- Words Notion Staff
Rated Reads shares our pick of the best articles from around the web. This week: why young musicians are taking control of their estates and why Instagram's Close Friends is giving us trust issues.
Rhian Jones in The Guardian looks at why so many artists, from Lana del Rey to Anderson. Paak, are already trying to protect their legacies.
“Recently, Anderson .Paak went so far as getting a tattoo asking for no posthumous albums or songs bearing his name be released. ‘Those were just demos and never intended to be heard by the public,’ the ink reads.” Social media is the driving force behind the move, Jones argues, with better information about the industry widespread online.
But above all is the idea that “carefully constructed careers can be tarnished.”
The 90s legend Natalie Imbruglia is returning 12 years after her last music – and she’s making her comeback just in the nick of time.
“There’s a 90s thing going on right now, so I feel like I’m pretty hip,’ says Natalie Imbruglia, with mischief in her eyes. ‘Is that just age? Have I just become vintage? Is that what this is? Whatever it is, I’m loving it. The 90s are in and I fit into that. Thank you cargo pants that I wore all those years ago. I will wear my Maharishi jacket.’”
She talks with Emily Jupp about her return, having a baby alone, appearing on Neighbours and much more.
As Vigil keeps us wrapped up most evenings, Claire Allfree looks in retrospect at why the show’s leading lady Suranne Jones has enchanted the nation.
From Gentleman Jack to the acclaimed Channel 4 I Am series, Allfree argues: “In a career that included an early stint on Doctor Who, playing a humanoid manifestation of the Tardis’s consciousness, alongside an acclaimed performance as a convicted police killer in Unforgiven (2009) and a Yorkshire detective in the longrunning Scott and Bailey (2011-2016), she’s become particularly good at inhabiting women who go through the wringer in their determination to make themselves heard.”
The Times’ Josh Glancy drops in on Burning Man Festival – virtually. Though the experience isn’t quite the same, he discovers he can reach nearly the same high at home.
We’re super excited for the latest Princess Diana flick Spencer, a film that has been the talk of the town this week. In honour of its premier at the Venice Film Festival, NME talked to the film’s composer Jonny Greenwood – a score he struggled not to make reminiscent of “the theme to Antiques Roadshow”.
To emulate Diana’s colourful role within the traditional royal family, Greenwood “suggested we get a baroque orchestra in, so I wrote music in that regular royal style, with kettle drums, trumpets, harpsichords and pipe organs. Then, while they were playing, we substituted the orchestra with free jazz players. They could play those instruments, but we had it mutate into a free jazz performance. That was so exciting, the jazz players were just amazing. The trumpet player, Byron Wallen, blew my mind. That said, at first they were too restricted by the chords. It was like they were trying to improvise to the theme from Antiques Roadshow. The key was to still sound vaguely baroque, while leaving enough space for true anarchy and chaos.”
The Jury Prize-winning film from Thai director Apichatpong Weerasethakul, Memoria, is accompanied by an alluring table book too. “’As I travelled, I have had many imaginary films in my head,’ Weerasethakul tells AnOther via email, cryptically. ‘They are in this book.’”
He goes on, “The book is an expansion […] to pinpoint the core of emotion I had of Colombia, and maybe of my world in general, at a time.” Focusing on Exploding Head Syndrome, a rare parasomnia, the book unfurls in script notes, diary entries, illustrations and photography.