Tag Archive: Jarvis Cocker


Image based on the top 30 words used in songs based on 1 million recordings.

In this year’s  BBC John Peel lecture, Brian Eno said that one of the failings of modern-day music critics is that they pay too much attention to song lyrics. As part of Roxy Music, Eno played on two of the greatest pop singles of all time – Virginia Plain and Pyjamarama – where the words add to the atmosphere but when considered apart from the music are ,at best, enigmatic, at worst, plain jibberish.

Even when songs do have an obvious meaning or tell a story, they should not be viewed in the same way as poems or works of fiction. This is why the ‘Rock In Translation’ slot of Italy’s Virgin Radio makes for such a torturous listening experience. On this, a woman earnestly reads the translated lyrics to popular tunes as though she were helping to impart some meaningful insight into the human condition. Lines in the vein of “come on baby rock me all night long” are rendered into Italian as though they were some kind of profound comments on the nature of loving relationships. Continue reading

THE NOT SO FANTASTIC MR. FOX

FANTASTIC MR. FOX directed by Wes Anderson (USA, 2009)

Wes Anderson (illustration by Jame Taylor)

With Wes Anderson’s new movie Moonrise Kingdom getting a lot of publicity at this year’s Cannes Film Festival, I was alerted to the fact that I had missed his Foxy predecessor.

It’s quite a strange film because, while it  looks like a kids movie, it probably holds more appeal for an adult, arty audience. Continue reading

CAPTURING POLLY

PJ-HarveyJane Bown’s lifetime in photography is justifiably celebrated and is in the news again through the publication of a collection of her most famous shots (‘Exposures’) and an exhibition at the Kings Place Gallery  in London.

A selection of her fantastic portraits can be seen in the  the gallery in the Observer .

All her subjects are in black and white and captured using just natural lighting. Bown, now in her 80s, is a modest and self effacing character who shuns the limelight and this  is probably what allowed her to get close to her subjects, even those who were notoriously camera shy, like Lucien Freud and Samuel Beckett.

The eyes are what you are drawn to when you see these images.

This great picture of P.J. Harvey, which I hadn’t previously seen,  illustrates what makes Jane Bown so great. In that strong sorrowful gaze you get a glimpse of what makes Polly Harvey’s music so powerful – the look (and the music) manages to be both assertive and fragile at the same time.

Brown almost certainly didn’t know Harvey’s music when she took this photo, just as she had never heard of Bjork or Jarvis Cocker when she was commissioned to photograph them.  This shows that her skill lies in being an instinctive judge of what made people tick.

RED ROAD

Glasgow’s tourist office are unlikely to be thrilled at the portrayal of their city in Andrea Arnold’s 2006 movie ‘Red Road’.  The bleak, litter strewn housing estates epitomise Jarvis Cocker’s summary of working class life where you smoke and drink and screw because there’s nothing else to do.

You can get a flavour of the movie from this trailor:

At the heart of the film is a stunning performance from Kate Dickie who plays a CCTV operator, Jackie. Sitting in front of a bank of TV screens, the sad and depressing half lives are dismally played out. For its depiction of the fascination of voyeurism, it is like a remake of Hitchcock’s ‘Rear Window’ stripped of any glamour.

Watching a man having sex with a hooker on waste land forces Jackie to confront a past tragedy – to say more would be to ruin the movie. This a film that ideally should be seen without reading a fuller plot synopsis. A great part of the slow building tension works through trying to piece together the significance of her actions and responses.

Suffice to say that, like any short story worth its salt, every detail counts. The dialogue is raw and entirely convincing with strong emotions bubbling below the surface. The director realises that often it is what’s left unsaid which carries the greatest emotional punch.

If anyone tells you they don’t make independent movies like they used to, tell them bollocks and urge them to watch this great movie.