Arts Reviews

Grade: B+ “Cheltenham Symphonies”, they used to call them – a catch-all term for the kind of large-scale, traditionally inclined postwar works that found a natural home at the Cheltenham Music Festival. But it was also a sneer: a dig at the supposedly parochial nature of British music in the 1960s and 1970s. Over in Europe, the avant-garde was doing whizzy things with Marxism and electronics. British music, went the narrative, was suburban, outdated and drab. Now listen to John McCabe’s Third Symphony of 1978. McCabe’s orchestration is as gorgeous as a bird of paradise; it shimmers like the colors on the surface of a bubble. Not that there’s anything fragile about McCabe’s musical engineering.

Just two weeks ago I was ready to cancel my subscription to Apple Music. I’d stumbled across its “Composer Essentials” – a list of 100 composers so significant that they merit their own curated playlists. It includes Bonds, Boyle, Caccini, Dawson, Dett, Perry, Poldowski, Sohy, Strohl and Walker. If those names don’t ring a bell, how about the composers who are missing? Albéniz, C.P.E. Bach, Bellini, Berg, Bizet, Borodin, Chabrier, Kodály, Martinu, Messiaen, Mussorgsky, Nielsen, Poulenc, Schoenberg, Walton, Weber and Webern. See what I mean? The “Essentials” list is stuffed with DEI hires. Which – an analogy to Cambridge University comes to mind – does no favors to the black and female composers who deservedly feature in it, such as Joplin and Beach.

AI slop is not a new phenomenon. But it is becoming more prevalent as the lazy, the modish and the subliterate take advantage of an apparently beneficial and cost-free leap in technology that will save them the time and effort formerly required to construct a speech, résumé, article or image. I only started picking up on it myself quite recently. But now, when I get the feeling I’m being fed AI-generated pictures, I react like those dogs in the movies that are trained to spot Terminators. Thanks to the proliferation of sites such as Netflix, Amazon Prime, Apple TV, etc., there’s an awful lot of cable-TV slop about these days, as there has to be with all that space to fill, all those subscription costs to justify.

Remember Peter Parker? By the end of the last installment of the Spider-Man movies, No Way Home, we were the only ones who could. Following a complicated but deft collision of multiverses, young Peter (Tom Holland) had realized that the only way to save the world (again) was by getting Doctor Strange to cast a spell that made everybody – including his best friend Ned (Jacob Batalon) and girlfriend MJ (Zendaya) – forget that he’d ever been Spider-Man. He therefore began his Brand New Day alone in his apartment with only a highly evolved piece of AI for company. Sure, he’d returned to his roots of capturing local crooks by the dozen. But while this restored the hero status that J.

Marilyn Monroe would have celebrated her 100th birthday this year. My new biography of her begins with this story: she’s walking with a friend down Park Avenue dressed in a raincoat and sunglasses and without make-up. As the crowds stream past her, nobody gives her a second glance. Then she turns to her friend and asks, “Do you want to see me be her?” Without changing her hair or dress, the transformation begins and, after making some kind of inner psychological adjustment, she morphs from an ordinary woman into Marilyn Monroe, superstar. As her friend, the actress Susan Strasberg, recalled: “There she was – not the simple girl I’d been strolling with, but ‘Marilyn Monroe,’ resplendent, ready for her public. Now heads turned. People crowded around her.

Of the three creative pursuits that give Charli xcx’s eighth album its title, the English pop star seems least interested in the first. She admits as much on “Camera,” the best song on Music, Fashion, Film, which makes clear her obsession with acting and a desire to pursue it more fully. “Do I want to make music?” she asks herself. “Am I being fucking stupid if I try to be a girl on the screen and I’m turning 34?” Even without this clue – which, like much of the album, is presented via the singer throwing out rhetorical spiel more or less unexpurgated – it is no great stretch to surmise that the pursuit of making music is struggling to fully hold her attention.

The recent death of the actor Sam Neill, at the age of 78, was greeted with a mixture of surprise, sorrow and, in many quarters, unexpected grief. It is likely that Neill would have regarded the lavish tributes paid to him by actors, filmmakers and politicians with a mixture of embarrassment and quiet pride, because although he was a brilliantly versatile actor who managed to make a deep impression in virtually every role that he undertook over his five-decade-long career, he was also someone instinctively uncomfortable with the limelight.

As we ponder the ups and downs of the UK’s sporting record this summer, it might be worth noting their unquestioned prowess when it comes to the demands of classically based dancing. The Royal Ballet is consistently more than a match for any comparable company in the world, and its chief feeder, the Royal Ballet School, currently celebrating its centenary, is similarly and solidly rated as one of the two or three best of its kind anywhere. Both these institutions are deeply beholden to tradition, and the RBS might well be the most unabashedly elitist educational establishment in the country. It receives globally more than 2,500 applications a year. All these will lead to an audition, the number finally whittled down to 30-odd offers of a full-time place.

There comes a point in the career of any established artist when looking backward seems to be the only possible way to move forward. Madonna was a great pop star until she wasn’t. Confessions on a Dance Floor, released in 2005, was her last really successful record; “Hung Up,” from that album, her last truly unforgettable single. Ever since she has been chasing musical trends with increasingly diminishing returns, the heavy-handed concepts and contrived personae – Madame X, anyone? – no longer supported by anything approaching a properly decent song. Ms Ciccone seems to have belatedly remembered that Madonna is, and always has been, the concept So Confessions II is an act of both commercial and creative necessity. Its reclamation of the past is twofold.

The Odyssey is Christopher Nolan’s relentless, deafening three-hour take on Homer’s epic poem, and while it is technically impressive filmmaking – IMAX cameras; massive mechanical puppets, minimally pimped up by CGI; thousands of extras – it is set piece after set piece which becomes rather tiring. Even if weariness is part of the point of the Odyssey, it’s no excuse for the film being tiring. Even if weariness is part of the point of the Odyssey, it’s no excuse for the film being tiring What we get is an action blockbuster, without significant depth, although there is some heft to the final act – everybody’s favorite act, surely. Who doesn’t love it when Odysseus finally makes it back to Ithaca disguised as a beggar and no one recognizes him?

You can tell things have started to get really bad by the fact that they’re bringing back Little House on the Prairie. When a society is in serious crisis – or so I’ve read – it no longer needs edgy, transgressive, exciting art to push boundaries and challenge assumptions. Rather, it needs to be soothed and cosseted with bland, undemanding and familiar comfort food. Nothing, not even The Waltons, does that quite like Prairie. People griping about the remake have clearly forgotten how dire the original was I may well have gawped uncritically at quite a few of the original series’ 200-odd episodes, the first of which aired in 1974.