Good morning from New York City – where I’ll be interviewing James Cameron tomorrow!
* “Songs are like a bolt of light, and love’s the only light you should invite…” so sings Sinead O’Connor on the first single off her new album, Take Me To Church. A much more urgently-paced track than the Hozier one of the same name, this song serves as the Irish singer’s declaration of intent for her new album, I’m Not Bossy, I’m the Boss. The album drops next week, but in the meantime, enjoy the euphoric music video with an intro that plays over her iconic Nothing Compares 2 U one.
* A Saturday surprise came courtesy of Beyonce‘s Flawless remix with Nicki Minaj. It’s the first time the two have collaborated and the track also just so happens to address that elevator scene a few months ago, with Beyonce rapping: “Of course, some s*** go down when it’s a billion dollars on that elevator.” That aside, it makes sense that the track the two would collaborate on would be something like Flawless, especially given Nicki’s booty-embracing cover for her latest album, Anaconda.
* No surprise that Guardians of the Galaxy won this weekend’s box office, but the surprise, according to pundits, was how well it did. $94 million in the US, and over $160 globally. For a film that isn’t a sequel and is based on a bunch of ragtag, lesser-known Marvel characters, this feat is even more marvelous.
* Lollapalooza ended its 3-day music festivities with rain-drenched sets from Kings of Leon, Skrillex, Chromeo and my current new faves, Bleachers. It seems lots of covers were performed, including KoL doing Robyn’s Dancing on My Own, and Australia’s Betty Who doing Say My Name.
* Haruki Murakami’s latest novel sold more than a million copies in its first week on sale in his home country of Japan, and book critics are predicting a big debut in the US too. Colorless Tsukuru Tazaki and His Years of Pilgrimage centres on a railway-station engineer who re-visits the reasons for his school-friends abandoning him. This time though, Murakami’s story has been described as more of a fable than a novel, but still with his peculiar touch of the surreal.