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The Daily Telegraph6 October 2018

The Daily Telegraph Saturday 6 October 2018 7***

Allegro with a lot more brio, how classical music is speeding upBy Victoria Ward

CLASSICAL music is becoming faster as conductors adapt to modern tastes, leading figures in the industry figures have revealed.

As concert goers have changed, so have the performances, with tempos becoming quicker and more exciting.

Sir Nicholas Kenyon, the managing director of the Barbican Centre, said that there had been an attempt to get away from “reverential performances”.

“We seem to prefer transparent, light, bright sound and it works with the work of many composers; Bach, Handel, Mozart …” he said. “We can demonstrate that ‘average speeds’ have increased in recent decades.

“It’s a basic change in taste from the rather weighty concert style of previ-ous years towards something that is more light, airy and flexible, which to my mind, is a good thing.”

Sir Nicholas added that works such as the British conductors Sir Roger Nor-

rington and Simon Rattle’s Beethoven symphonies did not replace older ver-sions, such as the work of Herbert von Karajan, but complemented them.

He pointed out that concerts today were often more informal, held in smaller halls with smaller orchestras. And the modern tendency to clap be-

tween movements was an example of performance becoming more relaxed.

“It is no longer a question of wor-shipping at a classical music shrine,” he said. “It is about experiencing the mu-sic in its many different forms.”

Sir Nicholas, the director of the BBC Proms from 1996 to 2007, said certain changes were a reaction against what had become the norm in the 19th cen-

tury, adding: “There is now a feeling classical music takes its place alongside other genres with more varied styles, with flexibility and excitement.”

He was responding to a letter from a Daily Telegraph reader, who asked: “Why do recent recordings of classical music seem to be performed at a tempo appreciably faster than older record-ings?”

Sir Roger said “slow” movements in Haydn and Mozart had become faster, which he agreed was “a very good thing”. He added: “It’s extremely impor-tant to play the music at the right speeds and we now understand far more about these speeds than we used to.”

Ivan Hewett, the Daily Telegraph’s classical music writer, said: “Since the Eighties, there’s been a very influential trend to get back to a more ‘authentic’ way of performing Haydn and Mozart, which the composers might actually have recognised.”

Letters: Page 23

Artist’s ‘seance’ prompts yawns instead of screams

By Laura FitzPatrick

A GALLERY room at twilight filled with eerie wall hangings and 7ft iron gates could set the perfect scene for holding hands and calling on spirits.

But Martin Eder, a German artist, is being criticised for his poor attempt at holding a “spiritualistic seance” at Vauxhall’s Beaconsfield Gallery as part of the opening his new exhibition.

Apparently comprising of mindful-ness experiments and magic tricks, the evening left the group of participants more confused than spooked.

One visitor said: “I’d expected a little more atmosphere.”

He added: “[A jar] was passed around the circle so that everyone could spit into it and combine our essences, but spitting is unpleasant, so only half of the participants did.”

It ended abruptly when one woman called out Eder’s behaviour while he tried to reveal what everyone had writ-ten on secret slips of paper. The woman claims she saw a man standing behind her when she was writing.

When she insisted that Eder re-vealed what extra words she wrote on the slip, he could not.

Dylan’s most famous lyrics they are a-changin’

By Patrick Sawer

FOR decades, fans and academics alike have pored over the lyrics to the songs of Bob Dylan. Now the singer himself has reopened the debate over the meaning of his work, by changing key words and entire lines to some of his best-known songs.

As part of an exhibition in London, Dylan has written out many of his most famous lyrics by hand, accompanying them with sketches to illustrate their content or meaning.

But, in keeping with his mercurial reputation, Dylan has made significant

changes to the lyrics of previously fa-miliar songs, in some cases extensively rewriting the words of tracks such as Tangled Up In Blue and Rainy Day Women #12 & 35.

The changes show that Dylan – who was awarded the Nobel Prize for litera-ture in 2016 – continues to refuse to be pinned down over the interpretation of his work.

The catalogue to the Mondo Scripto exhibition – the singer himself came up with the name – states: “One of Bob Dy-lan’s most critically acclaimed songs Tangled Up In Blue (1975) has been al-most completely redrafted for the exhi-bition. Dylan sees his songs as never being complete and has continually re-worked the lyrics of this single since it was released.

“While many of the songs in this ex-hibition have small word and syntax changes, other songs that have been

significantly rewritten are: Gotta Serve Somebody (1979); If You See Her, Say Hello (1975); Rainy Day Women #12 & 35 (1966); When I Paint My Masterpiece (1971) and You’re Gonna Make Me Lone-some When You Go (1975).”

In one example he has changed lines in Tangled Up In Blue from: “And I was standin’ on the side of the road/Rain fallin’ on my shoes/Heading out for the East Coast/Lord knows I’ve paid some dues gettin’ through/Tangled up in blue” to “And he was standin’ on the side of the road/Rain fallin on his shoes/Heading out for the East Coast/Radio blasting the news coming through tangled up in blue”.

The exhibition reopens the debate about whether his work – and that of other great musicians – can be re-garded as poetry in its own right or is merely enjoyable as throwaway pop.

That debate was famously encapsu-

lated by Prof Christopher Ricks, the former Oxford professor of poetry, who argued that Dylan’s work stands comparison with that of the Romantic poet John Keats.

When he was asked in 1965 whether he regarded himself as a poet, Dylan fa-mously countered: “I think of myself more as a song-and-dance man.”

With his exhibition at the Halcyon Gallery in New Bond Street, Dylan is again encouraging his audience to ask questions about what art is and where rock’n’roll stands alongside it.

Paul Green, the president of the Hal-cyon, said: “Like many great artists Dy-lan is once again going through a period of reflection to re-address his body of work as he grows older.”

Dylan, 77, has long taken to changing the occasional word to a song during live performances, but writing down such changes for public viewing would

appear to give these alterations a more permanent status.

He has also included sketches in-spired by each song, referencing a mo-ment in the lyric to help illuminate his words. These include one of Napoleon, echoing his mention of a “Napoleon in rags” in his 1965 song Like A Rolling Stone, frequently taken to be a refer-ence to the singer himself.

“Dylan has said that, just as Shake-speare’s words were meant to be per-formed, his words are meant to be listened to when sung to music,” said Mr Green. “But with these graphite drawings he is giving us an insight into the songs, as if he his helping us to de-code his work. These sketches are very poignant; some are biographical, some are illuminating an aspect of that song.”

Mondo Scripto is at the Halcyon Gal-lery, New Bond Street, London, from Oct 9 and through November.

Nobel winner substantially rewrites songs and draws sketches to illustrate them for new London exhibition

Gospel games After performing Stand By Me at the wedding of the Duke and Duchess of Sussex, The Kingdom Choir will star at the close of the Invictus Games in Sydney on Oct 27.

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The exhibition features sketches by Bob Dylan inspired by lyrics from some of his best-known songs

‘While many songs have small word and syntax changes, others have been significantly rewritten’

A) Lay, Lady, Lay; B) Just Like a Woman; C) Maggie’s Farm; D) Blowin’ in the Wind; E) Knockin’ on Heaven’s Door; F) The Times They Are a-Changin’; G) Like A Rolling Stone; H) Hurricane; I) All Along the Watchtower

Answers

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‘It is no longer a question of worshipping at a shrine but experiencing the music in many different forms’

Dylan in pictures ... but which song is which?

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The Daily Telegraph Tuesday 9 October 2018 27*** S

songs.” They conform to his idea of a good drawing, which is simply, “the right lines in the right places”.

Occupying the middle ground is Dylan’s visualisation of The Times They Are A-Changin’. Here, we see a Trump-like figure standing at a window in what looks like the Oval Office, surveying a rioting mob outside.

Elsewhere, the meanings appear obscure to the point of obtuseness. A Hard Rain’s A-Gonna Fall is represented by a besuited man poking out a bleeding tongue, presumably referring to the “ten thousand talkers whose tongues were all broken”. Such images seem to be going out of their way to avoid illuminating the songs on a grander level.

Yet if your first thought is that the 77-year-old Dylan has lost the plot, or is simply taking the mickey, the more you keep looking, the more it all starts to make sense. There’s a consistency in the flat drawing style and their literalness that becomes quite surreal. René Magritte famously painted a pipe with the legend “Ceci n’est pas une pipe” – this isn’t a pipe. For Hurricane, about an African-American boxer wrongly convicted of murder, Dylan provides a handgun. Yes, it’s just a gun, but it’s also a representation of a gun inside Bob Dylan’s head, which isn’t quite the

same thing. The lyrics, meanwhile, which have

been inscribed on the headed paper of the iron foundry in Dayton, Ohio, where Dylan has his sculptures made – with Dylan frequently “updating” them as he goes along – aren’t supposed to be read for pleasure. The knotty awkwardness of the handwriting is all part of the effect. What appears at first to be just a rather clunky set of

Arts

Dylan: the artist who still keeps us guessing

A party full of fascinating people that you never actually get to meet

‘L iberated, Radical, Obsessional!” shout the posters for this celebration of the golden

couples of modern art. The explosive relationships of the likes of Pablo Picasso and Dora Maar, Frida Kahlo and Diego Rivera, Max Ernst and Dorothea Tanning, did not – the Barbican’s show argues – simply give rise to the art that rocked the 20th century, but engendered experimental ways of living and loving that were to have a huge impact on social mores in the second half of that century, and have touched all our lives in one way or the other since.

With a tag-line of Modern Art, Modern Love, the show assembles a whacking 40 couples to make its case. Many are famous: besides those above, there’s Man Ray and Lee Miller, and Wassily Kandinsky and Gabriele Münter. There are a few surprises, such as Salvador Dalí and the great Spanish poet Federico García Lorca – really? And quite a few downright obscurities, including Lavinia Schulz and Walter Holdt – who?

There’s been a tendency to regard these kind of uber-bohemian pairings in terms of male geniuses with their talented but generally long-suffering womenfolk tagging along. But with a growing interest in art by women, now dramatically heightened in the #MeToo landscape, these are being seen more as equal partnerships. This also applies to same-sex relationships and ménages à trois, as well as to some partners in these relationships who would not normally be considered artists at all.

On paper, the show looks like a racy romp through early Modernism, seen

from the perspective of the bedroom as much as the studio. If only. Alarm bells start ringing in the first room, where we jump in a matter of feet from 19th-century French sculptors Auguste Rodin and Camille Claudel (who seem fairly evenly matched), to Marcel Duchamp, the father of conceptual art, and one Maria Martins.

If Duchamp’s eight-year affair with the little-known Brazilian sculptor has hardly been seen as crucial to his art, the fact that his famous reverse casts of female genitalia were made from her nether regions does show that her practical input was nothing if not involved. However, it’s hard to see what impact he had on her quirky expressionist sculpture. Similarly, although the relationship between Picasso and surrealist photographer Maar produced some of the most powerful portraits of the 20th century, you’d hardly know that from the handful of rather ordinary works – a few by each of them – assembled here.

Far from providing the promised explorations of “intimate and creative worlds”, the show does not have space, with so many couples, to provide more than a thumbnail sketch of each, their achievements spelt out in a couple of paragraphs of stilted academic wall

text before we move on to the next. Some of these rapid-fire sketches do

intrigue. Dalí’s passionate friendship with Lorca produced some lively surreal drawings by Lorca and a wild, spattered abstract painting nothing like Dalí’s signature dreamscapes.

The show’s most startling discovery, though, is German artist Lavinia Schultz’s magnificently bonkers costumes for partner Walter Holdt’s experimental dance performances. The mentally challenged Schultz ended up killing both Holdt and herself, but theirs wasn’t the only “mad” relationship in this show. There are hints of megalomania, hyper-intensity and even cruelty throughout.

Yet the relationships never catch fire here. It’s impossible, ultimately, to say how much these couples’ antics have affected us – if, say, it’s somehow Picasso’s fault that someone’s dad went off with the au pair – because while we’re told throughout how liberated, radical and obsessional they were, we aren’t made to feel it. The effect is like being at a party packed with fascinating people, but never actually getting to meet any of them.

Exhibition

Modern CouplesBarbican Art Gallery

★★★★★By Mark Hudson

Body double: Tamara de Lempicka’s emblematic nude portrait of two lovers, Les Deux Amies (1923), features in the Barbican’s new exhibition

S ay what you like about the world’s greatest songwriter – the only popular musician awarded the Nobel Prize in literature – Bob Dylan has proved a genius at

confounding the expectations of his admirers. Dylan, the protest singer, never conformed to the hopes of the liberal Left. He outraged the folkies by “going electric” in 1965, and he confused everybody by embracing evangelical Christianity in 1978.

And this instinct for doing the unexpected is nowhere more apparent than in his art. The first exhibition of his work was held in Germany in 2007, and he has since held widely attended shows around the world, with a distinctive and often very elliptical visual style that combines his love of mythic Americana with the raw feel of German Expressionism.

Mondo Scripto, Dylan’s latest project – both an exhibition and a book – is a series of drawings inspired by 60 of his songs, each accompanied by hand-written lyrics. The exhibition, which The Daily Telegraph has been invited to preview exclusively, opens at London’s Halcyon Gallery today.

If it sounds straightforward, it is far from being a friendly gesture to the fans. Just as millions have turned up to his tours to find their favourite songs rendered unrecognisable, as lyrics are spat out in unfamiliar patterns and time signatures randomly changed, so Dylan’s paintings and drawings often leave you scratching your head at their apparent opacity. He’s trying to say something, you feel – if I could just work out what it was.

Opening Mondo Scripto, I turned to one of Dylan’s greatest songs, Like a Rolling Stone, which changed the rules

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For a new show and book, the Nobel winner has drawn pictures inspired by 60 of his songs. Mark Hudson has an exclusive first look

of songwriting with its venomously unspooling verses addressed to a spoilt rich girl on her uppers.

And what do I find? A rather ordinary drawing of a uniformed 19th-century grandee. At first, I’m not so much disappointed as utterly flummoxed. Could this be the “diplomat” with whom the subject of the song used to ride on her “chrome horse”, or is that actually Napoleon? Of course, the “Napoleon in rags” of the song. But isn’t that supposed to be a metaphor?

Flicking on through the book, you find more “interpretations” of songs that are, at first sight, crushingly literal. Lay, Lady, Lay is represented by a very straight drawing of the big brass bed on which Dylan urges his lover to lie with him, Knockin’ on Heaven’s Door by, yes, a picture of a man knocking on a door.

“These images,” Dylan says, “come straight from the songs. They fit the

illustrations is almost a piece of conceptual art.

Dylan, who dropped out of college at the age of 19 to play music full time, had an instinct right from the beginning that the role of the modern artist was as much about playing with his or her identity as it was with manipulating words or tunes or images. This book is part of that ongoing process.

In a short accompanying interview, he describes the song as “a form of storytelling that changes from minute to minute, and adapts itself to different circumstances”. If a painting, he argues, is too “fixed and permanent” to represent this transitory medium, a drawing, it seems, has the speed and freedom to capture meanings and inferences that may change.

Among the influences on these images, Dylan cites Dürer, Reginald Marsh, an early 20th-century artist, and Rembrandt – “especially his drawings of St Albans cathedral” – a rather basic drawing of the building is in the Royal Collection, though it doesn’t betray any immediate relevance to Dylan’s images.

An exhibition is to be held in Shanghai next year, with immersive installations referring to key moments in his career. If the precise form is “still in development”, the one thing you can be sure about is that it won’t be quite what you’re expecting.

It’s that enigmatic quality, that sense that we’ll never quite work out what makes him tick, that will keep us endlessly going back to Dylan, whether to his words, his tunes or his art.

Black and white: Bob Dylan writes his lyrics, which appear with his drawings for Like a Rolling Stone, above, Hurricane, below, The Times They Are A-Changin’, left, and Just Like a Woman

Dylan’s paintings and drawings often leave you scratching your head at their apparent opacity

They conform to his idea of a good drawing, which is simply, ‘the right lines in the right places’

Until Jan 27; 020 7638 4141; barbican.org

Mondo Scripto is at Halcyon Gallery, 144-146 New Bond Street, London until Nov 30; halcyongallery.com. Halcyon Gallery is giving away 50 copies of the book of Mondo Scripto to readers. Details [email protected]




Evening Standard9 October 2018

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Mondo Scripto - Lyrics and Drawings by Bob Dylan

The Daily Mail26 October 2018

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look as though they were done from life. Just as he conjures vignettes in a few choice words, so too do the drawings, which focus largely on American life and, in particular, the America of the past. One piece is a close-up study of a harmonica, while another depicts a dilapidated clapboard farm with requisite windpumps and grain silo. These images almost look like preliminary sketches for a comic book set in the Dust Bowl. “He is on the Never Ending Tour,” observes Green, “and the landscapes reflect that. He is generally saying, ‘I’m really looking at the America that was. I have less interest in the America that is—I want to see the bridges, the landscape, and the motels for what they are.’”

Some of the drawings are easy to read. To accompany “Masters of War” is a large, head-on drawing of a tank; “Leopard-Skin Pillbox Hat” is literally a picture of a woman wearing one. Yet some are more oblique. “Tangled Up in Blue” depicts a car in an overgrown field, presumably in reference to four passing lines in the song: We drove that car as far as we could / Abandoned it out west / Split up on a dark sad night / Both agreeing it was best. Another picture shows the “ancient empty street” alluded to in “Mr Tambourine Man”. The drawings reward familiarity with

As a radical new exhibition of Bob Dylan drawings opens in London, THOMAS BARRIE considers the musician’s position in the art canon

The Art of Songwriting

VANITY FAIR PROMOTION

Dylan’s work, but the accompanying lyric sheets mean that newcomers to his musical oeuvre shouldn’t be intimidated. Green points out that this is the first time Dylan has openly given a type of visual interpretation for his lyrics, or indeed allowed his

artwork to be associated with his songwriting. Many of the changes he has made to the songs and their illustrations are subtle, but some are more radical. “Hurricane”, for example, casts the eponymous boxer from the song as a white man.

Halcyon Gallery maintains galleries in London and Shanghai, and China will also play host to the exhibition. When Dylan wrote “The Times They Are A-changing” in 1964, the country was at the height of the Cultural Revolution. Life expectancy was below 50, and less than half the population was literate. Now, Green says, people in China are clamouring for the right to experience major cultural events for themselves, and demand

for Dylan’s art and music has skyrocketed—aided by the fact he played in Beijing and Shanghai in 2011. Though there will be translations of the lyrics when the exhibition goes abroad, the Chinese dynamic offers a glimpse of something almost paradoxical: a particular vision of America that is accessible to anyone. Perhaps, in translating his work from music into visual art, Dylan has revealed something about why he continues to wield influence so huge as to be almost inconceivable for a living artist.

Green agrees. “We will be explaining to populations why Dylan is one of the most important iconic and cultural figures for the whole world; why he has spoken to generations, and why Allen Ginsberg is quoted, in Scorsese’s Dylan documentary No Direction Home, as saying that it was suddenly as though the torch had been passed to a different generation.”

Illustrations of “Ballad of a Thin Man” (left), and “A Hard Rain’s a-Gonna Fall”. Below: Paul Green, president of Halcyon Gallery, photographed at the exhibition

QUICK ON THE DRAW

Dylan’s illustrations for “All I Really Want to Do” (left), and “All Along the Watchtower”. Below: the handwritten lyrics to “All I Really Want to Do”

THE LINES, THEY ARE A-CHANGIN’

“Dylan is one of the great post-war contemporary artists, to go alongside Rothko, Warhol, Ruscha”

t’s as though everything is aligned now, at this particular time in his life, and he’s seen as almost one of the great post-war contemporary artists, to go alongside Rothko,

Warhol, Ruscha—that’s who he is.”Paul Green, president of Halcyon Gallery, is talking Bob Dylan.

Since Drawn Blank, the 2008 exhibition of Dylan’s work that drew thousands of visitors to the Bruton Street gallery, Halcyon has established a fruitful relationship with the musician. Now, a new show entitled Mondo Scripto sees Dylan reinterpret 60 of his songs, writing out by hand and often changing their lyrics, and accompanying them with pencil sketches.

If it initially seems like an unusual move for a figure best known for his music, then consider the fact that Dylan was awarded the Nobel Prize for Literature in 2016, plus the paintings and sculp-ture he has created since the 1970s, as proof that he is a polymath. “Dylan has illustrated several of his albums, from as early as 1968 with Music from Big Pink,” says Green. “He’s always done drawing and sketching, and was sculpting [in the 1970s] as well.”

All the works in the exhibition are figurative, in the pure sense that they depict absolute, recognisable things, and a number

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000 V A N I T Y F A I R D E C E M B E R 2 0 1 8

Collaboration

Jolly Good ShoeMix Hawaiian landscapes with a Colombian fashion virtuoso and a British shoe designer and the result is a glorious collaboration. All eyes were on the feet of the models at Johanna Ortiz’s Resort 2019 show, where the gorgeous footwear of Tabitha Simmons for Johanna Ortiz, with grosgrain ribbon to wrap around the ankles, was a feast for the eyes. tabithasimmons.com

Store Opening

Ron-believable French-Swedish luxury sportswear brand Ron Dorff are opening a second London store this month at 53 Blandford Street in Marylebone. Timed to coincide with the new store is the introduction—by popular demand, according to the brand—of the His for Her collection of low-key, high-end basics for women, like grey marl cashmere tracksuits to laze about in pre- or post-workout. rondorff.com

Capsule collection

Tux in FluxGiorgio Armani may already be a byword for eveningwear, but the brand’s new capsule collection, Giorgio’s, is evocative of the weekly, exclusive members-only evenings at the Armani/Privé Club in Milan. Think sharply tailored women’s tuxedos with velvet detailing and the perfect white silk shirt for her, a slick blue velvet coat for him. armani.com

Collaboration

Puff PieceCult Hungarian label Nanushka’s first standalone pop-up will be at Liberty London starting this month, with a special collection of the brand’s vegan leather puffer jackets in three beautiful Liberty prints. Exclusive to the iconic London department store, the jackets are best worn oversized in order to accommodate chunky winter knits underneath. nanushka.comAnniversary

Special CaseTo mark 120 years this year, luxury luggage company Rimowa has a new visual identity. This cherry-red take on their classic Essential Lite range of super lightweight polycarbonate suitcases will make that tedious conveyor belt wait feel positively festive. Just add your own selection of Rimowa’s designer vinyl stickers to make sure no one else has the same idea. rimowa.com

Exhibition

Folk Tales Great American singer, songwriter and artist Bob Dylan’s folkloric lyrics can be pored over like all over great works of poetry, and now they can be hung, too. A new exhibition, Mondo Scripto (until November 30) at Halcyon Gallery, W1, comprises the artist’s own handwritten lyrics and accompanying pencil drawings, with subtle alterations to lines of some of his most beloved songs. halcyongallery.com

Giorgio’s capsule collection by ArmaniRimowa Essential Lite in cherry red

Ron Dorff His for Her collection

Connie wrap shoe

Liberty x Nanushka puffer jacket

Mondo Scripto at Halcyon Gallery

Agenda by Annabel Davidson

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www.uncut.co.uk16 October 2018

https://www.uncut.co.uk/blog/introducing-new-uncut-free-12-track-bob-dylan-cd-107731


www.mauxa.com16 October 2018

https://www.mauxa.com/image-gallery/bob-dylan--mondo-scripto--la-mostra?page=3


atimes.com20 October 2018

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http://www.atimes.com/article/bob-dylan-to-launch-life-story-retrospective-in-shanghai


abcnews.go.com22 October 2018

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https://abcnews.go.com/International/bob-dylans-lyrics-art-display-exhibit-london/story?id=58611335


sandhillsexpress.com22 October 2018

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http://sandhillsexpress.com/abc_world/bob-dylans-lyrics-and-art-on-display-at-new-exhibit-in-london-abcid36121980/

http://sandhillsexpress.com/abc_world/bob-dylans-lyrics-and-art-on-display-at-new-exhibit-in-london-abcid36121980/


kwbe.com22 October 2018

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http://kwbe.com/abc_world/bob-dylans-lyrics-and-art-on-display-at-new-exhibit-in-london-abcid36121980/


spin.com23 October 2018

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https://www.spin.com/2018/10/bob-dylan-lyrics-drawings-review/



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wsimag.com30 October 2018

https://wsimag.com/art/45032-bob-dylan-mondo-scripto


www.economist.com5 November 2018

https://www.economist.com/prospero/2018/11/05/what-do-bob-dylans-drawings-reveal-about-his-music


www.economist.com [continued]5 November 2018

https://www.economist.com/prospero/2018/11/05/what-do-bob-dylans-drawings-reveal-about-his-music


telegraph.co.uk7 November 2018

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https://www.telegraph.co.uk/news/world/china-watch/culture/bob-dylan-exhibition-in-china/


telegraph.co.uk [continued]7 November 2018

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https://www.telegraph.co.uk/news/world/china-watch/culture/bob-dylan-exhibition-in-china/


themalestrom.com7 November 2018

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https://themalestrom.com/archive/the-november-edit/?platform=hootsuite


theartsdesk.com13 November 2018

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https://theartsdesk.com/new-music/more-blood-more-tracks-review-bob-dylan-opens


theartsdesk.com [continued]13 November 2018

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theartsdesk.com [continued]13 November 2018

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SOCIAL MEDIA


The Evening Standard - GO London9 October 2018

https://twitter.com/ESGoLondon/status/1049630557712408576


The Evening Standard - Arts9 October 2018

https://twitter.com/thestandardarts/status/1049630559876653056


homines11 October 2018

https://twitter.com/hominesarte/status/1050344656083582976


W Magazine15 October 2018

https://twitter.com/wmag/status/1051495383547940864


Evening Standard - Arts25 October 2018

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https://www.instagram.com/p/BpXdUBjnEe2/?taken-by=estheatreandarts


The Malestrom7 November 2018

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https://twitter.com/themalestromHQ/status/1060192280458469376

ADVERTS


The Art Newspaper - Frieze Art Fair3 October 2018






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Independent Culture Section9 October 2018




The Times9 October 2018


The Art Newspaper9 October 2018

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Independent Culture Section [continued]9 October 2018


Independent Culture Section -continued]11 October 2018


Independent Culture Section11 October 2018













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Sunday Times21 October 2018

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cover storyGoop-type lifestyle madness, but

she wants to talk about playing board games. Mahjong, the Chinese tile game, is the current obsession.

“My longtime friend and stylist Elizabeth Stewart plays mahjong. We were on a job in Italy, and I finally said, ‘OK, explain this to me once and for all, because I’m completely confused.’ So we started learning it, and I came back home and recruited some girlfriends. Then I found a mahjong teacher who came to the house. Three years later, it’s my favourite game. Play it every Tuesday.”

She becomes most animated when we talk about organising Lego, or “Legos”, as she sweetly calls the Danish plastic bricks. It so happens that the night before we meet, I have been tidying my children’s bedroom, chucking coloured plastic into see-through Ikea boxes like a glum robot. In this way (and only this way), Julia Roberts and I have been living the same life.

“When I was first listening to the Homecoming podcast, I was literally organising thousands of Legos,” she says. “Which I think is the perfect way

of listening. I was separating colours. It’s the only way to do it.” Psych-ologists, I tell her, would probably be able to read something into that — but I am not a psychologist.

“Well, I’m a closet therapist,” she says. “We actors, it’s what we do. We observe people and ponder why they do the things they do and why they express themselves the way they do, the syntax of a sentence. I consider that’s what my job sort of is. Or to invent the answers to all those ques-tions about somebody.

“And we’re master thieves, you know. Anywhere I go, I’m watching people, saying to myself, ‘How would I do that? That tic is so interesting. Or that uptalking way of speaking that some people have.’ I think that lends itself very much to therapy.”

▶ In person, Roberts does look a little like your favourite Upper East Side shrink. She wears acrylic-framed glasses and errs on the casual side of smart casual. Today she’s in a 1980s logo sweatshirt with “Choose Love” splashed across it. I think it’s ironic, but it might not be. Even with Esmail in the room and Homecoming the subject at hand, she is more than happy to talk about her back catalogue. Her children are now 14 (the twins) and 11, and together the family are beginning to work through the Roberts collection.

“They know what I do now. You’d be surprised — it took quite a while. They’re young kids, and their peer group isn’t really interested in me, except for my keen ability to braid a bunch of girls’ hair while you’re wait-ing for the bell to ring.”

The family have watched last year’s Wonder and 1991’s Hook (where Mummy was Tinkerbell), but not, I am disappointed to hear, My Best Friend’s Wedding. (“I look forward to Hazel seeing it, because I think she’ll get a kick out of it.”)

“We were so excited to show them The Mexican, because my husband

and I met on that movie. We watched about five minutes of it, and there’s guns firing — all the stuff you forget about. I looked over, and they all looked hor rified. I said to Danny, ‘Maybe this isn’t a good move.’ So we turned that off.”

It is in some ways disappointing to discover that a silver-screen super-star makes those kind of parenting bloopers, watches her films with her kids and spends hours listening to podcasts while colour-coding Legos. On the other hand, this kind of we’re-just- like-you full disclosure is also the way of modern fame. In that sense, Roberts has just done a very good job of reminding me of why she’s still relevant: an accessible television star now, heading up a bold piece of series television that started life as a podcast.

“The mystique of movie stars?” she says. “I think it’s long gone. I mean, what are you going to take away from meeting me? Legos, right? Well, remember, it always has to be by colour. It’s the only way.” c

Homecoming is available on Amazon Prime on November 2

tHe BIG GUNs tarGetING tHe sMaLL screeN

Julia Roberts’s turn in Homecoming confirms a long-standing truth: film actors in search of a decent role are finding them in television. This year alone, Meryl Streep and Nicole Kidman have signed up for series two of Reese Witherspoon’s HBO drama Big Little Lies; Emma Stone has joined her Superbad co-star Jonah Hill for Netflix’s dark comedy Maniac; Penelope Cruz has played Donatella Versace in BBC2’s The Assassination of Gianni Versace; and Westworld has seen Anthony Hopkins, Thandie Newton and Ed Harris battle their way onto the small screen.

That’s not to mention Amy Adams, Colin Farrell, Don Cheadle, Kevin Bacon, Christian Slater, Jessica Lange, Kathy Bates, Angela Bassett, Susan Sarandon and Billy Bob Thornton. Carey Mulligan, who has lamented the lack of decent roles for women in movies, joined David Hare’s BBC2 political thriller Collateral; Kate

Beckinsale signed up for ITV’s The Widow.

“Actors are pretty much the last serious film makers to switch to TV,” says Michael Pickard, editor of the TV magazine Drama Quarterly. “Directors and writers made the jump years ago. With the collapse of the midmarket movie, everyone from Martin Scorsese to Steven Soderbergh has been focusing on telly. The actors basically saw all the scripts and roles heading to TV, so followed the parts, the writers and the directors.”

The rise of anthology series such as True Detective has helped. Moonlight’s Mahershala Ali is the latest recruit to the franchise, playing a cop from Arkansas investigating a macabre crime in the Ozarks. Old-school American network TV, in particular, proved unattractive to stars, thanks to the demands of shooting 24 episodes a year and the restrictive six-year contracts. Now actors can sign up for eight episodes or a single season.

Following Sarah Jessica Parker’s lead in moving to Sex and the City, some actors see TV as a boost to a slowing career. Three years ago, Winona Ryder was in limbo until the Duffer brothers cast her as the mother of the missing boy, Will, in Stranger Things. The huge success of the show alerted Hollywood agents: for season two, the brothers had to bat off a score of big-screen stars looking for a reboot.

There’s also the money. More than 480 scripted shows were launched in the US in 2017. Netflix and Amazon’s billion-dollar spending power means movie stars who

command an audience are worth paying properly.

The Hollywood Reporter estimates that A-list movie stars can make $15m-$20m for top roles in big-budget films, but less famous actors such as Gal Gadot in Wonder Woman or Henry Cavill in Man of Steel might only get $150,000-$300,000. Stone and Hill are earning $350,000 per episode for Maniac, Drew Barrymore is trousering an estimated $350,000 per episode for the comedy Santa Clarita Diet, and Dwayne “The Rock” Johnson clears a cool $400,000 per episode for the HBO dramedy Ballers. It’s clearly lucrative to star on TV.

Of course, all of this has been true to a greater or lesser degree for some time. Kevin Spacey did well out of the short runs, top writing and big cheques of House of Cards until controversy hauled him off screen. Gillian Anderson and Jamie Dornan were less well remunerated for The Fall, but still had time for other projects. So why the rush to TV in the past year?

The move used to mark the end of a movie career, but now a show such as Game of Thrones can create new film stars, as it did with Emilia Clarke in Solo, while Pickard argues that the stigma of doing TV is over.

Speaking to me at the launch of A Very English Scandal, in which he played a dashing Jeremy Thorpe, Hugh Grant agreed. “There used to be quite a lot of snobbery — ‘I’m a film star, I’m too big for television’ — but that is eroding fast. Even De Niro is doing television now.” Then he paused and sighed. “I do miss celluloid and big screens and the spectacle of cinema. I’m a little sad that everything just ends up being on Netflix.” c

Curiouser and curiouser Winona Ryder returned to form in the small-screen hit Stranger Things

The smartest Hollywood stars know that TV’s where it’s at, says Stephen Armstrong

What are you going to take away from meeting me? Legos, right?

NET

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6 21 October 2018

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