"Dune" by Denis Villeneuve (2021)

Yay, its here! Postponed and postponed and prolonged and re-scheduled, famously unfilmable and notoriously complicated SF saga is finally here. It is actually quite amazing that for such a legendary and influential novel, "Dune" does not have already million versions - apparently Hollywood could not simplify original novel enough for a successful movie. I have read the first three parts of the original novel by Frank Herbert and it was brilliant - not unlike "The Lord of The Rings", Herbert had created a universe by himself, with unforgettable and now immortal characters who all mingled, schemed, manipulated and fought amongst themselves like in some ancient Byzantine court. Almost like "Game of Thrones" but translated into SF world where action happens between different planets. In all honesty, "Dune" could have been a fantasy novel if placed in various kingdoms instead of between universe and open space. I have read with the greatest pleasure the first three parts and than stopped for the very same reason why I stopped with "Tales of the City" series - to this day, I find it unforgivable that author has such a low regard for his audience, that he can simply decide to skip the narrative and jump into the future, without preparing us for that. If I remember correctly, the "Dune" saga follows one particular story in the first three novels, than jumps 3,500 years in the future in the book nr.4. Well, this is where I stopped. You can't do this to me, I just won't accept it. (However, I might go back and re-read first three again)

There was some attempts to film the novel and the most famous was 1984. version by David Lynch (of all the people) which was unfortunately heavily edited - because of the gigantic costs, producers were afraid it might be too long & complicated so they edited and shortened the finished product to such extent that even Lynch himself had his name removed from the project. I mean, if you cut half of the movie out, there must be some differences. I actually have it on DVD and its magical - it helped that I read the books so I had no problems with following the story and loved how the characters basically work in SF world but they could be any medieval fantasy/ adventure story as well. It had Kyle MacLachlan, Francesca Annis, Linda Hunt (as a slave), fabulously grotesque Kenneth McMillan as Baron Harkonen and Sting as his sadistic nephew. AND legendary Swedish actor Max von Sydow, and the best of all, Siân Phillips as a Bene Gesserit  mother superior with magic powers. Fabulous. However, there are people who think its too complicated and too confusing, critics hated it and in general SF movies usually age very badly because our technical effects eclipse everything that came before, so the time was ripe for the new version. Here I also must add that "Star Wars" borrowed a LOT from "Dune" so it all kind of feels familiar but not really.

This new 2021. version by talented Denis Villeneuve was all special effects and no heart. Visually it was stunning, vast, hollow, empty, ominous and probably right in describing some far away space in the distant future where humans talk and behave completely different from us - but what was sacrificed was the heart, emotions and any sort of feelings for the characters. Because the attention is so heavily focused on special effects, flying machines, lasers, everything gigantic and planetary, suddenly I realised that I actually don't care for one single character here - they are all just running, screaming, fighting with some unusual weapons and saying empty phrases (desert power?) but do we actually care if any of them live or die? No. They are cartoons. Most of all, I couldn't stop comparing the old Lynch movie to this one and how fabulously the older movie made it somehow look magical - yes it was SF but placed in a medieval court so it made sense. I couldn't shake a feeling this might be the future of the cinema, all special effects and no heart. (This is just first part of planned two). Right now this very minute I am going back to watch the old 1984. version. 

"For Once In My Life" by Carmen McRae (1967)

 

When rock music swept everything away like a tide, the whole generation of musicians who harked back to big bands and American Songbook suddenly found themselves floundering aimlessly. Some found a haven in Las Vegas, others in Far East where Jazz market was the next new thing, than you have some really big names that gamely tried to adopt to new music. Almost without exception these attempts were half-hearted - one listening at pop crossover recordings by Ella Fitzgerald, Sarah Vaughan, Mel Tormé or any of them and its veering closely to easy-listening, but not smooth enough for radio play since they were Jazz based. Oddly enough, the most idiosyncratic and mannered vocalist of them actually sounds perfectly fine.

Carmen McRae might have not been the immediate choice for pop crossover but apparently Nesuhi Ertegun and the guys at Atlantic had a huge respect for her and were determined to give her a push in that direction: no less than four studio albums and one live recording served her nicely until she found her way to Blue Note and eventually later returned to American Songbook. Here I must say that out of all famous American Jazz vocalists who attempted pop crossover, hers are the most enjoyable. And this is not because she suddenly sounded pop - completely opposite, because she was so completely fully formed and charismatic (in her late forties at the time) McRae sounded exactly like her own self, no matter what material producers put in front of her. That ironic, tough attitude stance is always there, mixed with a sudden outbursts of unexpected tenderness and vulnerability - along with covers which were back than expected, as Stevie Wonder, Beach Boys, Dusty Springfield or The Beatles, the biggest surprise is her version of stately Italian ballad "La Musica È Finita" that great lady covered as "Our Song" with a perfect ease and it suits her to a T. It might not have been a great commercial success because rock bands were all the rage, but it worked perfectly fine as the step into current direction for McRae who have not changed a single bit and sounded as she always did. 

Four Generations, circa 1905

 

"Naked at the Albert Hall" by Tracey Thorn (2015)

 

Oh, this was excellent!

I knew Tracey Thorn as a oddly haunting voice from the pop band "Everything But The Girl" and even loved their 1994. album "Amplified Heart" a lot, but this is type of music that I listen for a while before returning to Bessie Smith and my old favourites. No matter what I listen, you can bet that sooner or later it all goes back to Bessie or Edith Piaf. This is where my heart truly is. Because I am not really following pop music anymore, I was not aware that Thorn had quit live performing and somehow channelled her singing voice into a writing one: she had published three books and writes occasional columns about music - this is how I came to this, by reading her enthusiastic review of Kate Bush concert. The article was so interesting, inspired and idiosyncratic that it was clear this is someone with a special kind of writing voice. 

Than a friend suggested I should check more of her writing and since I just finished meandering courtroom thriller by John Grisham (it took me months), I decided to have a peek at Thorn and gulped it in two days. Now, this came as a surprise because I have problems with focusing on reading books for some time now (internet is basically distracting me) but this one read itself. I even went back to some chapters because they were written so well. I truly never knew Thorn is such interesting person and such well-read, engaging writer - in fact, I hardly knew any other singers who had shown such amazing talent for writing prose. Now, majority of singers use their craft intuitively and could probably not explain what is it that makes this special connection between the heart, the mind and the throat. In fact, I still remember someone's description of audition of young and unknown Italian tenor Beniamino Gigli as "surprisingly intelligent for his profession". Singers are simply placed on pedestals as they are more visible than for example instrumentalists in the background, but here we are talking about being celebrity, not being a good writer. The only singer who actually wrote genuinely brilliant autobiography is to my knowledge, Marianne Faithfull ("Memories, Dreams & Reflections", 2007.) And naturally songwriters like Cohen and Dylan would have talent to pull such project off without embarrassment. 

The best thing about this book is that is not a celebrity autobiography. That would just have been too easy, besides Thorn already wrote about herself in "Bedsit Disco Queen: How I Grew Up and Tried to Be a Pop Star"  which was highly praised and showed what a stunning way with words she has. (I still need to read that one) This particular book is a collection of essays about the singing. Not in a sense of singing lessons or technical details how to open your mouth and straighten your back, but discussions about how singing actually happens, what is the difference between singing for oneself and performing in public, what it means "authentic voice" or "mannered voice", how in various genres voice means something completely different (in folk music voice is second to the lyrics and story itself), its full of research, quotes from books and interviews with other musicians. I was honestly just flabbergasted how interesting, inspiring and fluid this all was - there was even a chapter about the singers who stopped singing and what power has a silence if coming from mythological sirens - it is, in my opinion, the best non-autobiographical book by any singer that I have read so far in my life. Loved it! 

Josipa still going strong

Not long ago I was alarmed with the amount of hatred and negativity focused on 72 year old Croatian rock icon Josipa Lisac who was invited as a special guest on the inauguration of latest president and dared to perform very unorthodox, jazzed up version of the Croatian national anthem - what was meant to be a prestigious gig, turned into a huge scandal because apparently people were not accustomed on any liberties being taken with the anthem and there were all sort of accusations made against her, people took it as she was a traitor who purposely mocked it, etc. There was a call to boycott her concerts and even a legal court complaint against her. It was a huge storm (fanned by media who just wouldn't leave it alone and were constantly provoking another survey after survey about public opinion).

In the middle of all this storm, lady herself stayed quiet and would not discuss her musical choices. She did came to collect her lifetime achievement award on TV and firmly but politely skipped the question about the anthem. While the public roared in angry arguments, it became clear what a polarising artist she always has been: people either absolutely love her or can't stand her. There was never middle ground with her, as long as I can remember. This is probably the fate of all genuine giants, they are just so darn individual. I was upset and even myself got into arguments with complete strangers online, it was tooth and nail for a while. I felt as this was culmination of accumulated anger and frustration that has nothing really to do with great lady herself but people were just so darn miserable for too long and probably felt she was too big diva. On the other hand, if you dare to throw mud on one of the major cornerstones in our music, well who is the next than? 

Before you know it, Covid virus erupted and put this scandal aside: suddenly something that people did not take seriously at all ("Its something happening far away") stopped our everyday lives completely and there were no concerts or performances anymore. On top of it all, Croatia got struck with series of earthquakes and than it snowed on them all, it was as end of the world for a while. And guess who still continued - as much as it was possible in the circumstances - you are right, no other but 72 year old, ex enfant terrible Josipa who somehow managed to record a new video clip in a damaged museum space (where she used to sing, I was on those concerts) and slowly but surely continued to give performances when it was allowed. She even gave first ever Croatian virtual concert for which audience had to buy the ticket and log in at exact time. 

Contrary to what I thought, that anthem scandal with turn people against her, it showed who her public is. Perhaps this is why she didn't bother to explain herself to inquisitive journalists: probably she understood long ago that its not critics but supporters who truly matter. The public opinion is still divided and will forever be, when she is concerned - but there is a very strong support amongst the audience flocking to her concerts, buying her music and showing a great affection for her. Judging from the pictures from her live concerts, there is nothing to worry about. I am actually pleasantly surprised. 

"Respect" by Liesl Tommy (2021)

Aretha Franklin was still lying in her golden coffin (with a sparkling red shoes) when the plans were already made how to profit from sudden media interest in her: before you could say Re-Re-Re not less than three movies were ready for release. First was the never before seen footage of documentary "Amazing Grace" taped simultaneously with the now legendary gospel album, than National Geographic made eight-part TV show about her life as a part of their series "Genius" (other subjects being Albert Einstein and Pablo Picasso) and finally Hollywood came around to create long-awaited Franklin biopic for which she herself selected Jennifer Hudson for the main role. And this is just the movies - compilations and re-releases of the old material poured like avalanche. I have seen "Amazing Grace" and heard all the best about TV series but the major media attention was focused on the big screen biopic that seems to have been in making since forever. 

I have always found it amusing that Franklin - a famously tight-lipped and private person who occasionally took a swipe at any perceived competition - wanted to play celebrity game but on her own terms. For example, since David Ritz wrote celebrated biographies of Marvin Gaye, Jerry Wexler, Etta James and Ray Charles, Franklin decided she must have him as a helper for her own autobiography and than remained determinedly silent about everything that he wanted to really discuss and investigate. Because the biopic of Tina Turner made such a big splash, Franklin decided she must have her own biopic and naturally any project that must have blessing of its star or the family or the estate, will eventually come out as a vanity project.

To be honest, I expected "Respect" to be much worse and the critics have already killed it. I assumed they will whitewash the main character and make her into a saint. If it fails - and ultimately it does - is because it plays too safe: it follows a very predictable cliché that we have seen countless times in other biopics, a story where main protagonist rises, falls and rises again. So all the way trough, there is this odd sensation of déjà vu like we have seen this already before. A talented black singer with an asshole husband who is domineering and physically abusive, hm, I wonder where have we seen that one? On the positive note, there is a beautiful work done with period clothes, hairstyles and visual aspects of the production. So the movie is beautiful to watch but it goes on for too long and it treats its subject with such overt reverence that as a result, hundreds of things were just glossed over and never discussed. My overall impression was not too bad actually - it will be perfectly adequate introduction to new generations who might never heard of singer. But its not very engaging, its not exciting and it feels as just another artificial, laboured biopic. Lady herself was a thrilling artist and perhaps we just expected too much that movie about her life will be thrilling as well. 

"A Time to Kill" by John Grisham (1989)

 

John Grisham is one of those people who apparently live and work very successfully completely outside of my orbit. I could name countless celebrities whose activities somehow absolutely don't interest me whatsoever, although I know they exist and they might be very important to millions. In a way, to me Grisham is like Beyoncé - I know she is out there somewhere, breaking all the records and selling tons of whatever she is selling, but I live my life without her interference. And just like out of curiosity I gave her a youtube listening, I decided to check out Grisham. In both cases, one dose was enough to make up my mind this is not for me.

"A Time to Kill" was this legendary debut that no one bought initially but it became huge success after his second novel "The Firm" established him as a best-selling author. It is made into a Hollywood movie and a theatre play. Basically it is a courtroom thriller. It is happening in a fictional little provincial town of Clanton, somewhere in  Mississippi, where court have to decide a fate of a father who killed the rapists of his ten year old daughter. This is American South so the race of the involved is very important - if the father was white and the rapists black, the situation would be clear but it is the other way around - the father is black and the rapists white. While the black community is on his side, KKK gets involved and the sleepy little town becomes magnet for journalists and even the National Guard. 

What really bugged me here was not the story - which was gripping enough for me to plough until the end - but the storytelling and Grisham's style. He introduces the characters, explains the story and than he goes on endless meandering about the law and how basically everybody is corrupted and can be manipulated one way or the other. It is clear that author has a background in a law but this has been rammed into our throats. As in "I know what I'm talking about". The worst of all, I just couldn't find one single character to connect to because they are all so one dimensional + the main character Jake Brigance is a very annoying, amoral and greedy lawyer who smugly gloats in media attention and love pressing the buttons of his court enemy district attorney. I find very hard to read the book where the main character is so decidedly arrogant. Honestly, if this is what Grisham is all about, I had enough.

The return of Abba (and the best birthday present)

 

Honestly, I didn't expect it would move me so much.

A friend was bugging me for days about upcoming "something" from Abba and nobody knew what it is for sure but we expected release of the few songs, first new material in 40 years since they quietly disbanded. (There was never a big official announcement that group will stop, basically as two couples divorced, they find it distasteful to continue working together and they simply stopped.) And to be honest, I dreaded the disappointment. The more my friend was getting hysterical, the more I wanted to tell him "Stop it! What if they embarrass themselves? What can they possibly do in pop music now as 70+ years old? What if the new music is not close to iconic heights achieved decades ago?" So I wasn't really looking forward, specially now when we have social media and tons of hatred floating around in cyberspace. I thought maybe it would have been better to leave it as it was, safe in the memories and not attempt to compete with the new pop stars.

Than the day arrived - 2.September - only 24 hours after my birthday which was miserable - and I actually got really excited. Set my alarm on mobile phone not to forget to tune in youtube live announcement because I was at work, hoping to dear God that guests would not arrive in hotel exactly at that time. And trough all those annoying TV presenters and crying audience, I could not hide my joy when both Björn and Benny came for an interview and announced that not only they prepared some kind of hologram/avatar Abba show (to be played in London, venue specifically built for this) but they actually recorded a whole album of new songs, to be released later in the year. Yes, all four of them went together in the studio and worked for first time in 40 years as a band again. And both guys were serious about the fact that they would not do anything if they were not 100% standing behind the music and are proud and satisfied with the results. I knew about planned hologram tour and had a feeling that guys were excited about the possibility of virtual immortality of the band, but never imagined that they would actually want to make music together. And they did. 

So far they presented two new songs - majestic, moody Nordic ballad "I Still Have Faith in You" and catchy, classic Abba-pop "Don't Shut Me Down". I must say that I was moved to tears. Seriously and genuinely. Listened them over and over, crying my eyes out from sheer joy. Because contrary to my fears, they were still on top of their game and the magic is still there. All those gorgeous harmonies, delicate little musical touches, melancholy and melodrama, everything is surprisingly intact. And when ladies joined the voices together, my heart wanted to burst. I even felt a little embarrassed that I ever doubted them. Musically they didn't broke any new ground - they are exactly where we left them 40 years ago and this is a good thing, because they separated at the peak of their powers, just as their music turned darker and serious - now they are older, mature and everything is more reflective. In my mind Abba bloomed as a flower - initially bursting with contagious joy, than blossoming into bittersweet colours and later growing darker as both couples divorced (at this point they were not fun anymore and it reflected in their music). I never expected that they will even want to work together but here they are, 40 years after and the magic is still here. All four of them were sporadically working in music trough the years (guys more so as composers, ladies kind of half-heartedly because it was impossible to escape Abba's shadow and comparisons) but honestly I never expected they would do this again.

Scanning the media this morning, I see return of critics again - same people who never accepted Abba in the first place, still bowing to Led Zeppelin and somehow finding faults in everything that could be loved by mainstream. And I thought, how interesting, these same people are not listening music for itself but for  the opinion of others, because they need to appear hip and cool. Luckily I was never concerned with this and I listen music for the joy and beauty of it. In fact, I couldn't give a fig for the opinions of others. I saw Abba's popularity going up and down and up again, so they have definitely survived the test of time much more than countless other bands. This morning the sun finally came out after what appears to be infinite rainy month and honestly I felt so happy with new Abba songs playing constantly - the world just feels as so much better place with them around.