Album Review: ‘I’m New Here’ by Gil Scott -Heron. XL Recordings ****
Rachel Harris considers the changing style of Gil Scott-Heron
I once met Gil Scott- Heron backstage after his concert at The Town and Country Club, Kentish Town in 1991. At that time, I was working for the Anti –Poll Tax Campaign and asked him to give his support to it. He gladly agreed to publicly back it and was warm and good –humoured, inviting my friend and I to meet him in his hotel the following day. We waited around for him for a long time that next day and, eventually, he appeared and agreed to play at a benefit concert which we were organising in a few months time. Unfortunately, he wasn’t able to carry out his commitment because while re –entering the UK for more concerts, including, we hoped, an appearance at ours, he was arrested for possession of cocaine and sent back to the States. We were then unable to track him down. The concert had been brilliant but, while he supported our cause, we had found him disappointingly inarticulate. This period marked the beginning of a downward spiral for Gil, starting with rumours of cocaine abuse and ending in drug charges and prison.
Released from prison in 2007, he was finally persuaded to make a comeback by XL Recordings, and what a comeback it is. His first album in 13 years, ‘I’m New Here’ finds Gil slower, more reflective and intimate yet as poignant as ever. The album crosses genres; blues, spoken word, as before, but now he also brings in newer styles such as dubstep and trip –hop beats. He seems to refer to his own redemption when he sings on the title track “no matter how far wrong you’ve gone, you can always turn around…”
In another beautiful anthem, he rasps with his deep, bluesy vocals “I know you’ve been hurt by someone else….but if you let me, here’s what I’ll do…I’ll take care of you” with an emotional openness that is stunning.
Like his revolutionary songs of the past, such as ‘Whitey on the Moon’, and ‘the Revolution will not be Televised’ he often uses spoken word to make his views clear, which earned him the title ‘the Godfather of Rap’. On this album, some of the tracks are poems, unaccompanied by music, while others have minimal musical accompaniment. The first track, a poem, criticises the idea of ‘coming from a broken home’ as a negative concept whilst paying tribute to the grandmother who raised him alone with her ‘sense of soul and self’. At the end of this short album (sadly, it only lasts about 30 minutes) he returns to this theme, musing that some homes miss fathers but they don’t miss love.
It has a more personal and philosophical feel to it, compared to the hard –hitting political commentary of his past work. The shift in musical style seems to reflect the shift in emphasis of his lyrics: slower, deeper, more considered. It seems his ability to express himself has returned and, possibly, with even greater emotional power than before.
REVIEW OF AN ART EXHIBITION:
Rana Bishara: Childhoods fraught with danger. ***
28 May 2010: Centro de Historia, Zaragoza, Spain
The experience is confusing – a white room, filled with balloons, some transparent, some white, on a pure white, fluffy carpet. There is a sign, asking us to take off our shoes before entering. My children and I enter cautiously. Are we allowed to play? Our instincts invite us to play. Yet hanging from the low ceiling are circles of tulle, light, white, floaty material, encircled with barbed wire. My daughter is wary: “No, Carlo, don’t kick the balloons, they’ll burst”, she scolds her younger brother. I think we’re allowed, I think that’s the idea, I venture. I kick a balloon, the biggest, it bursts with a loud bang. It shocks us. We look around; is anyone watching? Will we be in trouble?
We are in the ‘Centro de Historia’, a modern art museum in Zaragoza, Spain. ‘Homage to Childhood’ is a piece of Performance Art by Rana Bishara, a Palestinian artist; it forms part of an exhibition about the Palestinian experience. Her work is a symbol of the insecurity felt by Palestinian children which hampers their ability to play freely, which stifles their freedom, which robs them of their innocence, their childhood. The womb-like balloons, the soft carpet, the tulle material which is used as a veil over children’s beds represent protection. But this protection is tainted, is threatened constantly, by the presence of the barbed wire, of danger.
Each balloon contains a photograph representing life for Palestinian children living under Israeli rule. Once a balloon bursts, we can see an image involving a Palestinian child under threat, in danger from the Israeli occupation, photographs of children with soldiers too close, ‘a visual register of the story of Palestinian children’ according to the artist.
Bishara studied Fine Arts with Women’s Studies in Haifa University, close to her hometown Tasheeha in the North of the land she recognises as Palestine. She also uses natural objects in her installations, such as olive trees and cactus. Cactus ‘has tenacious roots and grows wherever it is thrown’ she says and for the artist it represents the Palestinians themselves. It is a part of the land and inseparable from it, which is how she sees the Palestinian people.
The installation succeeds in demonstrating how these children’s lives are compromised and constantly filled with danger and insecurity due to the Israeli military presence of the past sixty years.
“Homage to Childhood” continues until June 13th 2010 in ‘Centro de Historia’, Zaragoza, Spain.
BOOK REVIEW _ “The Girl with the dragon tattoo”; exposing the real price of violence against women by Steig Larsson
The first of Steig Larsson’s Millenium trilogy, entitled in the English version “The Girl with the Dragon Tattoo”, has been much acclaimed and has become a huge bestseller worldwide. Whilst the gripping plot is fantastic and is, in itself, a reason to recommend this novel, the most brilliant aspect of this book lies in the character of Lisbeth Salander.
The character of Salander has been described by Joan Smith in the Sunday Times as ‘a revenge fantasy come to life, powering her way through the novel like the heroine of a computer game’ and whilst this is true on one level, Larsson develops her character in a way which is far more complex and insightful than it appears on the surface.
The book presents a murder mystery to be solved, the murder of a young woman,involving themes of violence against women. At the start of each chapter we are offered statistics about the widespread mistreatment of women in Sweden today. Yet it is through the character of Salander, which is slowly explored as the plot progresses,that the long –term effects of violence against women are truly explored.
Salander is scarred, by the violence and abuse of her past and the failure of the social system to offer her any respite or solution. She is fiercely independent, highly intelligent, has a photographic memory and is a skilled computer hacker.
She meets the other main character, a principled investigative journalist, Mikael Blomkvist, and in order to solve the mystery they must establish a trust. As they become closer, he tells her that friendship is based on mutual respect and trust. She is able to recognise that he can genuinely offer her this but the central question is,when finally faced with the chance of a non–exploitative and mutually beneficial, egalitarian relationship, will she be able to trust him enough to develop a close relationship with him?
The uniqueness of this novel lies in this point, this insight; the psychological damage done when someone is abused, the effect on someone’s personality and their relationships; the repercussions for that person and those people around them.
We have experienced a whole genre of autobiographies and novels in contemporary literature detailing the physical, psychological and sexual abuse of children, the feelings produced as a result, the ‘survivor’ as ‘victim’. Salander in her actions is far from the typical image of ‘victim’; she lives by her own rules, takes her own revenge and fights exactly as she deems necessary yet can she ultimately escape the loneliness, the
alienation, the inability to trust others, the relationship difficulties that result?
This theme continues throughout the trilogy, interwoven within the main plots of the novels, which expose deeply hidden, and at times protected, systems of perpetrators of violence against women throughout Swedish society.
This is the real legacy of violence against women in society and this character enables us to understand on a deeper level the price of the widespread violence and abuse which is endemic in all societies, even the most progressive ones, such as Sweden itself.
FILM REVIEW
WAR HORSE
Director: Steven Spielberg
PG 13
****
Running time: 146 mins.
Actors: Jeremy Irvine, Peter Mullan, Emily Watson, Benedict Cumberbatch
One of the most moving scenes in Steven Spielberg’s heart-wrenching film is when young Albert Narracott (played by newcomer Jeremy Irvine) succeeds in persuading Joey, his family’s horse, to pull the plough across a stony field during a heavy downpour while his parents look on in disbelief and joy. His success saves the family from destruction, as the family is indebted to the landlord as a result of Albert’s father Ted (Peter Mullan) buying the horse at an inflated price at auction. The sheer determination of Albert is also fuelled by his desire to keep the horse he has grown to love. The scene was filmed beautifully on Dartmoor, in Devon and set just before the First World War.
‘War Horse’ was adapted for the screen from the 1982 novel by children’s author Michael Morpurgo. The sprawling plot follows the fortunes of Joey, who is lovingly raised by Albert but later has to be sold for use in the First World War. We see him used in France as cavalry, then by two German brothers in the war and enjoyed by Emilie, a young, sickly French girl. Through these scenes we witness the experiences of human beings caught up in a terrifying war, which took the lives of 886,000 young British men and a million horses on the British side alone.
Spielberg had made several films about the Second World War but not the first and when his co-producer Kathleen Kennedy saw the stage play in London and suggested adapting it for the screen, he was quick to agree. Spielberg has spoken proudly of the lack of special effects in the film. It contains some stunning cinematography, as well as convincingly recreating that era, with the music of John Williams adding to the atmosphere.
The central relationship between a boy and his horse in the midst of all the destruction is a heart-warming story able to be understood and enjoyed by children and adults, across national borders.
.
Rachel Harris considers the changing style of Gil Scott-Heron
I once met Gil Scott- Heron backstage after his concert at The Town and Country Club, Kentish Town in 1991. At that time, I was working for the Anti –Poll Tax Campaign and asked him to give his support to it. He gladly agreed to publicly back it and was warm and good –humoured, inviting my friend and I to meet him in his hotel the following day. We waited around for him for a long time that next day and, eventually, he appeared and agreed to play at a benefit concert which we were organising in a few months time. Unfortunately, he wasn’t able to carry out his commitment because while re –entering the UK for more concerts, including, we hoped, an appearance at ours, he was arrested for possession of cocaine and sent back to the States. We were then unable to track him down. The concert had been brilliant but, while he supported our cause, we had found him disappointingly inarticulate. This period marked the beginning of a downward spiral for Gil, starting with rumours of cocaine abuse and ending in drug charges and prison.
Released from prison in 2007, he was finally persuaded to make a comeback by XL Recordings, and what a comeback it is. His first album in 13 years, ‘I’m New Here’ finds Gil slower, more reflective and intimate yet as poignant as ever. The album crosses genres; blues, spoken word, as before, but now he also brings in newer styles such as dubstep and trip –hop beats. He seems to refer to his own redemption when he sings on the title track “no matter how far wrong you’ve gone, you can always turn around…”
In another beautiful anthem, he rasps with his deep, bluesy vocals “I know you’ve been hurt by someone else….but if you let me, here’s what I’ll do…I’ll take care of you” with an emotional openness that is stunning.
Like his revolutionary songs of the past, such as ‘Whitey on the Moon’, and ‘the Revolution will not be Televised’ he often uses spoken word to make his views clear, which earned him the title ‘the Godfather of Rap’. On this album, some of the tracks are poems, unaccompanied by music, while others have minimal musical accompaniment. The first track, a poem, criticises the idea of ‘coming from a broken home’ as a negative concept whilst paying tribute to the grandmother who raised him alone with her ‘sense of soul and self’. At the end of this short album (sadly, it only lasts about 30 minutes) he returns to this theme, musing that some homes miss fathers but they don’t miss love.
It has a more personal and philosophical feel to it, compared to the hard –hitting political commentary of his past work. The shift in musical style seems to reflect the shift in emphasis of his lyrics: slower, deeper, more considered. It seems his ability to express himself has returned and, possibly, with even greater emotional power than before.
REVIEW OF AN ART EXHIBITION:
Rana Bishara: Childhoods fraught with danger. ***
28 May 2010: Centro de Historia, Zaragoza, Spain
The experience is confusing – a white room, filled with balloons, some transparent, some white, on a pure white, fluffy carpet. There is a sign, asking us to take off our shoes before entering. My children and I enter cautiously. Are we allowed to play? Our instincts invite us to play. Yet hanging from the low ceiling are circles of tulle, light, white, floaty material, encircled with barbed wire. My daughter is wary: “No, Carlo, don’t kick the balloons, they’ll burst”, she scolds her younger brother. I think we’re allowed, I think that’s the idea, I venture. I kick a balloon, the biggest, it bursts with a loud bang. It shocks us. We look around; is anyone watching? Will we be in trouble?
We are in the ‘Centro de Historia’, a modern art museum in Zaragoza, Spain. ‘Homage to Childhood’ is a piece of Performance Art by Rana Bishara, a Palestinian artist; it forms part of an exhibition about the Palestinian experience. Her work is a symbol of the insecurity felt by Palestinian children which hampers their ability to play freely, which stifles their freedom, which robs them of their innocence, their childhood. The womb-like balloons, the soft carpet, the tulle material which is used as a veil over children’s beds represent protection. But this protection is tainted, is threatened constantly, by the presence of the barbed wire, of danger.
Each balloon contains a photograph representing life for Palestinian children living under Israeli rule. Once a balloon bursts, we can see an image involving a Palestinian child under threat, in danger from the Israeli occupation, photographs of children with soldiers too close, ‘a visual register of the story of Palestinian children’ according to the artist.
Bishara studied Fine Arts with Women’s Studies in Haifa University, close to her hometown Tasheeha in the North of the land she recognises as Palestine. She also uses natural objects in her installations, such as olive trees and cactus. Cactus ‘has tenacious roots and grows wherever it is thrown’ she says and for the artist it represents the Palestinians themselves. It is a part of the land and inseparable from it, which is how she sees the Palestinian people.
The installation succeeds in demonstrating how these children’s lives are compromised and constantly filled with danger and insecurity due to the Israeli military presence of the past sixty years.
“Homage to Childhood” continues until June 13th 2010 in ‘Centro de Historia’, Zaragoza, Spain.
BOOK REVIEW _ “The Girl with the dragon tattoo”; exposing the real price of violence against women by Steig Larsson
The first of Steig Larsson’s Millenium trilogy, entitled in the English version “The Girl with the Dragon Tattoo”, has been much acclaimed and has become a huge bestseller worldwide. Whilst the gripping plot is fantastic and is, in itself, a reason to recommend this novel, the most brilliant aspect of this book lies in the character of Lisbeth Salander.
The character of Salander has been described by Joan Smith in the Sunday Times as ‘a revenge fantasy come to life, powering her way through the novel like the heroine of a computer game’ and whilst this is true on one level, Larsson develops her character in a way which is far more complex and insightful than it appears on the surface.
The book presents a murder mystery to be solved, the murder of a young woman,involving themes of violence against women. At the start of each chapter we are offered statistics about the widespread mistreatment of women in Sweden today. Yet it is through the character of Salander, which is slowly explored as the plot progresses,that the long –term effects of violence against women are truly explored.
Salander is scarred, by the violence and abuse of her past and the failure of the social system to offer her any respite or solution. She is fiercely independent, highly intelligent, has a photographic memory and is a skilled computer hacker.
She meets the other main character, a principled investigative journalist, Mikael Blomkvist, and in order to solve the mystery they must establish a trust. As they become closer, he tells her that friendship is based on mutual respect and trust. She is able to recognise that he can genuinely offer her this but the central question is,when finally faced with the chance of a non–exploitative and mutually beneficial, egalitarian relationship, will she be able to trust him enough to develop a close relationship with him?
The uniqueness of this novel lies in this point, this insight; the psychological damage done when someone is abused, the effect on someone’s personality and their relationships; the repercussions for that person and those people around them.
We have experienced a whole genre of autobiographies and novels in contemporary literature detailing the physical, psychological and sexual abuse of children, the feelings produced as a result, the ‘survivor’ as ‘victim’. Salander in her actions is far from the typical image of ‘victim’; she lives by her own rules, takes her own revenge and fights exactly as she deems necessary yet can she ultimately escape the loneliness, the
alienation, the inability to trust others, the relationship difficulties that result?
This theme continues throughout the trilogy, interwoven within the main plots of the novels, which expose deeply hidden, and at times protected, systems of perpetrators of violence against women throughout Swedish society.
This is the real legacy of violence against women in society and this character enables us to understand on a deeper level the price of the widespread violence and abuse which is endemic in all societies, even the most progressive ones, such as Sweden itself.
FILM REVIEW
WAR HORSE
Director: Steven Spielberg
PG 13
****
Running time: 146 mins.
Actors: Jeremy Irvine, Peter Mullan, Emily Watson, Benedict Cumberbatch
One of the most moving scenes in Steven Spielberg’s heart-wrenching film is when young Albert Narracott (played by newcomer Jeremy Irvine) succeeds in persuading Joey, his family’s horse, to pull the plough across a stony field during a heavy downpour while his parents look on in disbelief and joy. His success saves the family from destruction, as the family is indebted to the landlord as a result of Albert’s father Ted (Peter Mullan) buying the horse at an inflated price at auction. The sheer determination of Albert is also fuelled by his desire to keep the horse he has grown to love. The scene was filmed beautifully on Dartmoor, in Devon and set just before the First World War.
‘War Horse’ was adapted for the screen from the 1982 novel by children’s author Michael Morpurgo. The sprawling plot follows the fortunes of Joey, who is lovingly raised by Albert but later has to be sold for use in the First World War. We see him used in France as cavalry, then by two German brothers in the war and enjoyed by Emilie, a young, sickly French girl. Through these scenes we witness the experiences of human beings caught up in a terrifying war, which took the lives of 886,000 young British men and a million horses on the British side alone.
Spielberg had made several films about the Second World War but not the first and when his co-producer Kathleen Kennedy saw the stage play in London and suggested adapting it for the screen, he was quick to agree. Spielberg has spoken proudly of the lack of special effects in the film. It contains some stunning cinematography, as well as convincingly recreating that era, with the music of John Williams adding to the atmosphere.
The central relationship between a boy and his horse in the midst of all the destruction is a heart-warming story able to be understood and enjoyed by children and adults, across national borders.
.