Little Girl Blue. My friend and I decided to go to the pictures to see the new documentary about the life and music of Janis Joplin, Little Girl Blue. The film explores all aspects of Joplin’s too-short life with interviews from friends, old lovers and her siblings. What really makes the film are these amazing sequences where Cat Power (as Joplin) reads Joplin’s letters to her family, each of them filled with moments of such gut-wrenching and naked pain, that exact shade of desperation that comes out in her voice.
She adored performing, she adored being adored – so much so that she seemed to just put up with the rest of the dull times when she wasn’t on stage.
Her story is a sad one, as we all know, and this film confirms that Joplin really was a fragile young woman hiding behind that belting voice. Still, she remains an inspiration. She gives an incredible vocal. Joplin’s been there with me from the start (I even had a teddy called Janis). I urge everyone to go and see this film. Oh and listen, again, to Pearl. It’s an absolute blinder.
The London Review of Books. A few months ago I decided to get an introductory subscription to the London Review of Books. I’ve known people who’ve read the LRB for years, always people who I considered to be far more intelligent and academic than me and so I had the impression that I’d find it too taxing, too dry.
I think my decision to get a subscription was influenced by the cheap price (never been one to turn down a bargain!) and by some sort of vague desire to kick myself up the arse and try a bit harder to be ‘clever’. I was expecting to plough my way through a couple of articles and give up. I’ve been so surprised, it’s a joy.
In the past few months I’ve learned about everything from UK Dance Halls and their cultural importance after the war to the rise of modern finance, I’ve learned lots about Marianne Moore and Elizabeth Bishop, about William Empsom and so much about the complicated situation in Syria too. And I’ve just now read the best and clearest explanation of the sorry mess that Jeremy Hunt has got Junior Doctors into.
And it’s done something really great for me, it’s made me feel clever again and not just because I can ponce around the country showing the world I’m reading the LRB (although I reckon that helps). No, its articles do an excellent job of explaining, sometimes pretty complex, ideas in a way that manages to be easy to follow without being patronising.
I often feel that I’ve lost the ability to focus on things for long as a result of pinging around the internet skimming articles posted on Facebook or Twitter. The LRB has long, clear and interesting articles that draw you in and keep you there. Also, there’s loads of them in each issue so they last for yonks (I’m weeks behind). It’s my new favourite train reading! At £1 an issue for the 1st 12, it’s worth giving it a try.
She is another just incredible, deep, rich, gut-wrenching, world-weary vocal. I’m really interested in the quality of her voice and its texture, there’s something about it I can’t quite put my finger on. If you’ve not heard her before, have a listen to this beautiful song. In fact, even if you do know her, listen and remember how great she is.
I have a feeling the refrain from It hurts me too is going to find its way into one of my poems pretty soon – gloriously heartbreaking yet understated. I can’t believe she’s been around all this time and I’ve only just discovered her. What a treat!
What I learned from Johnny Bevan by Luke Wright There’s still plenty of time for you to catch this at Soho theatre, so do it! If you’re not in London, it’s touring the country.
It’s me old mucker Luke! Last night was the first time I’ve seen this show (it clashed with Melody up in Edinburgh) and I was not disappointed. It’s a story of class and politics, the heady hope for change, a story of future and youth and friendship.
It’s expertly written and performed and Luke takes on a number of characters with ease, I’ve never seen him with an acting hat on before but it suits him and he’s utterly convincing.
Ian Catskilkin of Art Brut provides a rich soundtrack which is used perfectly to underscore and punctuate the text, adding accent to the action. The piece is particularly pertinent at the moment when we’re stuck with a Conservative government, all of us willing change. There’s a foreboding sense, though, that history repeats itself in politics. In 2016 we’re back where Luke’s characters were back in the early 90s.
Luke also looks wryly at the fetishization of poverty by setting a festival Urbania in a abandoned council estate. I found this aspect of the show particularly affecting. Luke uses an image of Balfron Tower as his abandoned council estate. I lived in Balfron tower for 18 months as a property guardian when I first moved to London.
Towards the end of my time there, a theatre company took over a couple of floors to stage an immersive production of Macbeth. This was while original council tenants were still living there. 90 theatre goers traipsing through their building every Friday and Saturday night, gawping at the run-down council estate. It was fucking disgusting. I overheard one cast member saying to another “it’s so cool but can you imagine actually living here? Eugh!” Needless to say I protested, needless to say I got evicted. I’ll stop before I go off on one, another story for another day perhaps… But What I learned from Johnny Bevan really taps into this disgusting trend of poverty porn. Go see it!
That’s it for now, I hope you’re all happy!