Biz piece

On my way to work today, I was reading this free business newspaper (ah, the free tube newspapers, one of the few joys of working in London, and get to know who threw their cat in the garbage) and actually smiled reading this column on Nokia's burning state:

NOKIA finally confirmed a tie-up with Microsoft on Friday, which sent a ripple of excitement through absolutely nobody. At Mobile World Congress (MWC) this week it will announce a new tablet. Or an Xbox phone. Or a giant laser with which it will attempt to destroy the moon. It doesn’t really mater – nobody will pay any attention anyway.


[...] The problem is, Nokia is both vast and dull. It’s like Canada. Its phones are about as exciting as the vast swathes of icy tundra; characterless and difficult to navigate.
Sure, they both have their highlights. Canada has Montreal. The camera on Nokia’s N8 is nice. But this doesn’t make up for the N900. Or Celine Dion.

Maugham

Picked up a Somerset Maugham novel after a gap of almost 5 years! Perhaps he induced in me whatever cynicism I possess, through his three famous books - Of Human Bondage, The Moon and Six Pence and The Razor’s Edge.

The book I started reading now, Cakes and Ale, another classic, is his take on the literary world. The first few pages itself put me back in the somewhat strange and, in fact, likeable world of Maugham.
For instance, the way he details the appearance of his characters:

...a fine, upstanding young man, six feet high in his stockinged feet and of an athletic build, with broad shoulders and a confident carriage. He was not handsome, but in a manly way agreeable to look at, with wide, blue, frank eyes and curly hair of a lightish brown; his nose was rather short and broad, his chin square. He looked honest, clean and healthy. He was something of an athlete.

Or his typical observations of human nature:

Hypocrisy is the most difficult and nerve-racking vice that any man can pursue; it needs an unceasing vigilance and a rare detachment of spirit. It cannot, like adultery or gluttony, be practised at spare moments; it is a whole-time job.

Happy to be reading Maugham again!

Bruce Springsteen - The Collection

This is simply the best thing money can buy at the moment! First 7 studio albums of Bruce Springsteen in a box set for less than Rs. 1000. Just placed an order, though I already have 3 of these albums (Nebraska on CD, Born to Run and Darkness on tapes.)

I often dislike the fact that many of our rock idols mature as they progress in their career, and seek out something more rewarding for them, musically, than create the same music which made them popular; many drift towards jazz or world music – like Sting, Paul Simon or Joni Mitchell.

While listening to Springsteen’s 2009 release Working on a Dream, I was struck by the realization that Springsteen is doing just the reverse. Compare his first two albums and the last two, and you’ll know why. His debut Greetings from Asbury Park, NJ and the next one The Wild, the Innocent, and the E street shuffle are more mature, jazzy and elaborate than his latest two releases, Magic and Working on a Dream which, in Springsteen’s words itself, is “pop sound”. Interesting. But I don’t mind, as long as he continues to recreate Magic.

The Limits of Control

Thoroughly disappointed by Jim Jarmusch’s highly indulgent “The Limits of Control”. The movie, in fact, tested my limits of tolerance. But the 2 hours spent was worth just for this one scene- 3 minutes of an amazing flamenco performance:
Watch it!

He who thinks that he’s bigger than the rest
Must go to the cemetery
There he will see, what the world really is:
It’s a handful of dirt.

The curious case of critics

The other day, film critic Rajeev Masand tweeted that there is no God if James Franco was not nominated in the Best actor category at the Oscars. In the review that followed, he raves about the movie and there is not a single negative point he has cited. And he gives it 4 out of 5 stars.
He writes:

The extraordinary cinematography by Anthony Dod Mantle and Enrique Chediak, and AR Rahman’s haunting score complement Boyle’s rich and imaginative storytelling style. And James Franco who appears in more or less every scene delivers a performance nothing short of spellbinding.

Question: Can someone please enlighten me on why he refrained from giving it 5 out of 5 if, in his opinion, the movie scores full marks in all aspects?

I have watched some reality shows on Indian television where one of the judges marks a performance 21 out of 25, while the other one marks it 23/25, without any explanation on how this score was arrived at!

The wonderful guys at the fabulous Sound Opinions, rates a record as buy it, burn it, or trash it. When I heard it the first time, I didn’t get what “burn it” meant, and on reading up:

Burn it! ...There are a few good tracks here, but not worth the full price....try a downloading service, or (cough), another method.

This is kind of, I would say, innovative and "adapting to the times".

Maybe, someday, all critics would follow a thumb rule, like Siskel and Ebert did – Up or Down? Which is it?

Gene Siskel boiled it down: "What's the first thing people ask you? Should I see this movie? They don't want a speech on the director's career. Thumbs up--yes. Thumbs down--no."

PS: I attended a session by Rajeev Masand in Bangalore in 2010 and found him to be genuine. When my brother asked him what he thinks about The Big Lebowski, he more or less admitted that he didn’t get it the first time and that he is planning to watch it again. That was an honest response!

études

BBC had aired Leonard Cohen's Live in London concert (2008-09) some weeks back and I had a great time watching him perform – especially the fantastic opening song "Lover Lover Lover" (video from the Bratislava concert of the same tour here). Some time before this, I had picked up his book, Death of a lady's man, a collection of poetry and prose. But I just couldn't read beyond 7-8 pieces. I don't think his poems as such will work for me as much as they do when set to music. For the record, I don't listen to Cohen just for the words. I love the tunes and of course, his singing.

While on the topic of words, prose, poetry etc., I must mention that I absolutely enjoyed reading Aseem Kaul's études, a collection of (very) short fiction, much like the author's blog posts. I am not sure whether the contents of the book were previously published on his blog, though the formats of some stories are strikingly similar. There are some cheesy pieces here and there, but by and large it is full of imaginative, metaphorical, stunning poetic gems. In fact, this book worked for me better than Cohen's.
Read the Mint review here.

A Boy named "Sue"

I wonder why a male singer would cover a song which has a female protagonist in first person, and vice versa. In some cases they adjust the lyrics to take care of the gender references – like changing “I’m your lady” to “you’re my lady” (Power of love, not sure which one is the original) etc.

Two brilliant covers I heard recently that doesn't take the pain (well, it’s not possible in these cases) to do a "gender flip":

Rosanne Cash – Long black veil (a live version here)

The White stripes– Jolene (Jack White sings Jolene Jolene.. pls don’t take my man, heh! Heard it on Sound Opinions)

The same old tune

“Genius borrows nobly. Art is theft. Good poets borrow; great poets steal. James Joyce said, “I am quite content to go down to posterity as a scissors-and-paste man.” Who owns the words? We all do, though not all of us know it yet. Art is not a patent office. It’s a conversation between and among artists.”

That was David Shields, in the introduction to his post on NYT’s Living with music blog series. I don’t agree with him on this, as you know there is so much art out there which is absolutely original... like...er, I don’t know. His playlist, however, is very interesting – a list of recyled/sampled music.

Achiever.

My Salinger tribute

Last week, I read at least 10 JD Salinger tributes.
Two of them worth linking: Salil Thripathi writes A world full of phoneys, in his Mint column, stating that Indrajith, a character from a Bengali play is our very own Holden (for me this could be perhaps Agastya Sen from English, August, although in a different way and slightly grown up). American movie writer Kim Morgan lists six movies which could have been influenced by The Catcher in the Rye.

Apart from changing my life etc. (another loser, eh?), the book induced in me this wonderful pastime of spotting phoneys around me. At work, in the pub, in media... everywhere. I also started appreciating people who were not. If I had kept a list, I could have made it into Holden’s Hall of Shame (phoneys), and Fame.

Two striking figures from the recent past from Indian media that comes to my mind now, for the Holden's Hall of Fame - people who chose NOT to be phoney:

Anil Kapoor: For just being himself at the Globes and the Oscars and immensely enjoying every moment than being conscious about the celebrities around him and the etiquettes. Each time Slumdog won, he was shouting and cheering- even if he had whistled desi-style, it would not have been out of place!

Kavita Karkare: For courageously ignoring societal pressure and rewriting the clichéd image of the Indian widow, at the funeral of Mr. Karkare.

In a society where grief over death is rarely a private practice, where formalised mourning rituals encourage families and communities to survive loss by reliving it through loud expressions, where bereaved women are expected to wear white and look distraught, Kavita Karkare refused to mount her sorrow publicly.
Dressed in a red and light brown sari, a small bindi on her forehead, a red bangle on one of her arms, her hair neatly combed, she projected an image of forbearance that badly needs to be registered in our collective consciousness as dark fears surround us. (Outlook, Dec 2008)

But for those who hated Holden, maybe I should just shut up and take a Prozac.

Society, you’re a crazy breed
Hope you are not lonely, without me.
(Into the Wild, Vedder/Hannen 2007)