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Miss Ntertainment


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When it was announced last year that Bjork would be getting the MoMA-retrospective treatment, I joined the rest of her fans in rejoicing at the chance to look back over the work of one of the most talked-about, exciting artists of our time. How much of the Icelandic warrior-princess’ influences over the 8 albums she’s recorded would she reveal? How much of her roughly-drafted early song lyrics would we be privy to? How would her daring music videos with the likes of Michel Gondry and Chris Cunningham be presented? And, most importantly, would the swan dress from the 2001 Oscars make an appearance?
Turns out, the idea for a retrospective has been in the works for some time. The Museum of Modern Art’s chief curator Klaus Biesenbach has been urging Bjork to agree to it for over a decade.
“How do you hang songs?” Bjork herself asked, expressing her initial reservations. But, a dozen years later, she warmed to the idea, and so did the other relevant players needed to pull off the unusual exhibition.
I went to a preview, hoping to hear Bjork herself talk a bit more about it. She was there, but only for a very quick blink-and-you-miss-it moment, especially since she was dressed in a black cactus-like outfit that covered her face, relaying her gratitude to those who helped make the whole thing come together. Pictures were not permitted, which is a pity because how often does one get to see Bjork in one of her fantastical get-ups in person? (A very rare occurrence if you, like me, are from the tip of Africa.)
Even before you’re actually ready for the whimsical, eccentric bits and pieces that make up her 2-decade career, you’re hit with the first part of the exhibition as you walk into the museum. Sounds from instruments used in Biophilia, the first app ever to be acquired by MoMA, fill the lobby on the first floor, while the app itself is projected on a wall on the third floor.
I didn’t spend too much time there though, because I had a time slot to get into Songlines, the fictional journey through Bjork’s 8 albums. It’s designed to be an interactive, immersive experience that builds on the tangible things that led to or came out of Bjork’s albums – from 1993’s Debut to Vulnicura, released this month after being leaked in January.
The way it works is you are given an iPod that automatically syncs to where you are standing in the exhibit and plays a narrated story according to the part you are in. There are added instructions whispered in your ear by oft-collaborator Antony Hegarty, like “breathe” and “concentrate”, which are a little distracting, but that’s not what made the experience confusing for me.
It’s that there is not much space to wander. Your mind needs to do the wandering as you listen or focus on the item in front of you, but there is not a lot of space to physically walk around, at least not for the duration of the narration for each album. Once I’d got the hang of it – that it’s a meditation on the story of a girl with a beating blood-warm heart as her companion going out into the world – it was too late, and I couldn’t got back and re-visit the parts that had skipped ahead without my control. Pro-tip, then, from me to you, if you do go to that, take your time, and let your mind do the walking.
You will get to see some pretty amazing Bjork paraphernalia though – like the robots from Chris Cunningham’s All is Full of Love music video, a real-life GIF of Bjork’s image, made from a Nick Knight image captured during Homogenic, hand-written lyrics for Venus as a Boy, the late Alexander McQueen’s Bell Dress and, yes, the swan dress, made by Marjan Pejowski for the 2001 Oscars in honour of Dancer in the Dark Best Song nomination.
Something I really liked was created especially for the exhibition, the video installation Black Lake. The song appears on Bjork’s latest album, but Biesenbach says it was commissioned before they even knew there was going to be a new record coming from the singer. The 10-minute video, directed by Andrew Thomas Haung, was filmed in Iceland last year, during what Biesenbach calls the coldest Summer ever. After watching so many music videos on my laptop or iPhone, I found it quite emotional to get swept up in the expanse of the scenery and the sound and the motifs of devastation and re-birth.
I didn’t have time to hang out longer, but next to this part of the exhibition is a room with a giant screen, showing some of the more experimental videos Bjork has made during her career so far. Here’s hoping there will be many more – apps, iPhones, YouTubes and all.
Bjork runs at the Museum of Modern Art from March 8 until June 7 2015. 

“I’m having a really, really good night,” enthused Sam Smith, before the acceptance-speech-blowoff music started playing. It really only gave winners about 3 seconds before they were urged off the stage, to make way for the 23 performances that took place during Sunday night’s ceremony. Most of which where downbeat and languid, from Ariane Grande to Usher. Madonna tried to spark things up a bit with her glam True Detective / Maleficent stage set-up, and although she is still in top shape, it was the duets between Smith and Mary J Blige, who did an immaculate Stay With Me, and Hozier and Annie Lennox (well more Annie than Hoz, but we’ll give him some of the points) that truly won the night over.

The subdued tone of the night did play to the Grammys message against domestic violence, as delivered in a video by President Barack Obama, and a flash-back to events in Ferguson and a not-so-urgent call for them not to be repeated.

As for prizes, it was Smith’s night – thanks to an ex who, like Adele, broke his heart and led him to write In the Lonely Hour, and score 4 out of the 6 statues he was up for. Beck beat out him and Pharrell Williams, Ed Sheeran and, to the chagrin of the Beyhive, Beyonce, for Album of the Year. I agree that it was a surprise, but I don’t want to discredit an album I deeply loved last year for winning. Besides, I know we haven’t heard the last of Kanye about it, even if he did pretend to get up and sit back down again when Beck’s name was announced. Morning Phase also won Best Rock Album.

As for South Africa’s interests at the Grammys, which you know I always have on my mind, flute player/flutist/flautist Wouter Kellerman picked up Best New Age Album for a record he made with Indian composer Rick Kej called Winds of Samsara. It took three years to make, they recorded it in India and South Africa, and used 120 musicians for it. When I spoke to him just after the win was announced, Kellerman told me he was so thrilled because it was a “life-long dream come true.” The Grammys may still be that for many for now, but with the memes (Rihanna’s dress) and split-second moments (Kanye’s would-be outburst) that shoot out into the world over the Internet to become viral, it may be that younger artists will soon grow up with different dreams. At least musically, that it.

Also, no matter how many Grammys one wins, when Prince shows up – and we so love it when he does – it’s pretty much game over.

For the full list of winners, click here.

I added my voice to the many that believed British actor David Oyelowo and director Ava DuVernay should have been awarded nominations for Selma. The film itself, which tells the story of how Martin Luther King Jr campaigned and worked with Lyndon B Johnson (played by Tom Wilkinson) to secure equal voting rights by organizing a march from Selma to Montgomery in Alabama, is up for an Oscar for Best Picture. But Oyelowo and DuVernay both in their roles as actor and director take the story to another level, making this film urgent, soul-stirring and still deeply relevant, on the back of protests in the US and around the world about equal rights, dignity and justice. It’s rousing and, no matter what happens come Oscar Sunday, deserves to be seen by as many people as possible.

I got to sit down with the cast and ask a few questions…

Selma opens in South Africa this weekend; it’s currently on circuit in the US. 

Two of my favourite movies from last year are now being released in the US, and shortly in South Africa too. They happen to be somewhat linked by their titles, which follow on quite perfectly from each other if you’re a fan of wordplay, and you could say they both deal with identity and growing up, and so their subject matter is similar too. The style of each film is very different though, but they both use music, in fact at one point it becomes a focal moment of the film, to convey their own coming-of-age stories.

I watched both Girlhood and Mommy at the Toronto Film Festival last year. Both were highlights of the fest, together with the Oscar-nominated Foreign Language contender, Timbuktu.

Both films are made by French-speaking directors – Celine Sciamma is from France while Xavier Dolan is from Montreal, Canada and about a decade younger.

Girlhood , known in French as Bande de Filles, takes place in Paris, and starts off with a body-crashing football game, played by a group of girls, as we’re introduced to Marieme – aka “Vic” – played by Karidja Touré, and we begin to follow her as she tries to find her place in both her immediate surroundings and her own world. She is driven by the need to belong but also to stand out, and so we follow along as she makes her way through joining a gang, picking up some not-so-good habits, falling in love and trying on different appearances. As we follow her journey, we see the things she says yes to, but we also see the things she turns away from, which become just as much a part of her identity. Like Boyhood, we watch Marieme as she grows up – only not for 12 years. And for once, Marieme is not a white teenager like so many movies would have, and so we are allowed to see a different part of the experience of growing up. At the same time, the commonalities that defy race are brought a little more into sharper focus.

What I love so much is that the story unfolds against a backdrop of music that is perfectly placed to carry along the emotion of the time, and all those conflicting feelings that go along with it. From the opening of Light Asylum’s Dark Allies to Rihanna and the best use of Diamonds I’ve seen, Girlhood kept me engaged the whole way. French elector producer Jean-Baptisde de Laubier has created a synth-sonic soundtrack that helps maintain this.

In Mommy, the music is instantly recognisable and it forms as much a part of the story as the words spoken by the cast. The 3 main actors are Dolan’s regulars – Anne Dorval, Suzanne Clement, Antoine Olivier Pilon. Dorval plays Diane, a single mother who has to care for her troubled, prone-to-violent-outburts teenage son, Steve, played by Pilon. The story takes place in a time Dolan has created, where parents can entrust their children to the State if they’re not able to care for them. But their neighbour Clement) is drawn into their world, and ends up helping them, so it begins to seem like the mother won’t have to give up her son after all. At least that’s what it seems like…

At 25, Dolan already has created a reputation that truly precedes him. Five features in five years, each of which has played at Cannes, with his latest Mommy, being written, directed, produced and edited by the young filmmaker too. Oh, and he also translated the film to its English subtitles. After Toronto, I went on a Dolan binge, from watching his 2009 debut, I Killed My Mother to Lawrence Anyways, in which he also starred, and saw the ability he has to visually play with identity and mother-son relationships on screen. But I like that he’s not pretentious – he likes Celine Dion and he’s not afraid to show it!

Dolan shot Mommy using the unusual square aspect ratio of 1:1, but so effectively. Combining this with the soundtrack of songs selected to musically illustrate the story makes Mommy so compelling. There is a moment where the two elements come together so sweetly, it brought tears to my eyes and made me want to keep my headphones on for the rest of the day, playing Oasis’ Wonderwall over and over again.


Essential tracks (thank you, Internet)

Girlhood and Mommy are both currently showing in the US; Mommy opens in South Africa on February 20th.

By the actors, for the actors.

I do so enjoy watching the Screen Actors Guild Awards because the appreciation the actors show for the love they’ve received from their peers is just priceless. There are almost always tears. And they’re not just from the actors themselves. It was hard not to be moved by Uzo Aduba’s emotional acceptance speech, where she reminded us she had planned to quit acting after her OITNB audition, or recall how good Mark Ruffalo was in The Normal Heart, even if he wasn’t there to accept his award in person. As a big Orange is the New Black fan, I was thrilled to see the show score two wins, for Aduba and for Outstanding Ensemble in a Comedy Series. Those wins, together with House of Cards earning Kevin Spacey Outstanding Actor in a Drama, come just after Amazon’s Transparent won two big honours at the recent Golden Globes. Seems like it couldn’t be a better time for online streaming services. (Speaking of Transparent, Amazon graciously waived the fee for watching the series this weekend, and so I used the opportunity to catch up on the fantastic series – Jeffrey Tambor, take a bow.)

Naturally, all eyes are now upon the Oscars, as pundits predict what the SAG honours mean for the one ceremony that rules them all, taking place next month. Birdman gets a little push with its Outstanding Performance by an Ensemble, but Eddie Redmayne beat out Michael Keaton for Best/Outstanding Actor. Could he follow suit at the Oscars? The other four major categories seem all but cast in stone, following the trend set at the Globes and the Critics Choice awards – Julianne Moore (Still Alice) for Best Actress, JK Simmons (Whiplash) for Best Supporting Actor and Patricia Arquette (Boyhood) for Best Supporting Actress. As many noted on Twitter, it was frustrating to see the montage for diversity and tolerance as depicted onscreen over the years at the SAG Awards include one of the stand-out scenes of David Oyelowo from Selma but not to have the film feature in any of the nominations. At least Redmayne gave him a shout-out of acknowledgment during his acceptance speech. Still, Best Picture race looks dead set between Boyhood and Birdman. Both equally deserving. One spoke to my heart, the other captured my mind.

The full list of SAG Award winners can be found here. The Oscars take place on February 22nd in LA.