"Tales of the City" by Armistead Maupin (1978)

After surprisingly dry and technical previous book by otherwise favourite Graham Hancock, the time has come to break away from science, cosmos, ancient civilisations and aliens - now I needed good, old fashioned story where each chapter leads to another, where pages are turning by themselves. Before I turned on to my virtual library that by now has more than 1 700 titles (and the whole process of browsing already becomes tedious), I have mentioned "Tales of the City" to a good friend who just pulled it off from his bookshelf so I ended up with a real, physical book as opposed to something digital and immediately discovered how inconvenient it is to lie in a bed nibbling on snacks with a book in my hand (computer kind of makes it easier). Balancing the book, chocolate and earphones, trying not to leave choco fingerprints everywhere, it was a bit difficult and I never imagined that I would come to point where I am so used to digital books that holding the real thing in my hands will be a problem. 

The most interesting thing is - I have actually read "Tales of the City" many years ago but I don't remember a thing, except the title. Which brings me to conclusion that basically all I remember from the books I have read during my lifetime are impressions - "good, bad, exciting, boring, trash, guilty pleasure, etc" - but for the life of me I genuinely don't really remember the books themselves, their characters and plots. The explanation for this might be everything - from the sheer immensity of the titles I have read to the fact that our brain perhaps stores new information's and erase the old ones (or I simply have Alzheimer) - but its a bit alarming that I am aware just of the titles and the general feeling, instead of actual stories. I can look at the books in my collection and recognising that yes, I have read them all, but if I start reading them again, it is very possible that now they would affect me differently, because I am not the same person who read them years ago. And this is why re-visiting some old favourites is such an interesting experience. 

"Tales of the City" was initially published as a feuilleton, serial supplement attached to San Francisco Chronicle - in itself, this is a wonderful continuation of literary tradition where authors like Charles Dickens, Eugène Sue or Alexandre Dumas were thrilling the audiences each week with new chapters and these series were so massively popular that people on the streets discussed and talked about adventures of little Nell, Rodolphe and The Count of Monte Cristo. All of these, now famously classics had a humble beginnings as magazine serials, just like "Tales of the City" and they all had one thing in common - specific, story focused plots that avoided any excessive descriptions and are simply storytelling with exciting cliffhanger endings that motivate readers to continue reading the next chapter. (Nowadays we see cliffhangers in TV soap operas) I should also mention other honourable magazine serials like Sherlock Holmes, The Moonstone and Uncle Tom's Cabin. In my own Croatia we had immensely popular magazine serial "Grička vještica" ("The Witch from Grič") that dealt with dark days of the witch-hunts in Central Europe and this was definitely one of the guilty pleasures of my childhood, probably one of the main reasons why I eventually became a book lover. So simply because of its style of writing, "Tales of the City" is from the start immensely readable and impossible to put down ("unputdownable" is a perfect description). 

I have just started yesterday and already gulped half of the book - where with Graham Hancock I had to be patient, focus on his meandering about measurements and calculations, how the the top of this megalith aligns with the solstice and constant repeating of the same ideas from chapter to chapter, here the pages were turning by themselves. Not unlike some delicious soap opera, "Tales of the City" weaves exciting story about citizens of 1970s San Francisco and how, one way or the other, their lives are all connected - I am taking the book with me to work today and no doubt I will finish it until end of the day.

"Ciganska Noć" by Nada Knežević (1961)

Serbian singer Nada Knežević enjoyed great reputation as the most prominent female Jazz singer in post-WW2 Yugoslavia and I even remember my parents praising her as one of the best vocalists around. Unfortunately, local Jazz scene had fairly limited appeal and majority of musicians often switched gears and ventured in pop music - perfect example is backing vocal group, excellent Vokalni Ansambl Predraga Ivanovića utilised here as anonymous studio quartet. 

For a while in the early 1960s, Serbian PGP RTB was actually leading recording company (along with Jugoton based in Zagreb) and they have released some truly magnificent pop albums, this one being one of them - impeccably produced and arranged, they are all without exception fascinating glimpse in a than current pop scene where locals tried their best to emulate high standards of international production. Foreigners might consider this exotic world "behind Iron Curtain" but artists were generally inspired and no less talented compared to their international counterparts - if not for geographical accident, its easy to imagine someone like Knežević performing on the stage of than very popular San Remo. 

The only problem I have with this album is that is very tame - probably reflection of the times, when all these singers were taught to be extremely undistinguishable from each other and as festival compilations can attest, strict juries that controlled who can appear on radio/TV/festivals guarded and restricted any individuality. God forbid that anybody sticked out too much from the mainstream, that was not allowed. So the whole generation of pop pioneers sounded as cloned cookie cutters, bland and non-threatening. It took one more decade until in the 1970s artists were allowed to be idiosyncratic and particular. 

Sadly, there is no trace of Jazz here - Knežević enraptured her concert audiences with capable renditions of songs by Ella or Sarah, but in recording studio her output was limited to lightweight pop music that harked back at previous decade. Judging by this album, the only genuine album she have ever released (not counting two compilations), lady was a capable pop singer with a nice, chirpy and crooning voice but ditties like "Davy Crocket" or covers of Italian, French and American hits don't really point at particular connection to Jazz. My guess is that she thrived on live concerts but was sadly underused in recording studios. 

"America Before: The Key to Earth's Lost Civilisation" by Graham Hancock

Omnivorous reader that I am, after Carl Sagan I have switched to something else completely, namely my old favourite Graham Hancock whom I followed and recommended to everybody for many years now. Hancock is very enthusiastic researcher, mainly focused on ancient civilisations and so far his books were usually completely ignored by scientists but very popular with masses curious about another possibilities and theories - his best seller was "Fingerprints of the Gods: The Evidence of Earth's Lost Civilisation " which I bought back in the 1990s and still love, however my favourite must be "Supernatural: Meetings with the Ancient Teachers of Mankind" for the sheer madness and scope of various ideas connected into one book. Hancock had a serious health scare recently so I'm glad that he has recovered and now there is a new book about possibility of ancient civilisations in Americas, long before Europeans ever knew about the place.

The premise is very interesting - contrary to formally accepted theory that Homo Sapiens roamed every continent but not Americas (where people came eventually via Bering strait while it was frozen) new archaeological evidence suggests that people indeed lived in a "New World" for thousands of years and traces of DNA & all sorts of interesting things point that perhaps there was a really ancient society there that has nothing to do with newcomers from the North. So far, so good - but than, to my biggest surprise Hancock really gets into all sorts of technical details and the book becomes so darn complicated and dry that I eventually found myself skipping the whole chapters. Instead following the narrative, page after page Hancock goes for calculations and measurements which for the first time struck me as unnecessary - instead of pointing an angry finger at academic society that shuns authors like himself, he could have simply focus on the story. Alas, seems like he has a very old grudge to bear and feel the need to prove he was right all along - now, to us, his readers, this is like preaching to the choir. We read him, because we love his ideas. But being angry at this or that scientist, page after page, chapter after chapter pointing how wrong and deluded they were, well its simply starts to become repetitive. So with deep regret, I am now (for the first time) reading Graham Hancock book simply because I want to finish what I started but not with excitement or pleasure, like before. I still love Hancock and I believe he is probably too emotional to distance himself from a objective, clear-eyed scientists who accept only proofs instead of theories - the world needs Don Quixotes like him. Strangely, I found this book my least favourite from all of his work, because of above mentioned. 

"Elisabeth Schwarzkopf Sings Operetta" by Elisabeth Schwarzkopf (1959)

On completely opposite side of the spectrum from her celebrated recordings of "Four Last Songs", these bubbly, sparkling bonbons culled from various Viennese operettas present magnificent versatility of Elisabeth Schwarzkopf who could apparently sing everything, from the darkest despair of "A German Requiem" to staggeringly melancholic songs by Richard Strauss or these pretty, fluffy confectionery. Do not forget that her singing teacher was celebrated 1920s star Maria Ivogün who herself recorded many popular waltzes and her lessons in poise and sophistication stayed with Schwarzkopf for the rest of her life - impeccably prepared and serious, she would bring the utmost commitment to everything she approached. 

The apparently omnipotent, silvery voice was capable of everything, in this case of sparkling in dazzlingly melodious hits from bygone era - handpicked from various operettas and different composers, this record almost sounds like "the best of" operetta genre. In fact, its so close to perfection that I must admit that to my ears, every other female singer approaching this material always pales when compared to this recording. Franz Lehár and Johann Strauss Jr. are just some of composers represented here, lovingly orchestrated and arranged by conductor Otto Ackermann and Schwarzkopf is in top form. This is one of the very few albums by Schwarzkopf that are constantly in the print and deservedly so. 

"Ljiljana Petrović" (1962)

Holy Grail for Eurovision fans and collectors, this little 8-songs EP recording must be one of the rarest and most precious albums connected with famous festival - it was the very first time Yugoslavia ever joined as participant on this highly publicised music spectacle, the song climbed to respectable eight place and strangest of all, when Belgrade's PGP RTB ‎finally got around to release the album (next year!) they were so new at it that they never even advertised it as Eurovision song, which became standard procedure everywhere else around the Europe, where sticker with "Eurovision!" would help the sales.

Young and practically unknown Ljiljana Petrović (not to be confused with Gypsy singer with the same name) was practically pulled out of obscurity by famous composer and arranger Jože Privšek who have heard her voice by chance, when girl was recording her very first studio track and he insisted this is the voice he needs for upcoming Eurovision festival (he was composing the song). Eventually that particular song was chosen during the national pre-selection and young Petrović was packed off to Cannes where her youth and decidedly unglamorous, simple appearance were sensation amongst media - she was the first ever participant coming from Eastern Europe which at that time was still known as "behind Iron Curtain". To be honest, "Neke davne zvezde" sounds very much like any other standard ballad of the time and the whole hoopla was simply because TV audiences were pleasantly surprised with novelty of such exotic participant. But it served to break the ice and the very next year, much more experienced Lola Novaković placed fourth.

Even though this was a historical break into Eurovision and the very first time some artists from Yugoslavia had such huge multi-millioned audience, neither Petrović or Novaković actually got much support at home, very probably because local homegrown recording companies were still unaware what Eurovision actually means for record sales. Where song by Novaković was never even released as a single, young Petrović at least got her own album, because of famous composer prominence - the resulting album (released very much after the fact, next year) was a pretty combination of current international pop hits and original material, arranged and produced by Privšek who wrapped everything in the highly polished, sophisticated cellophane. 

"The Demon-Haunted World" by Carl Sagan

The previous book I have read ("Hunt for the Skinwalker") was initially interesting but it somehow petered away in a second half and it became just another guesswork about Alien visit, much ado about nothing - theories piled up on top of theories without a concrete proof or even conclusion. However, someone on Goodreads have mentioned this book as a suggestion of completely different approach to the same subject so I decided to check it out - I am glad that I did, because I enjoyed it very much.

Carl Sagan was of course, one of the most famous scientists in the world, thanks to his work for NASA and TV show "Cosmos" - his work has always intrigued me but for some reason I postponed it, probably thinking it would be "too complicated" and one of those things I have to read "when I grow up". Well, I'm almost 50 now so I might as well check it out (I said to myself) because after all, if not now, than when? To my surprise it was very approachable, without pandering to the audience - Sagan has a gift to explain everything in a relatively simple way, without sounding like he is deliberately dumbing down, in fact it was very interesting. His position is that superstition has no place in a modern world and science works very hard to find all the answers, although we still have a far to go but at least we are trying. Initially my impression was that guy was poking fun at human ignorance and superstition, I thought he was kind of snotty - until I checked some of his interviews on youtube where he really appeared as one of the brightest guys I have ever encountered, very knowledgeable, informed and even witty, real gentleman. I was so impressed that I gulped the rest of the book with a greatest pleasure, since I changed my mind about him completely - I am absolutely sure that if he was my teacher in the school, he would probably inspire everybody to be scientists. Kind of person who is passionate about his work, about new ideas and even open to the strange ones - he claims (for example) that science always needs to be open to new ideas because this is the only way we can progress. 

"If you're only sceptical, then no new ideas make it through to you. You never learn anything. You become a crochety misanthrope convinced that nonsense is ruling the world. (There is, of course, much data to support you.) Since major discoveries in the borderlines of science are rare, experience will tend to confirm your grumpiness. But every now and then a new idea turns out to be on the mark, valid and wonderful."

I can't put in words how much I have enjoyed this book and it gave me a lots of pleasure to ponder the ideas that Sagan mentioned here, of course I have also watched "Cosmos" immediately because it was natural to enjoy some more of his work. Carl Sagan was a true renaissance man, clever and bright, full of enthusiasm and understanding why things are the way they are. He even understood why in the current society scientists are not highly regarded as (for example) sportsmen, since kids are embarrassed to be perceived as geeks and nerds if they are too "bookish" which is a great pity. No one cares or support the teachers anymore and its not noble profession anymore, as being celebrity is much more important. No wonder we have all these shamans and astrologers today, with ignorance covering the world. 

"Dinah Sings Bessie Smith" by Dinah Washington (1958)

It sounds completely natural - one queen celebrating another, from earlier era - and honestly, when it comes to sass and attitude Dinah Washington followed steps of her illustrious predecessor. In some parallel universe it would be great to have them both at the same table and my guess is they would get along like a house on fire. Both were strong-willed, independent women who lived high life, financed lovers and husbands, bulldozed their way trough male dominated industry and burned like comets too early. It doesn't matter that as a singers they were completely different - both were strikingly original in their way and I doubt that even famously competitive Smith would find her younger successor unworthy of praise. 

By late 1950s Washington experimented with different genres and recorded two tribute albums, one to Fats Waller and another with Bessie Smith songbook. Both were arranged by Ernie Wilkins who was fine musician himself (after all, he worked with Count Basie) but unfortunately he decided to give them a certain almost Dixieland sheen that inevitably made the projects sound outdated - Washington herself sounds like a dream and its clear she loves these old songs but somehow (to my ears, at least) it appears almost ironic. There is something about arrangements that always bothered me and after all these years I am still not convinced that this music needed vaudeville costume - only occasionally, as on spectacular "Backwater Blues" Wilkins let singer rip completely, uncluttered by rinky dink snare drums. Great for collectors but undermined by arrangements. And my opinion has not changed in some twenty years that I own this album. 

"Sings The Best In Blues" by Dinah Washington (1958)

Excellent late 1950s compilation, released just as "The Queen" started to seriously branch in completely different waters, this LP served to remind listeners that before Washington dived in the sea of strings and echoing backing choruses, she was the sassiest, brashest and cheekiest of all gals around. No wonder she was called "queen of jukebox" because hit followed the hit and what you find here is really cream of her earliest work - how strange that her later international pop success eclipsed what is in reality by far her best period. 

Collected here are her singles from 1940s and early 1950s before she turned to LP albums filled with American Songbook and such - nothing bad about those albums, but in my opinion her heart and personality is perfectly described here. Washington, of course could do absolutely everything - torch songs, ballads, country, pop, Bessie Smith blues, you name it, she would put her stamp on it. Initially I was so blinded with her later music that these earliest singles didn't register with me, but than something interesting happened - with time I realised that syrupy ballads can't hold the candle to fierce "Evil Gal Blues", "Baby, Get Lost" or "Salty Papa Blues" - now this is THE album I listen the most when it comes to Dinah Washington. And of course, "Long John Blues" is a dirty joy to behold, something that young Aretha Franklin never dared to cover on her tribute to Washington.