The server’s down at work – in fact, across most of Scotland and the north of England apparently – and so I’m rattling notes you’ll be reading later on as this entry into a text file while working on The Most Important Letter I’ve Had To Write Since Starting Here in another window. We’re so lost without technology though, it’s rather sad. I’d be getting as much done if I was still in my bed.
It’s quite ironic really, on the day the Metro trumpets Bill Gates says CDs and DVDs are doomed as its leader – apparently CDs and DVDs are to be the last physical format music and movies will ever take as the next stage will be to stream them straight to a giant computer hard drive in every home, on which television broadcasts will also be made. Essentially, therefore, if one piece of technology in your home crashes… you might have to go and read a book or something. Although Gates would have you upload that as well.
I’ve always had a healthy fascination with Charles Dickens, so if you’re going to cast perhaps my all-time favourite actress in a television adaptation of one of his best works it’s safe to say I’m not going to miss it. Bleak House is also one of the greatest legal novels ever written, as well as making me a couple of temporary enemies at work when I submitted it as a round in office Pictionary. What I love most about Dickens is that his characters aren’t all lords and ladies and wigs and petticoats, but rather are people as they really lived in Victorian times. This can be hard to adapt properly (think of countless cherubic street urchins in a harmonised chorus of “Food, Glorious Food”) but I think the BBC pulled it off and although there were so many characters we were only given the vaguest sketches of the roles they might play in the hour-long opener I think there was enough there to hook the viewer who is willing to persevere.
I think Pete Doherty fantasises about being a character in a Dickens novel, probably one of those cherubic street urchins. Or at least a cherubic street urchin on crack. Down In Albion, the forthcoming Babyshambles album, is supposed to be a “concept album” (shudder) – a “rock opera in three parts… boy meets girl, boys loses girl, then something else happens”. Yes, it’s as bad as it sounds.
Unless you’re an Amazon reviewer, it would appear. Down In Albion hasn’t even been released yet but it is already the best album of the year, possibly the decade. I am not exaggerating. I have heard pretty much all of these songs live or from sessions etc and I can safely say there are some fantastic songs on here, some of the best written in a long time says fluffit_king of Glasgow. Quite worryingly, none of the reviewers seem to have actually heard the album. Since it has now leaked and I have, I can tell you categorically that if you thought the singles sounded like incoherent drug-addled mumbling, you’ll think exactly the same of the album.
I’m trying not to cross my fingers too hard for Dirty Pretty Things, but surely one fractured remnant of the glorious mess that was the Libertines has to produce something worth listening to?
We’re all posessive over our favourite things, aren’t we? So I’m not a bad person for worrying that the fact that the greatest Ryan Adams song of all time, “Come Pick Me Up”, features on the soundtrack to Cameron Crowe’s new movie means that a lot of people are going to hear it without appreciating it properly? Maybe it’ll sell a few copies of Heartbreaker, and Ryan will come back on tour and like actually play this time, and I shouldn’t whine that the only reason is because of a film with Orlando Bore in it.
Elizabethtown does seem worth a look though. We’ll need to see.
I reckon I’ll have a movie day at the weekend. The brother and I were supposed to be seeing Broken Flowers during the week, but he ended up in the pub not answering his phone instead. If we’re going to catch it on Saturday night, I might spend the rest of the day hanging out at the UGC getting some money’s worth out of that Unlimited card of mine.
And there it is again, but I’ll bite my tongue.