Speaker 1 (00:00):
Chapter nine of Twelve Good Musicians from John Bull to
Henry Purcell. This is a LibriVox recording. All LibriVox recordings
are in the public domain. For more information or to volunteer,
please visit LibriVox dot org. Recording by Marilyn Rakes. Twelve
(00:24):
Good Musicians from John Bull to Henry Purcell by Frederick Bridge,
Chapter nine. Matthew Locke sixteen hundred thirty to sixteen hundred
seventy seven. A prominent personage in the seventeenth century musical
(00:45):
world was Matthew Locke. The exact date of his birth
is not known, but it was approximately sixteen hundred thirty.
Matthew Locke laid the foundation of his art as a
chorister in an English cathedral and at Exeter. There's evidence
that he occupied that position in sixteen hundred and thirty eight.
(01:06):
The evidence cannot be disputed, as it is graven in
the very fabric of the old cathedral. The embryo musician
took the trouble upon two occasions to inscribe his name
upon the walls of the cathedral, together with the dates
upon the inner side of the old organ screen runs
the legend Matthew Locke sixteen hundred thirty eight and in
(01:30):
a more abbreviated form at a later date m L
sixteen hundred and forty one. As a boy, he seems
to have been content with the name of four letters L, O,
C K. In his later years he always attached a
final E to his patronymic. At Exeter he had the
advantage of being trained by Edward Gibbons, brother of the
(01:54):
Great Orlando, and in addition to Gibbons's share in his training,
he owed much to will William Wake, organist, for whom
he wrote one of his first published works. The period
following Locke's later inscription sixteen hundred forty one was one
not calculated to encourage or foster the art of music.
(02:16):
The country was in a state of civil war. The
soldiers of Cromwell wrought sad havoc in the cathedrals, and
the musical portions of those establishments came in for no
small share of their destroying wrath. At Westminster Abbey, we
are told the soldiers break down the organs for pots
of ale, and the cathedral at which Locke served his
(02:38):
pupilage fared very badly at the hands of the roundheads.
It is natural, then, that during the stormy times which
marked that period, we have little intelligence concerning the doings
of Locke. We have the dates of some of his compositions,
one as early as sixteen hundred and fifty one. The
(02:59):
chief interest, however, which attaches to his work between sixteen
hundred fifty and sixteen hundred sixty, is that it is
so much connected with the stage, and in that way
marks the progress towards the opera of the English form,
of which Locke is sometimes credited with being the originator.
As instances of this kind of work, we might perhaps
(03:23):
draw attention to his association with Christopher Gibbons in Shirley's Mask,
Cupid and Death sixteen hundred and fifty three, and the
music he wrote in sixteen hundred fifty six for Davenant's
Siege of Rhodes, in the production of which he himself shared,
playing the part of the Admiral. Henry Laws wrote some
(03:47):
of the music of this opera, and Purcell's father was
one of the actors. The next item of importance that
we have concerning him is in the diary of Samuel Peppys,
there under date February twenty first, sixteen hundred and fifty
nine sixteen hundred and sixty we read After dinner, I
(04:08):
back to Westminster Hall. Here met with mister Locke and Purcell,
master of Musique, and with them to the coffeehouse into
a room next the water by ourselves. Here we had
a variety of brave Italian and Spanish songs and a
canon of eight voices which mister Locke had lately made
(04:28):
on these words Domini salvam facorism an admirable thing. This
is a very interesting entry. It shows Locke associated with
Purcell's father. It gives another instance of mister Peppys never
missing the opportunity of cultivating the friendship of good musicians,
(04:49):
and apart from the musical side, as a historical matter
of interest, the words of the canon Domini esalvm facorisium
show the feeling of loyalty towards the crown which ended
in the restoration words which ten years before it would
have been a heresy to utter. It may be pointed
out that the entry February sixteen hundred fifty nine, by
(05:13):
the old way of reckoning, was really February sixteen hundred sixty,
and therefore the year of the restoration In the ceremonies
connected with that great event, Locke played an important part.
It was to his music for sagbuts and Cornets that
the royal progress was made from the Tower to Whitehall
(05:35):
the day before the coronation sixteen hundred sixty one. As
a reward, he was made composer in ordinary to his
Majesty and one of the gentlemen of his Majesty's private music.
For the next year or two he appears to have
been engaged in composition, both for church and stage. Amongst
(05:56):
the former may be mentioned some anthems, whilst his music
for Stephelan's Stepmother presents another instance of his association with
dramatic music. This dramatic side of his nature may have
been the cause of Roger Nort's complaint that he sacrificed
the old style for the modes of his time and
(06:17):
of his theatrical way. The year sixteen hundred and sixty six,
the year of the Fire of London, is rather an
important one in the consideration of Locke's life. It introduces
us to him in another character, and that of a
literary type. As will be seen later, he was a scathing,
a bitter critic of his detractors, and first gave evidence
(06:40):
of this quality in the year now under notice. The
cause of this outpouring of his wrath was the treatment
a kiri of his composition had received at the hands
of the Chapel Royal Choir. It would appear that he
had set the carey in an original way, giving different
music to each response. Such an innovation did not meet
(07:01):
with the approval of the choir, and they seem to
have given it rather a tough time. The result was
that Locke published it and supplied a preface entitled Modern
Church Music pre Accused, censured and obstructed in its performance
before his majesty, first of April sixteen hundred sixty six.
(07:23):
Vindicated by its author Matthew Locke. Some of his observations
are very severe and abusive. I give a small portion
of the somewhat long and windy preface. He is a
slender observer of human actions, who finds not pride generally
accompanied with ignorance and malice in what habit soever it wears.
(07:45):
In my case, zeal was its visor and innovation. The
crime the fact changing the custom of the church by
varying that which was ever sung in one tune and
occasioning confusion in the service by its ill performance. That
such defects should take their rise from the difficulty or
novelty of the composition. I utterly deny the whole being
(08:09):
a kind of counterpoint, and no one changed from the
beginning to end, but what naturally flows from and returned
to the proper center the key. With regard to the vindication,
however convincing it might be, I believe the Korri was
not performed again at the Royal Chapel. Peppus refers to
(08:29):
the incident in his diary of September second, sixteen hundred
and sixty seven, in which he says, spent all the
afternoon pelling how and I and my boy singing of
Locke's response to the ten commandments, which he hath set
very finely, and was a good while since sung before
the King, and spoiled in the performance which occasioned the
(08:52):
printing them and are excellent. Good Mister Peppis evidently sympathized
with the lacerated feelings of the injured author. I may
say that some little time ago I edited these kiries
and the creed, and they have been sung in the
abbey and in various cathedrals. The Kiris are many of
them very tuneful, and the whole setting of Kiri and
(09:15):
Creed does Locke great credit. I have not space to
dwell longer upon his church music, of which we have
some excellent specimens in the way of anthems. Somewhat later
he was appointed organist of the chapel at Somerset House.
This chapel was part of the establishment of Queen Catharine,
the Queen of Charles the Second, who throughout her life
(09:38):
remained a Roman Catholic. It would appear from Roger North
that Locke was not altogether a success in this position.
He says, Locke was organist of Somerset House Chapel as
long as he lived, but the Italian masters that served
there did not approve of his manner of play, but
must be attended by more polite hands, and one while one,
(10:02):
Signor Baptista Sabancino, and afterwards Signor Baptista Draggy, used the
great organ, and Locke, who must not be turned out
of his place nor the execution, had a small chamber
organ by on which he performed with them the same services.
This seems a somewhat humbling position. For such a man,
(10:25):
and one wonders what he said about it. Another sharp
controversy he took part in was in answer to mister
Thomas Salmon, m A of Trinity College, Oxford, who had
written and published an essay to the Advancement of music
by casting away the perplexity of different cliffs and writing
all sorts of music in one universal character. The desire
(10:48):
to simplify musical signs seemed to have been an old
theme and one that gave rise to a fierce controversy
between Matthew Locke and mister Salmon. It is only fair
to say that mister Salmon was not over judicious in
his method of recommending his scheme. He seems to have
purposely hit out at music masters, of whom Locke was
(11:09):
one of the most eminent, and suggested that their opposition
to his ideas sprang from the sordid desire to make
as much as they could out of their pupils by
keeping them as long as possible under tuition. Matthew Locke
replied to this in a treatise entitled the Present Practice
of Music Vindicated Against the Exceptions and New Way of
(11:31):
Attaining Music Lately, published by Thomas Salmon, m. A. The
controversy was very warm. You shall hear a short address
to the reader, which will give some idea of the
style of discussion Locke adopted. Though I may, without scruple
a year that nothing has done mister Salmon more kindness
(11:52):
than that his books have had the honor to be answered.
Yet I have been forced to afford him this favor
rather to chastise the reproaches which he hath thrown upon
the most eminent professors of music, than for anything of
learning that I found in him. Those gentlemen he accused
of ignorance, for not embracing his illiterate absurdities, for which
(12:14):
it was necessary to bring him to the bar of
reason to do him that justice which his follies merited.
Though for the fame he gets by this, I shall
not much envy him, with whom it will fare as
with common criminals, who are seldom talked of. Above two
or three days after execution. A little farther on he
(12:36):
gets angry and says, had I been purblind, coppernosed, sparrow mouthed,
google eyed, hunchbacked, or the like ornaments which the best
of my antagonists are adorned with what work would there
have been with me? Attention has already been directed to
Locke's association with dramatic music, and so it would be
(12:59):
well to glance briefly at the claim he possesses to
be considered the father of English opera. The work which
entitles him to be ranked as the writer of the
first English opera is Shadwell's Psyche. This with the music
to the Tempest, was produced in sixteen hundred and seventy
three with the title of the English Opera. It contained
(13:23):
a preface setting forth Locke's opinions on real opera. North
calls his works in this branch of art semi operas,
but from the title just quoted it may be inferred
that Locke, at any rate considered them full grown specimens.
It should be added that the act tunes in Psyche
were written by Draggy. The writer on opera in Grove's
(13:46):
Dictionary marks Purcell as the originator of English opera. Henry Purcell,
he says, transformed the masque into the opera, or rather
annihilated the one and introduced the other. Perhaps paps Roger
North's term semi opera is the best expression for Locke's essays.
In this connection with regard to Locke's other dramatic music,
(14:09):
reference must be made to the Macbeth music, which has
for so many years been associated with his name. For
long the matter has been the subject of conjecture as
to whether he was really the author of it or not.
The music of Psyche is so good that there is
no ground for saying he could not have written the
Macbeth music. He was exceedingly dramatic and also melodious. There
(14:34):
is a beautiful dialogue on the death of Lord Sandwich,
the great patron of Samuel Peppys, which is to be
found in the Peppas Library of Magdalene College, Cambridge. No
doubt this was written at the suggestion of Pepys, and
there is a remarkable setting of Hamlet's soliloquy also in
MS in Pepys's book, which I firmly believe is by Locke.
(14:57):
As usual, Locke wrote an aggressive preface to Psyche. It
begins that poetry and music, the chief manifestives of harmonical fancy,
should provoke such discordant effects in many as more to
be pitied than wondered at. It having become a fashionable
art to peck and carve at other men's conceptions, how
(15:20):
mean soever their own. Are expecting therefore to fall under
the lash of some soft headed or hard hearted composers,
For there are too many better at finding a faults
than mending them. I shall endeavor to remove those few
blocks which perhaps they may take occasion to stumble at.
He goes on to say the title opera is of
(15:43):
the Italian and claims that as far as his ability
could reach, he had written agreeably to the design of
the author, and that the variety of his setting was
never in court or theater till now presented to the nation.
Though I must confess there has been something done, and
more by me than any other of this kind. Locke
(16:04):
evidently considered Psyche as a real opera and a novelty
in this country. The work was dedicated to James, Duke
of Monmouth, who the composer says, gave this life. By
your often hearing this practiced and encouraged and heartened the
almost heartless undertakers and performers. Amongst his other works was
(16:26):
one called Melathesia, or Certain General Rules for Playing upon
a continued Bass. This is said to be the first
book of its kind, and he contributed to many other works.
Roger North tells us Locke set most of the Psalms
to music in parts for the use of some virtuoso
ladies in the city, and he composed a magnifice consort
(16:50):
of four parts after the old style, which is the
last that hath been made. His life was not long,
but it was important, and perhaps the greatest tribute to
his memory was that Henry Purcell wrote an ode commemorative
of his decease. On the death of this worthy friend,
mister Matthew Locke, music composer in ordinary to his Majesty,
(17:13):
an organist of her Majesty's Chapel, who died in August
of sixteen hundred and seventy seven. End of Chapter nine.
Chapter nine of Twelve Good Musicians from John Bull to
Henry Purcell. This is a LibriVox recording. All LibriVox recordings
are in the public domain. For more information or to volunteer,
please visit LibriVox dot org. Recording by Marilyn Rakes. Twelve
(00:24):
Good Musicians from John Bull to Henry Purcell by Frederick Bridge,
Chapter nine. Matthew Locke sixteen hundred thirty to sixteen hundred
seventy seven. A prominent personage in the seventeenth century musical
(00:45):
world was Matthew Locke. The exact date of his birth
is not known, but it was approximately sixteen hundred thirty.
Matthew Locke laid the foundation of his art as a
chorister in an English cathedral and at Exeter. There's evidence
that he occupied that position in sixteen hundred and thirty eight.
(01:06):
The evidence cannot be disputed, as it is graven in
the very fabric of the old cathedral. The embryo musician
took the trouble upon two occasions to inscribe his name
upon the walls of the cathedral, together with the dates
upon the inner side of the old organ screen runs
the legend Matthew Locke sixteen hundred thirty eight and in
(01:30):
a more abbreviated form at a later date m L
sixteen hundred and forty one. As a boy, he seems
to have been content with the name of four letters L, O,
C K. In his later years he always attached a
final E to his patronymic. At Exeter he had the
advantage of being trained by Edward Gibbons, brother of the
(01:54):
Great Orlando, and in addition to Gibbons's share in his training,
he owed much to will William Wake, organist, for whom
he wrote one of his first published works. The period
following Locke's later inscription sixteen hundred forty one was one
not calculated to encourage or foster the art of music.
(02:16):
The country was in a state of civil war. The
soldiers of Cromwell wrought sad havoc in the cathedrals, and
the musical portions of those establishments came in for no
small share of their destroying wrath. At Westminster Abbey, we
are told the soldiers break down the organs for pots
of ale, and the cathedral at which Locke served his
(02:38):
pupilage fared very badly at the hands of the roundheads.
It is natural, then, that during the stormy times which
marked that period, we have little intelligence concerning the doings
of Locke. We have the dates of some of his compositions,
one as early as sixteen hundred and fifty one. The
(02:59):
chief interest, however, which attaches to his work between sixteen
hundred fifty and sixteen hundred sixty, is that it is
so much connected with the stage, and in that way
marks the progress towards the opera of the English form,
of which Locke is sometimes credited with being the originator.
As instances of this kind of work, we might perhaps
(03:23):
draw attention to his association with Christopher Gibbons in Shirley's Mask,
Cupid and Death sixteen hundred and fifty three, and the
music he wrote in sixteen hundred fifty six for Davenant's
Siege of Rhodes, in the production of which he himself shared,
playing the part of the Admiral. Henry Laws wrote some
(03:47):
of the music of this opera, and Purcell's father was
one of the actors. The next item of importance that
we have concerning him is in the diary of Samuel Peppys,
there under date February twenty first, sixteen hundred and fifty
nine sixteen hundred and sixty we read After dinner, I
(04:08):
back to Westminster Hall. Here met with mister Locke and Purcell,
master of Musique, and with them to the coffeehouse into
a room next the water by ourselves. Here we had
a variety of brave Italian and Spanish songs and a
canon of eight voices which mister Locke had lately made
(04:28):
on these words Domini salvam facorism an admirable thing. This
is a very interesting entry. It shows Locke associated with
Purcell's father. It gives another instance of mister Peppys never
missing the opportunity of cultivating the friendship of good musicians,
(04:49):
and apart from the musical side, as a historical matter
of interest, the words of the canon Domini esalvm facorisium
show the feeling of loyalty towards the crown which ended
in the restoration words which ten years before it would
have been a heresy to utter. It may be pointed
out that the entry February sixteen hundred fifty nine, by
(05:13):
the old way of reckoning, was really February sixteen hundred sixty,
and therefore the year of the restoration In the ceremonies
connected with that great event, Locke played an important part.
It was to his music for sagbuts and Cornets that
the royal progress was made from the Tower to Whitehall
(05:35):
the day before the coronation sixteen hundred sixty one. As
a reward, he was made composer in ordinary to his
Majesty and one of the gentlemen of his Majesty's private music.
For the next year or two he appears to have
been engaged in composition, both for church and stage. Amongst
(05:56):
the former may be mentioned some anthems, whilst his music
for Stephelan's Stepmother presents another instance of his association with
dramatic music. This dramatic side of his nature may have
been the cause of Roger Nort's complaint that he sacrificed
the old style for the modes of his time and
(06:17):
of his theatrical way. The year sixteen hundred and sixty six,
the year of the Fire of London, is rather an
important one in the consideration of Locke's life. It introduces
us to him in another character, and that of a
literary type. As will be seen later, he was a scathing,
a bitter critic of his detractors, and first gave evidence
(06:40):
of this quality in the year now under notice. The
cause of this outpouring of his wrath was the treatment
a kiri of his composition had received at the hands
of the Chapel Royal Choir. It would appear that he
had set the carey in an original way, giving different
music to each response. Such an innovation did not meet
(07:01):
with the approval of the choir, and they seem to
have given it rather a tough time. The result was
that Locke published it and supplied a preface entitled Modern
Church Music pre Accused, censured and obstructed in its performance
before his majesty, first of April sixteen hundred sixty six.
(07:23):
Vindicated by its author Matthew Locke. Some of his observations
are very severe and abusive. I give a small portion
of the somewhat long and windy preface. He is a
slender observer of human actions, who finds not pride generally
accompanied with ignorance and malice in what habit soever it wears.
(07:45):
In my case, zeal was its visor and innovation. The
crime the fact changing the custom of the church by
varying that which was ever sung in one tune and
occasioning confusion in the service by its ill performance. That
such defects should take their rise from the difficulty or
novelty of the composition. I utterly deny the whole being
(08:09):
a kind of counterpoint, and no one changed from the
beginning to end, but what naturally flows from and returned
to the proper center the key. With regard to the vindication,
however convincing it might be, I believe the Korri was
not performed again at the Royal Chapel. Peppus refers to
(08:29):
the incident in his diary of September second, sixteen hundred
and sixty seven, in which he says, spent all the
afternoon pelling how and I and my boy singing of
Locke's response to the ten commandments, which he hath set
very finely, and was a good while since sung before
the King, and spoiled in the performance which occasioned the
(08:52):
printing them and are excellent. Good Mister Peppis evidently sympathized
with the lacerated feelings of the injured author. I may
say that some little time ago I edited these kiries
and the creed, and they have been sung in the
abbey and in various cathedrals. The Kiris are many of
them very tuneful, and the whole setting of Kiri and
(09:15):
Creed does Locke great credit. I have not space to
dwell longer upon his church music, of which we have
some excellent specimens in the way of anthems. Somewhat later
he was appointed organist of the chapel at Somerset House.
This chapel was part of the establishment of Queen Catharine,
the Queen of Charles the Second, who throughout her life
(09:38):
remained a Roman Catholic. It would appear from Roger North
that Locke was not altogether a success in this position.
He says, Locke was organist of Somerset House Chapel as
long as he lived, but the Italian masters that served
there did not approve of his manner of play, but
must be attended by more polite hands, and one while one,
(10:02):
Signor Baptista Sabancino, and afterwards Signor Baptista Draggy, used the
great organ, and Locke, who must not be turned out
of his place nor the execution, had a small chamber
organ by on which he performed with them the same services.
This seems a somewhat humbling position. For such a man,
(10:25):
and one wonders what he said about it. Another sharp
controversy he took part in was in answer to mister
Thomas Salmon, m A of Trinity College, Oxford, who had
written and published an essay to the Advancement of music
by casting away the perplexity of different cliffs and writing
all sorts of music in one universal character. The desire
(10:48):
to simplify musical signs seemed to have been an old
theme and one that gave rise to a fierce controversy
between Matthew Locke and mister Salmon. It is only fair
to say that mister Salmon was not over judicious in
his method of recommending his scheme. He seems to have
purposely hit out at music masters, of whom Locke was
(11:09):
one of the most eminent, and suggested that their opposition
to his ideas sprang from the sordid desire to make
as much as they could out of their pupils by
keeping them as long as possible under tuition. Matthew Locke
replied to this in a treatise entitled the Present Practice
of Music Vindicated Against the Exceptions and New Way of
(11:31):
Attaining Music Lately, published by Thomas Salmon, m. A. The
controversy was very warm. You shall hear a short address
to the reader, which will give some idea of the
style of discussion Locke adopted. Though I may, without scruple
a year that nothing has done mister Salmon more kindness
(11:52):
than that his books have had the honor to be answered.
Yet I have been forced to afford him this favor
rather to chastise the reproaches which he hath thrown upon
the most eminent professors of music, than for anything of
learning that I found in him. Those gentlemen he accused
of ignorance, for not embracing his illiterate absurdities, for which
(12:14):
it was necessary to bring him to the bar of
reason to do him that justice which his follies merited.
Though for the fame he gets by this, I shall
not much envy him, with whom it will fare as
with common criminals, who are seldom talked of. Above two
or three days after execution. A little farther on he
(12:36):
gets angry and says, had I been purblind, coppernosed, sparrow mouthed,
google eyed, hunchbacked, or the like ornaments which the best
of my antagonists are adorned with what work would there
have been with me? Attention has already been directed to
Locke's association with dramatic music, and so it would be
(12:59):
well to glance briefly at the claim he possesses to
be considered the father of English opera. The work which
entitles him to be ranked as the writer of the
first English opera is Shadwell's Psyche. This with the music
to the Tempest, was produced in sixteen hundred and seventy
three with the title of the English Opera. It contained
(13:23):
a preface setting forth Locke's opinions on real opera. North
calls his works in this branch of art semi operas,
but from the title just quoted it may be inferred
that Locke, at any rate considered them full grown specimens.
It should be added that the act tunes in Psyche
were written by Draggy. The writer on opera in Grove's
(13:46):
Dictionary marks Purcell as the originator of English opera. Henry Purcell,
he says, transformed the masque into the opera, or rather
annihilated the one and introduced the other. Perhaps paps Roger
North's term semi opera is the best expression for Locke's essays.
In this connection with regard to Locke's other dramatic music,
(14:09):
reference must be made to the Macbeth music, which has
for so many years been associated with his name. For
long the matter has been the subject of conjecture as
to whether he was really the author of it or not.
The music of Psyche is so good that there is
no ground for saying he could not have written the
Macbeth music. He was exceedingly dramatic and also melodious. There
(14:34):
is a beautiful dialogue on the death of Lord Sandwich,
the great patron of Samuel Peppys, which is to be
found in the Peppas Library of Magdalene College, Cambridge. No
doubt this was written at the suggestion of Pepys, and
there is a remarkable setting of Hamlet's soliloquy also in
MS in Pepys's book, which I firmly believe is by Locke.
(14:57):
As usual, Locke wrote an aggressive preface to Psyche. It
begins that poetry and music, the chief manifestives of harmonical fancy,
should provoke such discordant effects in many as more to
be pitied than wondered at. It having become a fashionable
art to peck and carve at other men's conceptions, how
(15:20):
mean soever their own. Are expecting therefore to fall under
the lash of some soft headed or hard hearted composers,
For there are too many better at finding a faults
than mending them. I shall endeavor to remove those few
blocks which perhaps they may take occasion to stumble at.
He goes on to say the title opera is of
(15:43):
the Italian and claims that as far as his ability
could reach, he had written agreeably to the design of
the author, and that the variety of his setting was
never in court or theater till now presented to the nation.
Though I must confess there has been something done, and
more by me than any other of this kind. Locke
(16:04):
evidently considered Psyche as a real opera and a novelty
in this country. The work was dedicated to James, Duke
of Monmouth, who the composer says, gave this life. By
your often hearing this practiced and encouraged and heartened the
almost heartless undertakers and performers. Amongst his other works was
(16:26):
one called Melathesia, or Certain General Rules for Playing upon
a continued Bass. This is said to be the first
book of its kind, and he contributed to many other works.
Roger North tells us Locke set most of the Psalms
to music in parts for the use of some virtuoso
ladies in the city, and he composed a magnifice consort
(16:50):
of four parts after the old style, which is the
last that hath been made. His life was not long,
but it was important, and perhaps the greatest tribute to
his memory was that Henry Purcell wrote an ode commemorative
of his decease. On the death of this worthy friend,
mister Matthew Locke, music composer in ordinary to his Majesty,
(17:13):
an organist of her Majesty's Chapel, who died in August
of sixteen hundred and seventy seven. End of Chapter nine.
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Are You A Charlotte?
In 1997, actress Kristin Davis’ life was forever changed when she took on the role of Charlotte York in Sex and the City. As we watched Carrie, Samantha, Miranda and Charlotte navigate relationships in NYC, the show helped push once unacceptable conversation topics out of the shadows and altered the narrative around women and sex. We all saw ourselves in them as they searched for fulfillment in life, sex and friendships. Now, Kristin Davis wants to connect with you, the fans, and share untold stories and all the behind the scenes. Together, with Kristin and special guests, what will begin with Sex and the City will evolve into talks about themes that are still so relevant today. "Are you a Charlotte?" is much more than just rewatching this beloved show, it brings the past and the present together as we talk with heart, humor and of course some optimism.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.