2 Notes

On being a gadget maverick

I have a secret: I don’t use a case for my iPhone. Or my Kindle. 

Every day, as I cram into the London Underground carriage and look around at the hordes guarding their gadgets protectively in a leather or plastic wallet, hands pushing the case irritatedly out the way while they read, swipe or listen, I feel like… a maverick.

“You don’t need it,” I want to whisper. “Jobs did a good enough job. Trust Jobs! Trust the casing it was built with…”

But I guess it’s human nature to protect your babies.

I tend to pull out my Kindle self-consciously - like a self-conscious superhero, I suspect - eyes darting around to see if anyone has spotted that I’m using my gadget naked. Un gadget au naturel. 

What is this obsession with buying a beautiful piece of kit and immediately covering it with a garish rubber fetish suit? 

I saw a girl on the way to work with an iPhone 4S dressed in a bunny suit today. A BUNNY SUIT. (The iPhone 4S, not the girl on the way to work.) It had these alert little bunny ears sticking perkily off the top, like some sort of clitoral stimulant. 

3 Notes

When what he says changes a little bit

When you first meet your fella, you’ll probably say nice things to each other all the time. Stuff about finding each other wildly attractive; “I like your hair pushed back off your face”; general rubbish about being destined for one another because no one else would’ve spotted that clever reference in the film you saw together that one time. 

When you’ve been together a year, your conversation is likely to skew a little more like this, which I enjoyed yesterday:

Him: Are you going to wash your hair today?
Me: *puts on mirror face, tosses hair, smiles through eyelashes* Do I need to? 
Him: Yes. It smells like wet straw. 

Romance doesn’t die: it simply gets absorbed into the practicalities of the everyday. Things you might tolerate with affection at the start of your relationship - “aww, her hair’s like a damp hay-bale!” - become factual truths we chuck in each other’s faces without a care. (“I wasn’t kidding when I said your feet smell like Brie.”) But who else do we do that to? Well…

It’s sort of what we do with family.

8 Notes

Why I feel uneasy about Lana Del Rey

It’s not because of her fabricated identity – because, let’s face it; that has long been pop music’s way. Bob Dylan, Elton John, Gaga.

It’s not because she’s a bit rubbish live – that’s also frequently pop music’s way. Britney, Milli Vanilli, Steps.

It’s also not because I feel duped by her failed past as Lizzy Grant; I don’t really care about that level of manipulation - what’s in a name? Just as I don’t mind that, despite releasing Video Games as a limited edition 7’ on an obscure label, Lana Del Rey was actually signed to major label Interscope the whole time. I don’t mind all the ‘gangster Nancy Sinatra’ front, or the pertinent outreach to hipster blogs, or the curiously self-conscious posturing.

So what is it that makes me uneasy?

I think it’s her face.


There’s no denying that Lana Del Rey is very pretty, and cosmetic surgery has long been acknowledged an expected part of celebrity. Gone are the years when Posh Spice emphatically denied breast enlargement; here are the days when the media widely reports Cheryl Cole spending £14,000 replacing her teeth, while Katie Price has botox and boob jobs on camera in her reality show.

What’s more, corrective surgery among non-celebrities - so beautifully termed ‘civilians’ by Elizabeth Hurley - is broadly acceptable, should that person’s defect be adequately ‘severe’ enough: perhaps a large nose that engenders bullying; maybe a boob reduction to ease back strain. The war on ageing is also roughly allowed, socially - so long as it doesn’t devolve into the semblance of a cat woman.

But there is something sad and even a little deplorable about a young girl who changes her face and body to improve the chances of a career. Even more so, when an artificially-enhanced sultry look hints at an increased sexuality.

I find myself getting cross about the level to which Lana Del Rey has changed the way she looks to better sell a product. I mind that Lana Del Rey has allegedly had lip augmentation and purportedly changed her appearance through cosmetic surgery… to what end? To look a little more old Hollywood?

It’s ridiculous that LDR is arguably more famous for her manufactured and enhanced image than for her songs. (What kind of message does it send out to kids growing up in our TOWIE culture which celebrates fame over talent time and time again, when a girl with a nice voice had to change the way she looked to be successful? What does it say to young girls, who become insecure about their body image at the age of 9 - that you can’t make it unless you look like you could suck a black hole into your mouth and swallow the universe whole?)

We’re making Lana Del Rey famous for making it after she’d changed the way the way she looks. We keep bloody writing about her. Look, I’m doing it now! We’re idiots.

Cosmetic surgery makes women distrust women who’ve had it. I’m sorry, it does. It undermines our sense of who they are; we wonder why they were so unhappy with themselves that they felt they had to change so significantly (and permanently). Purely from a genetic standpoint, we look at bone structure and evaluate whether we should procreate with that person - whether they’ve inherited good genes which they’d pass on to any offspring, or not. But how can we know if they’ve fannied about away from the genepool?

Enhancing image down to the airbrushing of every last thumbnail has been rife for so long that we’re used to unobtainable, perfect stars. My problem with Lana Del Rey is that she’s 24 and she’s changed her face to make it more sexy. And that, in turn, indicates that she didn’t think she was sexy enough before. And now she wants us to perceive her as more sexy. And what’s sexy about that?

Lana Del Rey’s album, Born To Die, is released on Monday

If you liked this story, you might like:

The rise of geek chic
What song would you choose to survive music torture?

6 Notes

Birdsong comes to the BBC

Fourteen years ago, Working Title acquired the rights to Sebastian Faulks’ novel Birdsong. Since then Tim Bevan and crew have reportedly spent in the region of £3 million on different treatments in development, but failed to bring the book to the big screen. Sebastian Faulks’ own website lists the directors at any time attached to the project:

  • Justin Chadwick
  • Joe Wright 
  • Paul Greengrass
  • Iain Softley
  • Sam Mendes
  • Peter Weir

For years Ralph Fiennes was touted as the frontrunner to play Stephen Wraysford - but let’s actually consider that for a moment. Voldemort? Surely one reconstructive nose job away from his pensioner bus pass: He Who Shall Not Be Fienned is no fit with the young Wraysford, who in his early twenties undertakes an illicit affair with Isabelle Azaire.

Production of a Birdsong film has, for some reason or other, floundered for over a decade. But just as my hopes had finally faded into a forgotten indifference, still vaguely aware that Birdsong is one of my top ten favourite books, into the fray steps the BBC. 

Written by screenwriter Abi Morgan (Shame, The Iron Lady), and starring Eddie Redmayne (My Week With Marilyn) and Cleménce Poesy (Fleur in Harry Potter), with a supporting cast including Thomas Turgoose (This Is England), Birdsong will air as 2 x 90 minute episodes on the BBC.

In 1997 I sat on a coach tour of the Northern France and Belgium battlefields, reading Birdsong. I have never been so profoundly moved as I was by reading fiction in the very place it was set, surrounded by the memories and echoes of a very real war. The battlefields are a place that will never shake the horrors they held. It’s ghostly. Live shells litter the roads; the names of fallen soldiers line the graveyards and war memorials that stand in salute across the country. Faulks’ story may have been a fiction but it captured an era so vividly that I had a hard time separating truth from nostalgia.

This small screen adaptation by the BBC, in association with Working Title, has all the early signs of being spot on. Eddie Redmayne exudes exactly the right combination of male stoicism and vulnerability we’d expect from Wraysford, while Cleménce Poesy, in all her beauty, is perfectly cold, aloof - exactly how I imagine Isabelle. The only potential problem could be the made-for-TV budget in the staging of the trenches; however, bearing in mind the BBC spent a reported £1 million per hour on the Christmas adaptation of Dickens’ Great Expectations, we might just be alright.

Birdsong will air on the BBC in January 2012

Find out more on IMDB.com 

Buy Sebastian Faulks’ Birdsong on Amazon

If you liked this story, you might like:

Philip Pullman on writing - “I wrote the first chapter of Northern Lights sixteen times before I added the daemons”

2 Notes

What I hate about office Christmas parties is looking for a job the next day.
Phyllis Diller