The Guardian publishes a stupid article about comics

The Guardian today has this article about how comics aren’t just for kids and nerds anymore. To be fair, it does give praise to some comic writers and artists who deserve it.

Comic artist and writer Dylan Meconis published this article in 2012, in which she advises people who want to write about comics not to do pretty much everything that Andrew Harrison does in his article.

Let’s just assume, at this point, that  Meconis’s points are well-taken, and have no more of this comics-are-at-last-being-written-for-grown-ups bullshit.

The Guardian publishes a stupid article about comics

Robert Fripp and Joe Strummer Interview

I just came across this fantastic interview from Musician magazine in 1981, long before it became the boring industry wank mag that it was when I first read in the late 80s, in which Vic Garbarini got Robert Fripp and Joe Strummer together on the intuition that they had more in common than they seemed to have, and it turned out he was absolutely right. What’s especially inspiring is the obvious mutual admiration Fripp and Strummer have for each other — two smart Englishmen who had both thought long and hard about the life of a musician. It’s next to impossible to imagine them collaborating on anything, and Strummer is gone now, so won’t be anyway, but it’s a great read. Kudos to preparedguitar.blogspot.co.uk for archiving and posting it.

Robert Fripp and Joe Strummer Interview

Mozart in the Jungle

I’ve not been exactly binge-watching this show, but certainly watching the whole two seasons in the course of about the last fortnight or so, occasionally interrupted by our 20-month-old son having a shit-fit in his cot because he can’t locate one of the three dummies he has to have positioned in there in the event of him arising from deep sleep to semi-wakefulness. But enough personal detail.

So, in case you haven’t noticed, this show is a ‘dramedy’, which is the 21st century equivalent of what used to be called a ‘gentle comedy’ (meaning a basically comic take on  a subject which doesn’t quite have the balls to be full-blown comedy) about a fictional orchestra, the New York Symphony, which in episode 1 kisses goodbye to its incumbent chief conductor Thomas Pembridge (Malcolm McDowell) and says hello to its new one, Rodrigo De Souza (Gael Garcia Bernal).

There are obvious casting gags going on here, notably in having Malcolm Mc-Bleeding-Dowell playing the supposed Old Fart character. McDowell was once one of the most terrifying actors out there, thanks to his spectacular work in A Clockwork Orange and If …, and in this show he’s definitely playing a Young Turk Grown Old. Thomas is said to have conducted his generation’s definitive performances of Beethoven’s 5th Symphony, which I guess identifies him with Carlos Kleiber, except that Thomas, unlike Kleiber, is gregarious, outgoing and still has this idea that he’s really a composer, which Kleiber didn’t seem to be too bothered about. Rodrigo himself is what TV Tropes would call a No Celebrities Were Harmed version of the LA Philharmonic’s Gustavo Dudamel, except that Rodrigo is Mexican and Dudamel is Venezuelan. (Also, while most famous musician cameos in the show have seen people playing themselves, Dudamel’s cameo was in a brief scene where Rodrigo was guest conductor for the LA Philharmonic; Dudamel played the LA Philharmonic’s stage manager, joking with Rodrigo about how their usual conductor wasn’t very good.)

On the whole I think it’s a greatly enjoyable show, except for the times when it stops trying, and resorts to being broadly satirical. Most of these moments involve the character of Anna Maria, Rodrigo’s Wacky Performance Artist wife. You feel bad for poor Nora Arzeneder, the French actress given this steaming-pile-of-horse-shit of a role: Anna Maria’s schtick is that she’s a superbly gifted violinist but in her performances she always subverts her own talent by playing something beautifully and then smashing her violin as part of a ludicrous rant about the ‘bourgeoisie’, or some such. Anna Maria behaves like a 13-year-old’s idea of a romantic artist; in one episode, Rodrigo persuades her to play the Sibelius Violin Concerto in front of the NY Symphony, and she gets as far as the actual performance and plays the first couple of dozen bars beautifully, before stopping and insisting that she can’t go on and that it’s all bullshit and she can’t play for these ‘pigs’, going on to implore Rodrigo to leave this idiotic life and come away with her, etc. It was all very predictable, and I won’t spoil the rather predictable outcome. Nobody as chaotic and stupid as this would have risen in the arts to the kind of eminence that we are invited to believe Anna Maria has; in real life, she would never have agreed to play the thing in the first place, because it would have meant giving up all control as an artist about how she was presented, but they wanted to give Rodrigo a tempestuous private life, so that’s where they went.

Still, the show has great things about it. One of these is Lola Kirke’s performance in what’s actually the main role, Hailey Rutledge, a talented oboist who starts out playing in pit bands and teaching oboe to a rich kid more interested in her tits than in practising. Hailey’s dramatic arc in season 1 is about her desperately trying to find a place for herself in the orchestra, which already has a perfectly good oboist in the seriously badass Betty Cragdale, played with wonderful acidity by veteran Broadway actress Debra Monk. Lola Kirke is the sister of the better-known Jemima Kirke, star of Girls; as Hailey she nails the gloomy, obsessive quality of good classical musicians, utterly dedicated to practising because that’s the only way you get anywhere, but she also conveys Hailey’s lack of social skills and her general awkwardness by means of Hailey’s peculiar goofy laugh, a sort of feminine variation on Muttley from Wacky Races‘s ‘Huhhh-huhhh-huhhh!‘.

There are three other great women characters in the show. One is Cynthia Taylor, head of the cello section, played with immense calm and inner steel by Saffron Burrows. It’s established fairly early on that Cynthia is both a.) a good sort and b.) seriously up for it; when Hailey is trying out for the oboe section, Cynthia takes her out on the town, gives her a good time and good advice, and pairs her off with a sexy bartender who happens to be a talented dancer. Cynthia is also Thomas’s mistress, which is less interesting than you might think; her character comes into much better focus in the second season, when the orchestra runs into labour troubles and hires its own lawyer, Nina, played by Gretchen Mol. Nina-and-Cynthia becomes a story in itself, one that itself riffs off Saffron Burrows’s own visibility as a bisexual woman. But the coolest thing about Cynthia is not, in my view, her sexuality, although it’s nice to have a character who is attracted to whoever she’s attracted to and doesn’t worry about it. Cynthia’s true quality is that, unlike the nervous and would-be devious first violinist Warren Boyd, she’s the real leader of the orchestra.

The next is Gloria Windsor, head of the orchestra’s board of directors, played by Bernadette Peters. Peters’ screen career has been relatively limited — if you’re like me, you probably saw her in Steve Martin’s The Jerk and not a lot else, but that was in 1979. She has has a seriously distinguished career on Broadway, most famously in Sondheim’s Sunday in the Park with George, and a lot of that feeds into Gloria, who besides being dedicated to the orchestra is also a born performer, which serves her well in fundraiser nights with sponsors. This part of her character culminates when she turns out to have long-abandoned ambitions as a lounge singer; in a season 2 episode, Gloria shows up at an open mic night in a NYC bar, and delivers a show-stopping performance of Rosemary Clooney’s 1951 hit ‘Come On-a My House’, very much modelled on Julie London’s version rather than Clooney’s, but, in context, eclipsing both.

The third is Hailey’s roommate Lizzy, played by Hannah Dunne. In the earlier episodes, Lizzy is rather annoying, a sketch of a hipster, but to the show’s credit, they gave the character more background and Dunne’s commitment makes Lizzy into one of the show’s most appealing characters. Lizzy at her best injects energy into every scene she’s in, and when in one episode she delivers a seriously good impersonation of Billie Holiday, that too gives her character some needed depth.

So, why am I writing this? Just to give more boost to a show that’s already been given a Golden Globe, one of the less-respected awards on the circuit? Mozart in the Jungle has some genuinely sound things to say about the life of a classical musician, and the differences between being a professional musician and an amateur, and the power of music. It sometimes lurches into silly caricature, but not too often. With a bit of audience love, it could mature still further and be a genuinely great show. Right now it’s just very good.

I haven’t mentioned Gael Garcia Bernal because most of the interesting roles in this show are female, but he takes to TV like a natural, he’s a wonderful comic presence without ever losing the character’s basic dignity and intelligence, and his best scenes convince you that Rodrigo is a bit of a genius at finding ways to connect people with music. All this happens in spite of the fact that he never, ever conducts in a convincing manner. But he talks such a great game that you buy it anyway.

OK, that’s me done raving about this show. I neither expect, nor will be disappointed by the absence of, grace and favour from Amazon, whose show it is. You can read all my Amazon customer reviews here. No, I’m not bitter that I wrote all that for nothing.

 

 

 

Mozart in the Jungle

David Bowie

David Bowie died last night.

I have disliked David Bowie’s music for a lot longer than I have liked it. Fortunately, I think, the disliking came first. I was first exposed to Bowie as a very small kid, when ‘Space Oddity’ was a hit in the early 70s. It unnerved me, the same way the Beatles’ ‘Strawberry Fields Forever’ unnerved me. These were songs about giving up control, giving up identity, turning into someone else. As a small boy, for one reason or another, I didn’t like the sound of that.

I missed out on Bowie’s great exploratory 70s music, being firmly a follower of my brother’s own taste, which in those years meant mostly Status Quo: meat’n’potatoes entry-level rock. When I began to develop my own likes and dislikes, in my very early teens, it coincided with learning the guitar, which meant an awful lot of dogged listening to Eric Clapton because for me he had some kind of educational significance. (I don’t regret learning to play Clapton-style guitar, but I do regret a lot of glum listening to his boring 70s and 80s albums.) Just as I got into livelier music, in the form of Talking Heads and Robert Fripp and Brian Eno, Bowie was deep into his blandest, least interesting 80s pop star phase. I was not impressed. When Tin Machine came along, I was even less impressed; it looked like a naked bid for coolness. Dave Fanning, on his radio show, which I was then an avid listener to, called it ‘David Bowie’s latest incredible stab at credibility’, and he didn’t mean it in a nice way. Bowie in 1991 seemed like a burnout. Like the Rolling Stones, only pretentious.

I don’t think I really caught up with Bowie until the Freddie Mercury tribute concert in 1992. At that concert, he and Annie Lennox sang a majestic version of ‘Under Pressure’ which still has the power to bring tears to my eyes. Even then, I wasn’t compelled to listen to more Bowie, but I was willing to recognise that ‘Ashes to Ashes’ had something going on in it, and I’d listen to anything Fripp played on, so ‘Fashion’ was a favourite track of mine, featuring as it does some of Fripp’s most unhinged guitar playing. Then Nirvana, who I’d never liked much, did ‘The Man Who Sold the World’ and did it beautifully, and I realised that I had to think again about Bowie.

I had to fall in love and get married to a Bowie-liker before I truly saw how wrong I had been. My wife Ioanna had a Bowie compilation CD and we would play it in the car when we took our infant daughter on drives. On hearing ‘Life on Mars’ and ‘Rebel Rebel’ and ‘Diamond Dogs’ and ‘Wild is the Wind’, I began to realise that this was something like nothing else, something weirdly unique and wonderful.

And so I completely changed my mind about Bowie, which I’ve never done about anyone, I don’t think. I listened to Station to Station and Low and while they didn’t quite grab me as albums, their high points pierced me the way the best popular music does.

Bowie’s combination of naked emotionalism placed within a strangely askew frame was entirely his. He was as unique in his way as Thelonious Monk, and like Monk he had the ability to sound like no-one else, and to take somebody else’s song and make it sound like his. (He was unlike Monk in that sometimes, between around 1983 and 1991, he didn’t sound like anyone in particular, but even then, there were moments: ‘Loving the Alien’ is a crappy song, but only Bowie could have written it.)

I was surprised to find myself very sad to hear that he’d died. Bowie made his decisive moves with the left hand; he stole his way into your affections, sometimes literally. (I can’t count the number of times I’ve thought that he ripped his entire vocal approach off from John Lennon.) With Bowie dead, at the premature-for-an-aging-rock-star age of 69, it feels like a little bit of surprise has gone from the world. But his strange and wonderful career is still there.

I’d like to end with Scott Walker’s lovely tribute to Bowie on Bowie’s 50th birthday, which, as you can hear, left the recipient, for once in his life, speechless.

David Bowie

Vis a vis the Abbey Theatre

I understand why people in Irish theatre are reluctant to openly criticise the Abbey in public. As someone whose professional relationship with the Abbey lasted precisely as long as the last two years of Patrick Mason’s tenure as its artistic director, and as someone who’s quite at home with the idea that I will never work there again, I have no problem with suggesting why this should be. People don’t want to criticise the Abbey for two reasons: 1.) they would like to work there, at some point, because the Abbey does at least pay people, and 2.) the Abbey, at least for the last 15 years, which is about as long as I’ve been paying attention to it, has been an institution that has no tolerance for criticism. 
Reason 2 is not one that I’d’ve noticed for a long time. For all of my career in Irish theatre, I took it for granted that you dissed the Abbey at your peril, because they wouldn’t hire you. I was told as much, by people whose judgment I trusted at the time. And they were right.

But I no longer think that that’s acceptable. The Abbey is supposed to be a publicly-funded institution, not a personal vanity project. It is the oldest national theatre in the world. There is no excuse for it not to be much, much better than it is; it’s not like it’s not getting enough money. It is supposedly run by adults who make supposedly informed choices about what to do with the place. If the Abbey were producing consistently excellent work and everybody felt that it were a place where their voices was genuinely welcomed, then we wouldn’t be talking about it like this. But it isn’t, and everyone doesn’t, and the Abbey is responding to criticism in the manner of a sulky pre-teen who’s pissed off that every kid in class doesn’t seem to want to come to its party.

Like I say, I don’t write plays anymore, and so I don’t give a shit that if this Facebook post were to come to the attention of the Abbey’s management, my name – which was once, for about three years (1996-1998) on the Abbey’s list of writers who they liked to pretend for publicity purposes that they had a relationship with – will be added to their by all accounts unspoken and informal shit-list. But when the only emotions an institution can command among so many of the people most crucially interested in it are fear and resentment — not love, and not even basic respect — then the institution itself, in its current form, has clearly lost its raison d’etre.

I once was invited to speak out in public about the future of the Abbey, in the wake of the Ben Barnes era, which had comprehensively fucked me over and almost but entirely put me off playwriting. I voiced hope in the new management. I was clearly very, very wrong. I apologise to anyone I may have given false hope to.

Vis a vis the Abbey Theatre

Review: Bridget Marsden and Leif Ottosson — Mountain Meeting

I have never reviewed an album on this blog before but this one’s so good I’m prepared to make an exception. Bridget Marsden is a young English violinist who fell in love with Swedish folk music and studied for her Masters degree in Stockholm; Leif Ottosson is a young Swedish accordionist determined to get new sounds out of his instrument. They teamed up for this album, and have been playing concerts with some kind of storytelling guy, apparently.

Now, I normally don’t like the accordion, but at my workplace we were throwing away a bunch of CDs we had been sent for review, and this looked interesting (on the cover, Marsden looks a bit like a very attractive rabbit that has temporarily assumed human form, while Ottosson looks like a junior member of a crime family) and I took it home because I thought it worth the gamble. (There were other reasons, such as my lingering fondness for Scandinavian folk music, but anyway.)

Ottosson (l), Marsden (r), photo by Aron Mattsson
Ottosson (l), Marsden (r), photo by Aron Mattsson

These two are really good. This is what you hope albums of traditional music will be like, but so seldom are like. Ottosson plays his accordion like a fiddle, without any of the hearty chordal oompah which is normally so off-putting in records of accordion music, and Marsden is mercurial, light and stabbing in her attack. This music is danceable but it also has a sense of silence and violence. I’m very pleased with this and I heartily recommend it to those who prefer their traditional music to be non-reassuring. Buy it here.

Review: Bridget Marsden and Leif Ottosson — Mountain Meeting

King Crimson at the Usher Hall Part 2

To recap, as I was walking home after last night’s gig, I met Laura Ennor, a fine journalist and my former boss at my day job at The List. She had been to the gig with a small group, and we exchanged brief hellos, wasn’t it great, etc. They crossed the road on their way to somewhere else, and I headed home, dying for a bite to eat and a cool beer. Minutes later, only yards down the street, I was intercepted by a guy I’d never met who said ‘Hi, you don’t know me, but I’m Laura’s boyfriend, and somebody handed me free tickets to tomorrow night’s gig, and I live in Glasgow, so we thought you’d like them.’

Baffled and grateful, I thanked him and he ran back to the rest of his group. Having got home and told this story to my lovely wife, her first question was ‘Do you want to go?’ I had planned to give them away, but realised that in fact I did; having waited so long and paid such good money (£55) to see King Crimson in the first place, a free chance to see them again seemed like a gift from the gods. I did a quick call-around and managed to find someone I knew who’d like to take the other ticket: Christos Michalakos, an exceptionally fine drummer I know who’s played with Edimpro and who is currently involved in the game design community in Dundee, game design capital of northern Europe.

And so, weirdness abounding, I went to see the same band twice on two consecutive nights. Christos also had been at last night’s gig, and he’d never done this either. And, well, was it the same again?

No. It was better. I asked Christos if he thought so too, and he did. The setlist was different; there was no ‘Red’, and the more recent songs they played sounded different, but there was also a blistering rendition of ‘The Talking Drum’/’Larks’ Tongues in Aspic Part 2′. In general, the band sounded more urgent and more intense. Mel Collins was less jazzy, more willing to play outside. Fripp grabbed a solo every chance he got, and his huge, warm, cello-ish tone was more moving, but a big part of that was that last night my seat was in F22 of the Upper Circle, and tonight my seat was C13 of the Grand Circle, a good 20 feet closer to the stage and with correspondingly better acoustics.

Still, last night had an Apollonian dignity, and tonight had a Dionysian fervour. This manifested itself when, during the fast section of the closing ’21st Century Schizoid Man’, a young bearded hipster ran up to the front of the stalls and started dancing wildly. He was soon joined by another, then another, and by the time the song had morphed into Gavin Harrison’s drum solo, there was about ten of them, all dancing really badly but with great enthusiasm just before the lip of the stage, to the undoubted annoyance of those in the front row of the stalls. I was watching the drummers during this bit, but Christos told me later that Fripp viewed the dancing with great amusement. An Usher Hall usher kept an eye on them, but nobody made them sit down. It was very sweet.

The dancers lost their mojo as Harrison’s solo became more abstract, but, got to hand it to the last one; he didn’t stop dancing and abjectly walk back to his seat, but as the intensity slackened so that it could build up again, he recognised that his moment had passed and instead bopped his way back down the aisle and into obscurity. Well done, that man.

And so, King Crimson’s last UK date on this tour was a blinder. Here is a picture, just in case you think I’m making it all up:

Thanks to Christos for being a wise and informed concert-going partner, and thanks to Fripp & Co for providing so much mad fun.

King Crimson at the Usher Hall Part 2